1.
Production sound mixer
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This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. The recordist may be asked to capture a variety of wild sound on location. The recorded production sound track is later combined with elements, i. e. effects, music, narration. The Practical Art of Motion Picture Sound, vincent Magnier, Le guide de la prise de son pour limage. John Purcell, Dialogue Editing for Motion Pictures, A Guide to the Invisible Art, ISBN0240809181 Jay Rose, Producing Great Sound for Film and Video. Focal Press, fourth edition 2014 Book info, make Your Movie Sound Like A Real Movie Martinez, Carlos E. Location Audio for Any Budget, An Introduction Rose, Jay Film/video tutorials written for DV Magazine and others
2.
Microphone
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A microphone, colloquially nicknamed mic or mike, is a transducer that converts sound into an electrical signal. Several different types of microphone are in use, which employ different methods to convert the air pressure variations of a wave to an electrical signal. Microphones typically need to be connected to a preamplifier before the signal can be recorded or reproduced, in order to speak to larger groups of people, a need arose to increase the volume of the human voice. The earliest devices used to achieve this were acoustic megaphones, some of the first examples, from fifth century BC Greece, were theater masks with horn-shaped mouth openings that acoustically amplified the voice of actors in amphitheatres. In 1665, the English physicist Robert Hooke was the first to experiment with an other than air with the invention of the lovers telephone made of stretched wire with a cup attached at each end. German inventor Johann Philipp Reis designed an early sound transmitter that used a strip attached to a vibrating membrane that would produce intermittent current. Better results were achieved with the transmitter design in Scottish-American Alexander Graham Bells telephone of 1876 – the diaphragm was attached to a conductive rod in an acid solution. These systems, however, gave a poor sound quality. The first microphone that enabled proper voice telephony was the carbon microphone and this was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, the carbon microphone is the direct prototype of todays microphones and was critical in the development of telephony, broadcasting and the recording industries. Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886 and this microphone was employed at the first ever radio broadcast, a performance at the New York Metropolitan Opera House in 1910. In 1916, E. C. Wente of Western Electric developed the next breakthrough with the first condenser microphone, in 1923, the first practical moving coil microphone was built. The Marconi Skykes or magnetophon, developed by Captain H. J. Round, was the standard for BBC studios in London and this was improved in 1930 by Alan Blumlein and Herbert Holman who released the HB1A and was the best standard of the day. Also in 1923, the microphone was introduced, another electromagnetic type, believed to have been developed by Harry F. Olson. Over the years these microphones were developed by companies, most notably RCA that made large advancements in pattern control. With television and film technology booming there was demand for high fidelity microphones, electro-Voice responded with their Academy Award-winning shotgun microphone in 1963. During the second half of 20th century development advanced quickly with the Shure Brothers bringing out the SM58, digital was pioneered by Milab in 1999 with the DM-1001. The latest research developments include the use of optics, lasers and interferometers
3.
William A. Wellman
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William Augustus Wellman was an American film director notable for his work in crime, adventure and action genre films, often focusing on aviation themes, a particular passion. He also directed several well-regarded satirical comedies, beginning his film career as an actor, he went on to direct over 80 films, at times co-credited as producer and consultant. In 1927, Wellman directed Wings, which became the first film to win an Academy Award for Best Picture at the 1st Academy Awards ceremony, Wellmans father, Arthur Gouverneur Wellman, was a New England Brahmin of English-Welsh-Scottish and Irish descent. William was a great-great-great-great-great-grandson of Puritan Thomas Wellman who immigrated to the Massachusetts Bay Colony about 1640, William was a great-great-great grandson of Francis Lewis of New York, one of the signatories to the Declaration of Independence. His much beloved mother was an Irish immigrant named Cecilia McCarthy, Wellman was expelled from Newton High School in Newtonville, Massachusetts, for dropping a stink bomb on the principals head. Ironically, his mother was an officer who was asked to address Congress on the subject of juvenile delinquency. In World War I Wellman enlisted in the Norton-Harjes Ambulance Corps as an ambulance driver, N.87, les Chats Noir was stationed at Lunéville in the Alsace-Lorraine sector and was equipped with Nieuport 17 and later Nieuport 24 pursuit aircraft. Wellmans combat experience culminated in three recorded kills, along with five probables, although he was shot down by German anti-aircraft fire on March 21,1918. Wellman survived the crash but he walked with a limp for the rest of his life. Wellmans credits, January 19,1918 a German Rumpler shot down in front of American lines in Lorraine by Wellman, March 9,1918 shot down a German Rumpler, killed the rear Gunner, Pilot killed by airman Ruamps. March 18,1918 shot down a German Rumpler, not confirmed as fight took above German Lines, maréchal des Logis Wellman received a medical discharge from the Foreign Legion and returned to the United States a few weeks later. He spoke at War Savings Stamp rallies in his French uniform, in September 1918 his book about French flight school and his eventful four months at the front, Go Get Em. was published. He joined the United States Army Air Service but too late to fly for America in the war, stationed at Rockwell Field, San Diego, he taught combat tactics to new pilots. While in San Diego, Wellman would fly to Hollywood for the weekends in his Spad fighter, using Fairbanks polo field in Bel Air as a landing strip. Wellman was hired for the role of an officer in Evangeline, but was fired for slapping the leading lady, the actress Miriam Cooper. Wellman hated being an actor, thinking it an unmanly profession and his first assignment as an assistant director for Bernie Durning provided him with a work ethic that he adopted for future film work. One strict rule that Durning enforced was no fraternization with screen femme fatales, which almost immediately Wellman broke, leading to a confrontation, despite his transgression, both men became lifelong friends, and Wellman steadily progressed to more difficult first unit assignments. Wellman made his directorial debut in 1920 at Fox with The Twins of Suffering Creek
4.
Tracking shot
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A tracking shot is any shot where the camera moves alongside the object it is recording. In cinematography, the term refers to a shot in which the camera is mounted on a camera dolly that is placed on rails – like a railroad track. The camera is then pushed along the track while the image is being filmed, a tracking shot generally runs lateral to or alongside its subject since the tracks would be visible in a shot of any distance that moved toward or away from its subject. The technique is used to follow a subject that would otherwise leave the frame. In this spirit, any conveyance, including via a vehicle, like a car. A handheld or Steadicam mounted camera following a similar trajectory is called a shot as well. While the core idea is that the camera moves parallel to its subject, a variant of the tracking shot is the onride video, also known as a Phantom Ride, where the camera films during a ride on a train, an amusement ride or another vehicle. Such videos may be used to document the route, the camera can be fixed to the vehicle or held by a person in the vehicle. The rail cam made a debut in the NHL on November 20,2006 in the Colorado Avalanche/Dallas Stars hockey game. The Versus cable television network used the camera during the game to test it out for a use on a nationally broadcast program. The camera was fastened to a system that ran on the top of the glass on one side of the ice rink. As the play shifted from end to end, the motorized mount allowed the camera to follow the action, the system was developed by Fletcher Chicago. The experiment was short-lived, the rail-cam is no longer used in NHL hockey games, walk and talk, a film technique which makes use of the tracking shot Steadicam
5.
David O. Selznick
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David O. Selznick was an American film producer, screenwriter and film studio executive. He is best known for producing Gone with the Wind and Rebecca, David Selznick was born in Pittsburgh, Pennsylvania, the son of Florence Anna and silent movie producer and distributor Lewis J. Selznick. His parents were Ukrainian Jewish immigrants and he had four siblings and his dad was born in Kyiv in 1870. Selznick added the O to distinguish himself from an uncle with the same name and he studied at Columbia University in New York City and worked as an apprentice for his father until the elders bankruptcy in 1923. In 1926, Selznick moved to Hollywood, and with the help of his fathers connections and he left MGM for Paramount Pictures in 1928, where he worked until 1931, when he joined RKO as Head of Production. David Selznicks years at RKO were fruitful, and he worked on films, including A Bill of Divorcement. Rockabye, Bird of Paradise, Our Betters, and King Kong, while at RKO, he also gave George Cukor his directing break. In 1933 he returned to MGM where his father-in-law, Louis B, mayer established a second prestige production unit for David, parallel to that of powerful Irving Thalberg, who was in poor health. Selznicks unit output included the all star cast movie Dinner at Eight, David Copperfield, Anna Karenina, despite his output of successful movies at MGM, Paramount Pictures, and RKO Pictures, Selznick longed to be an independent producer with his own studio. In 1935 he realized that goal by leasing RKO Culver City Studios & back lot, formed Selznick International Pictures, Gone with the Wind won eight Oscars and two special awards. Selznick also won the Irving G. Thalberg Memorial Award that same year, in 1940 he produced his second Best Picture Oscar winner in a row, Rebecca, the first Hollywood production for British director Alfred Hitchcock. Selznick had brought Hitchcock over from England, launching the directors American career, Rebecca was Hitchcocks only film to win Best Picture. After Rebecca, Selznick closed Selznick International Pictures and took time off. His business activities included the loan of his artists to other studios, including Alfred Hitchcock, Ingrid Bergman, Vivien Leigh. In 1944, he formed The Selznick Studio and returned to producing pictures with the huge success Since You Went Away and he followed that with the Hitchcock films Spellbound and The Paradine Case, as well as Portrait of Jennie, a vehicle for Jennifer Jones. He also developed projects and sold the packages to other producers. Among the movies that he developed but then sold was Hitchcocks Notorious, in 1949 he co-produced the Carol Reed picture The Third Man with Alexander Korda. Gone with the Wind overshadowed the rest of Selznicks career, later, he was convinced that he had wasted his life trying to out do it
6.
The Wild Party (1929 film)
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The Wild Party is a 1929 Pre-Code film directed by Dorothy Arzner, released by Paramount Pictures, and known as Clara Bows first talkie. The film focuses on a college where the students are more interested in having fun. Stella Ames is the most popular student, with a loud mouth, when the young and attractive professor Gilmore Gil starts working there in anthropology, all the girls immediately feel attracted to him. Stella recognizes him as the man she once shared a bed with. The professor is unamused by the bad behavior and does not seem to notice who Stella is. At the end of term, a costume party is held. Stella and her friends show up in revealing costumes and are thrown out by Faith Morgan. The girls decide to go to a bar, where they are bothered by drunk men. They try to leave, but the men refuse to let them go, all the girls are able to get away and leave with the car, but Stella is left behind. Fearing the worst, she decides to play along with the men so they will not force themselves on her and she is eventually rescued by professor Gilmore, who beats up the men. While taking her home, she tries to show her gratitude, hurt, she starts crying, but Gil states that he still would kill for her and kisses her. Eva catches them and soon spreads the word, but Stella threatens to ruin her life if she continues to, Stella denies the whole story, but admits to her best friend Helen that she loves him. However, the morning he acts as if nothing has happened. Upset, she returns to her old lifestyle of wild parties, however, when information reaches her that Gil has been shot, she realizes that she is still in love with him. A month later, Gil returns to college, Stella visits him, and he explains to her that he hates her for what she is and loves her for what she could be. They kiss, but are interrupted by Eva. Gil acts as if nobody else is there, after she leaves, they enjoy a romantic evening until a fire drill interrupts them. While reporting to the dean, Helen loses a letter she has written to George and it turns out that Eva has found the letter and threatens to reveal both Helen and Stellas admirers. She later admits to their friend Babs that she has given the letter to Faith Morgan, Stella later tries to protect Helen and takes the blame, claiming that it was she who wrote the letter
7.
Clara Bow
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Clara Gordon Bow was an American actress who rose to stardom in silent film during the 1920s and successfully made the transition to talkies after 1927. Her appearance as a shopgirl in the film It brought her global fame. Bow came to personify the Roaring Twenties and is described as its leading sex symbol and she appeared in 46 silent films and 11 talkies, including hits such as Mantrap, It, and Wings. She was named first box-office draw in 1928 and 1929 and second box-office draw in 1927 and 1930 and her presence in a motion picture was said to have ensured investors, by odds of almost two-to-one, a safe return. At the apex of her stardom, she received more than 45,000 fan letters in a single month, after marrying actor Rex Bell in 1931, Bow retired from acting and became a rancher in Nevada. Her final film, Hoop-La, was released in 1933, in September 1965, Bow died of a heart attack at the age of 60. Bow was born in Prospect Heights, Brooklyn at 697 Bergen Street, in a bleak and her birth year, according to the US Censuses of 1910 and 1920, was 1905. The 1930 census indicates 1906 and on her gravestone of 1965, the inscription says 1907, Bow was her parents third child, but her two older sisters, born in 1903 and 1904, had died in infancy. Her mother, Sarah Frances Bow, was told by a not to become pregnant again, for fear the next baby might die. Despite the warning, Sarah became pregnant with Clara in late 1904, in addition to the risky pregnancy, a heat wave besieged New York in July 1905, and temperatures peaked around 100 °F. Years later, Clara said, I dont suppose two people ever looked death in the more clearly than my mother and I the morning I was born. We were both given up, but somehow we struggled back to life, Bows parents were descended from English-Irish and Scottish immigrants who had come to America the generation before. Bow said that her father, Robert Walter Bow, had a quick, All the natural qualifications to make something of himself, but didnt. everything seemed to go wrong for him, poor darling. I do not think my mother ever loved my father, she said, and it made him very unhappy, for he worshiped her, always. When Bow was 16, her mother Sarah fell from a second-story window and she was later diagnosed with psychosis due to epilepsy. From her earliest years, Bow had learned how to care for her mother during the seizures, as well as how to deal with her psychotic and she said her mother could be mean to her, but didnt mean to. Still, Bow felt deprived of her childhood, As a kid I took care of my mother, Sarah worsened gradually, and when she realized her daughter was set for a movie career, Bows mother told her she would be much better off dead. One night in February 1922, Bow awoke to a knife held against her throat by her mother
8.
Dorothy Arzner
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Dorothy Arzner, born Dorothy Emma Arzner, was an American film director whose career in feature films spanned from the silent era of the late 1920s into the early 1940s. In fact, Dorothy Arzner was the female director working in the 1930s in the United States. She was one of the few women who established a name for herself as a director in the American film industry during this time. Born in San Francisco, California, to Louis and Jenetter Arzner, Dorothy grew up in Los Angeles, after finishing high school, she enrolled at the University of Southern California with hopes of becoming a doctor. She even went as far as spending two years as a student at the University of Southern California. During World War I, she left school to work overseas in the ambulance corps, by the time the war ended, she decided against returning to her medical studies and, after a visit to a movie studio, decided to pursue a career as a film director. Through connections with director William C, deMille, Arzner got a job as a stenographer in 1919 at Famous Players-Lasky Corporation, which later became Paramount Pictures. She moved on to be a writer, was promoted to film editor within six months. Her first assignment as an editor was in 1922 for the renowned classic Blood and Sand and she was soon receiving accolades for the high quality of her work. Impressed by her technique, director James Cruze employed her as a writer and editor for several of his films, Arzner achieved a great deal of clout through this, along with her work on over fifty other films at Paramount. She eventually threatened to move to rival Columbia Studios unless given a directorial position, Paramount conceded in 1927, putting her in charge of the film Fashions for Women, which became a financial success. At Paramount, Arzner directed Clara Bows first talkie, The Wild Party, to allow Bow to move freely on the set, Arzner had technicians rig a microphone onto a fishing rod, essentially creating the first boom mike. She did not, however, take out a patent, one year later one was filed for a very similar sound-recording device by Edmund H Hansen, a sound engineer at the Fox Film Corporation. Although not the first to patent the boom microphone, Arzner is still credited with its invention, the Wild Party was a success with critics and was the third top-grossing film of 1929. The film, set in a college, introduced some of the apparent lesbian undertones and themes often cited in Arzners work. Her films of the three years were strong examples of Hollywood before the Production Code. These films featured aggressive, free-spirited and independent women and she left Paramount in 1932 to begin work as an independent director for several of the studios. The films she directed during this period are her best known, launching the careers of actresses, including Katharine Hepburn, Rosalind Russell, Sylvia Sidney
9.
Fox Film
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The Fox Film Corporation was an American company that produced motion pictures, formed by William Fox on 1 February 1915. It was the successor to his earlier Greater New York Film Rental Company. On July 23,1926, the company bought the patents of the Movietone sound system for recording sound on to film, after the Crash of 1929, William Fox lost control of the company in 1930, during a hostile takeover. Under new president Sidney Kent, the new owners merged the company with Twentieth Century Pictures to form 20th Century Fox in 1935, William Fox entered the film industry in 1904 when he purchased a one-third share of a Brooklyn nickelodeon for $1,667. Fox invested further in the industry by founding the Greater New York Film Rental Company as a film distributor. In 1914, reflecting the broader scope of his business, he renamed it the Box Office Attraction Film Rental Company and he also continued to distribute material from other sources, such as Winsor McCays early animated film Gertie the Dinosaur. Later that year, Fox concluded that depending on other companies for the products he depended on was insufficient and he purchased the Éclair studio facilities in Fort Lee, New Jersey, along with property in Staten Island, and arranged for actors and crew. The company became a studio, with its name shortened to the Box Office Attractions Company. Always more of an entrepreneur than a showman, Fox concentrated on acquiring and building theaters, in 1917, William Fox sent Sol M. Wurtzel to Hollywood to oversee the studios West Coast production facilities where a more hospitable and cost-effective climate existed for filmmaking. Fox had purchased the Edendale studio of the failing Selig Polyscope Company, with the introduction of sound technology, Fox moved to acquire the rights to a sound-on-film process. In the years 1925–26, Fox purchased the rights to the work of Freeman Harrison Owens and this resulted in the Movietone sound system later known as Fox Movietone developed at the Movietone Studio. Later that year, the company began offering films with a track, and the following year Fox began the weekly Fox Movietone News feature. The growing company needed space, and in 1926 Fox acquired 300 acres in the country west of Beverly Hills and built Movietone City. When rival Marcus Loew died in 1927, Fox offered to buy the Loew familys holdings, Loews Inc. controlled more than 200 theaters, as well as the MGM studio. When the family agreed to the sale, the merger of Fox, but MGM studio boss Louis B. Mayer was not included in the deal and fought back. Using political connections, Mayer called on the Justice Departments antitrust unit to delay giving final approval to the merger, overextended and close to bankruptcy, Fox was stripped of his empire in 1930 and ended up in jail. Fox Film, with more than 500 theatres, was placed in receivership, a bank-mandated reorganization propped the company up for a time, but it soon became apparent that despite its size, Fox could not stand on its own. Under new president Sidney Kent, the new owners began negotiating with the upstart, the two companies merged that spring as 20th Century-Fox
10.
Wireless microphone
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A wireless microphone is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated. The other audio equipment is connected to the unit by cable. There are many different standards, frequencies and transmission used to replace the microphones cable connection. They can transmit, for example, in radio waves using UHF or VHF frequencies, FM, AM, some low cost models use infrared light. Infrared microphones require a line of sight between the microphone and the receiver, while costlier radio frequency models do not. Some models operate on a fixed frequency, but the more advanced models operate on a user selectable frequency to avoid interference. Various individuals and organizations claim to be the inventors of the wireless microphone, from about 1945 there were schematics and hobbyist kits offered in Popular Science and Popular Mechanics for making a wireless microphone that would transmit the voice to a nearby radio. Moores affixed the wireless transmitter to the costume of the character Abanazar, Moores did not patent his idea, as he was illegally using the radio frequency 76 MHz. In 1972 Moores donated his 1947 prototype to the Science Museum in London, the transmitter was strapped to the umpires back. Macs brother was Harold M. McClelland, the chief architect of the U. S. Air Force. Shure Brothers claims that its Vagabond system from 1953 was the first wireless system for performers. Its field of coverage was a circle of approximately 700 square feet, in 1957, the German audio equipment manufacturer Sennheiser, at that time called Lab W, working with the German broadcaster Norddeutscher Rundfunk, exhibited a wireless microphone system. From 1958 the system was marketed through Telefunken under the name of Mikroport, the pocket-sized Mikroport incorporated a dynamic moving-coil cartridge microphone with a cardioid pickup pattern. It transmitted at 37 MHz with a range of 300 feet. The first recorded patent for a microphone was filed by Raymond A. His U. S. patent number 3134074 was granted in May 1964, two microphone types were made available for purchase in 1959, hand-held and lavalier. The main transmitter module was a device which weighed 7 ounces. The Federal Communications Commission granted Litke twelve frequencies at his approval hearing and it was first tested at the Olympic trials held at Stanford University in 1959
11.
Plan 9 from Outer Space
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The film also posthumously bills Bela Lugosi as a star. Plan 9 from Outer Space was released theatrically in 1959 by Distributors Corporation of America, the storyline concerns extraterrestrials who are seeking to stop humanity from creating a doomsday weapon that could destroy the universe. The aliens implement Plan 9, a scheme to resurrect the Earths dead, by causing chaos, the aliens hope the crisis will force humanity to listen to them. If not, the aliens then destroy mankind with armies of the undead. Plan 9 from Outer Space played on television in relative obscurity until 1980, Wood and his film were posthumously given two Golden Turkey Awards for Worst Director Ever and Worst Film. At the funeral of an Old Mans wife, mourners are gathered by an open grave, overhead, an airliner is heading toward Burbank, California. The pilot Jeff Trent and his co-pilot Danny are blinded by a bright light and they look outside and see a flying saucer. The pilots follow the flight until it lands at the graveyard. At his home, lost in his thoughts of grief, the Old Man goes outside, mourners at the Old Mans funeral later discover the dead gravediggers. Inspector Daniel Clay and other officers arrive, but Clay goes off alone to continue his investigation. Jeff Trent and his wife Paula, who live near the graveyard, hear the sirens, a powerful swooshing noise then knocks everyone to the ground at both the Trent residence and the nearby graveyard as a saucer lands. Police Inspector Clay then encounters the zombie and the reanimated corpse of the Old Man. Newspaper headlines continue to report saucer sightings over Hollywood Boulevard, while a trio of saucers flies over Los Angeles. In Washington, D. C. the military fire missiles at more saucers, while the Chief of Saucer Operations, Col. Thomas Edwards and he mentions that one small town was annihilated, hinting at a secret history of other encounters. The aliens return to their Space Station 7, commander Eros informs their Ruler that he has been unsuccessful in contacting Earths governments. To force their acknowledgment, Eros recommends implementing Plan 9, which will resurrect recently human dead by stimulating their pituitary, meanwhile, Trent, about to leave on another flight, is concerned for his wifes safety. He urges her to stay with her mother, but she insists on staying home and that night, the zombie Old Man rises and breaks into their house. He pursues Paula outside and is joined by his zombie wife, Paula barely escapes, but then collapses after her ordeal
12.
Rudy Ray Moore
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Rudolph Frank Moore, known as Rudy Ray Moore, was an American comedian, musician, singer, film actor, and film producer. He was perhaps best known as Dolemite, the uniquely articulate pimp from the 1975 film Dolemite, in Milwaukee, he preached in churches and worked as a nightclub dancer. He returned to Cleveland, working in clubs as a singer, dancer and he joined the US Army and served in an entertainment unit in Germany, where he was nicknamed the Harlem Hillbilly for singing country songs in R&B style. He developed an interest in comedy in the Army after expanding on a performance for other servicemen. After his discharge he lived in Seattle, Washington and then Los Angeles, by his own account, he was working at a record store in Hollywood in 1970 when he began hearing obscene stories of Dolemite recounted by a local man named Rico. Moore began recording the stories, and assumed the role of Dolemite in his club act, Moore was influenced by more mainstream comedians such as Redd Foxx and Richard Pryor, as well as by traditions such as the Dozens. The recordings were made in Moores own house, with friends in attendance to give a party atmosphere. Moore spent most of his earnings from the records to finance the movie Dolemite, the character was the ultimate ghetto hero, a bad dude, profane, skilled at kung-fu, dressed to kill and hell-bent on protecting the community from evil menaces. He was a pimp with a clique of prostitutes and he was known for his sexual prowess. The film was successful and was followed by The Human Tornado, The Monkey Hustle, Moore continued to release albums that appealed to his enduring fanbase through the 1970s and 1980s, but little of his work reached the mainstream white audience. His rapid-fire rhyming salaciousness exceeded the wildest excesses of Foxx and Pryor, at the same time, Moore often spoke in his church and regularly took his mother to the National Baptist Convention. He said that, I wasnt saying dirty words just to say them and it was a form of art, sketches in which I developed ghetto characters who cursed. I dont want to be referred to as a dirty old man and he came to be regarded as a major influence by many later rap stars. Snoop Dogg said, Without Rudy Ray Moore, there would be no Snoop Dogg, Moore appeared on Big Daddy Kanes 1990 album Taste of Chocolate and 2 Live Crews 1994 album Back at Your Ass for the Nine-4. On an episode of Martin titled The Players Came Home, he appeared as himself in the Dolemite character and he also reprised his Dolemite character in an appearance on Snoop Doggs 1999 album No Limit Top Dogg and Busta Rhymes When Disaster Strikes. and Genesis. In 2000, Moore starred in Big Money Hustlas, a movie created by and starring the hip hop group Insane Clown Posse, in 2006, Moore voice acted in the show Sons of Butcher, as Rudy in season 2. In 2008, he reprised the character Petey Wheatstraw on the song I Live for the Funk, on October 19,2008, Moore died in Akron, Ohio, of complications from diabetes. He was never married, his mother, two brothers and one sister, daughter and grandchildren survived him, the Unexpurgated Truth about Rudy Ray Moore
13.
Dolemite
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Dolemite is a 1975 American blaxploitation feature film, and is also the name of its principal character, played by Rudy Ray Moore, who co-wrote the film and its soundtrack. He included the character on his 1970 debut album, Eat Out More Often and he released several more comedy albums using this persona. In 1975, Moore decided to create a film about Dolemite, using many of his friends and fellow comedians as cast, the film was directed by DUrville Martin, who appears as the villain Willie Green. Dolemite is a pimp who is serving 20 years in prison after being set up by a rival, one day, his friend and fellow pimp Queen B helps him get out of jail, and plots with him to get revenge on Green. Dolemite, the protagonist of the movie, in the beginning of the movie, Dolemite is in prison on a bogus charge, having been framed by his rival Willie Green. He is later pardoned and released, throughout the movie, Dolemite attempts to rekindle his reputation on the streets and reclaim his club, The Total Experience. Queen Bee runs a whorehouse of which Dolemite is referenced as the owner on several occasions throughout the movie. Queen Bee is the woman in Dolemites household whom Dolemite speaks to as an equal. Willie Green is seen in the flashback as having a leading part in framing Dolemite. Green takes over Dolemites club, The Total Experience, while Dolemite is serving hard time. Green and the mayor, Mayor Daley, are in business together, Daley makes sure Green runs his operation with impunity. Reverend Gibbs, a black separatist, the Reverend leads a church in the Fourth Ward. He tips off Dolemite regarding who set him up two years prior, as well as who is selling drugs to the community, Mitchell, a corrupt detective who, under the direction of Mayor Daley and Willie Green, frames Dolemite and sends him to prison. When Dolemite is released, Mitchell and his partner White attempt to frame him again, Blakely, an FBI agent who lurks in the shadows, and knows why Dolemite is out on the street. When the time comes, Blakely apprehends the corrupt detectives Mitchell and White, Creeper, better known as the Hamburger Pimp, he is recognized by his dingy white-T, characteristic pimp stroll, and constant begging for spare change and free food. The Creeper takes Dolemite to his abode and is assassinated after explaining the murder of Dolemites nephew Little Jimmy. A sequel, The Human Tornado, was released in 1976, a second sequel, The Return of Dolemite, was released in 2002 and was later renamed The Dolemite Explosion for DVD release. A quasi-sequel, Shaolin Dolemite, starring Rudy Ray Moore as Monk Ru-Dee, was released in 1999, Dolemite was released to DVD on September 13,2005 by Xenon Pictures and also as part of a box set on the same date
14.
TV Tropes
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TV Tropes is a wiki that collects and expands descriptions and examples on various conventions and devices found within creative works. The nature of the site as commentary on pop culture and fiction has attracted attention and critique from several web personalities, the content of the site was published as free content from April 2008. TV Tropes changed its license in July 2012 to only allow noncommercial distribution of its content while continuing to host the prior submissions under the new license and it is privately owned, as of 2016 it publicly lists two owners besides Eddie. It has also used its informal style to describe topics such as science, philosophy, politics, TV Tropes does not have notability standards for the works it covers. The site includes entries on various series and tropes, an article on a work includes a brief summary of the work in question along with a list of associated tropes. Trope pages are the inverse of articles on works, after describing the trope itself, in this way the wiki is fully interconnected through the various connections made between works and their tropes. For example, the trope I Am Spartacus is a type of scene that appears in multiple works. It refers to scenes where a character is shielded from identification by other characters who are claiming to be that particular character. The trope name references a scene in the film Spartacus. This example is included, along with examples from South Park, Power Rangers in Space, not all examples of a trope may be cases where it is played straight. They may also include cases where the trope is parodied, played with, in addition to the tropes, most articles about a work also have a Your Mileage May Vary page with items that are deemed to be subjective. These items are not usually storytelling tropes, but audience reactions which have defined and titled. TV Tropes does not apply the term to a show, that being a subjective opinion about the show, most articles also have various pages within them. Trope description pages are created through a standardized launching system. In which site members, who are referred to as tropers, while going through YKTTW is not necessary to launch a trope, it is strongly recommended in order to strengthen the trope as much as possible. The site has created its own self-referencing meta-trope, known as TV Tropes Will Ruin Your Life, without identifying each trope as it occurs. Also mentioned is that many frequently-contributing community members self-describe themselves as addicted to the site, in the process, this leads to the discovery of entirely new tropes to analyze, edit, and add examples to. In 2011, TV Tropes branched out into production, and launched Echo Chamber
15.
Perchman
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The French perchman is equivalent to the U. S. boom operator in film production, also called the sound assistant or boomer, but differs regarding attributions. The perchman is the sound mixers assistant and is in charge of the microphone placement, typically using a light. Thus, the places and moves the microphone in real time in order to pick up the voices of each actor during filming. Being a perchman involves providing the best sound quality possible to the sound mixer while at the same time, to accomplish this, the perchman works in collaboration with the camera operator and the cinematographer and the gaffer. He readies the equipment at the beginning of day and stores the gear when the day is wrapped. The perchman manages the technical contingencies allowing the sound mixer to concentrate on the artistic side of sound recording. Perchman. com, LAnnuaire des perchmans du cinéma et de la télé cinergie. be, Le perchman dans les métiers du cinéma sur cinergie. be
16.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
17.
Film crew
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A film crew is a group of people hired by a production company for the purpose of producing a film or motion picture. The crew is distinguished from the cast as the cast are understood to be the actors who appear in front of the camera or provide voices for characters in the film. The crew is also separate from the producers as the producers are the ones who own a portion of either the company or the films intellectual property rights. A film crew is divided into different departments, each of which specializes in an aspect of the production. Motion picture projects have three stages, development, production and distribution. Television crew positions are derived from those of film crew, the director is considered to be a separate entity, not within the film crews departmental structure. Though directors wield a great deal of power, they are subordinate to the films producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, second unit director The second unit director is responsible for overseeing the photography assigned to the second unit, which can range from minor insert shots to large stunt sequences. The second unit director position is filled by a member of the production. Music director In India-based movie productions, many of which are musicals, the role involves supervising the arrangement, recording and mastering of film music along with conducting and orchestration. Writer Person or persons who write a film script, either an original script or adapted from another written work, in which case the original work and author may also be credited. Production is generally not considered a department as such, but rather as a series of functional groups, producer A film producer creates the conditions for film-making. The producer initiates, coordinates, supervises, and controls matters such as raising, hiring key personnel. The producer is involved throughout all phases of the making process from development to completion of a project. There may be producers on a film who may take a role in a number of areas, such as development. Today, however, the title has become ambiguous, particularly in feature films, since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the produced by credit. On other projects, the reverse happens, with the producer taking the produced by credit. So the two credits have become effectively interchangeable, with no precise definition, line producer The line producer is the liaison between the studio or producer and the production manager, responsible for managing the production budget
18.
Filmmaking
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Filmmaking is the process of making a film. Filmmaking takes place in places around the world in a range of economic, social, and political contexts. Typically, it involves a number of people, and can take from a few months to several years to complete. Film production consists of five stages, Development, The first stage in which the ideas for the film are created, rights to books/plays are bought etc. Financing for the project has to be sought and greenlit, pre-production, Preparations are made for the shoot, in which cast and film crew are hired, locations are selected and sets are built. Production, The raw elements for the film are recorded during the film shoot, post-production, The images, sound, and visual effects of the recorded film are edited. Distribution, The finished film is distributed and screened in cinemas and released to home video. In this stage, the project producer selects a story, which may come from a book, play, another film, true story, video game, comic book, graphic novel, or an original idea, etc. After identifying a theme or underlying message, the works with writers to prepare a synopsis. Next they produce an outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a 25-to-30-page description of the story, its mood and this usually has little dialogue and stage direction, but often contains drawings that help visualize key points. Another way is to produce a scriptment once a synopsis is produced, next, a screenwriter writes a screenplay over a period of several months. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, however, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. A film distributor may be contacted at a stage to assess the likely market. All these factors imply a certain appeal of the film to a possible audience, not all films make a profit from the theatrical release alone, so film companies take DVD sales and worldwide distribution rights into account. The producer and screenwriter prepare a film pitch, or treatment and they will also pitch the film to actors and directors in order to attach them to the project. Many projects fail to move beyond this stage and enter so-called development hell, if a pitch succeeds, a film receives a green light, meaning someone offers financial backing, typically a major film studio, film council, or independent investor. The parties involved negotiate a deal and sign contracts, once all parties have met and the deal has been set, the film may proceed into the pre-production period
19.
Actor
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An actor is a person who portrays a character in a performance. Simplistically speaking, the person denominated actor or actress is someone beautiful who plays important characters, the actor performs in the flesh in the traditional medium of the theatre, or in modern mediums such as film, radio, and television. The analogous Greek term is ὑποκριτής, literally one who answers, the actors interpretation of their role pertains to the role played, whether based on a real person or fictional character. Interpretation occurs even when the actor is playing themselves, as in forms of experimental performance art, or, more commonly, to act, is to create. Formerly, in societies, only men could become actors. When used for the stage, women played the roles of prepubescent boys. The etymology is a derivation from actor with ess added. However, when referring to more than one performer, of both sexes, actor is preferred as a term for male performers. Actor is also used before the name of a performer as a gender-specific term. Within the profession, the re-adoption of the term dates to the 1950–1960s. As Whoopi Goldberg put it in an interview with the paper, Im an actor – I can play anything. The U. K. performers union Equity has no policy on the use of actor or actress, an Equity spokesperson said that the union does not believe that there is a consensus on the matter and stated that the. subject divides the profession. In 2009, the Los Angeles Times stated that Actress remains the term used in major acting awards given to female recipients. However, player remains in use in the theatre, often incorporated into the name of a group or company, such as the American Players. Also, actors in improvisational theatre may be referred to as players, prior to Thespis act, Grecian stories were only expressed in song, dance, and in third person narrative. In honor of Thespis, actors are commonly called Thespians, the exclusively male actors in the theatre of ancient Greece performed in three types of drama, tragedy, comedy, and the satyr play. Western theatre developed and expanded considerably under the Romans, as the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Byzantine Empire. Records show that mime, pantomime, scenes or recitations from tragedies and comedies, dances, from the 5th century, Western Europe was plunged into a period of general disorder
20.
Movie star
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A movie star is a celebrity who is well-known, or famous, for their starring, or leading, roles in motion pictures. The term may apply to an actor or actress who is recognized as a marketable commodity. The most widely known, prominent or successful actors are sometimes called superstars by writers, when a small number of suppliers dominate a market those suppliers become superstars. According to a dictionary, a movie star is an actor or actress who is famous for playing leading roles in movies. In the early days of silent movies, the names of the actors, however, audience curiosity soon undermined this policy. By 1909, actresses such as Florence Lawrence and Mary Pickford were already widely recognized, Lawrence was referred to as the “Biograph Girl” because she worked for D. W. Griffiths Biograph Studios, while Pickford was Little Mary. In 1910, Lawrence switched to the Independent Moving Pictures Company, began appearing under her own name, Pickford began appearing under her own name in 1911. The Independent Moving Pictures Company promoted their picture personalities, including Florence Lawrence and King Baggot, by giving them billing, credits and a marquee. Promotion in advertising led to the release of stories about these personalities to newspapers and fan magazines as part of a strategy to brand loyalty for their companys actors. By the 1920s, Hollywood film company promoters had developed an industrial enterprise that. peddled a new intangible—fame. Publicists thus created the images and public perceptions of screen legends such as Judy Garland, Rock Hudson, Marilyn Monroe. The development of this system made fame something that could be fabricated purposely. However, regardless of how. strenuously the star and their media handlers, try to monitor and shape it, the media and the public always play a substantial part in the image-making process. According to Madow, fame is a phenomenon, something that is conferred by others. A person can, within the limits of his natural talents, but he cannot, in this same sense, make himself famous, any more than he can make himself loved. Madow goes on to point out fame is often conferred or withheld, just as love is, for reasons and on grounds other than merit. According to Sofia Johansson the canonical texts on stardom include articles by Boorstin, Alberoni and Dyer that examined the representations of stars, Johansson writes that more recent analyses within media and cultural studies have instead dealt with the idea of a pervasive, contemporary, celebrity culture. In the 1980s and 1990s, entertainment companies began using stars for a range of publicity tactics including press releases, movie junkets and these promotional efforts are targeted and designed using market research, to increase the predictability of success of their media ventures
21.
Superstar
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Superstar is a term used to refer to a celebrity who has great popular appeal and is widely known, prominent or successful in some field. Celebrities referred to as superstars may include individuals who work as actors, actresses, musicians, athletes, and other media-based professions. The origin of the term in the context of celebrity is uncertain, but an expression is attested in The Cricketers of My Time. Writing in 1832, Nyren described the outstanding 18th-century batsman John Small as a star of the first magnitude. The earliest use of the term superstar has been credited to Frank Patrick in reference to the hockey players on his Vancouver Millionaires teams of the 1910s-1920s. The term was used in the 1960s by Andy Warhol, A friend of mine named Ingrid from New Jersey came up with a new last name, just right for her new. Im positive Ingrid invented that word, at least, I invite anyone with superstar clippings that predate Ingrids to show them to me. The more parties we went to, the more they wrote her name in the papers, Ingrid Superstar, Ingrid called me a few weeks ago. Shes operating a sewing machine now, but her name is still going. The term received widespread and commonplace use from the title of the musical Jesus Christ Superstar, in particular the 1970 concept album of the musical, by the 1920s, Hollywood film company promoters had developed a massive industrial enterprise that. Hollywood image makers and promotional agents planted rumours, selectively released real or fictitious biographical information to the press, then they. worked reinforce that persona manage the publicity. Publicists thus created the images and public perceptions of screen legends such as Rock Hudson, Marilyn Monroe. The development of this system made fame. Something that could be fabricated purposely, by the masters of the new machinery of glory, according to Sofia Johansson the canonical texts on stardom include articles by Boorstin, Alberoni and Dyer that examined the representations of stars and on aspects of the Hollywood star system. Johansson notes that more recent analyses within media and cultural studies have instead dealt with the idea of a pervasive, contemporary, in 1976 Mattel, Inc. produced a Superstar concept of its Barbie™ Doll. In the 1980s and 1990s, entertainment publicity tactics have become more subtle and sophisticated, such as using press releases, movie junkets and these promotional efforts are targeted and designed using market research, to increase the predictability of success of their media ventures. In some cases, publicity agents may create advertisements or make an outrageous public statement to trigger public controversy. According to Roger Caillois, superstars are created by the interplay between mass media, free enterprise, and competition, Superstars are produced by a mixture of effort by the actors or athletes and chance
22.
Character actor
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A character actor or character actress is a supporting actor who plays unusual, interesting, or eccentric characters. The term, often contrasted with that of leading actor, is somewhat abstract, in a literal sense, all actors can be considered character actors since they all play characters, but in the usual sense it is an actor who plays a distinctive and important supporting role. In either case, character actor roles are more substantial than bit parts or non-speaking extras, the term is used primarily to describe television and film actors, and is less used to describe theater actors. An early use of the term was in the 1883 edition of The Stage, Actors with a long career history of playing character roles may be difficult for audiences to recognize as being the same actor, if they play such roles convincingly and memorably. Unlike leading actors, they are seen as less glamorous. Generally, the names of actors are not featured prominently in movie and television advertising on the marquee. Some character actors have distinctive voices or accents, or they develop memorable mannerisms, a character actor with a long career may not have a well-known name, yet may be instantly recognizable. During the course of a career, an actor can sometimes shift between leading roles and secondary roles. Some leading actors, as they get older, find that access to leading roles is limited by their increasing age, in the past, actors of color, who were often barred from roles for which they were otherwise suited, found work performing ethnic stereotypes. Sometimes character actors have developed based on specific talents needed in genre films, such as dancing, horsemanship, acrobatics, swimming ability. Some character actors develop a following with a particular audience. Ed Lauter usually portrayed a menacing figure because of his long, angular face which was recognized in public. Character actors can play a variety of types, such as the femme fatale, gunslinger, sidekick, town drunk, villain, whore with a heart of gold, Character actors subsume themselves into the characters they portray, such that their off-screen acting persona is practically unrecognizable. According to one view, great actors are rarely out of work. They are also highly regarded by fellow actors. Stock character Commedia dellarte Quinlan, David, quinlans Illustrated Directory of Film Character Actors. Character Kings, Hollywoods Familiar Faces Discuss the Art & Business of Acting
23.
Cameo appearance
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A cameo role or cameo appearance is a brief appearance or voice part of a known person in a work of the performing arts, typically unnamed or appearing as themselves. Short appearances by celebrities, film directors, politicians, athletes or musicians are common, a crew member of the show or movie playing a minor role can be referred to as a cameo as well, such as Alfred Hitchcocks frequently performed cameos. Originally cameo role meant a character part that stands out from the other minor parts. The Oxford English Dictionary connects this with the meaning a short literary sketch or portrait, which is based on the meaning of cameo. More recently, cameo has come to refer to any short appearances, whether as a character or as oneself, such as the examples below. Cameos are generally not credited because of their brevity, or a mismatch between the celebritys stature and the film or TV show in which he or she is appearing. Others are acknowledgments of a contribution to an earlier work, as in the case of many film adaptations of TV series. Others honour artists or celebrities known for work in a particular field, possibly the best-known series of cameos was by the director Alfred Hitchcock, who made very brief appearances in most of his films. Cameos also occur in novels and other literary works, “Literary cameos” usually involve an established character from another work who makes a brief appearance to establish a shared universe setting, to make a point, or to offer homage. Balzac often employed this practice, as in his Comédie humaine, a cameo appearance can be made by the author of a work to put a sort of personal signature on a story. Vladimir Nabokov often put himself in his novels, for instance, quentin Tarantino provides cameos or small roles in at least 10 of his movies. Likewise, Peter Jackson has made cameos in all of his movies, except for his first feature-length movie Bad Taste in which he plays a main character. For example, he plays a peasant eating a carrot in The Fellowship of the Ring and The Desolation of Smaug, a Rohan warrior in The Two Towers, director Martin Scorsese appears in the background of his films as a bystander or an unseen character. In Whos That Knocking at My Door, he appears as one of the gangsters, he is a crew man in After Hours. He opens up his 1986 film The Color of Money with a monologue on the art of playing pool. In addition, he appears with his wife and daughter as wealthy New Yorkers in Gangs of New York, in a same way, Roman Polanski appears as a hired hoodlum in his film Chinatown, slitting Jack Nicholsons nose with the blade of his clasp knife. Directors sometimes cast well-known lead actors with whom they have worked in the past in other films, mike Todds film Around the World in 80 Days was filled with cameo roles, and others. The stars in cameo roles were pictured in oval insets in posters for the film, among the many cameos featured in the film Maverick, actor Danny Glover appears as the lead bank robber
24.
Film director
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A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision
25.
Screenwriter
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One famous screenwriter is Jack Rosenthal, who has written for various TV shows over the years, including Londons Burning and Coronation Street. No education is required to become a screenwriter, just good storytelling abilities. Screenwriters are not hired employees, they are contracted freelancers, most, if not all, screenwriters start their careers writing on speculation, meaning they write without being hired or paid for it. If such a script is sold, it is called a spec script, what separates a professional screenwriter from an amateur screenwriter is that professional screenwriters are usually represented by a talent agency. Also, professional screenwriters do not often work for free, whereas amateur screenwriters will often work for free and are considered writers in training, spec scripts are usually penned by unknown professional screenwriters and amateur screenwriters. There are a legion of would-be screenwriters who attempt to enter the industry but it often takes years of trial-and-error, failure. In Writing Screenplays that Sell, Michael Hague writes Screenplays have become, for the last half of century, closet writers who used to dream of the glory of getting into print now dream of seeing their story on the big or small screen. Every screenplay and teleplay begins with a thought or idea, and screenwriters use those ideas to write scripts, with the intention of selling them and having them produced. In some cases, the script is based on a property, such as a book or persons life story. The majority of the time, a film project gets initiated by a screenwriter and because they initiated the project and these are referred to as exclusive assignments or pitched assignments. Screenwriters who often pitch new projects, whether original or an adaptation, when word is put out about a project a film studio, production company, or producer wants done, these are referred to as open assignments. In situations where screenwriters are competing for an assignment, more established writers will usually win these assignments. A screenwriter can also be approached and personally offered a writing assignment, many screenwriters also work as full or part-time script doctors, attempting to better a script to suit the desires of a director or studio. For instance, studio management may have a complaint that the motivations of the characters are unclear or that the dialogue is weak, script-doctoring can be quite lucrative, especially for the better known writers. David Mamet and John Sayles, for instance, fund the movies they direct themselves, usually from their own screenplays, by writing and doctoring scripts for others. In fact, some writers make very profitable careers out of being the ninth or tenth writer to work on a piece, in many cases, working on projects that never see exposure to an audience of any size. Many up and coming screenwriters also ghost write projects and allow more established screenwriters to take credit for the project to increase the chances of it getting picked up. After a screenwriter finishes a project, he or she pairs with a representative, such as a producer, director, literary agent, entertainment lawyer
26.
Casting (performing arts)
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The casting process involves a series of auditions before a casting panel, composed of individuals such as the producer, director and/or choreographer. In the early stages of the process, performers often may present prepared audition pieces such as monologues or songs and these audition pieces are usually video taped, attached with resumes, and head shots and then shared with producers, directors and studio representatives. Depending on the prestige of the role, casting calls may go out to the public at large, in the production of film and television, a similar process is followed. Character breakdowns, part of the breakdown, are often provided to auditioners. An actor may go through casting calls before receiving a part. Independent casting studios are used for casting calls so that the castings can take place in various locations. For some major productions, the process of selecting actors for sometimes hundreds of parts may require specialized staff. While the last word remains with the people in charge, artistic and production, a casting director is sometimes assisted by a casting associate, productions with large numbers of extras may have their own extras casting director. The CD remains as a liaison between director, actors and their agents/managers and the studio/network to get the characters in the script cast, at least in the early stages and for extras, casting may be decentralized geographically, often in conjunction with actual shooting planned in different locations. Another reason may be tapping into each home market in the case of an international co-production, the resulting list of actors filling the parts is called a cast list
27.
Location manager
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They are also the public face of the production, and responsible for addressing issues that arise due to the productions impact on the community. Historically, the duties of the Location Manager were the responsibility of the Assistant Director, as the film industry grew, a need was identified for greater oversight, to allow ADs to focus on the internal aspects of the set. A dedicated person focusing on external influences was first seen in the 1950s on large studio features, the first job of a location manager is managing the location scouting of a project, usually supervising several scouts and assistant managers during the course of a show. The manager is responsible for public relations at the locations used. An experienced location scout will take into account all the necessary for the production to function. Good location managers are well-poised and able to think on their feet as they are moving, usually preceding production at a location. They are the first and last people the public sees that represent the production, in New York Commercials, they are represented by Teamsters Local 817. In Georgia, location managers are represented by the Teamsters Local 728, Location Managers are commonly associated with production as being part of the management of a show and as such, are generally paid a weekly salary as opposed to an hourly wage. The average salary can vary depending on the experience of the individual, Location Managers Guild International, a guild representing location managers around the world Location library, a listing of locations available for film and TV shoots. Location Managers Guild International Association of Location Scouts and Managers ALSAM Guild of Location Managers United Kingdom Crossroads United Locations Department Workers
28.
Storyboard
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Traditional animation is an animation technique where each frame is drawn by hand. The technique was the dominant form of animation in cinema until the advent of computer animation, Animation productions begin by deciding on a story. The oral or literary source material must then be converted into a film script. The storyboard has a somewhat similar to a comic book, and it shows the sequence of shots as consecutive sketches that also indicate transitions, camera angles. The images allow the team to plan the flow of the plot. The storyboard artists will have meetings with the director and may have to redraw or re-board a sequence many times before it meets final approval. Before true animation begins, a soundtrack or scratch track is recorded. A completed cartoon soundtrack will feature music, sound effects, often, an animatic or story reel is made after the soundtrack is created, but before full animation begins. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack and this allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected, advertising agencies today employ the use of animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces, video storyboards are similar to animatics but do not have moving pieces. Photomatics are another option when creating test spots, but instead of using drawn artwork, there is a shoot in which hundreds of digital photographs are taken. The large amount of images to choose from may make the process of creating a test commercial a bit easier, as opposed to creating an animatic, because changes to drawn art take time and money. Photomatics generally cost more than animatics, as they may require a shoot, however, the emergence of affordable stock photography and image editing software permits the inexpensive creation of photomatics using stock elements and photo composites. Once the animatic has been approved, it and the storyboards are sent to the design departments, character designers prepare model sheets for all important characters and props in the film, these are used to help standardize appearance, poses, and gestures. These model sheets will show how a character or object looks from a variety of angles with a variety of poses, sometimes, small statues known as maquettes may be produced, so that an animator can see what a character looks like in three dimensions. While design is going on, the director takes the animatic and analyzes exactly what poses, drawings. An exposure sheet is created, this is a table that breaks down the action, dialogue
29.
Costume designer
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A costume designer is a person who designs costumes for a film, stage production or television. The role of the designer is to create the characters and balance the scenes with texture and colour. The costume designer works alongside the director, scenic, lighting designer, sound designer, the costume designer may also collaborate with hair stylist, wig master, or makeup artist. In European theatre, the role is different, as the theatre designer usually designs both costume and scenic elements. Designers typically seek to enhance a characters personality, and to create a plot of colour, changing social status, or period through the visual design of garments. They may distort or enhance the body—within the boundaries of the directors vision, the designer must ensure that the designs let the actor move as the role requires. The actor must execute the directors blocking of the production without damaging the garments, garments must be durable and washable, especially for plays with extended runs or films with near-real time pacing but whose principal photography phase may stretch across several weeks. The designer must consult not only with the director, but the set, the designer must possess strong artistic capabilities and a thorough knowledge of pattern development, draping, drafting, textiles and fashion history. The designer must understand historical costuming, and the movement style, during the late-19th century, company managers in the US usually selected costumes for a show. Many were pulled from a house, few were designed. Though designers in other disciplines were recognized, few who specialized in costumes were. The few that were included Caroline Siedle, C, wilhelm, Percy Anderson, and Mrs. John Alexander. They sometimes even received credit on the page of a playbill rather than in the back. In the 20th century, film costume designers like Edith Head, later, those working in television like Nolan Miller, Janie Bryant, and Patricia Field became more prominent, some becoming authors and having their own clothing and jewelry lines. Professional costume designers generally fall into three types, freelance, residential, and academic, freelance designers are hired for a specific production by a theatre, dance or opera company, and may or may not actually be local to the theatre they design for. A freelancer is traditionally paid in three instalments, Upon hire, on delivery of final renderings, and opening night of the production, freelancers are not obligated to any exclusivity in what projects they work on, and may design for several productions concurrently. A residential designer is hired by a theatre, dance or opera company for an extended series of productions. This can be as short as a stock contract, or may be for many years
30.
Hairdresser
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A hairdresser is a person whose occupation is to cut or style hair in order to change or maintain a persons image. This is achieved using a combination of hair coloring, haircutting, most hairdressers are professionally licensed as either a hairdresser, a barber or a cosmetologist. Hairdressing as an occupation dates back thousands of years, ancient art drawings and paintings have been discovered depicting people working on another persons hair. Greek writers Aristophanes and Homer both mention hairdressing in their writings, in Africa, it was believed in some cultures that a persons spirit occupied his or her hair, giving hairdressers high status within these communities. The status of hairdressing encouraged many to develop their skills, hours would be spent washing, combing, oiling, styling and ornamenting their hair. Men would work specifically on men, and women on other women, before a master hairdresser died, they would give their combs and tools to a chosen successor during a special ceremony. In ancient Egypt, hairdressers had specially decorated cases to hold their tools, including lotions, scissors, barbers also worked as hairdressers, and wealthy men often had personal barbers within their home. With the standard of wig wearing within the culture, wigmakers were also trained as hairdressers, in ancient Rome and Greece household slaves and servants took on the role of hairdressers, including dyeing and shaving. Men who did not have their own hair or shaving services would visit the local barbershop. Women had their hair maintained and groomed at their homes, historical documentation is lacking regarding hairstylists from the 5th century until the 14th century. Hair care service grew in demand after a decree in 1092 demanded that all Roman Catholic clergymen remove their facial hair. The first appearance of the hairdresser is in 17th century Europe. A wealthy mans hair would often be maintained by a valet and it was in France where men began styling womens hair for the first time, and many of the notable hairdressers of the time were men, a trend that would continue into contemporary times. The first famous male hairdresser was Champagne, who was born in Southern France, upon moving to Paris, he opened his own hair salon and dressed the hair of wealthy Parisian women until his death in 1658. Womens hair grew taller in style during the 17th century, popularized by the hairdresser Madame Martin, the hairstyle, the tower, was the trend with wealthy English and American women, who relied on hairdressers to style their hair as tall as possible. Tall piles of curls were pomaded, powdered and decorated with ribbons, flowers, lace, feathers, the profession of hairdressing was launched as a genuine profession when Legros de Rumigny was declared the first official hairdresser of the French court. In 1765 de Rumigny published his book Art de la Coiffure des Dames, the book was a best seller amongst Frenchwomen, and four years later de Rumigny opened a school for hairdressers, Academie de Coiffure. At the school he taught men and women to cut hair, by 1777, approximately 1,200 hairdressers were working in Paris
