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TRANSCRIPT
SPRING 2009
U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A
Continued on page 19
Continued on page 10
ABOVE: Members of theClass of ’09 assemble forthe grand march into theShrine Auditorium.
LEFT: Pickford Awardwinner Shonda Rhimesand commencementkeynote speaker LauraZiskin.
worLD PremIere
PomP anD cIrcumstanceThe energy couldn’t have been
much higher at the Shrine
Auditorium on May 15, as the
School of Cinematic Arts, with the
help of industry greats Frank Price,
Shonda Rhimes ‘94 and Laura
Ziskin ‘73, lauded its most recent
graduating class and celebrated the
next generation of entertainment
artists and professionals.
“USC cinema alums have always taken
care of each other, been there to support
one another and have moved into the world
together,” Daley told the 394 undergrads,
grads and Ph.D. candidates, who, along
with hundreds of friends and family
members, packed the majestic landmark
auditorium.
“Many of you were able to come here
because of those who went before,”
Daley continued. “Now it’s your turn to
maintain that tradition, to write the great
books, make the great films, lead the
great companies and create the next
interactive experiences and always stay a
part of the SCA family. We, your faculty
and staff, eagerly anticipate your successes.”
Associate Dean for Academic AffairsMichael Renov introduced the first major
With 80 years of history-making experiencebehind it, the School of Cinematic Arts celebratedthe past and launched itself into the future withthe unveiling of its new campus at a March 29gala attended by university leaders, students,faculty, alumni, and supporters, includingfilmmakers George Lucas and Steven Spielberg,Dean Elizabeth M. Daley and USC PresidentSteven B. Sample.
“This new home for the SCA family is where future
generations of women and men will continue along the
paths of those who have come before them,” Daley told
the crowd after the opening fanfare from the Trojan
Marching Band echoed across the facility’s central
courtyard. “And like the ones before them, they will go on
to redefine the boundaries of the cinematic arts.”
“When the School of Cinematic Arts held its first class
in 1929, the technology for ‘talking’ films was in its
infancy,” said Sample. “Today, the tremendous increase in
information and media is redefining the very core of
communication. In this rapidly changing world, there is one
thing that remains constant: this school’s ability to train
great artists and leaders.”
QuickTakesAlumni News PAGE 16
80 YearsBook Offer PAGE 9
Celluloid CeilingViola Travels PAGE 7
CURian Johnson PAGE 3
From left, filmmaker Steven Spielberg, Dean Elizabeth M. Daley,USC President Steven B. Sample and filmmaker and alumnusGeorge Lucas ’66 at the unveiling of the new School ofCinematic Arts complex.
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sHows on tHe aIrIf you think delivering a term paper on timeis a challenge, try creating amini-documentarythat goes from concept, to creation, toglobal distribution in four months. Foreight student teams from the School ofCinematic Arts who competed in the CiscoDigital Cribs film contest this was theirtask. The fruits of this student challengewere shown on the big screen at USC’sNorris Theatre Complex during a red-carpetreception on Sunday, January 31, 2009.
The Digital Cribs contest began the first week of
October when 15 SCA student teams submitted
pitches and budgets to representatives from Cisco
(which specializes in networking and communications
solutions), Ogilvy (a world-leader in advertising) and
some of the renowned faculty advisors from the
school's production department.
Other than having to fall within a 30-second to
three-minute total-running-time, the only mandate
the films had was to explore how people use consumer
electronics and home networks to make up their
“digital crib.”
“I was attracted to the contest because I wanted to
put a lot of the skills I’ve been honing at USC to
use,” second-year M.F.A. production student Jeremy
Cohen said. “I’ve never really done a project like
this, so this competition gave me the chance to
learn on the go and apply lessons that I’ve learned
from other types of projects.”
In mid-October, after extensive consideration by the
representatives, eight SCA films got the green light
and accompanying production grants to move forward.
As soon as he found out his proposal was accepted,
second-year M.F.A. production student Michael
Koerbel headed to Grand Rapids, Michigan, to shoot
David and Amy Wenzel, a documentary about a
tech-savvy couple and the hardware in their home.
Using his Cisco production grant to hire a local
crew, Koerbel said that, “working outside of L.A.
was a wonderful learning experience—even though
it was freezing cold. We were filming in mid-November,
and it rained a very cold rain most of the time. That
being said, I’d do it again in a heartbeat.”
Jeremy Cohen teamed up with second-year
production student Ross Cohen (the two are not
related) and trekked to San Francisco to capture
footage for Tim Ferriss’s Digital Lifestyle, chronicling
how the renowned blogger and author of the
best-selling The Four Hour Work Week uses
technology in his daily activities.
“Tim was an ‘early adopter’ of new technology
and we knew he would tell a different story than
that of other tech bloggers. He told how one can
use technology to free up your leisure time rather
than eat into it,” Ross Cohen said.
Though production was over, the students’ work
wasn’t. On December 16, Cisco posted the eight films,
along with eight from a simultaneous competition
at NYU, on the Digital Cribs site. As part of the
learning experience, the filmmakers had to promote
their shorts by getting people to vote for them.
When the selection process concluded on January
23, a panel of judges gave David and Amy Wenzel
the Grand Prize. Tim Ferriss’s Digital Lifestyle emerged
as the People’s Choice Award with 23 percent of
the 25,000 total views. The winners received
$5,000 and $2,300 respectively.
All the entries were screened and the top films
announced at the Saturday night gala hosted by
alumnus Randal Kleiser, director of such films as
Grease, The Blue Lagoon, and Love Wrecked.
The School of Cinematic Arts has a long history of
collaborating with groups such as Coca-Cola,
Heineken and others to support student productions.
“What was unique about this contest was that it
was very similar to a real world pitch situation, and
the students had the opportunity to work with a real
client but in a safe student environment,” said Senior
Lecturer Brenda Goodman, who oversaw SCA’s
participation in the contest and served as a faculty
mentor, along with Associate Professor Norman Hollyn.
Beyond supporting higher education, Cisco Director
of Consumer Marketing Mike Kisch described how
the contest presented a unique experience for the
firm. “The partnership with USC was an opportunity
for us to work with one of the most premier film
schools and it gave us an opportunity to work with
their students and see them take the concept of Digital
Cribs and tell their own unique story,” Kisch said.
In addition to Cisco and SCA, the event was also
supported by the USC Entertainment Technology
Center. The Entertainment Technology Center
studies developments that are critical to the creative
community, production companies, content owners,
distributors, exhibitors and technology companies.
DIGITaL crIBs
Award-winningstudent directorJeremy Cohen;Senior LecturerBrenda Goodman;student producerRoss Cohen; andCisco Director ofConsumer MarketingMike Kisch.
Online:
cinema.usc.edu/DigitalCribs
24—Evan Katz ’86, Executive Producer;Brian Grazer, Executive Producer
Beverly Hills 90210—Gabe Sachs ’84, Executive Producer, Writer
Bones—Carla Kettner ’83, Co-Executive Producer, Writer
Castle—Andrew W. Marlowe ’92, Executive Producer, Writer
Chuck—Chris Fedak ’98, Executive Producer, Writer;Josh Schwartz, Executive Producer, Writer
The Closer—Adam Belanoff ’90, Co-Executive Producer
Deal or No Deal—Scott St. John ’89, Executive Producer
Desperate Housewives—Charles Skouras III, Producer
Dexter—Melissa Rosenberg ’90, Co-Executive Producer, Writer
Fringe—Brian Burk ’91, Executive Producer
Ghost Whisperer—Ian Sander, Executive Producer
Gossip Girl—Josh Schwartz, Executive Producer, Writer
Grey’s Anatomy—Shonda Rhimes ’94, Executive Producer, Writer
Heroes—Tim Kring, Executive Producer, Writer
House—Bryan Singer ’89, Executive Producer; Garrett Lerner ’95 &Russel Friend ’95, Executive Producers, Writers; Greg Yaitanes, Director
Law & Order: SVU—Kam Miller ’02, Writer
Lost—Bryan Burk ’91, Executive Producer
Mad Men—Matthew Weiner ’90, Executive Producer, Writer; AmyWells ’80, Set Decorator; Marcy Patterson ’02, Associate Producer
Medium—Ronald L. Schwary, Executive Producer, Director;Davah Avena ’03, Writer
My Boys—Paul Maibaum ’75, Cinematographer
The Office—Paul Feig ’84, Co-Executive Producer, Director;Ken Kwapis, Executive Producer, Director; Jason Reitman ’99, Director;Jeffrey Blitz ’97, Director
Private Practice—Shonda Rhimes ’94, Executive Producer, Writer
Smallville—Brian Peterson ’97 & Kelly Souders ’97,Executive Producers, Writers
Southland—John Wells ’82, Executive Producer;Ann Biderman ’75, Executive Producer, Writer
Supernatural—Eric Kripke ’96, Executive Producer, Writer
Til Death—Cathy Yuspa ’95 & Josh Goldsmith ’95,Executive Producers, Writers
Ugly Betty—Chris Black ’84, Co-Executive Producer, Writer
Weeds—Craig Zisk, Executive Producer, Director;Jonathan Talbert ’02, Associate Producer
I was attracted tothe contest because Iwanted to put a lot ofthe skills I’ve beenhoning at USC to use.
“”
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Rian Johnson, B.A. Production ’96, who seared his
way into noir fans’ hearts with his award-winning
debut film, Brick, has sought inspiration in a
new kind of criminal in his sophomore film, The
Brothers Bloom. Starring Adrien Brody, Mark
Ruffalo and Rachel Weisz, the film follows the
titular brothers, who go from unwanted orphans
to being the greatest con men in the world.
Along the way, as it often does, love changes
things for the brothers.
Johnson spoke with In Motion about mirages, the importance of
telling the truth about lying, and the search for an unwritten life.
Brick was inspired by noir authors like Raymond
Chandler and Dashiell Hammett. What was the
jumping off point for The Brothers Bloom? It just
started with the notion of doing a movie about con men, which
is one of my favorite genres. There’s something appealingly
terrifying about doing a con man movie because it seems to
be one of those things that either really lands or really
doesn’t. It’s a risky thing to take a shot at, and that was
exciting. It doesn’t seem like there’s much point in spending
a few years of your life on something if there’s not the
chance that you’ll fall on your face.
Talk about some of the visual and stylistic
influences of the film. Beyond big influences like
Mamet’s con movies and Paper Moon, what really spurred me
on was to make a film about storytelling, and [Fellini’s]
8 ½ is about a guy who gets lost inside storytelling and is
eventually redeemed by it, so there’s a connection there. A
movie like [Bertolucci’s] The Conformist is much more of a
straight visual reference; it’s one of the most beautiful
movies ever made, but I specifically wanted to look at the
way Bertolucci shoots environments in that movie and see
how he really makes you feel the spaces you’re in.
Dealing with a film where there’s a specialized
argot and extensive meta-references could have
resulted in it being precious. How did you avoid
that trap?When you’re dealing with tone, subject matter
or a conceit that could slip into that territory, the only thing
that can keep you from falling into that is honesty. It’s coming
at it with nothing besides a motivation to create a real world
with real characters that you as a filmmaker care about. No
matter what style your film is, whether realistic or sort of
heightened like Bloom, that’s the key to making the end
product something you can believe in.
How was it going from shooting Brick in the
town you grew up in to shooting Bloom all over
Europe?Having only done shorts growing up, before I
made Brick, the idea of shooting a film with real actors and a
film camera was scary. Before we started Bloom, I had the
same sense of feeling like I was looking at a terrifying mirage,
but when it came time to actually start making it, the mirage
went away and I saw, no, it’s the same exact road I’ve been
on the whole time. It’s just telling the story with a camera
and some actors. That sounds like a joke, but I really believe
that if you can make a movie with a video camera and your
friends from the drama department, you can make a movie
with a 35mm camera and Rachel Weisz.
Adrien Brody’s character, Bloom, is searching for
“an unwritten life.” What does that phrase mean
to you as the filmmaker? I feel like it’s a trap to search
for the unwritten life. I think we’ve all felt like we’re the
ones who are faking it, and that everyone else is doing the
real thing; we’re inside looking at life through a plate glass
window. Bloom misinterprets his situation as he has to get
out of this story that his brother’s been telling, and that he
has to start living an unwritten life, but what he finds in the
end is that he has to start writing his story himself. That’s
where the idea of storytelling about storytelling goes beyond
being just about writers or directors and becomes about
human beings. So much of life is about being a good
storyteller; taking in the world around you and telling it
back to yourself.
cu: rIan JoHnson
I really believe that if youcan make a movie with avideo camera and your friendsfrom the drama department,you can make a movie with a35mm camera and RachelWeisz.
“
”
Online:
cinema.usc.edu/CUJohnson
ABOVE: From left, Mark Ruffalo, director RianJohnson, Rachel Weisz and Adrien Brody on theset of The Brothers Bloom.
BELOW: Bloom (Adrien Brody), Penelope (RachelWeisz) and Stephen (Mark Ruffalo) plot a seriesof alternately dangerous and whimsical cons inThe Brothers Bloom.
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“Passing for Human: Bamboozled and Digital Humanism”Essay by Kara Keeling inFight the Power: The Spike Lee ReaderPeter Lang Publishing
“Re-wiring Baltimore:The Emotive Power of Systemics, Seriality, and the City”Film Quarterly (Winter 2008/2009 Volume 62, No. 2)By Marsha Kinder
The Lean Forward Moment:Create Compelling Stories for Film, TV, and the WebNew RidersBy Norman Hollyn
The Mickey Mouse Club Presents AnnetteDr. Syn: The Scarecrow of Romney MarshThe Chronological Donald, Volume 4, 1951 - 1961Walt Disney Treasures DVD seriesBy Leonard Maltin (host and co-producer)
“Film Collaboration and Creative Conflict”Journal of Film and Video (Spring 2009 Volume 61, No. 1)By Carroll Hodge
IInn PPrrIInntt aannDD oonnLLIInneeIt was a typical night at the InteractiveMedia Division workspace: tiny menwith umbrellas stopped time, whitegardens were splattered with blackpaint, and samurais ventured throughthe middle kingdom. The special partof the evening came as Associate Professor and Director of the ElectronicArts Game Innovation Lab Tracy Fullertonwas named the holder of the ElectronicArts Endowed Chair in Interactive Entertainment.
Fullerton accepted the chair at a formal ceremonyheld at the Robert Zemeckis Center for DigitalArts on December 9. Following a keynote addressby EA CEO John Riccitiello, Fullerton took thestage to raucous applause from the packed house.
“I now have a front row seat to all of the fantastical ideas the coming years of studentswill dream up,” said Fullerton, pointing to theclassic hardwood chair that commemorates herendowed position. “That means I get to beplay-tester number one for the future of interactiveentertainment. Something tells me I’m notgoing to be disappointed.”
Dean Elizabeth M. Daley spoke about Fullerton’scareer and her work at SCA, calling her a “dynamicforce in game design and education for years.”
“She has played a crucial role in the expansionof our interactive media curriculum at the school,”said Daley. “Her direction of the Electronic ArtsGame Innovation Lab has helped to set the standardfor game education programs around the world.”
Professor Scott S. Fisher, chair of the InteractiveMedia Division, took the stage and lauded thework of Fullerton, her fellow faculty members,and the students who were exhibiting work thatevening. “Their passion for this field is remarkableand the results of the work are extraordinary.”
Introducing Riccitiello, Fisher noted the executive’svision for both the company and the industry.“He has overseen a re-organization that’s focusedon creating incredible gameplay for the widestand wildest audience possible,” said Fisher. “Indoing so, he’s energized the entire industry and
has given players across the spectrum somethingto be excited about again.”
Upon taking the podium, Riccitiello wasted no timein commenting on the work of the SCA studentsthat he’d seen prior to the ceremony. “It was a realeye-opener. I saw game mechanics that I’d neverseen before,” said Riccitiello. “Games that aspireto be high art in turn inspire me. Too often, ours isa business that can be thought of as a toy, when itreally is a form of media.”
Riccitiello spoke warmly about EA’s relationshipwith the school. “Frankly, one of the best proponentsof our industry is USC. What’s happened underDean Daley’s and Tracy’s and Scott’s leadershiphas made a gigantic difference. What they’redoing in providing this level of leadership is creating a cadre of artists that are going to come
along with us and help us change just as much aswe have over the last 10 years,” said Riccitiello.
In 2004, Electronic Arts made a multi-milliondollar donation to the school to advance interactive entertainment and create a launchpad for the next generation of game design. The contribution, part of EA’s global educationaland talent development effort, funded two newfacets of the school’s Interactive Media Division:the Electronic Arts Interactive EntertainmentProgram and the Electronic Arts Endowed Faculty Chair.
The Electronic Arts Endowed Faculty Chair,previously held by Executive Vice Presidentand Chief Creative Officer of Electronic ArtsBing Gordon, is one of the key catalysts that enables the school to fulfill the intensifying demand for talented game developers who aresolidly grounded in visual storytelling and innovative game play.
Before and after the ceremony, interactive mediastudents exhibited demos of their games in theInteractive Media Division labs on the secondfloor of the Zemeckis Center. While game designerMatt Korba, M.F.A. Interactive ’08, showed onlookers how to play his Tim Burton-inspiredgame The Misadventures of P.B. Winterbottom,game producer Paul Bellezza, M.F.A. Interactive’08, revealed that Fullerton had another unofficial title amongst her students.
“Tracy’s our Jedi master,” said Bellezza.
BOARD OF COUNCILORS
Frank Price (Chair,Board of Councilors)
Frank Biondi, Jr.John CalleyBarry DillerLee GablerDavid GeffenBrian T. GrazerBrad GreyJeffrey KatzenbergAlan LevineGeorge LucasDon MattrickBill M. MechanicBarry MeyerSidney PoitierJohn RiccitielloBarney RosenzweigScott SassaSteven SpielbergJohn WellsJim WiattPaul Junger WittDavid L. WolperRobert ZemeckisLaura Ziskin
ALUMNI DEVELOPMENT COUNCIL
John August ’94Polly Cohen ’95Bob Ducsay ’86Robert Greenblatt ’87Tom HobermanRamses Ishak ’92 James Ishii ’76Aaron Kaplan ’90 Michael Lehmann ’85 Laird Malamed ’94Michelle Manning ’81Andrew Marlowe ’92Derek McLay ’79 Neal Moritz, ’85Robert Osher ’81Santiago Pozo ’86Shonda Rhimes ’94Jay Roach ’86Bruce Rosenblum ’79 Gary Rydstrom ’81 Josh Schwartz ’99 Peter Segal ’84Stacey Sher ’85 Jason Shuman ’96John Singleton ’91 Scott Stone ’79 Randy Zisk ’81
Associate Professor TracyFullerton and ElectronicArts CEO John Riccitiellowith the Electronic Arts Endowed Chair in Interactive Entertainment.
Online:cinema.usc.edu/FullertonChair
PLaY tester numBer one
Tracy’s our Jedi master.“ ”
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5
In 1938, a mere nine years after theUSC program was founded, Herb Farmerarrived on campus and began a lifelongassociation that continues to this day.At an anniversary celebration held onthe Carson Television Center SoundStage on September 3, Farmer’s colleagues, friends and family gatheredto celebrate his 70 years of ongoingservice to SCA as a student, alumnus,professor and archivist.
“The man is absolutely loyal to the institutionthat has educated him, and he’s given back waymore than he ever got,” said Associate Deanof Academic Affairs Michael Renov. “Herb ispart of the living memory of what film educationhas become in the past seven decades.”
A video tribute to the 89-year-old Trojanchronicled how he drove across the countryfrom Buffalo, New York in a 1931 Dodge coupeafter reading about USC in a film magazine.
Upon his arrival, he became one of the producersof a monthly release called the Trojan Newsreel,shot football coaching films and surgical motionpictures for the university, and played thesousaphone in the marching band.
In 1942, a few months before his graduation,he took over teaching a motion picture historyclass from a professor who had been called toactive duty in World War II. Farmer, who alsoserved during the war, returned to USC to receivehis master’s degree in 1954, and has been educatingstudents about film technology ever since.
Currently, he dedicates his full-time efforts to
overseeing one of his most lasting legacies and
gifts to USC, an extensive archive of historical
films and equipment ranging from zoetropes
to the sound board from The Jazz Singer to
prints of Oscar-winning student films. The
archive, which is housed in the basement of
the Norris Theatre Complex, will supply a
trove of artifacts for rotating exhibitions in the
new SCA Complex.
The reception also featured a performance by
the Trojan 10-piece band, congratulatory letters
from Dean Elizabeth M. Daley (who was
overseas and unable to attend) and President
Steven B. Sample, and the unveiling of Farmer’s
first camera, a Bell & Howell model 70.
“When Herb arrived here 70 years ago, he was
a pretty big man on campus because he had a
camera and the school didn’t,” said Doug
Wellman, the school’s director of facilities and
operations. “Herb brought this camera with
him across country, and it became the official
camera of USC cinema. And as Herb taught
here and was a student here, he modified this
camera. He added the 400-foot magazine. He
added a motor drive. He added a variety of
lenses culminating in this zoom lens. And he
constantly improved it. And that is exactly
what Herb has done for this entire school.”
Farmer met the outpouring of gratitude in
kind. “It’s been a wonderful life working with
students here at school,” he told the audience.
“I’m grateful for the time that I’ve been able
to put into it. And I’d do it again if I had to or
could.”
For the past 22 years Professor Doe Mayer hasbeen at the forefront of using the cinematic artsto educate, inform and entertain. She’s taughtfilm, been a pioneer in employing media as atool for social change, and worked in variousphilanthropic fields. On April 14, that legacy ofdedication landed her one of USC’s most prestigious forms of recognition, the AssociatesAward for Excellence in Teaching.
USC Executive Vice President and Provost C. L. Max Nikias
presented Mayer, who holds the Mary Pickford Endowed
Chair, with the award during the 28th Annual Academic
Honors Convocation at Town & Gown.
“I am of course delighted and honored to be receiving the
Associates Award,” Mayer, who holds a joint appointment
in the Annenberg School for Communication, said. “I feel
so very fortunate that USC has encouraged me to stretch
intellectually and creatively in my teaching and has now
recognized in such a gratifying way my efforts to implement
new ideas and new courses across disciplines.”
Nikias described Mayer as an inspiring and passionate
teacher, as well as an international leader using film and
other media to make positive social change.
Mayer’s media and communication work has advanced
“education, health and nutrition, disaster preparation, and
disease prevention in developing countries,” Nikias said.
He also noted that “her creative talent and fieldwork in
Africa, India, China and elsewhere have enhanced her
teaching and mentoring of students who consider her
especially empathetic, supportive and enthusiastic.”
“During the 22 years I have taught at USC, what has been
most important is that I have been allowed to have my
teaching reflect the breadth of my professional interests, so
that my courses have included beginning and intermediate
core production classes at both the undergraduate and
graduate programs, as well as special topics as varied as
creativity and idea development, documentary production
and pre-production, women in the film industry, health
issues in entertainment media, communication campaign
design, and social change media,” Mayer said.
Mayer, a Fulbright Scholar and Fulbright Senior Specialist,
has been the recipient of funding from the Bill & Melinda
Gates Foundation for a program to strengthen women’s
organizations in Zambia, Zimbabwe and Uganda. She was
also the first woman hired on tenure track in the School of
Cinematic Arts Production Division, and was honored as a
USC Remarkable Woman and a Fellow in USC’s Center for
Excellence in Teaching.
“The School of Cinematic Arts must be one of the few
places on Earth where you actually have to tell students to
take time off, get some sleep, and have a life,” Mayer said.
“They are totally committed to making movies, and that is
inspiring and incredibly stimulating for a teacher.”
USC Executive VicePresident andProvost C.L. MaxNikias presentsSchool of CinematicArts Professor DoeMayer with the Associates Award for Excellence inTeaching.
Online:
cinema.usc.edu/MayerHonors
Doe maYer HonoreD
Online:
cinema.usc.edu/Cinematic70th
cInematIc 70 tH
TOP: Herb Farmer, center,tests equipment with cinema colleagues, circa1940.
LEFT: Professor EmeritusHerb Farmer and grand-daughter LindseyFarmer, who is majoringin production, celebratethe elder Farmer’s 70years at USC.
Fast TaLK
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An American Affair—William Olsson ’99, Director
Angels & Demons—Ron Howard, Producer, Director;Brian Grazer ’74, Producer
Away We Go—Ed Saxon ’84, Producer
Brothers Bloom—Rian Johnson ’96, Writer, Director
Coraline—Bill Mechanic ’76, Producer; Tom Johnson ’81, Re-Recording Mixer
Duplicity—Robert Elswit ‘75, Cinematographer
Fast & Furious—Neal Moritz ’85, Producer
The Greatest—Katie Mustard ’01, Co-Producer;John Bailey ’68, Cinematographer
Hannah Montana: The Movie—Alfred Gough ’94,Miles Millar ’94, Producers
He’s Just Not That Into You—Ken Kwapis, Director;Nancy Juvonen, Producer; Abby Kohn ’96 & Marc Silverstein ’96, Writers; John Bailey ’68, Cinematographer
The International—Charles Roven, Producer
Knowing—Todd Black ’82, Producer; Juliet Snowden ’95, Writer; Marco Beltrami, Music
Monsters vs. Aliens—Eric Aadahl ’98, Sound Editor
The Mysteries of Pittsburgh—Rawson Thurber ’99,Writer, Producer, Director; Jason Mercer ’99, Producer; Pete Chiarelli ’99, Executive Producer
Night at the Museum: Battle of the Smithsonian—Shawn Levy ’94, Producer, Director; John Schwartzman, Cinematographer
Phoebe In Wonderland—Daniel Barnz, ’95, Director
Race to Witch Mountain—Andrew Gunn ’93, Producer
The Soloist—Gary Foster, Producer
Two Lovers—James Gray ’91, Writer, Producer, Director; John Axelrad ’90, Editor
The Unborn—David S. Goyer ’88, Director, Writer;Jeff Betancourt ’96, Editor; Curt Schulkey ’75,Sound Editor
The Uninvited—Riyoko Tanaka ’00, Co-Producer;Doug Miro ’97, Screenplay
Yonkers Joe—Michael Fimognari ’01, Director ofPhotography
Representatives from 41 of the industry’s leading agencies, managementfirms and production companies gotfirst crack at the latest scripts fromSCA writing students on May 4, as 52writers showcased tales from everygenre during the eighth annual FirstPitch event.
Hosted by Brian Peterson (M.F.A. Writing
1997), writer and executive producer of the
CW’s Smallville, the posh invite-only evening
affair at the Four Seasons Hotel Ballroom in
Beverly Hills featured 20 rounds in which the
soon-to-graduate scribes delivered impassioned
synopses of their film and television projects.
“First Pitch was created by students and is
run by students. Many organizations have
copied this format, but there really is no one
who’s duplicated it,” Writing Division Chair
Jack Epps, Jr., told the industry guests and
undergraduate and graduate students.
“I like to tell my students that movies are
really about endings and new beginnings. And
for our students tonight, this is very much the
ending and the new beginning. They are ending
their advanced studies and beginning their
professional careers,” he added.
Peterson sought to put the anxious participants
at ease, sharing the journey of his own career
and making it clear that there’s no downside
to relaxing and trying your best when opportu-
nity calls.
“The one piece of advice that I got that I
probably remember every time I pitch is that
the person sitting across the table from you
really wants you to succeed,” said Peterson.
“They want to hear the best pitch they’ve
heard in months. They want to bring to their
bosses the best idea they’ve ever heard.”
And with that, he declared the first round
open. The students had been practicing for
weeks in advance of this moment through a
series of “tune-ups” organized by SCA and a
volunteer staff of grads and undergrads
headed by Jacob Michael and William
Nedved, both second-year M.F.A. writers.
Michael and Nedved ceded control of the big
night to their intern staff, all of whom will be
pitching themselves next year, as they geared-up
for a long night of meeting and greeting.
“I had a great event,” said Michael. “Everybody
really seemed to have a good experience and
the industry people were fantastic. I feel like I
was very successful, a lot of script requests.”
Since its inaugural session in 2002, First Pitch
has drawn representatives from some of the
entertainment industry’s most prestigious firms,
including CAA, William Morris, ICM, UTA,
Paradigm, Endeavor, Fuse, Management 360,
Sony, Paramount and Thunder Road, to name
but a few.
The format features a series of rapid-fire five-
minute sessions in which the soon-to-graduate
writers advance from table to table for meetings
that match their stories with the specific inter-
ests of the industry representatives.
A sampling of past First Pitch-ers who parlayed
their USC experience into careers includes:
Caroline Dries (Smallville), Christina Kim
(Lost), Kam Miller (Law & Order SVU), Brad
Riddell (American Pie Band Camp) and Aaron
Rahsaan Thomas (Numb3rs). Miller, the
founder of the event back in 2002, was on
hand at this year’s fete and looked back on
how First Pitch got its start.
“I literally looked around at all my classmates
and I thought they were the most talented
people I had ever met and there was no way
to start their careers,” said Miller. “It seemed
like a no-brainer that we put together a pitch
festival.” That pitch festival would prove
directly responsible for Miller and several of
her classmates finding both exposure and
representation. Miller can even trace her
present-day agent to the inaugural First Pitch
event. Besides the location (the Robert Zemeckis
Center was the initial venue), little has changed
since 2002, including the high success rate.
Graduate student Lizette Clarke went in
knowing full well that she too could have First
Pitch be the start of something big, but didn’t
let nerves get the best of her.
“I think it went great,” said Clarke. “It was
very nerve-wracking in the beginning, but
once you got the hang of it, you saw how easy
it was, it became kind of fun. I was surprised
at how quickly it went. It did not feel like 20
rounds at all, it felt like 20 minutes.”
Those 20 short rounds later, an excited, albeit
exhausted group of students left the Four
Seasons, having made their mark on Hollywood.
When asked how successful she thought the
night was on the whole, Clarke was optimistic,
but pragmatic.
“Time will tell.”
First Pitch 2009 was sponsored by the
A/H Foundation and Albert and Andrea
Friedman.
recent reLeases
ABOVE: Sarah Tarkoff, B.F.A. 2009, pitches her latestwork to representatives from Epigram Entertainment.
LEFT: Smallville Writer/Executive Producer Brian Peterson,M.F.A. 1997, welcomes First Pitch students as they taketheir first step into the industry.
in motion spring 2009
cinema.usc.edu
7
A longtime criticism of Hollywood is that there
are relatively few females in top creative positions,
but as the entries in the recently concluded First
Look festival demonstrated, women are smashing
the celluloid ceiling in a big way.
The event, which took place from April 1 to April 7, featured
a total of 35 titles, of which 23 were produced, 15 were directed
and 12 were written by women. (Many films had women in
two or three of these categories, and women were also
significantly represented in sound, cinematography and
editing.) What’s more, this year’s festival also had three
titles that won prestigious Student Academy Awards, and of
that total, two were directed by women.
The number of women filmmakers succeeding at this year’s
First Look has been a source of pride for many at SCA who
make the festival possible. Larry Auerbach, associate dean of
Student Industry Relations, which hosts First Look, introduced
the festival’s screening of Forrest Gump on April 3 by paying
special mention to the record-setting numbers and earning
strong applause from the packed crowd in Norris Theatre.
Auerbach isn’t the only one excited about the increase in
female-helmed productions at SCA, with projections that
this year’s numbers represent much more than a short-lived
phenomenon.
“The increasing number of women enrolled in the program
and taking active part in the industry is hopefully not a
passing trend,” said Sandrine Cassidy, director of Festivals
and Distribution for SCA, including First Look, “but the
beginning of their strong involvement and recognition in
filmmaking, as well as art in general.”
One of the most notable standouts at First Look, female or
male, was Shih-Ting Hung, M.F.A. Animation ’07. Hung’s
thesis project, Viola: The Traveling Rooms of a Little Giant, was
an instant headliner at the festival, having already
captured top honors for experimental film at the Student
Academy Awards back in June. Viola follows its title character
from childhood onward through a series of dreamlike rooms,
each capturing a different time of her life.
“It was wonderful putting visions into practice,” said
Hung. “I loved it and enjoyed it completely. I am excited
about telling stories and communicating with the audience
emotionally.”
Another woman of SCA whose passion for film was shared
at First Look was Melanie McGraw, M.F.A. Production ’07.
Pitstop, written and directed by McGraw, was also honored
at last June’s Student Academy Awards with a third-place
finish for achievement in narrative film. The film depicts
the story of a young girl who is accidently left behind at a
desert gas station while on a family road trip as she struggles
to find herself as well as a way home.
“I was temporarily living in Utah when I finally had the
courage, at the age of 30, to admit that more than anything I
wanted to make films,” said McGraw. “I decided to take my
chances, move to LA, and try to get into USC’s M.F.A.
program. I had no idea at the time just how much that
decision, and my time at USC, would change my life.”
The director/writer was amazed by the resources available
to her as a filmmaker upon coming to SCA and praised her
all-female Pitstop producing team as she worked to make
the most of her time on campus. McGraw also cited another
group of women when discussing how her career has taken
so many steps forward in such a short amount of time.
“I hadn’t anticipated the extent of the exposure going to
SCA would afford me and my work, in terms of access to the
film industry and having my work get noticed by influential
industry players,” said McGraw. “Sandrine Cassidy, Allison
Melanson, Bonnie Chi, and Torrie Rosenzweig have worked
tirelessly in counseling me about how to achieve my
professional goals and navigate the industry as a whole.”
The staff at Student Industry Relations not only advised
McGraw on her career, they also helped make her First
Look experience possible. Now, after First Look and all the
hard work that came with the experience, McGraw is
reaping the rewards.
“I’d do it again in a heartbeat.”
Online:cinema.usc.edu/CelluloidCeilingcinema.usc.edu/FirstLook
sHatterInG tHe CeLLuLoID ceILInG
First Look Award Winners
Faculty AwardsOutstanding CinematographyThe Last Time I Saw RachelCarpet KingdomCollin Brink
Outstanding DirectingA Day’s WorkRajeev Dassani
Outstanding DocumentaryGet Jumped InDavid Kaleo Woo
Outstanding EditingCarry Me HomeJeannette McDuffie and Bret Cornish
Outstanding ProducersElevated Cat Youell and Eric Bergemann
Outstanding ScreenplayGrowing Up VegasAmber Beard
Outstanding Sound Blood DebtsSung Rok Choi and Sanjiv Solanki
Audience Award WinnerCarpet Kingdom
FotoKem AwardsGoldA Day’s Work
Silver In the Dark
BronzeViola: The Traveling Rooms of a Little Giant
Shot from Viola:TheTraveling Rooms of a Little Giant,
written and directed by Shih-Ting Hung, M.F.A.
Animation, ‘07.
I am excited abouttelling stories and communicating with theaudience emotionally.“
”
in motion spring 20098
uscscHooLofcInematIcarts
Ayoung girl
wanders into a forestand meets a satyr, who becomes
her best friend for life. Salome seducesan ancient king into beheading Johnthe Baptist. A woman discovers thesecret of her Aunt Nell when shefinds an old, mechanical peep box.These stories and others were amongthe short animated films screened atAdobe First Frame 2009, engagingthe audience that packed the DirectorsGuild of America Theater on March5 with bold narratives and imaginative visuals.
“When an animated film screens at AdobeFirst Frame, it is the culmination of years ofintense study and meticulous work,” saidGeer DuBois, a 2008 M.F.A. graduate of theJohn C. Hench Division of Animation & Digital Arts [Hench-DADA] and creator ofthe screened Stranger’s Poem, an experimentalpiece that explores a relationship betweentwo strangers.
“The achievement becomes
an honor not only for the
filmmakers, but also for the
entire USC animation
community past and present,” DuBois said.
In addition to offering members of the general
public their first glimpse of the films, the
annual showcase also enables students and
recent alumni to meet with representatives
from across the entertainment industry.
“The show benefits the students and alumni
by giving them recognition and exposure,
networking opportunities, experience with a
theatrical screening, and a DVD which they
can use as a tool when looking for a job,”
Hench-DADA instructor and Exhibits Director
Lisa Mann said. “The show serves to promote
the division, the students, and animation as
an art form for the 21st century.”
First Frame begins each spring when the division
issues a call for submissions to current and
former students. Participants are invited to
contribute any original films or videos that
were completed while attending USC. The
selections that are presented at the event
undergo a rigorous selection process,
ensuring the highest quality.
“Every year since 2002, the Hench-DADA
core faculty have met and juried Adobe First
Frame, selecting only the films which excel
in terms of artistry, technical quality, bold
originality, and passion,” Mann said. “A
character animation with a traditional
narrative structure must meet high standards
relative to its genre; just as an experimental,
non-figurative animation will be judged on
quite a different set of criteria. The resulting
exhibitions have been wowing audiences at
the DGA for years.”
2008 Hench-DADA M.F.A. graduate Joanna
Griebel screened her film Tomboy, a short
about a young girl sent to a special camp to
“cure” her of her desire to be like a boy.
“It means a lot to me to screen the film in
front of a live audience,” Griebel said.
“When I’m with an audience who hasn’t
seen it, I’m able to watch it again like it is
the first time.”
Griebel said that while she was a student in
the division she felt free to tell the stories
that she wanted to and gained a lot from
working with well known professors who
were masters in their field.
“The professors were really great about
putting me in touch with people in the
industry,” Griebel said. “I got to shadow
people at the Cartoon Network and meet
people from the major studios. It was
through the very personal recommendations
that my professors gave me that I landed my
first job at Sony Pictures Animation as a
story production assistant.”
Like DuBois and Griebel, fellow 2008 Hench-
DADA M.F.A. graduate Benjamin Hendricks
also had a positive experience when he screened
his film Hircine Airlines, a CGI-animated film
about a wealthy corporation owned by a
greedy duck.
“First Frame served as a premiere for the
biggest project I’ve ever worked on, and it
served as a more personally relevant screening
than anything I had experienced at other
venues,” Hendricks said. “Not only were
there important industry connections to
make at First Frame, but the animation program
is full of meaningful friendships, which were
strengthened by us coming together and
putting on this show.”
When the Interactive Media Divisionpresented its first master of fine artsthesis showcase in 2005, studentprojects set the precedent for challenging and propelling thebounds of game, immersive, andmobile content. Taking place fromMay 9 to 15 on the Carson SoundStage, the 10 titles in this year’sLook and Feel exhibit pushed thosebounds to new creative frontiers.
“I was very impressed, many of these gamesdeal with some serious themes, the studentsreally took their creativity to another level,”said IMD Professor Anne Balsamo, who curated the show along with Research Associate Professor Perry Hoberman.
Pluff by Diana Hughes is one such game.Deceptively cute and simple at first, theproject incorporates an actual stuffed animalwith sensors built in (“e-textile technology”)that inform the game program of how and inwhat way the user is petting the creature. Onthe game screen one sees a display of Pluff’s(the creature’s) mood. As its mood changes,the user must physically care for the stuffedanimal to prevent it from growing depressed.
In designing the piece, Hughes had a directgoal in mind: “It’s sort of an empathy trainerfor autistic kids, to teach them how and
when to interact with others,” she explained.In a way, the game was comparable to tamagotchis, a Japanese toy/key chain onwhich the player pressed “hug,” “feed,” andother command buttons to keep a creatureon the tiny screen placated. But using agame mechanic that was once the nemesis ofelementary school teachers in the mid-’90s,Hughes has turned the technology into a toolfor special education instructors.
M.F.A. thesis student Jamie Antonisse continued this line of thinking with Spectre,
which aims to examine life, memories andthe things that make us who we are. Theplayer controls “an old man looking back athis life, and you choose the nine memories,from childhood to old age, that make up thestory of his life,” Antonisse said as hedemonstrated the game. Each time theplayer selects various choices, the life of themain character is shaped and shifted.
Besides Pluff and Spectre, Look and Feel alsofeatured AquariYum! by Al Yang, By Nature byMike Rossmassler, Carte Blanche by John
Brennan, Minor Battle by Andre Clark, NahuiOllin by Andrea Rodriguez, On the Shouldersof Giants by R.J. Layton, Runesinger by EthanKennerly, and The Tree: A Storied Experienceby Maya Churi.
Describing the games in this year’s show asdemonstrating a “special degree of maturity,”Balsamo said that quality stretched beyondthe game concepts and into the creative culturebehind them. When asked what lessons eachstudent took away from their experiences,the almost-unanimous verdict across theboard was “collaboration.” Swallowing theirpride and appreciating the feedback of theirfellow classmates and teachers, as well as returning the favors with their own, waslisted among the most valuable learning experiences of the process.
“I hope the students come away from thiswith an appreciation for how much cooperativework goes in to making these things work,”Balsamo said.
“My classmates’ tips were amazing, their insight was crucial to the game turning outthe way it did,” said Kennerly of his Koreanlanguage trainer Runesinger. Since the game isheavily music based, it would not have evenbeen possible without the help and cooperationof fellow students, chiefly those from theThornton School of Music, he added.
InteractIve sHowcase
Online:cinema.usc.edu/IMDThesis2009
Online:cinema.usc.edu/AnimationFirstFrame
Fest Best
Interactive Media Division projects fill the Carson Sound Stageduring the 2009 M.F.A. Thesis Show Look and Feel.
BuildingtheFuturesPecIaL suPPLement
Don’t miss your chance to land a piece of history.The School of Cinematic Arts has published Reality Ends Here: 80 Years of USC Cinematic Arts,an exquisite, limited edition coffee table-sizedbook celebrating SCA’s 80th anniversary. Packedwith anecdotes and rare photographs fromeight decades of USC’s cinematic history, thisbook is a fitting tribute to a school that has produced some of the most acclaimed and innovative creators and scholars in film, television, and interactive media.
The book was produced in a limited run and is not for sale. Whenyou make a donation to the School of Cinematic Arts of $250 ormore, you will receive Reality Ends Here as a token of our thanks.This is the perfect gift for a graduate, current student or anyonewho loves the cinematic arts.
In addition to receiving the book, you will receive one membership to the SCA Network, a select group of alumni and student leaders actively helping the school train the next generation of entertainment industry leaders with the best faculty, facilities, equipment and programs available. SCA Network members not only benefit the school, but also helpthemselves and their careers. By being part of this group, youenjoy numerous benefits with access to exclusive SCA Communityevents, services and gifts. (For more information on the SCA Network and a complete list of benefits, please visit cinema.usc.edu/Network).
We hope you’ll take advantage of this opportunity to add this historical volume to your home library and to continue supportingthe USC School of Cinematic Arts.
Online:
cinema.usc.edu/80thBook
80 YearsoF cInematIc arts
Reality Ends Here contains anecdotes and rare
photographs from eight decades of USC’s
cinematic history.
SPECIAL OFFER
Online:
cinema.usc.edu/NewComplex
During his remarks, Lucas reflected on his experience
as a student at USC. “One of the biggest parts
of my education was from just being here, talking
with my classmates,” the class of ’66 alumnus
said. “I’m glad to see that in this new complex,
kids are taking advantage of the open spaces to
do the same thing I did years ago. You spend
time with like-minded people and you talk
about the things you love, and in doing so, you
make every second you’re here a part of your
education.”
Spielberg posed a hypothetical question to the
attendees. “What if every SCA graduate working in
the industry didn’t show up to work on Monday
morning? This town would grind to a halt.”
Spielberg reeled off a list of impressive statistics:
since 1973, at least one SCA alumnus or alumna
has been nominated for the Oscar, totaling 256
nominations and 78 wins. In addition, since
1973, at least one SCA alumnus or alumna has
been nominated for the Emmy, adding up to
473 nominations and 119 awards. The top-17
grossing films of all time have had an SCA
graduate in a key creative position.
“These stats are amazing, but the bigger story is
this: there are hundreds, if not thousands of SCA
alumni, deeply involved in the industry, who
have made it a priority to continue supporting
their alma mater,” said Spielberg. “The financial
help has been important, but just as crucial is
the personal support that alumni have provided:
teaching classes, leading seminars, mentoring
students, and creating job and training
opportunities for graduates. This is the lifeblood
of the SCA family.”
In the early years after its formation in 1929,
the SCA family was a small, yet devoted cadre
of cinephiles who eked out their films on rickety
stages and with borrowed cameras. After decades
of being housed in “the stables,” in 1983 USC
created the School of Cinema-Television, making
it an independent academic unit within the university.
Over the ensuing years, an emphasis was placed
on expanding the definition of what a cinema
school should be. The John C. Hench Division of
Animation & Digital Arts, the Interactive Media
Division and the Peter Stark Producing Program
gave students a host of opportunities that did
not exist at any other cinema program. In 2001,
USC inaugurated the first university-based all
digital production facility for cinema, television
and interactive content with the opening of the
Robert Zemeckis Center for Digital Arts.
The now-completed portion of the new complex
consists of the George Lucas and Steven Spielberg
buildings, which flank the Academy of Motion
Picture Arts & Sciences Courtyard that features a
bronze statue of one of the school’s founders,
Douglas Fairbanks, Sr.
On the ground level of both buildings is the
post-production area, including sound dubbing
stages, editorial labs and classrooms, and ADR
and Foley stages. The first floor of the complex
features the Ray Stark Family Theatre, the
Albert R. and Dana Broccoli Theatre and the
Fanny Brice Theatre, in addition to the Hugh
M. Hefner Exhibition Hall, and the Alfred and
Alma Hitchcock Lobby Court South. Both the
Lucas and Spielberg buildings have large open
lobby areas named for cinematic greats, Mary
Pickford and Harold Lloyd, respectively.
Level two of the complex houses the interactive
media division, the offices for the Summer Program
and Student Industry Relations, and features two
screening rooms, five classrooms, a graduate
student lounge and numerous rooms for student
group meetings. Offices for production, critical
studies, writing and the Peter Stark program
are all housed on the third level, along with
communications & public relations. Two more
screening rooms are on the third floor, along
with several informal gathering areas for students
and faculty. The office of the dean, along with
production faculty and external relations, can
be found on the fourth floor.
The remainder of the complex is currently
under construction, and will include the
38,000-square-feet Animation & Digital Arts
building and three additional production
buildings, housing four studio-sized
soundstages and a Production Services center.
Construction will be completed for these
remaining buildings in August 2010.
“It’s beyond words. It’s very regal,” said Ari
Sandel, M.F.A. Production ’05, when asked
about the new complex. He also lauded the
complex’s many open spaces. “So much of film
school is people getting together to congregate,
collaborate, share ideas. The more space you
can create for people to do that, the better,
because those spaces become classrooms.”
Freshman Ian Manka echoed Sandel’s sentiments
about the collaborative spaces. “I’m in a class
where we’re definitely using the courtyard and
other spaces to meet before class and work on
our presentations, so I can only imagine that as
the facility grows, the entire school will be able
to utilize it even more.”
“It’s fabulous to have a home that’s commensurate
with the status of the school. The building has
a real sense of permanence,” said Writing
Assistant Professor Ted Braun. “The classrooms
are truly 21st century classrooms. In my class, I
can show clips from the movies we’re studying,
then move effortlessly to the students’ work, to
media files, without a technical hitch. That’s
the way it should be in the digital age, and I
love it. As a teacher, it’s the equivalent of an
athlete not having to worry about the club or
the racquet or the skis on your feet. You just
do what you imagine.”
Continued from page 1
PremIere
1 The Cinematic Arts Board Room. The sweeping balcony faces east toward the location of the formerGeorge Lucas Instructional Building, which is currentlybeing removed to create a new green space for theuniversity community.
2 After years of being relegated to the subterraneanvaults beneath the Norris Theatre Complex, itemsfrom the school’s extensive trove of historic cinematicequipment can now be put on public display for thefirst time in the Hugh M. Hefner Exhibition Hall, locatedon the first floor of the George Lucas Building.
3 The Coffee Bean & Tea Leaf café offers students,faculty, staff and guests a great selection of beverages and light food.
4 Students edit their projects in one of the editoriallabs located on the ground floor post-production area.
5 The main entranceway on West 34th Street at night.
6 The new School of Cinematic Arts Complex is situated directly in the heart of USC’s University ParkCampus, and is a key element in restoring the culturaland economic vibrancy of urban Los Angeles.
7 By tradition, the main screening room in the cinemaschool has always been numbered “108.” That legacycontinues in the new building with the 200-seat RayStark Family Theatre, equipped with digital projectionsystems and 5.1 sound.
1
3
5
LEFT TOP: Slated for completionin August 2010, the six-BuildingSchool of Cinematic Arts Complex will be a fully equippededucational and production facility enabling students tohone their professional skillsand knowledge in every facet of film, television and interactive media.
LEFT BOTTOM: Artist’s rendering of the new home ofthe John C. Hench Division ofAnimation & Digital Arts, located directly to the west ofthe Steven Spielberg Building.
1 The Cinematic Arts Board Room. The sweeping balcony faces east toward the location of the formerGeorge Lucas Instructional Building, which is currentlybeing removed to create a new green space for theuniversity community.
2 After years of being relegated to the subterraneanvaults beneath the Norris Theatre Complex, itemsfrom the school’s extensive trove of historic cinematicequipment can now be put on public display for thefirst time in the Hugh M. Hefner Exhibition Hall, locatedon the first floor of the George Lucas Building.
3 The Coffee Bean & Tea Leaf café offers students,faculty, staff and guests a great selection of beverages and light food.
4 Students edit their projects in one of the editoriallabs located on the ground floor post-production area.
5 The main entranceway on West 34th Street at night.
6 The new School of Cinematic Arts Complex is situated directly in the heart of USC’s University ParkCampus, and is a key element in restoring the culturaland economic vibrancy of urban Los Angeles.
7 By tradition, the main screening room in the cinemaschool has always been numbered “108.” That legacycontinues in the new building with the 200-seat RayStark Family Theatre, equipped with digital projectionsystems and 5.1 sound.
2
4
6
7
Be a part of the new Cinematic Arts buildings.
Here is your opportunity to participate in
these new facilities and create a lasting
tradition of your own.
In supporting the building complex you’re ensuring that
future generations of talented women and men will have
a chance to make and study film, television and new
media for decades to come.
Your gift to the Building Campaign will also entitle you
to membership in the Leadership Circle, the school’s
premier support group, as well as the SCA Network if
you are a current SCA student or member of the alumni
community.
You can learn more about these groups and their extensive
benefits at: cinema.usc.edu/Network and cinema.usc.edu/LeadershipCircle.
Online:
cinema.usc.edu/RealityIsHere
reaLItY Is Here
Naming opportunities areavailable in interior andexterior locations throughoutthe new complex.
SCREENING ROOM THEATRE SEAT ($5,000)
The “Teatro” cherry wood seats
provide comfort, aesthetics and
durability for the SCA community
to enjoy a rich array of cinematic
experiences. What better way to be
recognized than having one or sev-
eral seats in one of the state-of-the-
art theaters of the new complex?
MARGET TEAK WOOD SOFA ($4,000)COFFEE TABLE ($3,000) ARMCHAIR ($2,500)
The Marget teak pieces are located in the
courtyard, balcony and fireplace areas for all to
use while having a cup of coffee or collaborat-
ing on a project. These four-piece sets can be
named separately or as an ensemble.
BISTRO TEAK TABLE ($5,000)TEAK CHAIR ($2,500)
The courtyard will feature bistro style
teak chairs with a matching bistro
teak table around the outdoor fire-
place, forming an ideal location for
students to review the latest draft of
their scripts, chat about cinematic
history, or relax after a late night in
the editing room.
FREESTANDING STONE BENCH($10,000)
Students enjoy sitting in the courtyard on
these eight-foot-long red sandstone benches
to network with fellow classmates or to do
some last-minute exam preparation.
TREE
Several tree varieties are part of the landscape.
The Jacaranda ($20,000), the Strawberry tree
($20,000), Mexican Fan Palm ($20,000), Sycamore
($50,000) and Kentia Palm ($50,000) and Canary
Island Palm ($100,00), all mature, will afford a
cool respite from the sun-drenched days. A plaque
will be placed at the base of each tree with the
donor’s name.
PLANTER ($15,000)
Light cream in color, these urn-shaped,
cast-stone planters are filled with
beautiful bougainvillea that
complements the stunning design of
the building.
Contribute to the future of the schooland leave your mark by joining theBuilding Campaign today.
in motion spring 2009
cinema.usc.edu
13
1 November 18, 2008: Instructor of Cinema Practice
Jason E. Squire with guest speaker Jon Favreau, director of
Iron Man, which was the case study for Squire’s CTPR 386
class.
2 February 7, 2009: Filmmaker Penelope Spheeris (Wayne’s
World) and Critical Studies Professor David James were
among the panelists delving into the music and cinema of
the Rolling Stones during the week-end long Rolling Stones
on Film Festival at Norris Theatre.
3 November 3, 2008: Actress Helen Mirren (The Queen,
Prime Suspect) chats with students during her appearance in
Howard Rosenberg’s Television Symposium class.
4 May 4, 2009: Representatives from some of the industry’s
leading agencies, management firms, studios and
independent producers check in at the Four Seasons in
Beverly Hills to hear the latest pitches from SCA writers at
First Pitch 2009.
5 March 29, 2009: Filmmaker and alumnus George Lucas ’66
autographs a student’s shirt at the opening of the new SCA
complex.
6 March 28, 2009: Actor Tom Cruise shares a moment
with filmmaker George Lucas during a tour of the new
SCA complex.
7 April 3, 2009: Forrest Gump writer Eric Roth, director
Robert Zemeckis and actors Gary Sinise and Tom Hanks gather
at Frank Sinatra Hall for a Q&A with students.
8 May 15, 2009: Board of Councilors Chairman Frank Price,
Dean Elizabeth M. Daley, Spiderman producer Laura Ziskin ’73,
and Grey’s Anatomy creator/executive producer Shonda
Rhimes ’94 at the 2009 commencement ceremony at the
Shrine Auditorium.
onLYat uscmoments
1
6
4
3
7
9
2
5
in motion spring 200914
uscscHooLofcInematIcarts
The SCA Network celebrated its first anniversary
on May 10 with a pre-release screening of
Angels & Demons that drew hundreds of alumni
and students to the all-new School of Cinematic
Arts complex.
Angels & Demons unspooled in the plush 200-seat Ray
Stark Family Theatre, where SCA Network members enjoyed
a sneak peek at alumni Ron Howard (director-producer) and
Brian Grazer’s (producer) much-anticipated sequel to The
Da Vinci Code. Guests were also treated to a visit from the
In-N-Out burger truck, which provided the catering for
the evening.
Besides film, friends and food, SCA Network members
enjoyed the opportunity to check out the school’s new
home (including guided tours) and to pick up the first
available copies of the 2009 SCA Alumni Directory, which
were hot off the presses.
The SCA Network is moving into its second year with over
700 members already, and it continues to be a vital force in
strengthening the school’s alumni participation rate, which
in turn affects USC’s national rankings. For 2008, the
participation rate rose to 27 percent, up from 15 percent in
2007. Whether you donate $25 or $2,500, the important
part is that alumni give something every year.
sca NetworK
2
“I am proud to be a member of the creative Trojan
family, and as such, made a pledge to myself that I
was always going to see what I could do to help out
the School of Cinematic Arts. For years I donated $15,
then upped it to $20, always knowing that whatever
I could do would help to ‘pass on’ the quality of
education and ‘hands-on’ practical experience that are
the legacy of this program. When I had more, I gave
more because of the connection I feel with everyone
who is a part of this place and the desire for it to
continue for as long as there are people around who
want to do no more than use their talents to tell a
good story through cinema.”
– Victoria E. Rhodes,’78
"What I didn’t realize until I graduated was that I
should be less concerned with the few dozen people
in my class and more with the few million that I’m
now competing with from all over the U.S. and the
world. Because the people that you meet and befriend
while here at 'SC become your most valuable
relationships. And to get to join an alumni group like
this not only strengthens bonds you may already have
with certain classmates, it also brings about new
friends and new contacts that all center around an
affiliation with the best film school in the world."
– Jason Shuman ’96
So, how do I become a part of the SCA Network?
It’s easy—just visit cinema.usc.edu/Network to viewthe complete list of benefits and giving levels. Then click on
the Join the Network link. You may use our secure Online
Giving site (cinema.usc.edu/OnlineGiving) tomake a donation, and to designate your gift toward such
areas as the Dean’s Fund, Parent Fund, or our New Building
Campaign. As long as you make a gift of at least $25, you’re
in the SCA Network!
In order to join the SCA Network, alumni and students must
activate or update their profile via the SCA Community Web
site (scacommunity.usc.edu).
In addition to the philanthropic benefits, members can benefit
their own careers by mingling with fellow alumni and students,
and attend advance screenings of Hollywood’s top films.
Over the past year, besides Angels & Demons, SCA Network
members received invitations to special showings of Indiana
Jones & The Kingdom of the Crystal Skull, The Dark Knight,
Tropic Thunder, The Curious Case of Benjamin Button and
The Hangover. Additional exciting events are being planned,
so alumni should stay tuned to the SCA Community Web
site (and their email) for more up-to-date information on
SCA Network activities and all the latest news and
happenings at the school.
If you have any SCA Network or SCA Community questions
or concerns, feel free to call the Office of Alumni Relations
and Annual Giving at 213.740.2804 or email us at
1
Join the SCA Network �
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cinema.usc.edu
15
Success in the entertainment industry is a mix of what youknow and who you know. At theSchool of Cinematic Arts youlearned the “what,” and thanks tothe just-released SCA Alumni Directory, you can reach out tothousands of your fellow alumniwho are the “who.”
The directory includes contact informationand official degree information (if available)of Cinematic Arts alumni. The publicationalso contains records of some non-degreeholding alumni who attended the school aswell as records of non-cinema USC alumniwho are actively involved with the schooland in the entertainment industry.
In addition to the print edition, the schoolhas also enabled directory-eligible Networkmembers to access the same informationon the SCA Community Web site, (scacommunity.usc.edu). This site not onlygives you access to the latest information,but also enables you to add or update yourown data once you have signed up for an account. You can also choose whether toallow part or all of your own contact information to be visible to other alumni.
As the only directory of SCA alumni, thispublication is not for sale nor is it availableto the general public. Rather, it is offeredexclusively to members of the SCA Networkwho support the school through donationsof $50 or more.
sca aLumnI DIrectorY
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1 Anthony Lund B.A. Production ’07 checks in.
2 The crew from In-N-Out serves up a slew of
burgers, fries and soft drinks.
3 Alumni pack into the Ray Stark Family Theatre in the
new SCA complex to catch the opening of Angels &
Demons.
4William Tiki B.A. Production ’10 enjoys a bite to eat.
5 Jason Shuman B.A. Production ’96 and his sister
Kathy check out the brand new SCA Alumni Directory.
6 Kam Miller M.F.A Writing ’03, Barbara Stepansky
M.F.A. Production ’02 and Henry Lowenfels M.F.A.
Stark ’06 chat.
7 Alumni Relations Director Justin Wilson (left) and
Special Events Coordinator Alex Ago (right) with Kevin
Bjelejac of Sony Pictures, which provided the school
with the Angels & Demons print for the event.
To learn more and to get your copy, please visit: cinema.usc.edu/Network
Glenn Adilman ’90 was named executivevice president of comedy development atSony Pictures Television.
Malek Akkad ’06 of Trancas InternationalFilms will produce another chapter of Halloween for Dimension Films.
Judd Apatow is producing an untitledcomedy starring Sacha Baron Cohen for Columbia Pictures.
Jose Arinaga ’04 is slated to direct shortform Web content for HBO Mobile. He alsorecently started the editorial and productionhouse Sick Cuts.
John August ’94will adapt the supernaturalgraphic novel Preacher for Columbia Pictures.
Shyam Balse ’06 attached to direct a feature that is being produced by WolfgangPetersen for Radiant Productions. He andJoseph Itaya ’06 are also writing a featurescript concept called Last Ride, which will gointo production for Sure Crossing Films.
Brad Barber ’05 served as associate producerand co-editor of Resolved, a documentaryairing on HBO. The film was assistant-editedby Sheda Stiff ’05 and production sounddone by Joshua Wilkinson ’06.
Daniel Barnz ’95 will write and direct themodern day Beauty and the Beastadaptation Beastly for Storefront Films.
Beau Bauman ’01 will produce the pitchMr. Romance for New Regency. He will alsoproduce the romantic teen comedy Aaronand Sarah with fellow alumnus Jesse Israel ’04.
Walt Becker ’95 will direct Wild Hogs 2.He will also produce the comedy spec NoRelation for Fox Searchlight and the comedy pitch Still You for MGM.
Elisa Bell ’87 will executive produce andwrite the new series Barely Legal for NBCabout an 18-year-old who passes the California bar. Hillary Duff will star.
Marco Beltrami composed the music forThe Hurt Locker, which premiered at theToronto Film Festival.
Todd Black ’82 of Escape Artists will produceLoving Frank, Nancy Horan’s historical novelabout architect Frank Lloyd Wright, for
Lionsgate. He will also be co-producing theromantic comedy Plan B, starring JenniferLopez, for CBS Films.
Michael Bostick ’90 will produce thecomedy Mother Nature for Walden Media.Ellen DeGeneres will star.
Joey Boukadakis will write the remake ofthe ’80s comedy classic Back to School for MGM.
Sarah Boyd ’95 edited Nothing But the Truth,which premiered at the Toronto Film Festival.
Carlos Brooks will direct the thrillerBurning Bright for Sobini Films.
Bryan Burk ’91 will produce the comedyMorning Glory for Paramount.
Michael Caldwell ’90 is producing anuntitled George Washington project aboutthe life of America’s first president.
Alex Canawati ’91 produced the featureReturn to Babylon, a black and white silentfilm that pays tribute to the movie stars ofthe silent movie era.
Sandre Chen ’96 contributed a chapter tothe book Writing for Video Game GenresFrom FPS to RPG.
Sereita Cobbs ’94 is now coordinatingproducing on the live weekday show SportsCenter for ESPN.
Ryan Colluci ’04 and Dikran Ornekian’04 have sold their action thriller script Loboto Stone Village.
Ericson Core will direct the crime thrillerMurder, Inc. for Anonymous Content.
Nelson Cragg ’03 was nominated by theAmerican Society of Cinematographers forhis work on the season finale (the episode titled “For Gedda”) of CSI Crime Scene Investigation.
Karen Croner ’87 wrote the indie filmDaughter of the Queen of Sheba, in whichAmy Adams will star.
R.J. Cutler will executive produce PrettyWicked, a new reality series for Oxygen.
Chad Gomez Creasey ’03 and DaraResnik Creasey ’03 wrote the romanticcomedy Aaron and Sarah for Fox 2000.
Steve Crystal ’93 is producing the Marvinthe Martian feature for Warner Bros.
Scott Derrickson ’95 is set to direct HyperionCantos for Warner Bros. and GK Films.
Jonathan Dillon ’06 had his feature filmRigged, which he directed and produced,was accepted by the Dances with Film andthe Action on Film International Festival in LA.
Josh Donen ’79 will produce an adaptationof the comic book Sleeper with Sam Raimi.
Jackie Doslak ’03 created the show Exiled for MTV with fellow alum StephenAmstutz ’01.
Susan Downey ’95 is producing Book ofEli, a drama staring Denzel Washington andthe drama Sherlock Holmes for Warner Bros.She also produced RocknRolla.
Daniel Dubiecki is producing Up in theAir, an adaptation of the Walter Kirn novel,alongside director Jason Reitman ’99.
Jon Dunham ’00 produced and directedthe documentary Spirit of the Marathon,which was part of Docuweek NY.
Steven Edell ’08 won the Gold CircleAward for outstanding student film at theCaucus Awards.
Breck Eisner ’95 will direct the remake ofthe 1973 George Romero film The Crazies.
Kevin Ellis will write the pilot for an HBOseries based off the American Tabloid booksby James Ellroy.
Dan Etheridge ’92 co-producing Party Downfor Starz. It follows a group of Los Angeleslocals who work for a catering company.
Rick Famuyiwa ’96will direct Family Wedding.
Kevin Feige ’95 will produce CaptainAmerica, which is slated to release in 2011.
Gary Fleder ’93 will direct and executiveproduce the TV dramedy Light Years. He hasextended his overall deal with ABC Studios.
David Foster will produce a remake of the1982 film The Thing for Universal with fellowalumnus Eric Newman. He is also producingthe upcoming Marvin Gaye biopic titled Marvin.
DeVon Franklin ’00 was promoted to vicepresident of production at Columbia Pictures.
Andy Friendly ’73 is producing a new series on Discovery’s new Planet GreenNetwork called Supper Club.
Jonathan Glickman will produce LeapYear starring Amy Adams.
Liz Glotzer ’85 will produce an untitled romantic comedy starring Sarah JessicaParker and Hugh Grant for Columbia Pictures.
Al Gough ’94 and Miles Millar ’94wrote and will direct Salisbury for Disney.
James Gray ’91 will direct The Lost City ofZ starring Brad Pitt.
Brian Grazer ’74 is executive producing theseries Lie to Me for Imagine TV and 20th CenturyFox and the drama Tehran for Imagine Entertainment. He will also produce the remakeof the French film My Best Friend, which willbe written by Wes Anderson. Grazer will alsoproduce the Pharrell Williams music-themedfilm Zoom and the Universal film Cartel.
Robert Greenblatt ’87 is producing thestage musical of 9 to 5
Luke Greenfield ’94 will direct My Momis Hot for ABC and Broke Friends for Fox,which he will also executive produce.
Larry Guterman is set to direct My Middle Earth Crisis aka Wizard of Sanduskyfor New Regency.
Kristina Hackel ’00 was nominated for aWebbie award for her web series Speedie Date.
Taylor Hackford ’68 will be directingTenn, a drama about playwright TennesseeWilliams, for Infinity Media.
Jason Dean Hall wrote Spread, starringAshton Kutcher, which premiered at the2009 Sundance Film Festival.
Jack Heller ’04 of Caliber Media will execproduce a reality show starring WWEwrestling legend “Stone Cold” Steve Austinwith fellow alumnus Dallas Sonnier ’02.
Barry Hershey ’87 completed directingthe feature film Leading to War.
Kara Holden will adapt the novel The Opposite of Love.
Ming Hsiung co-directed and designedthe short film Lighthouse for Liberty Mutual’sResponsibility Project.
Brant Jones ’00 is now the cinema technician at Denison University.
Richard Kelly ’97 produced the dark comedyWorld’s Greatest Dad for Darko Entertainment.
Scott Kosar ’89 will write the screenplayfor the remake of The Crazies.
Sandre Chen ’96
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uscscHooLofcInematIcarts
aLumnI QuIcK taKes
Jeff Prugh ’07
Jason Dean Hall
Brian Krinsky ’98 served as producer ofthe comedy short Dish. Fellow alums Geraud Brisson ’99 and David Miraglia ’00 served as editor and sounddesigner, respectively.
John Kroll ’84 will supervise visual effectsfor Rango, an animated feature for Paramount.
Tim Krubsack ’92 has been appointed Sci Fi Channel’s vice-president of alternativeprogramming.
Kurt Kuenne ’95 directed the documentaryDear Zachary: A Letter to a Son About His Father.
Nolan Lebovitz ’01 and AdamLebovitz ’05 sold their feature thriller Tortured to Sony Pictures Worldwide.
Alexander S. Lee ’02 premiered his filmThe Real Shaolin at the 2008 Toronto FilmFestival.
Barry Levy ’96 will adapt the best-sellingnovel Paranoia for Gaumont.
Shawn Levy ’94will produce NeighborhoodWatch for 20th Century Fox; will direct DateNight, starring Steve Carrell; will develop andproduce for 20th Century Fox the comedyHow to Talk to Girls, based on the adviceguide written by nine-year-old Alec Greven;will direct an adaptation of the Adena Halprennovel The Ten Best Days of My Life; he willalso produce the dramedy The SpectacularNow for Fox Searchlight; and will be directing the coming-of-age story The WayBack for Mandate Pictures.
Jack Lewis ’94 the documentary OperationHomecoming, based on his short stories, has received numerous nominations includingthe International Documentary Associationfeature film award and the Pare Lorentz award.
Joe Lia ’03 directed and wrote his first featurefilm Sweet Thing. Matt McUsic ’03 served asdirector of photography, Guillermo Rodriguez’04 as editor, Francois Dompierre ’04 assound designer and post-supervisor, andPatrick Kirst ’04 as music designer.
Doug Liman will direct Fair Game aboutthe outing of CIA Agent Valerie Plame.
Alex Litvak ’95 has sold his spec scriptMedieval to New Regency.
Robert Liu ’66 was awarded the CareerAchievement in Television Award by American Society of Cinematographers.
George Lucas ’66 is producing Red Tailsbased on a short story about the TuskegeeAirmen.
Jason Lust ’00 will produce the Jim Henson Co. film Happytime Murders.
Laurence Malkin ’94 wrote the dramaCrossroads, which will be produced forWarner Horizon TV and McG’s Wonderlandcompany.
Michelle Manning will produce ColdWarrior, to be directed by Shane Black.
Stephanie Mardesich ’77 was honoredwith the Pioneer Woman of the Year Awardfor her work with the LA Harbor film festival.
Corey May ’01 and Dooma Wendschuh ’01 of Sekretagent Productionsare executive producing the drama The Dogsof Babel for Mandate Pictures.
Kevin McCollum ’89 will executive producean adaptation of the Broadway musical Inthe Heights.
Jen McGowan ’05 is directing the romanticcomedy Half of Two for Puzzle Pictures.
Neil Moritz ’85 will produce the disasterfilm Skyscraper; will produce an untitledcomedy from Jeremy Garelick.
Eric Newman will produce Dante’s In-ferno, a film adaptation of an unreleasedElectronics Arts video game.
Cinco Paul ’93 wrote Despicable Me inwhich Steve Carell will star; wrote the Eastercomedy I Hop for Universal.
Jeff Prugh ’07 produced the web series TheHustler, launched by Sony Digital Entertainment.
Nick Pustay ’95 has been tapped to adaptLisa Lerner’s dark comedic novel Just Like Beauty.
Matt Reeves ’88 will write and direct Letthe Right One In for Overture Films.
Patricia Resnick ’75 wrote the book version of the stage musical of 9 to 5.
Jay Roach ’86 will produce an untitled divorce comedy for Universal from EdwinCannistraci and Fredrick Seton.
Robert Rodat ’83 will write Tom Thumbfor Warner Brothers.
Charles Roven will produce the comedyWinter’s Discontent for Atlas Entertainment;will produce Season of the Witch starringNicolas Cage.
Andrew Russo ’08 was awarded as runner-up for Best Cinematography in a Student Film by the American Society of Cinematographers this year.
Michael Rymer ’85 will direct and co-produce Witchblade, a feature film adaptation of the Top Cow comic.
Josh Schwartz ’99 will write the screenplayfor X-Men: First Class, the next installment ofthe X-Men franchise; will make his directingdebut with the adaptation of Jay McInerneynovel Bright Lights, Big City for MGM.
Peter Segal ’84 and his company CallahanFilmworks, gained a three--picture first lookdeal with Warner Bros which will start withthe film Liam McBain: International TennisStar and Proper English Geezer.
Garo Setian ’95 won three Golden TrailerAwards for his work as trailer editor for Lionsgate.
Stacey Sher ’85 will produce an untitledfilm about a family who gets lost on anAfrican safari and must find their way backhome; will produce an untitled college comedy film for DreamWorks.
Ian Shorr ’07 wrote the spec script Substitution, which was acquired by AlconEntertainment and Warner Bros.
Jason Shuman ’96 is producing MiddleMen starring Luke Wilson.
Bryan Singer ’89 is in negotiations to produce the superhero feature Capeshootersfor Warner Bros. His company Bad Hat Harrywill also develop a live-action feature fromthe comic book Freedom Formula: Ghost ofthe Wasteland for New Regency.
Stephanie Smith ’01 sold a pilot to theCW entitled Body of Evidence and premieredher first feature Sex & The USA at theDeauville Film Festival.
CB Smith-Dahl ’96 worked with YouthFilmmakers in Oakland for the CaliforniaCouncil for the Humanities to produce a documentary short on Cambodian Americans.
Stephen Sommers ’93 will direct Tarzan
for Warner Bros., produced by Jerry Weintraub.
Matt Spincer ’05 and Max Winkler ’06
wrote The Adventurer’s Handbook, which
was recently acquired by Universal.
Mimi Steinbauer ’90 was recently named
president of Hyde Park International.
Stephen Susco ’00 wrote High School,
starring Adrien Brody; will adapt the Spanish
horror film Anguish for Sam Raimi’s Ghost
House. It will be redubbed The Dorm.
Doug Tenaglia ’81 is directing his first
full-length independent film All Me, All the
Time.
Andy Tennant ’77 will direct Chasing
Harry Winston, an adaptation of the Laura
Weisberger novel; will direct an untitled
bounty hunter project with Columbia
starring Jennifer Aniston and Gerard Butler.
Neil Moritz ’85 is set to produce.
Suzanne Todd and Jennifer Todd will
produce The Romantics for Plum Pictures.
Liv Tyler will star; will produce Celeste and
Jesse Forever for Fox Atomic.
Jon Turteltaub ’97 will direct
The Sorcerer’s Apprentice.
John Wells ’82 will be writing and
producing the U.S. version of England’s
iconic blue-collar television drama Shameless.
Jared Yeager ’02 is the associate producer
for the video game Monsters vs. Aliens
based off the DreamWorks animated feature.
Robert Zemeckis ’73 will produce the
motion-capture film Mars Needs Moms.
Laura Ziskin ’73 will produce the
adaptation of The Spellman Files, written by
Josh Stolberg ’97. The script follows the
life of a single private eye juggling dating
and a caseload.
in motion spring 2009
cinema.usc.edu
17
Kurt Kuenne ’95
LEFT: Joey Boukadakis
RIGHT: Patricia Resnick ’75
in motion spring 200918
uscscHooLofcInematIcarts
Nina Foch
Hundreds of friends, students and colleagues gatheredat the Academy of Motion Picture Arts and Sciences onApril 14 to pay tribute to Nina Foch, the widely respected teacher and veteran actress whose creditsstretch back to the golden age of Hollywood film noir.
Foch, who passed away on December 5, 2008 at age 84, taught theAdvanced Seminar in Directing Actors for Film, where she passedalong lessons learned from a lifetime of acting in acclaimed films likeAn American in Paris, Spartacus, and Scaramouche. For her portrayal ofErica Martin in the Robert Wise-directed Executive Suite, she received an Academy Award nomination for Best Supporting Actress.She was equally comfortable in film and television, appearing inclassic series like Lou Grant, The Mod Squad and Gunsmoke. As recently as 2007, she appeared in an episode of the critically-acclaimedTNT series, The Closer.
“Believe it or not, teaching is the most rewarding thing I do,” Fochtold United Press International in 1994. “It has been the most successful thing I’ve done in my life.”
“Nina taught our students one of the most difficult skills in the cinematic arts: how to turn the words on the page into compellingperformances,” said Dean Elizabeth M. Daley. “She inspired andinfluenced generations of USC women and men, who in turn wenton to shape the direction of both cinema and television. We are alltruly saddened by this loss.”
“It was electrifying to be in her classroom,” said Assistant ProfessorTed Braun, M.F.A. Writing ’88, director of Darfur Now. “Her stampis on all of us who studied with her. Everything that I teach now issomehow influenced by the understanding of drama and cinemathat I gleaned from her.”
Randal Kleiser, director of Grease and Flight of the Navigator, spokewarmly about Foch. “I took her class 40 years ago, and she wentfrom being a teacher to a mentor to a best friend,” said Kleiser. “Her unique teaching style reflected her influences, ranging fromLee Strasberg and Stella Adler to Vincente Minnelli and StanleyKubrick. Several generations of filmmakers are lucky to have beentrained by her, and you can see their funny and touching recollections at the Tribute to Nina Foch page on Facebook.com.”
Online: cinema.usc.edu/NinaFoch
In memorIam
Charlene Sun ’06
2006 M.F.A. Production Alumna,Charlene Sun, 34, who approachedcinematography from the uniqueperspective of an artist painting images with a camera lens, died ina tragic automobile accident in LosAngeles on January 27.
Since childhood, Sun dreamed of being afilmmaker. While majoring in Theatre Artsat Cornell University, she took every filmmaking class they offered. She joinedthe graduate production program in 2003 topursue that quest.
Her skills and passion as a director of photographycame to the fore on three short films, Underpass,Meeting in Cars and Marwa. Sun, who wasalways willing to help out on classmates’ projects,did everything from gaffing to driving equipmenttrucks. During her time at USC, she contributedto more than a dozen USC thesis films.
Fellow production alumna Rain Breaw,M.F.A. ’07, struck up a friendship with Sunduring an editing class early on in their USCexperience. That friendship grew into a professional relationship after graduation,with the two of them forming SunRain Productions, a film/video production andWeb development company. Together, theycreated numerous short video projects andover 50 Web sites.
“As the Sun of SunRain, Charlene was theperfect balance for me,” Breaw said duringthe memorial service for her friend. “Sheconstantly reminded me to enjoy life, andenjoy our work, and not take it all so seriously(though our perfectionist friend did putgreat seriousness into all of her work). Shebrought beauty to our work. Our styles wereopposite and yet we had similar taste. Shewas the night owl while I worked during theday. We could not have been a better match.”
In addition to being a talented cinematographer,Sun was also a gifted artist and an accomplishedwriter. She was in the midst of completing hersecond feature script with her writing partner,Steven Edell, M.F.A. ’08. They were takingmeetings at over 20 production companiesand studios for their first feature script Raftof the Medusa.
Arrangements are underway to create ascholarship at the school to honor Sun’slegacy. For more information and to sharetributes, please visit: cwsun.sunrainproductions.com
Margaret Mehring
Dr. Margaret Mehring, arenowned scholastic writer, filmdirector, and humanitarian, aswell as a long-time professor inthe School of Cinematic Arts,passed away on July 3, 2008 at 82.
The beloved academic innovator of theFilmic Writing program was also a politicalactivist who led the university in creatingthe only monument dedicated to the FirstAmendment, entitled, “Blacklist,” basedon the Hollywood 10—the blacklistedwriters during the McCarthy era of the 1950s.
Of her varied accomplishments, Mehring’sbook, The Screenplay, A Blend of Film, Form,and Content, is still used by universitiesacross the country. Her textbook on howsmall groups could create a grassrootsmovement entitled, How to Win: A DemocraticGrassroots Handbook, was initially writtento aid a fledgling Democratic congressionalcandidate named Henry Waxman in winninghis seat in 1974. These stories and 50other educational and documentary filmsdemonstrate her depth of understandingin exploring the democratic process.
Shortly after her husband, filmmakerWilliam Samuel Mehring died in 1957,she and her son Will, who was 18 at thetime, led a band of Iranian filmmakers todocument their history dating back to4000 B.C. And, in the last years of her lifeshe encouraged young people of theOglala Lakota Tribe to employ methods inmedia to document and teach all of ushow to environmentally guard the world.
John Furia, Jr.
Venerated television and filmwriter John Furia, Jr., whofounded the school’s division ofWriting for Screen & Televisionand was an ardent activist forwriters across the industry, diedFriday, May 9 at the age of 79.
Furia, whose credits included some oftelevision’s landmark programs such asThe Twilight Zone, Hawaii Five-O, TheWaltons and Kung Fu, also served asthe national chairman and past presidentof the Writers Guild of America (WGA)and past president of the Writers Guild Foundation.
“John was the writer’s writer; observingthe raw essence of the human experience
and infusing that into truly movingcharacters and stories,” said Dean Elizabeth M. Daley. “What’s more, hehad an unsurpassed ability to excite andinspire his students to do the same, andthat legacy lives on in literally thousandsof film and television scripts.”
In 1995, Furia served as the foundingchairperson of the writing division,joining together the Filmic WritingBachelor of Fine Arts Program with theGraduate Screenwriting Program. In doingso, the division became a powerhousefor teaching scribes in film, television,and more recently interactive and onlinemedia. Students who went through theprogram after the division was startedinclude Josh Schwartz (The O.C., GossipGirl), James Vanderbilt (Zodiac, Basic)and Stephen Chbosky (Jericho, Rent).
“John has left a very rich legacy at theWriting Division and I know he hastouched the lives of all of us who hadthe special pleasure and honor to knowhim,” said current chair Jack Epps, Jr.“One of our family has fallen and wewill miss him greatly.”
In creating the writing division, Furiasaid in a recent interview that both thebachelor’s and master’s programssought to “stress that amateur writerswrite when the muse visits them, butprofessionals write on demand.” Thedivision intentionally structured the bulkof the writing courses to take place insmall, highly collaborative workshopsbecause, in Furia’s words, “We believeyou learn how to write from writing,not talking about writing.”
Online: cinema.usc.edu/JohnFuria
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cinema.usc.edu
19
Online:
cinema.usc.edu/Commencement2009
honor of the day, the Staff Recognition Award,which went to Facilities and Operations DirectorDouglas Wellman, followed by the presentationof the Mary Pickford Alumni Award by endowedchair holder Doe Mayer to Grey’s Anatomy andPrivate Practice creator Rhimes, who is a 1994alumna of the Graduate Screenwriting Program.
“Shonda’s incredible success shares parallelswith Mary Pickford’s career,” said Mayer.“Both were inveterate storytellers who beganin the theater. Both took chances by choosingto follow their passions over immediate financial stability. And both made a career outof creating strong, realistic, flawed and utterlyengaging female characters.”
“I don’t have any wisdom,” said Rhimes withdeadpan delivery. It didn’t stop the GoldenGlobe winner from looking back from her owncommencement onward to give out advice thegraduates would remember.
“Do your own thing. Whatever it is, be original,”said Rhimes. “Enjoy it, your career, the highsand the lows. Enjoy every single moment, because this is it. It happened, right now. Thisis why you went to film school all this time.”
The third honor preceding the commencementaddress was a surprise. Price, chairman and CEOof Price Entertainment, as well as a USC trusteeand chairman of the SCA Board of Councilors,came to the Shrine to give an introductoryspeech for the keynote, Ziskin. But the famedexecutive behind Oscar winners like Kramervs. Kramer, Tootsie and Gandhi was nearlymoved to tears when he learned he would alsoreceive the second-ever SCA Honorary Alumnusaward in recognition of his contributions to boththe school and the film/television industry. Pricejoins only Clint Eastwood in having received this rare and prestigious designation.
“I’m speechless,” said Price. “I came here prepared to do one thing and I’ve been hit bythis delightful event, this surprise. I’m notsure if I ever told [Dean Daley] that when Iwas in high school in Flint, Michigan, that Idid want to go to USC. I didn’t do it. I couldn’tafford to do it. Frankly, I most wanted to helpmake sure that kids who couldn’t afford itwould be able to do it.”
Price joked about his emotional response tothe award before moving on to introduceZiskin. The producer of hits like As Good As ItGets, Pretty Woman and the Spiderman franchise,began her address by acknowledging the chal-lenges ahead for the 2009 graduates, only toremind them that the challenge is worthwhileand that the industry isn’t going anywhere.
“They’ve said sound will kill the movies. Television will kill the movies. Video will killthe movies. DVDs will kill the movies. Videoon demand will kill the movies. Visual effectsmovies will kill the movies. The Internet andvideo games will kill the movies. Deliverymethods may change and grow,” said Ziskin,“but the power of the medium will remainunassailable, because you all will make it so.”
Ziskin recognized the opportunity that comeswith telling stories on the screen, citing thevalue and impact a motion picture can have for so many people.
“There are seven billion people in the world,”said Ziskin. “How many of them get up everyday and say they are going to use whatever resources they have to make the world a betterplace? You can and must do so with the poweryou will wield, coming from the enormous opportunities you’ve been given here. Andthere is no more powerful resource ever createdthan the power of a great story well told.”
With that, came the presentation of the degrees. Writing M.F.A. grad Zahir McGheelooked at his commencement and time at SCAas the right start for the road ahead.
“I think it gave me the foundation, the buildingblocks, the ability to move forward,” said McGhee,a USC Annenberg Fellow and graduate withdistinction.
Another aspiring filmmaker moving forwardwas critical studies B.A. grad, Cameron Siemer.However, Siemer didn’t see himself having totravel very far to take the next big step in his career.
“My plans are to apply to the production graduateschool and use what I know from critical studies,”said Siemer. “All the foundations I’ve learned,how to dissect a film, will help me to createfilms in the future.”
Siemer also noted the value of networking helearned in his four years and how he’s met notonly people who can help him with his career,but “meeting people I’m probably going to befriends with for the rest of my life.”
The books are closed on the class of 2009 and
now only time will tell what the future holds
for these graduates, what wisdom they may
someday share as special commencement
guests years from now or what stories they
may someday tell online, on televisions or on
the silver screen.
“I’m writing Spiderman 5,” joked McGhee.
“Starting tomorrow.”
Continued from page 1
commencement
CLOCKWISE FROM UPPER LEFT: Laura Ziskin ‘73delivers her commencement address; ProfessorDoe Mayer presents alumna Shonda Rhimes‘94 with the Mary Pickford Foundation Award;soon-to-graduate students take in words ofadvice; families, faculty and friends congratulatethe new alumni at a reception in the SCAcourtyard; SCA Board of Councilors ChairmanFrank Price and his wife Katherine; DouglasWellman (left) receives the Staff RecognitionAward from Associate Dean Michael Renov.
University of Southern California
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Los Angeles, California 90089-2211
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Steve Cohn
Caleb Coppola
Peter DiFazio
Roberto A. Gomez
Jacqueline Jocson-Bolanos
Mike Lee
Slobodan Pikula
Design
Researchers
Contributing Photographers
Elizabeth M. Daley
Marlene Loadvine
John Zollinger
Mel Cowan
Josh EiserikeJimmy KellyTeresa LoCristy LytalJustin WilsonJohn Zollinger
Dean
Senior Associate Dean,External Relations
Assistant Dean, Communications
Writer
Contributors
Looking to link up with old friends, meetnew ones and see some of the summer’shottest films? Then come on down to campusfor the SCA Alumni Screening Series.
Running from June 1 through August 5, the showings
will include a dynamic selection of studio blockbusters,
festival-winning indies, docs and foreign films, as well as
new feature films by SCA alumni. The films will play in
Norris Theatre as well as the new Cinematic Arts Complex
screening rooms. A sampling of screenings includes
Surveillance, The Cove and Grace.
The SCA Alumni Screening Series is open to all USC students,
faculty, staff and alumni, but please note the theater will
be overbooked to ensure capacity and the RSVP list will
be honored on a first-come, first-served basis.
SCA Network members will be given exclusive windows
to RSVP first for some of the most popular titles. Please
stay tuned to scacommunity.usc.edu and your email for
more information on SCA Network events.
The SCA Alumni Directory is out. Are You In? Page 14
SPRING 2009
For more information on the SCA Network, visit:cinema.usc.edu/Network
For more information and reservations, see: cinema.usc.edu/AlumniScreeningsgs
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