USC School of Cinematic Arts by Freeman Freelance

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UniversityVillage H201, LosAngeles, California 90089-7790 Tel:211-740-2215 Fax:213-74A-76A0 http:/lwriu,v.usc.edu

Press contact: John

Zollinger,2I3.740.9514 or Bo Morrison, 818.506.7887

ENTERTAINMENT INDUSTRY RALLIES TO INVEST IN AND CELEBRATE THE OPENING OF USC'S NEW SCHOOL OF CINEMATIC ARTS CAMPUS Fox Entertainment Group. The Walt Disnev Studios. Warner Bros.. Stark Foundation. and Katzenberes Amons Industrv Giants Helpins SCA Fundraising Drive

MARCH

180 2009, LOS ANGELES - The entertainment industry continues to support and invest in the University of Southern California's School of Cinematic Arts (SCA) upon the occasion of its 80th anniversary and the opening of SCA's new campus with the announcement that the Fox Entertainment Group, The Walt Disney Studios, Warner Bros., the Fran and Ray Stark Foundation, the Dana and Albert R. "Cubby" Broccoli Foundation, and Marilyn and Jeffrey Katzenberg, among many other prominent individuals and foundations, have contributed significantly to SCA's fundraising goals to help complete its ambitious expansion and modernization,DeanBlizabeth M. Daley announced today.

In2006, SCA broke ground and kicked off the current campaign to construct and equip a new, stateof-the-art campus. Since that time, SCA has worked with aforementioned industry leaders as well as many others to raise nearly $125 million, while continuing to lead the effort to raise the additional $50 million needed to complete the project. The entire campus is slated to be finished in 2010. ooW'e

are incredibly proud of our close and valued ties to the entertainment industry," Daley said. "For decades, the generosity of our industry colleagues has been vital for our continued growth and renewal. We believe, as do our colleagues, that their contributions are in*estments in the future of cinema, and toward the progress and achievement of our mutual goals."

2009 marks the 80th anniversary since USC and the Academy of Motion Picture Arts and Sciences created the nation's first university-based film classes at USC in 1929.In the ensuing years, the program grew into the nation's leading cinema school, offering bachelor, masters, and Ph.D. degrees to thousands of students who have gone on to become some of the most creative and influential members of the film, television, and interactive industry and art form.

The new campus, which represents the most ambitious cinema school project in the U.S., is anchored by a new, 137,000-square-foot main complex, which includes a massive courtyard/gathering space, eight screening rooms, 19 conference rooms, three sound mixing rooms, six picture editorial labs and ample exhibition space. Under construction are the 38,000square-foot Animation and Digital Arts building, four sound stages with a combined actual production space of over 7,000 square feet, and a production equipment center. Also planned for the future is the Cinematic Arts Park, usable for exterior location filming.

Approximately 1,500 undergraduate and graduate students currently attend SCA, while full-time faculty number 88 with an additional200 serving as adjunct instructors. In addition to superb faculty and resources, the SCA philosophy is that the best education comes from creating an environment where theory and practice are in constant interaction. From animators to producers,

directors to writers, cultural theorists to new media artists, each year SCA students and faculty create over 250 hours of film and television along with scores of interactive projects, rivaling the output of many commercial counterparts. The following groups and individuals are supporting facilities in the heart of the school's new main complex as well as in the surrounding instructional and production buildings. Fox Entertainment Group has contributed funds to build and outfit the Fox Sound Stage, one of four sound stages currently under construction adjacent to the main complex. Fox Entertainment Group is also establishing the Fox Fellowship Endowment Fund. The program will support third-year students enrolled in the school's Interactive Media Division. The Walt Disney Studios has funded the construction and outfitting of The Walt Disney Studios Screening Room, a state-of-the-art student facility in the main administrative/instructional complex.

Likewise, Warner Bros. has funded the construction and outfitting of the Warner Bros. Screening Room. The Stark Foundation has contributed to the construction and outfitting of two screening theatres: the Stark Family Theatre and the Fanny Brice Theatre.

Marilyn and Jeffrey Katzenberg's recent contributions will be directed toward instructional/production structures adjacent to the main complex.

The Broccoli Foundation is funding a screening room, The Broccoli Family Theatre.

THX sound system creator Tomlinson Holman is overseeing the installation of all screening room and theatre sound systems.

Also joining in with recently pledged contributions of support include notable alums John August, Ashley and David Kramer, Peter Segal, Stacey Sher, and Jana and Stephen Sommers, as well as The Jack Oakie and Victoria Horne Oakie Charitable Foundation, Salon Films Ltd. and Spike TV. Industry contributions and pledges previously announced include the Academy of Motion Picture Arts and Sciences, the Alma and Alfred Hitchcock Foundation, the Dana and Albert R. "Cubby" Broccoli Foundation, the Hugh M. Hefner Foundation, the Lucasfilm Foundation, and Entertainment Partners. Together, these groups and individuals have named rooms and community spaces within the buildings, making the complex truly supported by a large community of alumni and friends. About the USC School of Cinemntic Arts cinemuasc.edu Established in 1929 and cunently celebrating its 80th anniversary as the nation's oldest university-based cinema program, the USC School of Cinematic Arts has fueled and mirrored the growth of entertainment as an industry and an art form. The school offers comprehensive programs in directing , producing , writing , critical studies, animation & digital arts, production, and interactive media, all backed by a broad liberal arts education and taught by leading practitioners in eachfield.Its more than 10,000 alumni are among the world's most distinguished animators, scholars , teachers , writers , directors, producers , cinematographers , editors , sound experts and industry executives Since 1973 not a year has passed without an alurnnus or alumna being nominated for an Academy Award.

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Location:900 W. 34th Street, Los Angeles. California, 90089 Groundbreaking: october 4, 2oo6 First two buildings opened for classes: January 12, 2A09 Estimated time oJ completion for the other four buildings in the complex Aug ust. 2010 Architectural style: Ca I ifornia Styl e Architect: U rban Desi gn G roup www. u rbandesigngroup.com Contractor: H athaway D i nwi dd i e www. h dcco. com Estimated cost of the complex, including furnishing: $ 1 7 5 m i l t i o n The School of Cinematic Arts complex is composed of six structures: 7-ra+"

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stories:4 iplus a lower level post-production area) classrooms: 1o conference rooms: 19 screening rooms: 8 (One 200-seat. one 1O5-seat, one 7O-seat,

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Editorial labs: 6 Mixing rooms: 3 Sound Editorial Roorhs: 9 Picture Editorial Rooms: 3 Exhibition space: 700 square feet lnstallation space: 2,000 square feet Caf6:40 seats Other facilities: Student Production Office. Entertainment Partners Production Management Lab, Foley stage, ADR stage T * x &"* * l"t :: rz & * i gZ t al &r ? *'* xi *2'rz g {as rz 4 * r < * rz *Z: zz rt l * zz} "trz f his structure features 38,214 square feet (gross) of instructional, production and tr

administrative space. lt also houses the Office of Student Services, which comprises both admissions and student affairs. Number of stories: 3 (plus a lower level production area) Number of classrooms/work labs: g Screening room: (52 seats) Other facilities: Foley room. stop-motion suite, animation camera room. sound production suite, sound production control room, mixing rooms, life drawing room, and animation library cantinued..

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TISC U5C wanteri the school's new home to provide stutJents and visitors alike with a "sense of place" while aehieving a respeft for the history of both the art forrn and the:chool.

lhe Califsrnia Style of the conrplex recal!s the southern part of the state 80 years ago when simiiar designs were at their height of popularity. l-.1SC's University Perk Campu:. where the se hooi is lccated, has a mixture of architectural types and many would fit in the varied ealifornia 5tyle eategory. trhe ltalian Renaissance lr:ok of the George Finley Bovard Administration Building {19:1) and the Ronrane:que Edward L" Dohe ny, ir., Memorial Library {1932) are two good examples of struetures built in the era that the new cine ma complex evokes.

Despite being in c!ose proxirnity to other university str!clures. as is typical on a large urban campus, the lour stories of the r"nain cinema complex buildings are scaled to comfortably fit in the confined footprint. The spacious 80-by-60 f oot courtyard in the site's eenter is a favorite nreeting plare lor students. The archways and balccnies also :"einterpret the space to be ainy ar-ld open Once the other buiidings cf the entire complex are completed, the north-sor-ith archways will offer a view frorn one sirie of the facility:o the other. A series of doorways, windows and archways wili aiso provide the longest sight line-a 250-foct east-west view-on the propert.l.

lhe building's interior The California Style is characterized by inassive

symnretrical fa,-ade:, exterior plaster walls. low-pitched

tile roofs, arches over windows and doors and

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gardens. Another characteristic of quality craltsmanship in the bygone era, the school's exterior plaster walis contain ground stone, causing the creamy hue to turn different shades, depending upon lhe posilion of the sun during the day.

design L:orrows f rom another California Style; the rich colors and pattern: in tile, stone, wood tones, fabrics and f urnishings are inspired by the Arts and Crafts siyle. The geonretric shapes in the tile {looring form a patchwork of stones, reminiseent of the great halls af Europe. Cherrywood appears in the lobbies and exhibition spaces on the ground floors. as we ll as in the boardroom. Stained cs!umns adorn the 200-seat screening room.

Urban Design {roup studied the work of George Washington Smith, an architect whose work in the 1920s helped popuiarize Califsrnia 5tyle. Other exan.lples cf similar design in the region are the Fasadena City l*iall; G reenacres {the f cirmer Harold Lloyd Est;te} in Los Angeles; the Hayes Mansion In San lose; and the oriEinal Paramount Studios in Hollywood.

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Pre-construction planning and design Building lnformation Modeling (BlM) technology allows for the creation of a data-rich, error-free 360-degree d:git"t representation o{ a structure even before the structure is built. Think of it as SimCity software that includes process, materials and technology details for use by architects, engineers and contractors. All aspects of the design and construction-inside and out and from foundation to the rooftop-make up the "virtual" building. A software operator can zoom out for a bird's eye view or can zoom in to within two inches of a component. BIM is being used for all phases of the School of Cinematic Arts project, per the vision of the university and the leadership of the Urban Design Group, the architect. ln pre-construction, all practitioners merged their plans together through BIM for superior collaboralion before groundbreaking occurred. As expected in the next phase of construction, BIM's use in Phase 1 saved time and rnoney. The first structure was completed four months sooner than is typical for a project of its type.

Manufacturing of components and transport to site While 8lM is not new, some of its applications in this project are. ln this instance, BIM use aided even the rnanufacturers of rnaterials. The structures'exterior walls are customized rebar steel cages set in place. They are specially built for easy and qulck installation in a tight space common for a large campus. Plus, the cages*later filled with concrete and covered in plaster-are joined together with expansion joints that will isolate and re-route earthquake shocks away from the core structure and toward reparable areas instead. This method is the first of its kind in the Los Angeles area. Building code tests revealed that the building will not only protect occupants during a quake, but wili also retain its structural integrity. On-site construction Use of BIM on a construction site is very rare. The university decided to set the bar higher than normal by making the BIM model available at the job site. The contractors on the site today have the ability to check the 3D model as they work. Computer screens featuring scope and orientation capabilities, as well-as hyperlinks to the {ull extent of material and process details are at their J:ngertips.

Monitoring after occupancy and throughout the building's life cycle The prornise of BIM's use after construction has been all the buzz in the building industry for some time, but this project is potentially the mo:t far-reaching fulfillment of that promise. USC's Facilities Management Services is currently working to integrate the 3D model oJ Phase 1 with its other software for "live" rnonitoring of the heating, air conditioning and electrical systems in the building. Phase t has some 5,000 data points and BIM is to be the conveyer of that monitoring capability. Ultimately, the model will aiertthe facilities management personnel about mechanical problems or will be the first place to look when a facility problem is reported. This will greatly improve response and repair time. This project's BIM technology will, in fact, help ensure the structure lasts for the desired 100 years. Confident of BIM's advantages, USC plans to bring some o{ its key buildings into the BIM framework over the next several years.

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BELaW: BIM image depicting the integration and relation of inf rastructure elements in the new School of Cinematic Arts buildings.

Below: BIM image projecting areas where potential clashes between infrastructure components in the new School af Cinematic Arts buildings could occur. The technology enables designers to avoid issues in the design phase, well ahead of actual constructian.

Content courtesy Urban Design Group BIM images from View by View

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u$c Most stru{t!:res built to code in 5erthern Caiifornia toclay fr:eus primariiy, and most irnportantly. on a:suring the safety o{ a bul{ding's occupants during an earthquake-anC noi the survivai of the buiiding itself. The new 5chool of Cinematic Arts i: designed for br:ih sc that occupants are safe and the struciural inteqnity is not eampronrised, and is, in fact, easy to repair lor

continued use.

typical building in this quake-prone area is lo an inelastic standard. thereby making it suffer severe "cracks" without totally collapsing around accupants. lnstead oi buiiding a stru.ture that pays that sacrifice, this facllity is bath elastic and inelastlc. The structure is eiastie" so when the floors, walls and ceilings shake violently, the rnovement is rechanneled to inelastic areas to a!:scrb the damage. This is achieved through tfre use of "fused rotating walls." The

designed

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increase safety and minimize damage.

Think of an unbendable pieee of cardboard in a business envelope being maileil. Any "damage" that can be done during transil will be isolated to the edges of the envelope and not affect the primary contents. ln the ease of this educational {acili:y, the O-foot panel walls are like the cardboard, capable of riding any movernent while attached to the floors with 2 Yz-inch thick high strengih ste ei pins sandwiched between 1-inch thick steel piates that Brotect the adjacent flosr from darnage. This will result in the wails and their f used conneeticns abscrbing and dissipating the worst shocks of an earthquake. After a seismic event, lhe walls can be exarnined and the fuses or "shock abrorbers" can be '1

:e pa ire el.

Rather than eletract {rorn the archilecture, the unique struaturai systen'r enhances it, eliminaling the columns

that normally obstruct the spaces along the walls and enabling the architect to utiliee the slriking seamless Venetian plasler facade thet is essential to authentic Califnrnia style architecture. conlinued...

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Urban Design Graup, ths architect. was part of the planning that helped ineorpcrate lhis *dvanced earthquake i"esilienee. The struetural system was designed by e reEory P. Luth and Assoclates" The riesign was tested thrcuEh state-of-the-art digilal simulations of a rnajor earlhquake, with results {ar exceeding the requirements o{ code enforeenrent officials" Thi: is:rnportani since the probability is high that a n-lagnitude 6"7 or larger earthquake will orcur over the next 3S years in the greater l-os Angeles area, aecording to the 5outherr Cal ifnrnla Farthquake eenter.

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BELOW: Comparison of a fuse plate under increasing sfress. ln the event of seismic shock, fhe filses can be individually examined and, if needed, repaired.

The lacility's design goe: well beyond that 30-year predietion. lt assurer a visior"r af the universiiy thel the structure is a ''l $*-year inve stment in the live s lf stu dents.

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RlGllT: Views of classraams and the library (top right) in the Qld College Building.

ln I*v"1,*, lhe l}e p;rrlne n:i- *i {inern; rn*vld in:c tll f;rrr*r Ar;hiteclurr tnC iine Arts Euilding shrr','.11 ;i:*el rrlih the Trejan b:::d ln a {rriiily lhdt (drn'a rc ne *ff*riie n:te 1y kne wn a: "xhe :lall*:. " RIGHT: Main entranceway and exteriar

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of Cinema-Television complex,

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pro**rlion facility {er cirem::, televisicn and interaetive {oilicnt with lhe cpening of the Robert Zerneckls C*ntrr irr *igital Ar!:. Offering 35,000 square feet of production and instructional space, the Robert Zemeckis Center for Digital Arts enables sfudenfs ta learn everything fram performance capture to interactive game design to daily RIGHT:

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ll*naned USC 5chocl *{ e inellalic Art:, the universitl: k!eked off ;cn:'lructicn ol *n entirely ne,zu tornplex tn Oct.4, ?0*$. lhe r':ew {acilitie: feature six stru;turEs that hsr:se production and tcaehing spsces. as well as class:eoms snd adn:i nisllatil,e arees. RIGHT AND 7â&#x201A;ŹLQW: The first two buildings apened for c/ass on .!anuary 12, 2009. The entire complex will be

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Mission:

Graduate Stqdent Body:

the artistic, scholarly and entrepreneurial principles and practices of the cinematic arts-film, television and interactive media-and in doing so inspire and prepare the women and men who will become its leader:.

653

To develop and articutate

Male: 40 percent Female: 60 percent

Organization: The School of Cinematic Arts is composed of six divi:ions and two Organized Research Units (ORU). They are:

Division of Critical studies Division of Film & Television Production John C. Hench Division of Animation & Digltal lnteractive Media Division Peter Stark Producing Program Division of Wrlting for Screen & Teievision

Arts

The Entertainment Technology Center (ORU) The lnstitute for Multimedia literacy (ORU)

Program

Founded:

Ethnicity: Asian/Pacific lslander: 10 percent BlacklAfrican American: 8 percent Hispanic: 6 percent Native American/American lndian; 1 percent Non-Resident Alien: 14 percent White/Caucasian: 44 percent unknown/other: 16 percenl

Faculty: Full-time: 88 Part-time; 200

Staff Full-time employees: 135 Student workers: 300

Living Alumni:

1929

(Number rounded to the nearest 100) 1

Degrees Granted: 8.A., B.F.A., M.A., M.F.A.,

Ph.D.

0,500

2005-2007 Tuition and Fees: Undergraduate: $37,096 (,l2-1S units f or two semesters) * $26,5S0 (8-14 units for two semesters) **

Undergraduate Student Body:

Graduate:

865

$47,844 (15-18 units for two semesters)

Male: 60 percent Female: 40 percent

Current Endowment:

Ethnicity: AsianlPacif ic lslander: 2 percent BlackiAfrican American: 5 percent Hispanic: 9 percent 'l

Native American/American Indian: 2 percent Non-Resident Alien: 4 perceni Whitelcaucasian: 63 percent

Goal: Paid in: Pledged: To Co:

$200,000,000 $47,277,291 $113,372,783 $39,349,927

Current Number of Endowed Chairs: 14

unknown/other: 4 percent

The totarsfor thefur!-time undergraduateor graduate tuition rates ref lect enrollment for one normal academic year (two semesters), plus mandatory fees. The total for the part-time graduate tuition rate reflects enrollment for one normal academic year (two semesfers) at an average of 10 units per semester, plus mandatory fees.

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3*29: The program begins as a collaboration between the Academy of Motion Picture ,Arts and Sciences and the

2*&*: Ray and Fran Stark fund the creation of the Peter Stark Producing Program.

California. 39*3: USC expands the cinema the f irst cinematic studies department into an independent program established at a U"5. acadernic unit officially designated as the School of college or university. Early

2**7:" The school initiates its second Ph.D. track, the interdivisional Media Arts & Practice program (iMAP).

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lecturers include: lrving

Thalberg, Cinema-Teievision.

Clara Beranger, Irnst Lubitsch, Douglas Fairbanks, Sr., William DeMille and

Mary Pickford.

i*92: The school establishes its f irst endowed chair with the creation o{ the Steven J. RosslTime Warner

3*33; USC creates the nation's first bachelor's degree program

Dean's Chair.

in cinematic studies.

19*5: The school creates the Division of Animation Digital Arts.

7*35: The ci nematography c-urriculum is expanded to include one year of graduate study leading to a master's degree in cinema.

1*4V: "tilms for Television"

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X955: The face af Lincaln, co-produced by USC and Cavalcade Pictures, wins the Academy Award

for best two-

reel short subject and is nominated for best documentary.

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The school announces

the creation of a recordbreaking 14:h endowed faculty chair.

2***: The f irst elements of the new School of Cinematic Arts complex open.

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the 35,000-square-foot Robert Zemeckis Center for Digital Arts. The facility features over 5,000-square-feet of sound stages, all-digital classrooms and editing suites, .and a screening room capable

of handling digital or filmformat materials.

2**2:

The school creates the

lnteractive Media Division.

7**E: The USC School o{ 19%*: USC gffers the nation's Cinematic Arts is off icially first Ph.D. in critical studies. inaugurated with gala groundbreaking ceremonies for a new educational complex. i9?*: USC students win the Academy Award for best live-action short subject f or The Resurrection of Eroncho Billy.

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CURRENT AS OF 03.23.2009. THIS SAMPLING LIST ALSO INCLUDES NON.MAJORS.

Producers Chris Black {Desperate Housewives, Ugty Betty} Todd Black {The Pursuit of flappyness, Knowing)

Robert Breech {The Practice, LA Law) Bryan Burk (Lost, fringe) Keith Calder {The Wackness, All the Soys love Mandy Lane) Sean Covel and Chris Wyatt fAlapoleon Dynamite) Josh Donen {Ihe Qujck and the Dead, Spider Man 3} Susan Downey (Iie Brave Ane, Sherlock Halmes) Dan Dubiecki Quno, Jennifer's Bady) Bob Ducsay (The Mummy, Van Helsing) Lori Forte (/ce Age senesJ David Foster fMcCabe & Mrs. Miller) Gary Foster fS/eepless in Seattle, Ihe SoloisfJ David Gof{in (American ldol, Rocksfar: IAIXS) Gordon Gray (Miracle Ihe ftookiej Brian Grazer {24, A Eeautiful Mind) Andrew Gunn fFreaky Friday, Race to Witch Mauntain)

Development) Nancy Juvonen (Donnie Darko, He's Just NotThat lnta Yau) David Kirschner {An American Tail) Matt Kunilz (Ihe fieal Warld, Fear {actar) Alan Ladd, )r. (Braveheart) Jon Landau {Titanic, Solaris) Damon Lee (lJndercover Brother) Steven Maeda flsst, lfe fo MeJ Michelle Manning (Ihe &reakfast Club, The Eye) , Felipe Marino {Iie l/l/acknest All the Eoys Love Mandy Lane) Ori Marmur (Evan Almighty, lnto the Btue) Kerry McClug gage {Miami Vice, Homeland Security) Kevin McCollum fRent" Ayenue Ql Neal Moritz (Prison \reak, The Fast and the Furious) Don Murphy (Transformers, Natural Eorn Killers) ioe Neurauter flhe Wacknest All the Eoys Lave Mandy Lane) Erin O'Malley {Curb Your Enthusiasm, Oa ,Ali G Show) Chip Rosenbloorn fFuel Shiloh) Chuck Roven flhe Dark Knight, Get Smart) Gabe Sachs (f reaks and Geeks, Eeverly Hilts 90210) lan Sander flhe Ghosf Whisperer) Ed Saxon (Adaptation,Silence af the Lambs) Torn Shelly tsurvivor) Stacey Sher {Frin Erockovich, Garden Sfate) Ron Howard (frostfNixon, Arrested

Jason Shurnan (Eangkak Dangerous, The Messengers) Tom Spezialy fDesperate Housewives, Reaper) Scott Stone (1 ,000 Places fo See Sefore You Die, The Mole) Jennifer Todd and Suzanne Todd fMernento, Must !-ove Dags) David L. Wolper (Roots, Willy Wonka and the Chacolate factory) Mark Wolper (Mists a{ Avalon, Penn & Teller's Bullshit) Laura Ziskin {Spider-Man)

Directors / Writer-Directors / Producer-Directors Liz Allen (Aquamarine) Judd Apatow (The 40 Year-Old Virgin, Knacked Up) Gregg Araki {The Doom Generation, Mysterious Skin) Doug Atchison (Akeelah and the BeeJ Walt Becker {Wild Hogs, Van Wilder) Christopher Bell {Bigger, Sfronge4 Fasfer) Sanford Bookstaver (Crash: W Show) Steven Cantor (Fanily Bonds) John Carpenter (Hallaween) Jon Chu {ltep Up 2; Ihe StreefsJ Sebastian Cordero {Cronicas) Ericson Core (lnvincible) 5cot1 Derrickson flhe Day The Earth Stood Still) Breck Eisner (Sahara) Rick Famuyiwa (Talk to Me, The Wood)

Bahman larmanara (Smell of Camphor, Fragrance

Jasmine)

Paul Feig {Freaks and Geeks, The Affice) James toley (Glengarry G/en ftoss, At Close Range)

Gary Fieder (The Express, Kiss the Girls) Frank Flowers (Haven) David Goyer {The Unborn, The Dark Knight) james Gray (We Own The Night, Two Lovers) Luke Greenfield flhe Girl Next Daar; Aliens in America) ..l. Mackeye Gruber {Kyle X\ Butterfly Effect) Larry Guternran (Son of the Mask, Cats and Dogs) Taylor Hack{ord {Ray, An Qfficer and A Gentleman) Ron Howard {A Eeautifu! Mind,

Apollo

13)

James lvory {Howard's End, The Remarns of the Day} Phil Joanou (Gridiron Gang, U2: Rattle and Hum) Rian johnson (Brick, The Brothers Sloom)

Richard Kelly (Donnie Darko, Southland Tales) Karey Kirkpatrick (Chicken Run) continued...

FILM

UNIVERSITY

TELEVISION OF

SOUTHERN

INTERACTIVE CALIFORNIA

USC.,

'.4i, .z .-4.';!

-, r, {l rq'flff5

Randal Kleiser (Grease, The Blue Lagoan) Ken Kwapis (The Affice, He's Just Nat That lnto You) Michael Lehmann (Heathers, 40 Days and 40 Nights) Shawn Levy (Cheaper by the Dozen, Night at the Museum,l Doug Liman {Swingers, Mr. and Mrs. Smitb) George Lucas (Sfar Wars, American Graffiti)

Robert Guza, Jr. (General Hospital) Grant Heslov (Good Night and Good Luck, Leatherheads) Willard lluyck (American Graf{iti, Howard the Duck)

Joe Nussbaum (Sydney White, George Lucas in Love) Jon Poll (Charlie Bartlett) Jason Reitman (Juno, Thank You for Smoking) Matt Reeves (Cloverfield, felicity)

Abby Kohn (He's Just Not That lnto Yau, Miss Match) Scott Kosar (The Machinist, The Texas Chainsaw Massacre) Paul Laverly (The Wind that Shakes the Earley, Bread and Rases) Brent Maddock (Wild Wild West, Tremors) Andrew Marlowe (Air Force ane, Hollow Man) John Milius (Apocalypse Now, C{ear and Present Danger} Kam Miller {Law & Arder: SVIJ)

jay Roach {Meet the Parents, Austin Powers, Ari Sandei {West Bank Story) Marco Schnabel {Ihe Love Guru)

Recount)

Peter Segal (Get Smart, The Longest Yard) Bryan Singer (Superman Returns, The Usual Suspectt

X-Men)

John Singleton (9ayz n the Hoad, Four Brothers) Stephen Sommers {The Mummy, G.l. Joe) Barbara Stepansky fHurtJ Tim Story {Barbershap, fantastic Four) Andy Tennanl (Srareef Flame Alabama, Hitch) Rawson MarshallThurber (Dodgeball) Jon Turteltaub (National Treasure, )ericho)

Ron Underwood {Mighty Joe Young, City Slickers) Lee Unkrich (finding Nema, Monsters, lnc.) Jeff Wadlow (Cry Wolf, Never Sack Down)

Robert Zemeckis (Farrest Gump, Cast Craig Zisk {Weeds, Nip/Tuck) Randy Zisk

Writers /

Away)

(Monk)

Writer-Producers

Scott Alexander & Larry Karaszewski (Ed Waod) Davah Avena (Medium) John August (The Nines, Charlie and the Chocolate

Factory) Starlet)

Elisa Bell (Little Black 8oo& Confessions af a Hollywood

Hans Beimler (Star Trek: Deep Space

Ann Biderman (Public

Nine)

Fnemies)

Paul Harris Boardman (The Exorcism of

tmily

Rose)

Evan KaTz (24)

Tim Kring (Heraes} Eric Kripke (Supernatural)

Norman Morrill {Thief) Jeffrey Nachmanoff (The Day After Tomorrow, Traitor) Gustin Nash (Charlle Bartlett) Cyrus Nowrasteh (Ihe Path to 911 1, lnto the Wbst) Jack Orman $R, JAQ) Brian Peterson & Kelly Souders (Smallville) Shawn Piller flhe Dead Zone, Greek) Ben Queen {Drive) Shonda Rhimes (Grey's Anatamy, Private Practice) Robert Rodat (Saving Private Ryan, The Patriot) Melissa Rosenberg (Twilight, Dexter) Michael Ross (IurisfasJ lames Sadwilh (Life is Wild) Josh Schwartz (The O.C, Chuck) Marc Silverstein (He3 Just Nat That lnto You, Never Eeen Kissed) Juliet Snowd en {K nowi ng) Larry Stuckey (Meet the fockers) Stephen Susco flhe Grudge, Red) Josh Stolberg {Good Luck Cltuck, Kids in America) Jamie Vanderbilt (8asic, Zodiac) Matt Venne {White Noise 2: The Light) Matthew Weiner (The Sopranos, Mad Men) David Weiss (Shrek 2, Jimmy Neutron: Boy Genius) John Wells (â&#x201A;ŹR, The West Wing) Steve Wilson (Tremors, Short Circuit)

Robert Borden {The George Lopez Show) Stephen Chbosky (Jericho, Rent) Cinematographers David Eilenberg (Da Ali G Shaw, Weakest Link) Chris Baffa (NiplTuck, Running With Scissors) Kirk Ellis $nto the West, Jahn Adams) (What John Bailey (As Good As lf Gets, The Kid Sfays in the Picture) Dana Fox Happens in Vegas) Robert Brinkmann (The Rules of Attraction) Russel Friend & Garrett Lerner (House) Peter Collister {Alvin and the Chipmunks, Poetic Justice) Robert Gale (8ack to the Future) Josh Goldsmith and Cathy Yuspa ('Til Death, The King of Queens) Jeff Cronenweth (fight Club, One Hour Photo) Caleb Deschanel (Ihe Natural, The Spiderwick Chronicles} Al Gough & Miles \Aillar {smallville) Robert Elswit (Ihere Will 8e Blood, Eoogie Nights) Javier Grillo-Marxuach (Lost, The Middleman)

continued...

uscb 1: l t t t

3 z ..: t

t ?z

* *='3 7.t {: atts

FILM.TEI,EVISION.INTERACTIVE

William lraker (Close Encounters af the Third

Kind)

Conrad L. Hall (deceased) (American Beauty, Road to

Visual Effects

Perdition)

Nathan Hope {CSl The Fog) Woody Omens (Coming ta America, Boamerang) John Schwartzman {The Eucket List, Meet the Fockers) Robert Yeoman (The Royal Tenenbaums, Yes Man)

Editors Tim Atzinger {SurvivaL The Simple Life) Jon Axeirad {We Own the Night) Jeff 3etancourt (Ihe Unborn, The Grudge) Anita Brandl-Burgoyne (Legally Blonde)

Documentary Filmmakers

Robert Dalva (October Sky, ftidalgo) Jeffrey Ford fOne Hour Phota, Shattered Glass) Kevin Greuterl (Saw series, The Strangers) Richard A. Harris {Titanic, True Lies) Lee Haxall {Arrested Development, The Love Guru) Sheldon Kahn (ffote/ for Dogs, Be Coal) Steve Kemper (facelaff, Mission lmpossible ll) Marcia Lucas {Star Wars) Armen Minasian $, Robot, Vacancy) Walter Murch (Apocalypse Now, The {.nglish Patient}

lohn Ottman (The UsualSuspecft

Production

Les Blank (Garlic /s as 6ood as Ten Mothers, All

Tea)

Chuck Braverman {Curtain Call) Ted Braun (Aarfur Now) Bill Couturie (Dear America; lefters Home from Vietnam) R.J. Cutler {American High) Jon Dunham (spirit of the Marathon) Kurt Kuenne (Dear Zachary) Lisa Leeman (Metamorphasis) Alec l-orimore (IMAX: Everest) Ellen Perry (The Fall of Fujimori)

Agents

Me)

Frank Balkin (Paradigm) Glen Bickel (Creative Artists Agency) J.P. Evans (Creative Artists Agency) Charlie Ferraro (United Talent Agency)

Designers

Robert Boyle flroop Beverly Hills, The Birds) Henry Bumstead (deceased) (Million Dollar Baby, Mystic Greg Fonseca (Gladiatar)

River)

Sound Editors and Re-Recording Mixers Richard L. Anderson {Raiders of the Lost Ark) Ben Burtt (Star Wars Episodes l-lll, WalLE) Thierry Couturier (The X-files, The Mentalist) Stephen Hunter Flick {Apallo 13, Leatherheads) Doug Hemphill fRocknRo/la, Tropic Thunder) Tom Johnson (Titanic, Million Dallar Eaby) F.

in This

Jeff Blitz (spellbound)

Valkyrie)

David lan Salter (Ioy Story 2, Finding Nemo) Eric Sears {Must Love Dogs, The Eeast) ferilyn 5hropshire flhe Secref Life of Bees, Talk to William Stich (Ihe Sopranas)

John Cox (Nim's lsland. X-Men) Richard Edlund (A|ien, Star Wars) Ray Harryhausen f/ason and the Argonauts, Ctash of the Titans) John Knoll {Pirates of the Caribbean, Star Wars) Kevin LaNeave (Sin City, Speed Racer) Gray Marshall (9eing John Malkovich, Fight Club) Michael McAlister $ndiana Jones and the Temple of Doom) Lewis Siegel (The Matrix, Mission to Mars} Lindy Wilson (Deep tmpact, Magnalia)

Todd Hoffman (lnternational Creative Management) Ramses lshak {William Morris Agency) Aaron Kaplan (William Morris Agency) David Kramer (United Talent Agency) Erian Lourd (Creative Artists Agency) Gregory McKnight (Creative Artists Agency) Dan Rabinow (lnternational Creative Management) Phil Raskind {Endeavor) Erin Searcy (The Gersh Agency) Ilizabeth Swofford (Creative Artists Agency) Jim Wiatt (President and Co-CEO of William Morris Agency)

Hudson Miller (Gone in 6A Seconds, Confessions of a Shopaholic)

Nemo) Semi-Pro) Sharon Tylk-Gersh (ER, Bostan Legal) tliot Tyson (Glary, The Shawshank Redemption) Gary Rydstrom (saving Private Ryan, Finding

Scholars/Authors

Mark Stoeckinger (Ihe

Richard Cante (University o{ North Carolina, Chapel Hill) Heidi Cooley (University of South Carolina) Stephanie DeBoer (lndiana University) Allison De Fren (Conneclicut College)

Last

Samurai,

Mary Desjardins (Daltmouth College) continued...

USCsq :l4zezi. . 1?2q-EZt,l*eafts flLM.TELEVlSlOtl.INTERACTIVE David Desser (University of lllinois, Urbana) Anna lverett (UC Santa Barbara) Sean Griffin (Southern Methodist University) Daniel Herbert (University of Michigan) Mary Kearney (University of Texas, Austin)

Amy Lawrence (Dartmouth College) Hilary Nerone iUniversity of Vermont) Ab6 Markus Nornes (Harvard) Aboubakar Sanogo (Ca rleton U n iversity, Canada)

Festivals Drea Clark (Slamdance)

Anne Lai (Sundance) Dan Mirvish (Slamdance)

Critics Scott Foundas Peler Rainier Holly Willis

Bhaskar Sarkar (UC Santa Barbara)

John Schulteiss (CSU Northridge) Ellen Strain (Georgia Tech) Gaylyn Studlar (University of Michigan)

Actors/Performers

Christina Venegas (UC Santa Barbara) Mark Williams (Dartmouth College) Richard Ward (A History of Hal Roach Studios)

Paula Patton Forest Whitaker

Macy Gray

WillFerrell

lnteractive Media Kevin Bachus (Creator of X-Box) Jenova Chen (Medal of Honor: Eurapean Assault; Co-Founder, ThatGameCompany) Corey May (Prince of Persia, Assassin's Creed) Kel lee 5a

ntiago (Karaoke

Revo I uti

Dooma Wendschuh \Prince

Executives

(Fi

rty;

Co-t ounder, ThatGameCompany)

Persia, Assassin3 Creed)

lmflelevision/lnteractive)

Glenn Adilman {Vice President of Comedy Development, Sony Pictures Television) Adrienne Biddle (Senior Vice President. Rogue Pictures) Angela Bromstad (President, NB(TUniversal Primetime Entertainment) Michael Bostick (Co-CE0, Walden Media) Polly Cohen (Former President, Warner lndependent Pictures) 5amuel Dickerman (Sony Pictures Entertainment) Kevin Feige (President, Marvel Studios) Jonathan Glickman (President, Spyglass Enterlainment Group) Liz Glotzer (President, Castle Rock Productions) Robert G reenblatt (President, Showtime) Evan Hayes (Vice President of Development, Working Title Films) Peter Kang (Vice President of Production, Twentieth Century Fox) Laird Malamed (Activision) Bill Mechanic (President, Pandemonium) Sharon Morrill (Former President, DisneyToon Studios) Bob Osher (President, Sony Digital Entertainment) 5antiago Pozo (Chief Executive Officer, Arenas Group) Jason Reed (Executive Vice President. Walt Disney Motibn Pictures Group) Bruce Rosenblum (Executive Vice President, Warner Bros. Television Group) lra Rubenstein (Executive Vice President, Marvel Entertainment Global Digital Media Group) Scott Sassa (Kleiner Perkins) Eric Schrier (senior Vice President, FX Productions) Scott Strauss (Senior Vice President, Screen Gems) Toper Taylor (President and COO, The Cookie Jar Company) James Whitaker (Former President of Production, lmagine Entertainment)

John Zollinger

Assistant Dean of Communications Office of Communications & Public Relations School of Cinematic Arts

University of Southern California 900 West 34th Street Room 376 Los Angeles, California 90089-2211 Tel: 213 740 9514 Fax: 213 740 7682 Cell: 213 219 3821 e-mail: jzollinger@cinema.usc.edu cinema.usc.edu