Ruby Sparks is a 2012 romantic comedy-drama film directed by Jonathan Dayton and Valerie Faris, written by Zoe Kazan. It stars Paul Dano as an anxious novelist whose fictional character, Ruby Sparks, played by Kazan, comes to life. Calvin Weir-Fields is a young novelist, struggling to recreate the early success of his first novel and unable to commit to any of his ideas. With his introverted personality and idealistic view of what it means to be in love, Calvin struggles in finding relationships, feeling most women are only interested in an idolized and preconceived notion of who they believe him to be, his therapist, Dr. Rosenthal, gives him a writing assignment: to write a page about someone who likes his rather uninspiring dog, Scotty. Calvin has a dream in which he meets a strange young woman, who draws a picture of Scotty and says she likes him. Calvin is inspired to write about her. In therapy he admits he is falling in love with the character he is writing and tells the therapist all about Ruby Sparks.
Calvin's brother Harry and sister-in-law Susie come to visit and Susie finds articles of women's clothing around the house. That night while writing before falling asleep at his typewriter, Calvin writes a passage with Ruby admitting that he is not the kind of guy she goes for and yet she is falling in love with him; the next day, Calvin is stunned to find Ruby in an actual living person. Thinking he is going crazy, he calls Harry, who does not believe him and advises him to meet with someone to take his mind off things. Ruby is confused by his behavior and insists on coming along, but he leaves her to shop while he meets Mabel, a young fan of his book who had given him her number. Ruby believes he is cheating on her. In the ensuing confrontation, Calvin discovers that others can see Ruby, proving that she is real and not a figment of his imagination. Calvin explains that he feels overwhelmed, they break down in love. Calvin introduces Ruby to Harry, incredulous at first and suggests alternate explanations.
However, Calvin soon proves. Explaining how he loves her, Calvin asks Harry not to tell anyone of Ruby's origins. Although Harry warns him that women are mysterious creatures and that things may change, Calvin insists that since he wrote her into existence, he knows her and asserts that he will never write about Ruby again. Months Calvin reluctantly takes Ruby to meet his free-spirited mother Gertrude and her boyfriend Mort. While Ruby with her much more outgoing personality enjoys the time with his family, introverted Calvin spends the weekend reading by himself, growing jealous of the time she spends with other people as Ruby's happy spirit begins to fade at Calvin's increased gloominess. After they return to Calvin's, the relationship is tense. Calvin complains of Ruby's singing while she cooks and he reads. Depressed and Calvin have a serious talk. Ruby explains how lonely she suggests they start spending less time together. Calvin is miserable. Fearful of Ruby's desertion and desperate, he begins to write her story again in which she too is miserable without him.
Ruby returns full-time but becomes clingy, afraid to leave Calvin's side for a second. Tired of this, Calvin writes that Ruby is "filled with effervescent joy," as a result of which she becomes happy, leaving Calvin morose, him knowing her happiness is artificial. After talking with Harry about what he has been doing, Calvin intends to write Ruby back to her normal self, but the wording he uses leaves her confused. Ruby fights with Calvin once more and he attempts to cheer her up by taking her along to a party hosted by author Langdon Tharp. At the party, Calvin leaves talks with people about his still-unfinished manuscript, he runs into his ex-girlfriend Lila, they have a heated argument in which Lila accuses Calvin of being uninterested in anyone outside of himself. Meanwhile, Langdon finding Ruby alone flirts with her, convincing her to strip to her underwear and join him in the pool. Calvin finds them. Furious and humiliated, he drives Ruby home. At home and Ruby fight, with Ruby telling him that he cannot stop her from doing what she wants.
As she prepares to leave, Calvin reveals that she is a product of his imagination and that he can indeed control her, is capable of making her do anything he writes. A growing argument leads to a crazed Calvin demonstrating his power by making Ruby perform a series of more frenzied and humiliating acts as the type bars of the typewriter begin to jam in his excitement. Ruby, collapses to the floor as Calvin hangs his head in anguish, before attempting to approach her. With a sudden burst of frenzied fear, Ruby locks herself in his room. Calvin and ashamed, writes a final page, which states that as soon as Ruby leaves the house she is no longer his creation, no longer subject to his will, she is free, he leaves the manuscript outside her door with a note telling her to read the last page and that he loves her. The next morning, Calvin finds that Ruby has vanished. Time passes, Harry suggests he write a new book about his experiences with Ruby; the novel, The Girlfriend, is a success. While walking with Scotty in the park one day, Calvin sees a woman that appears to be Ruby but she has no recollection of him.
She is reading his book. She states that Calvin seems familiar, which he deflects by showing her his photo on the book. Embarrassed and laughing she says they ought to start over and that she hasn't finished the book yet but, "Don't tell me how it ends." To which he replies, "I promise." Paul Dano as Calvin
Manhattan is a 1979 American romantic comedy film directed by Woody Allen and produced by Charles H. Joffe; the screenplay was written by Marshall Brickman. Allen co-stars as a twice-divorced 42-year-old comedy writer who dates a 17-year-old girl but falls in love with his best friend's mistress. Meryl Streep and Anne Byrne star. Manhattan was filmed in 2.35:1 widescreen. The film features music composed by George Gershwin, including Rhapsody in Blue, which inspired the idea behind the film. Allen described the film as a combination of Annie Hall and Interiors; the film was met with widespread critical acclaim and was nominated for two Academy Awards: Best Supporting Actress for Hemingway and Best Writing, Screenplay Written Directly for the Screen for Allen and Brickman. Its North American box-office receipts of $39.9 million made it Allen's second biggest box-office hit. Considered one of Allen's best films, it ranks 46th on AFI's 100 Years...100 Laughs list and number 63 on Bravo's "100 Funniest Movies".
In 2001, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. The film opens with a montage of images of Manhattan and other parts of New York City accompanied by George Gershwin's Rhapsody in Blue, with Isaac Davis narrating drafts of an introduction to a book about a man who loves the city. Isaac is a 42-year-old television comedy writer who quits his unfulfilling job, he is dating a 17-year-old girl attending the Dalton School. His best friend, college professor Yale Pollack, married to Emily, is having an affair with Mary Wilkie. Mary's ex-husband and former teacher, Jeremiah appears, Isaac's ex-wife Jill Davis is writing a confessional book about their marriage. Jill has since come out as a lesbian and lives with her partner, Connie; when Isaac meets Mary, her cultural snobbery rubs him the wrong way. Isaac runs into her again at an Equal Rights Amendment fund-raising event at the Museum of Modern Art hosted by Bella Abzug and accompanies her on a cab ride home.
They chat until sunrise in a sequence. In spite of a growing attraction to Mary, Isaac continues his relationship with Tracy but emphasizes that theirs cannot be a serious relationship and encourages her to go to London to study acting. In another iconic scene, at Tracy's request, they go on a carriage ride through Central Park. After Yale breaks up with Mary, he suggests. Isaac does, always having felt. Isaac breaks up with Tracy, much to her dismay, before long, Mary has moved into his apartment. Emily is curious about Isaac's new girlfriend; the two couples enjoy a day out and upon walking down a street Isaac spots Jill's new book Marriage and Selfhood. Emily proceeds to read parts of the book aloud, including passages about a ménage à trois Isaac had with Jill and another woman, an incident where Isaac attempted to run Connie over, much to Mary and Yale's amusement. Humiliated, Isaac confronts Jill, who responds stoically and mentions a film rights deal she has acquired. Upon returning home, Isaac wants to break up.
A betrayed Isaac confronts Yale at the college where he teaches, Yale argues that he found Mary first. Isaac discusses Yale's extramarital affairs with Emily and learns that Yale told her Isaac introduced Mary to him. In the dénouement, Isaac lies on his sofa, musing into a tape recorder about the things that make "life worth living"; when he finds himself saying "Tracy's face", he sets down the microphone. Unable to reach her by phone, he sets out for Tracy's on foot, he arrives at her family's apartment building. He says he does not want "that thing about that like" to change, she replies that the plans have been made and reassures him that "not everybody gets corrupted" before saying "you have to have a little faith in people." He gives her a slight smile, with a final coy look to the camera segueing into final shots of the skyline with some bars of Rhapsody in Blue playing again. An instrumental version of "Embraceable You" plays over the credits. Woody Allen as Isaac Davis Diane Keaton as Mary Wilkie Michael Murphy as Yale Pollack Mariel Hemingway as Tracy Meryl Streep as Jill Davis Anne Byrne as Emily Pollack Michael O'Donoghue as Dennis Wallace Shawn as Jeremiah Karen Ludwig as Connie Charles Levin, Karen Allen, David Rasche as Television actors Mark Linn-Baker and Frances Conroy as Shakespearean actors According to Allen, the idea for Manhattan originated from his love of George Gershwin's music.
He was listening to one of the composer's albums of overtures and thought, "this would be a beautiful thing to make... a movie in black and white... a romantic movie". Allen has said that Manhattan was "like a mixture of what I was trying to do with Annie Hall and Interiors." He said that his film deals with the problem of people trying to live a decent existence in an junk-obsessed contemporary culture without selling out, admitting that he himself could conceive of giving away all of his "possessions to charity and living in much more modest circumstances," and adding that he has "rationalized way out of it so far, but could conceive of doing it."According to actress Stacey Nelkin, Manhattan was based on her romantic relationship with Woody Allen. He
Annie Hall is a 1977 American romantic comedy film directed by Woody Allen from a screenplay he co-wrote with Marshall Brickman. Produced by Allen's manager, Charles H. Joffe, the film stars the director as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the film's eponymous female lead, played by Diane Keaton in a role written for her. Principal photography for the film began on May 19, 1976 on the South Fork of Long Island, filming continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer Gordon Willis, as "a major turning point", in that unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Academics have noted the contrast in the settings of New York City and Los Angeles, the stereotype of gender differences in sexuality, the presentation of Jewish identity, the elements of psychoanalysis and modernism. Annie Hall was screened at the Los Angeles Film Festival in March 1977, before its official release on April 20, 1977.
The film received widespread critical acclaim, along with winning the Academy Award for Best Picture, it received Oscars in three other categories: two for Allen, Best Actress for Keaton. The film additionally won the latter being awarded to Keaton, its North American box office receipts of $38,251,425 are fourth-best of Allen's works when not adjusted for inflation. Regarded as one of the greatest films of all-time, it ranks 31st on AFI's List of the greatest films in American cinema, 4th on their list of greatest comedy films and 28th on Bravo's "100 Funniest Movies". Film critic Roger Ebert called it "just about everyone's favorite Woody Allen movie"; the film's screenplay was named the funniest written by the Writers Guild of America in its list of the "101 Funniest Screenplays". In 1992, the United States' Library of Congress selected the film for preservation in its National Film Registry that includes "culturally or aesthetically significant" films; the comedian Alvy Singer is trying to understand why his relationship with Annie Hall ended a year ago.
Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity. Annie and Alvy, in a line for The Sorrow and the Pity, overhear another man deriding the work of Federico Fellini and Marshall McLuhan; that night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife, his second marriage was to a New York writer, unable to reach orgasm. With Annie, it is different; the two of them have fun making a meal of boiled lobster together. He teases her about the unusual men in her past, he met. Following the game, awkward small talk led her to offer him first a ride up town and a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in "mental subtitles" as an escalating flirtation, their first date follows Annie's singing audition for a night club. He suggests. After their lovemaking that night, Alvy is "a wreck". Soon Annie admits she loves him, while he buys her books on death and says that his feelings for her are more than just love.
When she moves in with him, things become tense. He finds her arm in arm with one of her college professors and the two begin to argue whether this is the "flexibility" they had discussed, they break up, he searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, imagining a cartoon version of himself arguing with a cartoon Annie portrayed as the Evil Queen in Snow White. Alvy returns to dating, but the effort is marred by neurosis, bad sex, an interruption from Annie, who insists he come over immediately, it turns out. A reconciliation coupled with a vow to stay together come what may. However, their separate discussions with their therapists make it evident there is an unspoken divide; when Alvy accepts an offer to present an award on television, they fly out to Los Angeles, with Alvy's friend, Rob. However, on the return trip, they agree. After losing her to her record producer, Tony Lacey, he unsuccessfully tries rekindling the flame with a marriage proposal.
Back in New York, he stages a play of their relationship but changes the ending: now she accepts. The last meeting for them is a wistful coda on New York's Upper West Side, when they have both moved on to someone new. Alvy's voice returns with a summation: love is essential if it is neurotic. Annie sings "Seems Like Old Times" and the credits roll. Truman Capote has a cameo. Alvy is making quips about people walking by, he says "There's the winner of the Truman Capote look-alike contest" as Truman Capote walks through the frame. Several actors who went on to more fame had small parts in the movie: John Glover as Annie's actor boyfriend, Jerry; the idea for what would become Annie Hall was developed as Allen walked around New York City with co-writer Marshall Brickman. The pair discussed the project on alternative days, sometimes becoming frustrated and rejecti
Greenberg is a 2010 American comedy-drama film written and directed by Noah Baumbach. The film stars Greta Gerwig, Rhys Ifans, Brie Larson and Jennifer Jason Leigh. Greenberg was distributed by Focus Features; the film's soundtrack features the first film score by James Murphy. Although the film received positive reviews, it was a box office bomb, grossing $7 million against a $25 million budget. Florence Marr walks Mahler, she picks up Phillip Greenberg's dry cleaning and heads back to his house, where the entire family is packing for a trip to Vietnam. Phillip explains that his brother, will be staying in the house while they are away, he asks Florence to help Roger if he needs anything, his wife, confides that Roger has just been released from a hospital after suffering a nervous breakdown. Roger has been hired by Phillip to build Mahler a dog house, it is implied throughout the film that Roger does little work, Carol is skeptical about him finishing the project. When Roger arrives, he calls Florence to ask about the people swimming in the pool.
Florence explains. She comes to the house to feed Mahler, she has a brief and awkward conversation with Roger, before offering to pick up groceries for him. He gives her a two-item list, requesting ice cream sandwiches. Roger's friend Ivan Schrank stops by and invites him to a barbecue at the home of their mutual friend Eric Beller. At the party, Roger is uncomfortable, Eric is visibly hostile towards him, he runs into Beth, an ex-girlfriend, she agrees to meet up with him for some drinks. He explains that he is in Los Angeles to do nothing for a while, she replies. Meanwhile, he calls Florence to meet up for a drink, he is a New Yorker and does not drive, so she picks him up. They stop at her apartment to pick up her purse. Roger comes on to her, they begin to have sex. Having just come out of a long relationship, Florence stops Roger, not wanting to have meaningless sex. Eric and Roger have dinner, where Eric vents his anger over the fact that Roger declined a major label recording contract that their band was offered fifteen years ago.
Eric marvels over the fact that Ivan will talk to Roger anymore, given how devastated Ivan was by losing the contract. Roger insists. One day, Roger notices, he calls Florence to take them to a vet. Roger did not want to get involved with Florence, but as they encounter each other during Mahler's treatment, they keep escalating their relationship, with Florence falling hard for Roger; when Roger meets up with Beth for drinks, it is her turn to be uncomfortable. She remembers their relationship. Roger muses, to Beth's astonishment, that they would have gotten married and had kids; when Roger asks her out on a date, she says it would be a'terrible idea' and abruptly asks for the check. After Florence and Roger have sex, they end up in an argument, where he yells at her for always coming back to him, despite the fact that she does not want to get involved; the next day, Roger remorsefully calls her, Florence is getting drunk in her apartment alone. She confesses. Roger convinces her to let him take her to the clinic.
Since he does not drive, Ivan has to drive Florence to the clinic. She undergoes general anaesthesia and stays in the clinic overnight. Back at the house, Roger's college-age niece, Sara has turned up, she is heading to Australia the next morning with her friend and they throw a house party with dozens of their friends. Roger does drugs with the kids. Ivan shows up and gets into an argument with Roger, where his hurt feelings over the record contract come up. Roger confesses that he had no idea that his personal concerns about the contract would put a stop to the entire deal, he admits to feeling an immense burden of guilt over it. Both Ivan and Roger bemoan the fact. Before leaving he tells Roger that he had heard from Florence that Roger had been hospitalized, which Roger had never brought up. Having had a similar experience he laments he could have helped him and in disgust says that they never talk about anything good or meaningful. Dejected, Roger ends up calling Florence's phone and leaving her a long voice mail where he confesses that he likes her.
The next day, Roger's niece invites him to Australia, he jumps at the invitation. He convinces the neighbors in the pool to take care of Mahler, but on the way to the airport, he changes his mind. Instead, he goes to pick up Florence at the hospital, they return to her apartment; the film closes. Ben Stiller as Roger Greenberg Greta Gerwig as Florence Marr Rhys Ifans as Ivan Schrank Jennifer Jason Leigh as Beth Merritt Wever as Gina Chris Messina as Phillip Greenberg, Roger's brother Brie Larson as Sara Juno Temple as Muriel Mark Duplass as Eric Beller Dave Franco as Rich Jake Paltrow as Johno The soundtrack is arranged by DFA Records co-founder James Murphy, it is Murphy's debut film score, it includes original compositions credited to Murphy, his band LCD Soundsystem as well as son
HBO is an American premium cable and satellite television network owned by the namesake unit Home Box Office, Inc. a division of AT&T's WarnerMedia. The program which featured on the network consists of theatrically released motion pictures and original television shows, along with made-for-cable movies and occasional comedy and concert specials. HBO is the oldest and longest continuously operating pay television service in the United States, having been in operation since November 8, 1972. In 2016, HBO had an adjusted operating income of US$1.93 billion, compared to the US$1.88 billion it accrued in 2015. HBO has 130 million subscribers worldwide as of 2016; the network provides seven 24-hour multiplex channels, including HBO Comedy, HBO Latino, HBO Signature, HBO Family. It launched the streaming service HBO Now in April 2015 and has over 2 million subscribers in the United States as of February 2017; as of July 2015, HBO's programming is available to 36,493,000 households with at least one television set in the United States, making it the second largest premium channel in the United States.
In addition to its U. S. subscriber base, HBO distributes content in at least 151 countries, with 130 million subscribers worldwide. HBO subscribers pay for an extra tier of service that includes other cable- and satellite-exclusive channels before paying for the channel itself. However, a regulation imposed by the Federal Communications Commission requires that cable providers allow subscribers to get just "limited" basic cable and premium services such as HBO, without subscribing to expanded service. Cable providers can require the use of a converter box—usually digital—in order to receive HBO. HBO provides its content through digital media. HBO maintains near-ubiquitous distribution in hotels across the United States through agreements with DirecTV, Echostar, SONIFI Solutions, Satellite Management Services, Inc. Telerent Leasing Corporation, Total Media Concepts and World Cinema as well as cable providers that maintain hospitality service arrangements with individual hotels and local franchises of national hotel/motel chains.
Since June 2018, through a content partnership with Enseo, HBO Go is distributed to some Marriott International hotels around the U. S.. Many HBO programs have been syndicated to other networks and broadcast television stations, a number of HBO-produced series and films have been released on DVD. Since HBO's more successful series air on over-the-air broadcasters in other countries, HBO's programming has the potential of being exposed to a higher percentage of the population of those countries compared to the United States; because of the cost of HBO, many Americans only view HBO programs through DVDs or in basic cable or broadcast syndication—months or years after these programs have first aired on the network—and with editing for both content and to allow advertising, although several series have filmed alternate "clean" scenes intended for syndication runs. In 1965, Charles Dolan—who had done pioneering work in the commercial use of cables and had developed Teleguide, a closed-circuit tourist information television system distributed to hotels in the New York metropolitan area—won a franchise to build a cable television system in the Lower Manhattan section of New York City.
The new system, which Dolan named "Sterling Information Services", became the first urban underground cable televisi
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, 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 becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals 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 multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate
J. J. Abrams
Jeffrey Jacob Abrams is an American filmmaker. He is best known for his work in the genres of action and science fiction. Abrams wrote or produced such films as Regarding Henry, Forever Young, Cloverfield, Star Trek, Star Wars: The Force Awakens, the upcoming Star Wars: The Rise of Skywalker. Abrams has created numerous television series, including Felicity, Alias and Fringe, he won two Emmy Awards for Lost — Outstanding Directing for a Drama Series and Outstanding Drama Series. His directorial film work includes Mission: Impossible III, Star Trek, Super 8, Star Trek Into Darkness, he directed, produced and co-wrote Star Wars: The Force Awakens, the first film in the Star Wars sequel trilogy and his highest-grossing film, as well as the third-highest-grossing film of all time. He returned to Star Wars by co-writing and directing The Rise of Skywalker. Abrams's frequent collaborators include producer Bryan Burk, actors Greg Grunberg, Simon Pegg and Keri Russell, composer Michael Giacchino, writers Alex Kurtzman and Roberto Orci, cinematographers Daniel Mindel and Larry Fong, editors Maryann Brandon and Mary Jo Markey.
Abrams was born in New York City and raised in Los Angeles, the son of television producer Gerald W. Abrams and executive producer Carol Ann Abrams, his sister is screenwriter Tracy Rosen. He attended Palisades High School. After graduating high school, Abrams planned on going to art school rather than a traditional college, but enrolled at Sarah Lawrence College, following his father's advice: "it's more important that you go off and learn what to make movies about than how to make movies." Abrams's first job in the movie business started at 15 when he wrote the music for Don Dohler's 1982 horror'B' movie, Nightbeast. During his senior year at college, he teamed with Jill Mazursky to write a feature film treatment. Purchased by Touchstone Pictures, the treatment was the basis for Taking Care of Business, Abrams's first produced film, which starred Charles Grodin and James Belushi, he followed with Regarding Henry, starring Harrison Ford, Forever Young, starring Mel Gibson. He co-wrote with Mazursky the script for the comedy Gone Fishin' starring Joe Pesci and Danny Glover.
In 1994, he was part of the "Propellerheads" with Rob Letterman, Loren Soman, Andy Waisler, a group of Sarah Lawrence alums experimenting with computer animation technology. They were contracted by Jeffrey Katzenberg to develop animation for the film Shrek. Abrams worked on the screenplay for the 1998 film Armageddon with producer Jerry Bruckheimer and director Michael Bay; that same year, he made his first foray into television with Felicity, which ran for four seasons on The WB Network, serving as the series' co-creator and executive producer. He composed its opening theme music. Under his production company, Bad Robot, which he founded with Bryan Burk in 2001, Abrams created and executive-produced ABC's Alias and is co-creator and was executive producer of Lost; as with Felicity, Abrams composed the opening theme music for Alias and Lost. Abrams directed and wrote the two-part pilot for Lost and remained active producer for the first half of the season. In 2001, Abrams co-wrote and produced the horror-thriller Joy Ride.
In 2006, he served as executive producer of What About Brian and Six Degrees on ABC. He co-wrote the teleplay for Lost's third-season premiere "A Tale of Two Cities" and the same year, he made his feature directorial debut with Mission: Impossible III, starring Tom Cruise. Abrams spoke at the TED conference in 2007. In 2008, Abrams produced the monster movie Cloverfield. In 2009, he directed the science fiction film Star Trek, which he produced with Lost co-creator Damon Lindelof. While it was speculated that they would be writing and producing an adaptation of Stephen King's The Dark Tower series of novels, they publicly stated in November 2009 that they were no longer looking to take on that project. In 2008, Abrams co-created, executive produced, co-wrote the FOX science fiction series Fringe, for which he composed the theme music, he was featured in the 2009 MTV Movie Awards 1980s-style digital short "Cool Guys Don't Look at Explosions", with Andy Samberg and Will Ferrell, in which he plays a keyboard solo.
NBC picked up Abrams's Undercovers as its first new drama series for the 2010–11 season. However, it was subsequently cancelled by the network in November 2010. In 2008, it was reported that Abrams purchased the rights to a New York Times article "Mystery on Fifth Avenue" about the renovation of an 8.5 million dollar co-op, a division of property owned by E. F. Hutton & Co. and Marjorie Merriweather Post, for six figures and was developing a film titled Mystery on Fifth Avenue, with Paramount Pictures and Bad Robot Productions, comedy writers Maya Forbes and Wally Wolodarsky to write the adaptation. According to the article, a wealthy couple Steven B. Klinsky and Maureen Sherry live there with their four children. Soon after purchasing the apartment, they hired young architectural designer Eric Clough, who devised an elaborately clever "scavenger hunt" built into the apartment that involved dozens of historical figures, a fictional book and a soundtrack, woven throughout the apartment in puzzles, secret panels and hidden codes, without the couple's knowledge.
The family didn't discover the embedded mystery until months after moving into the apartment. After Ab