Knowledge About Theatrical Lighting
1. Jeffrey D. Erb of theatrical lighting
Jeffrey D. Erb (born June 5, 1969 in Pottstown, Pennsylvania) is an American film producer, director, actor, musician. He is also the Co-Founder and Co-President of the film production company Framelight Productions, the co-founder of Invivid Media and the CEO of Feverpitch Pictures. He has produced or executive produced a wide range of films, including The Speed of Life (Directed by Ed Radtke), which won an award at the Venice Film Festival.
Erb is known as a founding member and bass player of the gothic rock band Sri Lanka, which he founded in 1986 with his longtime collaborator Lee Daniels. In 1995 Erb and Daniels formed the industrial rock band Needle where Erb was singer, songwriter, bassplayer, keyboard player and wrote rhythm tracks.
In addition to his film and musical achievements, Erb has had a successful business career having built and sold several companies in the world of marketing and media. He is also the current president of McCann Health Engagement after having built Healix Global, part of IPG Mediabrands, within the Interpublic Group of Companies.
2. CastProduction of theatrical lighting
Iran EorySpanish sources for the production credit Natividad Zaro as a contributor to the script. As with many European co-productions of the era, this was done for tax reasons. Italian promotional material for the film promoted it as a product based on an Edgar Allan Poe story, but the film only borrows elements from "The Fall of the House of Usher", "A Tale of the Ragged Mountains" and "Some Words with a Mummy". The films script is closer to that of Roger Cormans films based on Poes work rather than the Italian gothic horror films of era. Director Alberto de Martino felt he was more inspired by Alfred Hitchcock.
The film was shot at Monastery of Santa Maria La Real de Valdeiglesias in Spain and at Cinecitt in Rome.
3. Jack Asher of theatrical lighting
For the shinty player and referee, see Jack Asher (shinty)Jack Asher B.S.C. (29 March 1916, London 1991) was an English cinematographer. His brother Robert Asher was a film and TV director with whom he worked on several occasions.
He began his cinematic career as a camera operator, and made his first film as cinematographer or "lighting cameraman" on The Magic Bow (1946).
Asher is best remembered for his work on Hammer films, beginning with The Curse of Frankenstein (1957), the first of Hammer's gothic horrors, and the earliest colour version of the Frankenstein story. He was the director of photography on several of the Hammer horror films including Dracula (1958), The Revenge of Frankenstein (1958), The Hound of the Baskervilles (1959), The Mummy (1959) and The Brides of Dracula (1960).
His style was characterized by a fantastical use of colours, such as non-realistic purples and greens. Director Terence Fisher said of him, "Jack Asher had a very distinctive style of lighting, which was quite different from Arthur Grant's.(Who) had a more realistic approach to the situation. Jack Asher's was almost theatrical lighting with little tricks, like color slides placed over the lights and so on."
Asher's non-Hammer films included The Good Die Young (1954) and Reach for the Sky (1956).
In 1964, he was nominated for a BAFTA for Best British Cinematography (Colour) for his work on The Scarlet Blade.
4. Biography of theatrical lighting
Aleksandr Borisovich Matveyev was born in the family of the famous Soviet zoologist Boris Stepanovich Matveev. After graduation from a secondary school, he at the same time enrolled into two universities: Moscow Power Engineering Institute (graduated in 1949) and Moscow Art Theater School at Staging faculty (graduated in 1950).
After graduation, he came to work in the Moscow Art Theater, but soon, in 1951, he was sent to work for the Central Academic Theater of the Soviet Army. During his time in this theater he took part in staging of more than twenty performances not only as an artist-director, but also as a lighting engineer. Among his performances "Do not Have a Penny but Suddenly Hit the Jackpot" (by Alexander Ostrovsky), "An Optimistic Tragedy" (by Vsevolod Vishnevskiy), "A Factory Girl" (by Aleksandr Volodin), "My Family" (by Eduardo De Filippo), and other plays. He also collaborated with other Soviet theaters.
Since the 1960s he started teaching. For many years he had read a course of lectures at the Moscow Power Engineering Institute.
Aleksandr Matveyev also showed himself as an outstanding landscape painter. He painted landscapes of European part of Russia, the Caucasus, the Crimea and many other places. He took part in many art exhibitions.
He died on 22 January 2008 and was buried at Kuntsevo Cemetery in Moscow.
5. Life and career of theatrical lighting
Danielle Feinberg was born in Boulder, Colorado and graduated from Boulder High School. Growing up, she attended summer camps and after-school programs for students interested in computer programming and engineering. She attended Harvard University, where she was introduced to computer animation in a computer graphics course during her junior year. She graduated in 1996 with a Bachelor of Arts in computer science.
After graduating from Harvard, she started working at Pixar in February 1997 as a technician managing the large libraries of data and images for rendering A Bug's Life. She has since been credited for leading work in visual effects, technical direction, and graphics.
Outside of Pixar, she mentors girls to get them interested in STEM through groups like Girls Who Code. She says yes to every talk which provides a platform to inspire and encourage girls to dreams and pursue it by getting into STEM fields. In fact, the made with code, which is an initiative launched by Google, was kick started with her inspiring keynote.
In 2015, she appeared in the documentary Code: Debugging the Gender Gap. In November 2015, she delivered a talk on science and art at TED talks live at New York. It was also streamed by PBS.
6. CastBackground of theatrical lighting
Jos Luis Seytn Guzmn
Dorian WaldemarIn an interview with a social justice journalist David Walsh at the Buenos Aires 6th International Festival of Independent Cinema, director and producer Ana Poliak discussed why she made the film. She said, "It was the first time that I had the feeling that we were not all equal. I could see behind the back walls of the alley, where I saw kids my age, naked from the waist up, who were working very, very hard. I couldn't quite understand the situation. During the match I would concentrate on the boys' feet and hands, and I felt that on the other side there was another world, parallel to mine, which I couldn't comprehend. I started from this idea to make the film," she added, "This is connected, in some way, to the differences in social classes that I discovered when I was little, and I guess that's why I'm so interested in this type of character. I can't find answers for these questions. I think that my social class doesnt have that capacity, that light."
7. Critical response of theatrical lighting
LA Weekly made note that while director Sergio Myers understands reality TV, and opted for improved action rather than scripted dialog, they judged the film to be a "limp satire of egomaniacal celebrity chefs", that was "raucously funny during Saffrons professional and personal meltdowns," but they found major flaws in the repetition of the film's jokes, the strange accents used by its characters, and the overuse of reality TV style, which "bring down the whole affair."
Blogcritics offered that many actors are uncomfortable with improved scenes, and that as Saffrons sous chef, Jean Claude, Dimitry Mignon handled the task particularly well. Thy also noted that as Louie, Saffrons business partner, Steve Schirripa stole the show in that Schirripa in "his displays of anger and frustration, is the most sympatheticand convincingly realof the characters." They found much of the acting to be believable, but offered that the film overall as a mockumentary was "a little uneven, missing some things one expects from that form, and including some that dont work within it." The felt that director Meyers would have been better of "foregoing the mockumentary tag, and calling this an improvisational piece." They concluded "Its a humorous film about a character who is not all that sympathetic. Disliking Jordan Saffron is part of the fun."
Are You Screening? found the film's premise to be promising but gone "horribly wrong" when the film displayed the "production abilities of really nice student film, and the comedic talents of a drunken night at a fraternity goofing on a Hell's Kitchen marathon." He noted that the film attempted a level of credibility by its inclusion of Steve Schirripa and Rachel Hunter in the cast, but that it failed in that it "ultimately comes down to a lot of ideas that are funny, but it doesn't deliver anything that lives up to the potential in those ideas."
Rotten Tomatoes gave the film a score of 67%.
8. Release of theatrical lighting
The Blancheville Monster was released in Italy on June 6, 1963 through Titanus. It was released in Italy under the title Horror as chosen by producer Italo Zingarelli. The film grossed 87 million Italian lira on its initial theatrical run in Italy.
Home mediaThe film is in public domain in the United States. On March 23, 2004, it was released on DVD by Alpha Video. Alpha Video would also re-release the film on April 8, 2009 as part of its Gothic Horror Movie Pack. It was later released by Mill Creek Entertainment on August 30, 2005, as part of its Chilling Classics DVD. Mill Creek would re-release the film on August 19, 2008 as part of its Tales of Horror Collection. On August 30, 2007, it was released by Direct Source as part of its Monster Mash Movie Pack. On August 24, the following year, it was released by TNT Media Group. It was last released by Retro Media on November 19, 2013 as a part of its 50th Anniversary Edgar Allan Poe's Horror Pack.
9. Musical career of theatrical lighting
Mr. Erb started his musical career in 1987 as the founder and bass player of the band Sri Lanka a gothic rock band from the City of Philadelphia, Pennsylvania. The band was originally formed by Erb and Lee Daniels, whom Erb had known since they were 15 years old. After a tumultuous series of interactions with other members, including the death of original lead singer Brett Turner, the release of two EPs and a full-length album entitled "Here" the band split up.
In 1995 Erb and Daniels got back together to form the band Needle, (stylized as "needle") an industrial rock band combining edgy guitars with dance rhythms. The band obtained distribution through Sony Music Entertainment via its Ruffhouse Records label. The band's debut album "Lifeline" met with critical praise and the band proceeded to perform live with major acts in cities throughout North America. Jeffrey Erb and Lee Daniels write all of the music for the band, with Erb performing lead vocals and Daniels on lead guitar. Their live sets include several additional band members on bass guitar, drums and keyboards.
10. Design of theatrical lighting
Creature effectsMatt Wavish, writing for the Horror Cult Films website and giving the movie only 2.5 stars out of 10 in his review, was one of few reviewers who admired the werewolf effects: "When the werewolf does finally appear, it is quite cool. Clever lighting and camera angles hide the films low budget, and enable the rather large monster to actually look impressive for most of the time."
Reviewer Karl De Mesa mourned the underabundance of werewolf sightings: "when we do see the beast the darn CGI makes it look like this one might just fall into the B-movie bin."
Reviewer Ellis Whitehouse expressed some outrage: "The wolf itself is a disgustingly ugly piece of CGI work, with it changing size and shape as the scenes progress, one minute it'll be twice the size a human with the fattest head in existence, next it'll be a puny mongrel cowering in front of a car on the road."