![Image](https://m.media-amazon.com/images/M/MV5BZGZlZDdhMzgtMDQ4ZS00YWFmLTk5MGQtMDZlMTg5NTRiMDRkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Brian Tyler, composer of the “Fast and Furious” franchise, “The Avengers: Age of Ultron” and “Crazy Rich Asians,” was named a BMI Icon at Wednesday night’s 38th annual Broadcast Music Inc. Film, TV and Visual Media Awards in Beverly Hills.
Tyler is among the top 10 highest-grossing film composers of all time. His other films have included “Iron Man 3,” “Thor: The Dark World,” “Rambo,” “Charlie’s Angels” and the recent reboot of “Scream.” His TV credits include “Yellowstone,” “1883,” “Hawaii Five-0,” “Sleepy Hollow” and “Transformers: Prime.” He also wrote the Formula One racing theme and, as his alter ego Madsonik, has written and produced several songs with a contemporary edge.
“It’s just mind-blowing to now be included in that pantheon of talent,” Tyler told Variety, referring to the many previous recipients of the performing-rights organization’s highest accolade, including John Williams, Alan Silvestri, James Newton Howard, Alexandre Desplat and Terence Blanchard.
Tyler is among the top 10 highest-grossing film composers of all time. His other films have included “Iron Man 3,” “Thor: The Dark World,” “Rambo,” “Charlie’s Angels” and the recent reboot of “Scream.” His TV credits include “Yellowstone,” “1883,” “Hawaii Five-0,” “Sleepy Hollow” and “Transformers: Prime.” He also wrote the Formula One racing theme and, as his alter ego Madsonik, has written and produced several songs with a contemporary edge.
“It’s just mind-blowing to now be included in that pantheon of talent,” Tyler told Variety, referring to the many previous recipients of the performing-rights organization’s highest accolade, including John Williams, Alan Silvestri, James Newton Howard, Alexandre Desplat and Terence Blanchard.
- 5/12/2022
- by Jon Burlingame
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BYTc3YWUxYWMtYjk0NS00NjRhLTg4MWEtOTViYTE4YjQ0NjU4XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR17,0,500,281_.jpg)
Composer Brian Tyler is set to receive BMI’s top honor, the Icon Award, as the BMI Film, TV and Visual Media Awards resume the tradition of in-person ceremonies with a dinner in May in Beverly Hills.
Also being bestowed as part of the 38th annual awards will be a BMI Impact Award given out to six female composers and lyricists — Amy Andersson, Isolde Fair, Lolita Ritmanis, Miriam Cutler, Penka Kouneva and Starr Parodi — who collectively scored “Women Warriors: The Voices of Change,” a project about women activists.
The honorary awards are in addition to dozens of competitive medallions, whose winners will be announced on the night of May 11.
The resumption of BMI’s screen awards will take place in Beverly Hills one night after the BMI Pop Awards,. Earlier this week, the performing rights organization announced that Mike Stoller and Carole Bayer Sager will be receiving Icon Awards on...
Also being bestowed as part of the 38th annual awards will be a BMI Impact Award given out to six female composers and lyricists — Amy Andersson, Isolde Fair, Lolita Ritmanis, Miriam Cutler, Penka Kouneva and Starr Parodi — who collectively scored “Women Warriors: The Voices of Change,” a project about women activists.
The honorary awards are in addition to dozens of competitive medallions, whose winners will be announced on the night of May 11.
The resumption of BMI’s screen awards will take place in Beverly Hills one night after the BMI Pop Awards,. Earlier this week, the performing rights organization announced that Mike Stoller and Carole Bayer Sager will be receiving Icon Awards on...
- 4/14/2022
- by Chris Willman
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BYTYyMmRjZDQtZGZlNy00MWIwLTliMDktMTU3YmM0YWZjOTVmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Surprises dotted the visual media categories at Tuesday morning’s Grammy Awards nomination announcements, with television dominating the original-score category but new movies ruling the compilation-soundtrack list.
As expected, H.E.R. was nominated for best song written for visual media for “Fight for You” from “Judas and the Black Messiah,” which won the Oscar earlier this year. Her fellow Oscar nominee, Leslie Odom Jr.’s “Speak Now” from “One Night in Miami,” was also nominated.
H.E.R. and her fellow “Fight for You” songwriters Dernst Emile II (aka D’Mile) and Tiara Thomas also notched a song of the year nomination, and H.E.R. earned a nod in the traditional R&b performance category for that song.
Three of the six song nominees were from television projects: the Emmy-winning “Agatha All Along” from “WandaVision,” “All Eyes on Me” from “Inside Bo Burnham” and “All I Know So Far” from the Pink documentary by that title.
As expected, H.E.R. was nominated for best song written for visual media for “Fight for You” from “Judas and the Black Messiah,” which won the Oscar earlier this year. Her fellow Oscar nominee, Leslie Odom Jr.’s “Speak Now” from “One Night in Miami,” was also nominated.
H.E.R. and her fellow “Fight for You” songwriters Dernst Emile II (aka D’Mile) and Tiara Thomas also notched a song of the year nomination, and H.E.R. earned a nod in the traditional R&b performance category for that song.
Three of the six song nominees were from television projects: the Emmy-winning “Agatha All Along” from “WandaVision,” “All Eyes on Me” from “Inside Bo Burnham” and “All I Know So Far” from the Pink documentary by that title.
- 11/23/2021
- by Jon Burlingame
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BNjU5MWY0NjctMmZmMi00Y2MwLWJmNjItYmVjODg2ZTcyZmI5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Songs or scores from “Soul,” “Minari,” “Tenet,” “News of the World,” “”Euphoria” and “The Queen’s Gambit” were among the winners Wednesday night at the 11th annual (and first virtual) Hollywood Music in Media Awards.
Breaking down categories by genre affords the HMMAs the opportunity to cast a wide net in its awards. Film-related trophies went to James Newton Howard for “News of the World,” for outstanding score in a feature film; Emile Mosseri for “Minari” in the independent film category; Trent Reznor, Atticus Ross and Jon Batiste for “Soul” as the outstanding animated film score; Ludwig Göransson’s work on “Tenet” for sci-fi/fantasy score; Benjamin Wallfisch’s “The Invisible Man” score in the horror division; and Steven Price for documentary score for Netflix’s “David Attenborough: A Life on Our Planet.”
(Although it’s not yet certain how the Oscars will handle the different musical contributions of Batiste and Reznor/Ross for “Soul,...
Breaking down categories by genre affords the HMMAs the opportunity to cast a wide net in its awards. Film-related trophies went to James Newton Howard for “News of the World,” for outstanding score in a feature film; Emile Mosseri for “Minari” in the independent film category; Trent Reznor, Atticus Ross and Jon Batiste for “Soul” as the outstanding animated film score; Ludwig Göransson’s work on “Tenet” for sci-fi/fantasy score; Benjamin Wallfisch’s “The Invisible Man” score in the horror division; and Steven Price for documentary score for Netflix’s “David Attenborough: A Life on Our Planet.”
(Although it’s not yet certain how the Oscars will handle the different musical contributions of Batiste and Reznor/Ross for “Soul,...
- 1/28/2021
- by Chris Willman
- Variety Film + TV
![Joaquin Phoenix in Joker (2019)](https://m.media-amazon.com/images/M/MV5BNGVjNWI4ZGUtNzE0MS00YTJmLWE0ZDctN2ZiYTk2YmI3NTYyXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_QL75_UX140_CR0,0,140,207_.jpg)
![Joaquin Phoenix in Joker (2019)](https://m.media-amazon.com/images/M/MV5BNGVjNWI4ZGUtNzE0MS00YTJmLWE0ZDctN2ZiYTk2YmI3NTYyXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_QL75_UX140_CR0,0,140,207_.jpg)
Much has been written about “Joker” composer Hildur Guðnadóttir, the Icelandic cellist who may well walk off with the Oscar Sunday night, making her only the third woman to win an Academy Award for best original score.
But she’s not the only woman who has composed scores for Oscar-nominated films. In fact, five others are in contention in the documentary feature, documentary short subject and animated short categories.
Three of the five nominated films in the doc shorts category were scored by women (and one of the other two has no score): Sasha Gordon for “Learning to Skateboard in a Warzone (If You’re a Girl),” Amanda Jones for “St. Louis Superman” and Laura Karpman for “Walk Run Cha-Cha.”
Music for the documentary feature “For Sama” was composed by London-based Nainita Desai, and Japanese composer Karen Tanaka scored the nominated animated short film “Sister.”
The number is...
But she’s not the only woman who has composed scores for Oscar-nominated films. In fact, five others are in contention in the documentary feature, documentary short subject and animated short categories.
Three of the five nominated films in the doc shorts category were scored by women (and one of the other two has no score): Sasha Gordon for “Learning to Skateboard in a Warzone (If You’re a Girl),” Amanda Jones for “St. Louis Superman” and Laura Karpman for “Walk Run Cha-Cha.”
Music for the documentary feature “For Sama” was composed by London-based Nainita Desai, and Japanese composer Karen Tanaka scored the nominated animated short film “Sister.”
The number is...
- 2/7/2020
- by Jon Burlingame
- Variety Film + TV
Quick. Name a female film composer. Right… a woman.
Who? Fanny… Mendelssohn? No sorry, she was Felix’ sister and pre-dated the cinema industry by about two generations.
The fact is, you may not know any by name. Because while women in the entertainment industry have made historic gains in representation both on and off camera, the percentage of film composers who are women has remained dismal. According to a study published Wednesday by USC Annenberg’s Inclusion Initiative, female composers worked on just 1.4% of the 100 top-grossing films for each of the last 12 years. And the last woman to win an Oscar for a movie score was Anne Dudley for 1997’s “The Full Monty” — more than two decades ago.
It’s a sad statistic for any industry, let alone one that prides itself on diversity.
Also Read: Women Nabbed More Lead Roles in Top 2018 Films - But Still Less Than a...
Who? Fanny… Mendelssohn? No sorry, she was Felix’ sister and pre-dated the cinema industry by about two generations.
The fact is, you may not know any by name. Because while women in the entertainment industry have made historic gains in representation both on and off camera, the percentage of film composers who are women has remained dismal. According to a study published Wednesday by USC Annenberg’s Inclusion Initiative, female composers worked on just 1.4% of the 100 top-grossing films for each of the last 12 years. And the last woman to win an Oscar for a movie score was Anne Dudley for 1997’s “The Full Monty” — more than two decades ago.
It’s a sad statistic for any industry, let alone one that prides itself on diversity.
Also Read: Women Nabbed More Lead Roles in Top 2018 Films - But Still Less Than a...
- 9/4/2019
- by Richard Stellar
- The Wrap
![Brie Larson in Captain Marvel (2019)](https://m.media-amazon.com/images/M/MV5BMTE0YWFmOTMtYTU2ZS00ZTIxLWE3OTEtYTNiYzBkZjViZThiXkEyXkFqcGdeQXVyODMzMzQ4OTI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
![Brie Larson in Captain Marvel (2019)](https://m.media-amazon.com/images/M/MV5BMTE0YWFmOTMtYTU2ZS00ZTIxLWE3OTEtYTNiYzBkZjViZThiXkEyXkFqcGdeQXVyODMzMzQ4OTI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
Over a single opening weekend, composer Pinar Toprak smashed all previous box-office records for women composers in film. She scored “Captain Marvel,” which made $153 million domestically.
Until now, the top-grossing films by women composers were Rachel Portman’s “The Vow,” which made $125 million domestic in 2012, and Deborah Lurie’s “Dear John,” $80 million back in 2010 — and those sums were for the theatrical lifetime of the films, not just a weekend.
The lack of work for female composers has been a frequent topic of conversation in film-music circles since the 2014 formation of the Alliance for Women Film Composers, which now boasts more than 400 members.
According to the latest “Celluloid Ceiling” statistics from the Center for the Study of Women in Television and Film, just 6 percent of the 250 top-grossing films of 2018 had scores by women — but that number was double the 3 percent found in the list of 2017 films.
Last year’s 15-film Oscar...
Until now, the top-grossing films by women composers were Rachel Portman’s “The Vow,” which made $125 million domestic in 2012, and Deborah Lurie’s “Dear John,” $80 million back in 2010 — and those sums were for the theatrical lifetime of the films, not just a weekend.
The lack of work for female composers has been a frequent topic of conversation in film-music circles since the 2014 formation of the Alliance for Women Film Composers, which now boasts more than 400 members.
According to the latest “Celluloid Ceiling” statistics from the Center for the Study of Women in Television and Film, just 6 percent of the 250 top-grossing films of 2018 had scores by women — but that number was double the 3 percent found in the list of 2017 films.
Last year’s 15-film Oscar...
- 3/11/2019
- by Jon Burlingame
- Variety Film + TV
![Starr Parodi](https://m.media-amazon.com/images/M/MV5BMTQ3MDVhMTYtYWZkMC00YzUwLWE4NDAtYTRhMjdiYzM5NjY4XkEyXkFqcGdeQXVyMTY4MDMzMzM@._V1_QL75_UX500_CR0,46,500,281_.jpg)
Starr Parodi was elected new president of the Alliance for Women Film Composers on Sunday, succeeding Lolita Ritmanis.
Parodi — who first came to prominence as a member of the “Arsenio Hall Show” house band — has extensive television credits including “The Division,” “The Starter Wife,” “G.I. Joe: Renegades” and “Transformers: Rescue Bots,” along with film credits including “Conversations With Other Women” and music for hundreds of movie trailers.
Her version of the James Bond Theme, created for the “GoldenEye” trailer with composing partner Jeff Eden Fair, was widely acclaimed and earned gold-record status in 2004 as part of the “Best of Bond” CD collection.
Parodi was the first woman to compose orchestral music for the 85-year-old Pageant of the Masters in Laguna Beach, where she continues to be a featured composer. Her recent neoclassical album “The Heart of Frida,” celebrating the spirit of Mexican artist Frida Kahlo, won Solo Piano Album of...
Parodi — who first came to prominence as a member of the “Arsenio Hall Show” house band — has extensive television credits including “The Division,” “The Starter Wife,” “G.I. Joe: Renegades” and “Transformers: Rescue Bots,” along with film credits including “Conversations With Other Women” and music for hundreds of movie trailers.
Her version of the James Bond Theme, created for the “GoldenEye” trailer with composing partner Jeff Eden Fair, was widely acclaimed and earned gold-record status in 2004 as part of the “Best of Bond” CD collection.
Parodi was the first woman to compose orchestral music for the 85-year-old Pageant of the Masters in Laguna Beach, where she continues to be a featured composer. Her recent neoclassical album “The Heart of Frida,” celebrating the spirit of Mexican artist Frida Kahlo, won Solo Piano Album of...
- 3/3/2019
- by Jon Burlingame
- Variety Film + TV
Music is an integral part of filmmaking, moving the story and touching the audience. Where would iconic movies such as Star Wars, Avatar, The Godfather, or Gone with the Wind be without its music? Would Downton Abbey, Dexter, or House of Cards be the same and have audiences glued to their TVs without music? Would gamers immerse into Final Fantasy or Legend of Zelda if they were silent? Movie music has moved us all to cheer, cry, and fall in love for more than 100 years. Yet the vast majority of composers hired to create this vital part of Hollywood’s cultural landscape have been men. Well, that musical glass ceiling is about to crack!
Grand Performances, the “Best Free Outdoor Summer Concert Series” in Los Angeles and the Alliance for Women Film Composers team up celebrate the music of women composers in film, television, video games and interactive media at...
Grand Performances, the “Best Free Outdoor Summer Concert Series” in Los Angeles and the Alliance for Women Film Composers team up celebrate the music of women composers in film, television, video games and interactive media at...
- 8/3/2016
- by Michelle McCue
- WeAreMovieGeeks.com
The Movie Pool goes Awol for the G.I. Joe: Renegades Season One Blu-ray!
The Set-up
This latest incarnation of the iconic G.I. Joe franchise follows a group of modern-day soldiers who go rogue after being framed as terrorists by an evil corporation called Cobra.
The Delivery
This Blu-ray set includes all 26 episodes of the outstanding animated series that premiered in November 2010 on The Hub TV network. Our initial review of the Renegades Season One, Volume One DVD set (which you can read here) pointed out a lot that we liked about this new take on G.I. Joe, and some things that we didn't like. Thankfully, having taken in a full season of the show, the pluses far outweigh the minuses.
Utilizing the original characters introduced in the classic A Real American Hero animated series of the 1980s, this new spin takes a handful of core characters (Duke, Scarlett,...
The Set-up
This latest incarnation of the iconic G.I. Joe franchise follows a group of modern-day soldiers who go rogue after being framed as terrorists by an evil corporation called Cobra.
The Delivery
This Blu-ray set includes all 26 episodes of the outstanding animated series that premiered in November 2010 on The Hub TV network. Our initial review of the Renegades Season One, Volume One DVD set (which you can read here) pointed out a lot that we liked about this new take on G.I. Joe, and some things that we didn't like. Thankfully, having taken in a full season of the show, the pluses far outweigh the minuses.
Utilizing the original characters introduced in the classic A Real American Hero animated series of the 1980s, this new spin takes a handful of core characters (Duke, Scarlett,...
- 9/25/2012
- by feeds@themoviepool.com (Victor Medina)
- Cinelinx
![Conversations with Other Women (2005)](https://m.media-amazon.com/images/M/MV5BNDNhYjhmYjktYzg4My00OWY2LTg4NTgtYmIwZGE0ZWVlODMzXkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg)
![Conversations with Other Women (2005)](https://m.media-amazon.com/images/M/MV5BNDNhYjhmYjktYzg4My00OWY2LTg4NTgtYmIwZGE0ZWVlODMzXkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg)
Screened at South by Southwest
As Conversations With Other Women begins, the screen is split in half. One side watches Aaron Eckhart, seemingly in Lothario mode, as he stalks a wedding party guest he intends to approach; the other watches his prey, Helena Bonham Carter.
Nice way to jump into the action, you think: The camera establishes our identification with Eckhart from within (the POV shots) and without; when the image goes full-screen, we'll know who the protagonist is in this pas de deux.
A few minutes later, though, you're still waiting -- and an overtly clever device starts to become a serious distraction from the tale it's trying to tell. Director Hans Canosa continues the split screen throughout the film, often keeping us from identifying with the drama as we otherwise would. Although the technique occasionally serves some interesting purpose, it is almost certain to be a stumbling block with audiences, limiting the commercial appeal of an already intimate film.
The two protagonists are never named, and the script (by Gabrielle Zevin, who worked with Canosa on the festival-circuit film Alma Mater) is coy about their histories. We quickly learn that this is no straightforward pickup: The two have met before, years ago, under similar circumstances. As they flirt, one side of the screen will sometimes flit back to that earlier meeting, where two younger actors play the pair. We see enough to know that they met more than once, maybe that they were lovers. Why is their conversation not acknowledging this?
One obvious reason is to make things more interesting for us. Viewers who don't find the conceit too contrived will be drawn into the reasonably witty banter, forgetting about the split-angle distraction until Canosa does something particularly distracting: settling the cameras into two nearly parallel views, say, or sending an extra to pass between us and the actors, jostling our sense of the angles involved. He does this fairly often.
At other times the filmmakers do more profitable things with the dual frames. They show us what a character is thinking, in romantic flashback or quick slices of foreshadowing; late in the game, as the pair begin to make decisions with consequences, they use the extra screen to show alternate line readings, roads considered and not taken. Those glimpses become freighted with melancholy as the tale becomes a reflection on the passing of time and the vicissitudes of love. Both performances are strong, though the film continues to favor Eckhart, who may be harboring deep emotions beneath his glib charm.
Eckhart grows alternately peevish and desperate as things don't go his way. Bonham Carter, on the other hand, seems to allow herself to be led around, more preoccupied with a sudden sense of her age than with her old flame. The characters are not completely convincing as scripted, but the actors skate past this with enough charisma that we don't pause to ask questions. (Why is Bonham Carter at the wedding, for example? The explanation offered in the opening scenes becomes less satisfactory the more we learn.)
That the movie holds viewers' attention despite its contrivances is a testament to the script and acting. Whether audiences will respect the film the morning after the seduction is an open question.
CONVERSATIONS WITH OTHER WOMEN
Fabrication Films
Gordonstreet Pictures
Credits:
Director: Hans Canosa
Screenwriter: Gabrielle Zevin
Producers: Ram Bergman, Bill McCutchen, Kerry Barden
Executive producers: Kwesi Collisson, Mark R. Harris, Kjehl Rasmussen, Glen Reynolds
Director of photography: Steve Yedlin
Production designer: Jodie Lynn Tillen
Music: Chris Violette, Starr Parodi, Jeff Eden Fair
Co-producers: Wendy Reeds, Mark Tchelistcheff
Costumes: Douglas Hall
Editor: Hans Canosa
Cast:
Woman: Helena Bonham Carter
Man: Aaron Eckhart
Young Woman: Nora Zehetner
Young Man: Erik Eidem
Videographer: Thomas Lennon
Bridesmaid: Olivia Wilde
No MPAA rating
Running time -- 84 minutes...
As Conversations With Other Women begins, the screen is split in half. One side watches Aaron Eckhart, seemingly in Lothario mode, as he stalks a wedding party guest he intends to approach; the other watches his prey, Helena Bonham Carter.
Nice way to jump into the action, you think: The camera establishes our identification with Eckhart from within (the POV shots) and without; when the image goes full-screen, we'll know who the protagonist is in this pas de deux.
A few minutes later, though, you're still waiting -- and an overtly clever device starts to become a serious distraction from the tale it's trying to tell. Director Hans Canosa continues the split screen throughout the film, often keeping us from identifying with the drama as we otherwise would. Although the technique occasionally serves some interesting purpose, it is almost certain to be a stumbling block with audiences, limiting the commercial appeal of an already intimate film.
The two protagonists are never named, and the script (by Gabrielle Zevin, who worked with Canosa on the festival-circuit film Alma Mater) is coy about their histories. We quickly learn that this is no straightforward pickup: The two have met before, years ago, under similar circumstances. As they flirt, one side of the screen will sometimes flit back to that earlier meeting, where two younger actors play the pair. We see enough to know that they met more than once, maybe that they were lovers. Why is their conversation not acknowledging this?
One obvious reason is to make things more interesting for us. Viewers who don't find the conceit too contrived will be drawn into the reasonably witty banter, forgetting about the split-angle distraction until Canosa does something particularly distracting: settling the cameras into two nearly parallel views, say, or sending an extra to pass between us and the actors, jostling our sense of the angles involved. He does this fairly often.
At other times the filmmakers do more profitable things with the dual frames. They show us what a character is thinking, in romantic flashback or quick slices of foreshadowing; late in the game, as the pair begin to make decisions with consequences, they use the extra screen to show alternate line readings, roads considered and not taken. Those glimpses become freighted with melancholy as the tale becomes a reflection on the passing of time and the vicissitudes of love. Both performances are strong, though the film continues to favor Eckhart, who may be harboring deep emotions beneath his glib charm.
Eckhart grows alternately peevish and desperate as things don't go his way. Bonham Carter, on the other hand, seems to allow herself to be led around, more preoccupied with a sudden sense of her age than with her old flame. The characters are not completely convincing as scripted, but the actors skate past this with enough charisma that we don't pause to ask questions. (Why is Bonham Carter at the wedding, for example? The explanation offered in the opening scenes becomes less satisfactory the more we learn.)
That the movie holds viewers' attention despite its contrivances is a testament to the script and acting. Whether audiences will respect the film the morning after the seduction is an open question.
CONVERSATIONS WITH OTHER WOMEN
Fabrication Films
Gordonstreet Pictures
Credits:
Director: Hans Canosa
Screenwriter: Gabrielle Zevin
Producers: Ram Bergman, Bill McCutchen, Kerry Barden
Executive producers: Kwesi Collisson, Mark R. Harris, Kjehl Rasmussen, Glen Reynolds
Director of photography: Steve Yedlin
Production designer: Jodie Lynn Tillen
Music: Chris Violette, Starr Parodi, Jeff Eden Fair
Co-producers: Wendy Reeds, Mark Tchelistcheff
Costumes: Douglas Hall
Editor: Hans Canosa
Cast:
Woman: Helena Bonham Carter
Man: Aaron Eckhart
Young Woman: Nora Zehetner
Young Man: Erik Eidem
Videographer: Thomas Lennon
Bridesmaid: Olivia Wilde
No MPAA rating
Running time -- 84 minutes...
- 3/30/2006
- The Hollywood Reporter - Movie News
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