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Fugitive Real-Estate Heir Robert Durst Agrees to Extradition to L.A.

Court filings show Durst of 'The Jinx' has struck a plea deal with federal prosecutors on a weapons charge in New Orleans.

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Fugitive Real-Estate Heir Robert Durst Agrees to Extradition to L.A.

Court filings show Durst of 'The Jinx' has struck a plea deal with federal prosecutors on a weapons charge in New Orleans.

read more

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CASTING CALL: Director Benh Zeitlin & Court 13 Looking for Two Actors

Director Benh Zeitlin, whose last film Beasts of the Southern Wild was nominated for Best Picture, and his frequent collaborators at the creative collective Court 13 are looking for two actors for their next project.

Here’s the details, which are somewhat different that a conventional casting call, so please read closely:



WE ARE NOW SEEKING ADULTS for 2 very specific roles to audition for OUR NEXT FILM! If you or anyone you may know matches the descriptions below, please respond with a recent photograph of yourself (selfie, snapshot, family photo etc.) and your contact information, and we will be in touch to arrange an audition. NO ACTING EXPERIENCE IS NECESSARY!

Female Caucasian age 35 – 45A strong, hard-working mother with a twinkle in her eye and joy in her heart.

Male Caucasian age 50-70, tall with angular facial features. A tough man whose hard life and rough exterior mask a trustworthy soul. 

If interested, please send your photos, email address, and contact number to”

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Fox Orders Live Religious Musical Event 'The Passion' Hosted by Tyler Perry

The telecast will air live from New Orleans on Palm Sunday and feature a cast of yet-to-be-announced stars performing a variety of popular music.

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Central Casting Celebrates Ninety Years

Central Casting has been a mainstay of the film industry in Los Angeles for decades, and have expanded to states including Louisiana to service films shooting on location. Here’s the press release on their anniversary:

Central Casting Celebrates 90 Years of Service to the Entertainment Industry

BURBANK, CA December 3, 2015 Central Casting, the leading provider of background actor casting and payroll services since 1925, celebrates 90 years of service to the entertainment industry on December 4. Background Actor Appreciation events will be held in all three Central Casting offices – Los Angeles, New York, and New Orleans.

For 90 years, Central Casting has been Hollywood’s central hub for background services that brings together producers, casting directors, and background talent (“extras”) for projects. They are the premiere agency and the only one-stop shop that takes productions from finding background talent all the way through providing talent payroll services. The brand permeates the entire entertainment industry, and the phrase “Straight Out of Central Casting” is firmly planted in the lexicon of pop culture catchphrases.

While there have been many changes in the entertainment industry, Central Casting has always remained at the forefront of background casting. “We’re thrilled to be sharing our 90th anniversary celebration with our clients, our customers, and our entire industry,” shared Jennifer Bender, Executive Vice President of Central Casting. “It’s great to look back on all we’ve accomplished, but to also look ahead at how we can continue to grow our brand.” Bender is currently leading a Casting technology modernization project, which when completed will significantly impact the casting experience for both background actors and production.

Central Casting has served as a launching ground for stars such as Brad Pitt, Eva Longoria, John Wayne, and Kelly Clarkson. This career launching reputation has made Central Casting a symbol of hope for people eager to break into the business of Hollywood. Central Casting has offices in California, Louisiana, and New York and is a division of Entertainment Partners, the global leader in entertainment payroll solutions.

As part of the celebration, Central Casting has launched a blog featuring client and background actor shout outs, historical memorabilia, and fun clips from projects they’ve worked on. They’ve also been posting photos on their Central Casting 90 Instagram account. Learn more at and

About Entertainment Partners and Central Casting

Entertainment Partners is the global leader in entertainment payroll, residuals, tax incentives, finance, and other integrated production management solutions, with offices in the U.S., Canada, London, and Tokyo. Combining unparalleled industry expertise and resources, EP strives to make the complex simple and collaborates with clients to help them produce the most cost-effective and efficient film, television, digital, and commercial projects. Casting and payroll for background actors is handled through its legendary Central Casting division, a Hollywood icon since 1925. Established almost 40 years ago, EP is a 100% employee-owned company where each employee has a vested interest in upholding the company’s highest standards of service, integrity, transparency, and accountability. Visit the website at


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Stephen Dorff Stays Frosty

Stephen Dorff is a veteran. His feature film career stretches back twenty-eight years to 1987. Quite the feat for a man in his early forties. Along the way he has starred opposite greats John Gielgud, Dennis Hopper, Kris Kristofferson, Melanie Griffith, and Christopher Plummer. He’s also starred opposite his excellent contemporaries, including Christian Bale, Johnny Depp, Reese Witherspoon, Maggie Gyllenhaal and Norman Reedus.

Long a recognizable name, Dorff has alternated between lead roles and memorable characters. They have often been rough around the edges. Dorff transcended those characters in 2010 with Somewhere, director Sophia Coppola’s film about a big budget actor just going through the motions. He reexamines his life when his eleven-year-old daughter pays him a surprise visit. The film won the prestigious Golden Lion at the Venice Film Festival.

Now in post-production, Sex, Guaranteed is a new film from Brad and Todd Barnes, whose previous efforts include The Locksmith and East Nashville Tonight. It stars Stephen Dorff as Hank. Alongside him are Grey Damon as Kevin, Bella Dayne as Zade, James Debello as Steve, and funnyman Dan Fogler as Carl.

Sex, Guaranteed is set in New Orleans, where it was shot on location. I spoke with Stephen on set late one night in a mansion on Esplanade Avenue, the edge of the historic French Quarter. He took off his character’s headband and sat down, exhausted from a long day’s work.


MH: I would love to hear how you became a part of this film.

SD: It was really Dan Fogler, who plays Carl in the movie. I think he mentioned me to the producers. It was very last minute. I don’t do many comedies in my career. I did a little stuff with Sandler over the years and I’ve done bits of comedy in movies. But I got the script and I just loved Hank. I didn’t know too much about the filmmakers but I did a Skype call with them and heard that they had won a big award at Sundance a few years back for a smaller film they did. I knew they had some shorts in Sundance. Once I researched the Barnes brothers and talked to them, I thought they seemed really smart and interesting. The script was very funny. A couple of weeks before, I was offered another film in Louisiana that was a comedy that I didn’t think was as funny. That had some pretty good comedic talent in it but this one I thought was just really original. It had a real, sweet message, and at the same time was the dirty kind of R-rated comedy that I grew up loving.

MH: How did the character of Hank influence your decision to do the movie?

SD: He’s an amazing character. At the same time also, Hank was a great opportunity to bring in a lot of influences that I liked growing up watching comedies. The kind that I think are missing out in the market place. It was also a chance to do a comedic role in a real way. So I think I jumped on that opportunity. There were also a lot of people – friends of friend – that knew the producers and the Barnes brothers, that knew A.D. Coffman, who casted the film. It all just kind of fell into place and it has been a real cool adventure playing this character. And I love New Orleans because you’ve great music.

MH: You’re working everyday. On this movie, you’re in it to win it.

SD: Definitely this week! Because we’re in Hank’s house. You’re in his bedroom right now in this amazing mansion that were shooting in the Quarter here right on Esplanade. So yeah, the big set up takes place here. The movie starts on the roof and ends in a similar place. It’s a great location we got for such a small film. We’ve gotten a lot of great people around New Orleans that really have helped us and really believed in the material as well. There’s a lot of small films that come in and people do favors but this one it seemed like a lot of people really want to see us win. I felt that when reading it. I think we’ve got great production value for the amount of money we’re spending.

MH: Describe the character of Hank as he appeared to you in the script.

SD: Hank is a lovable train wreck. When we meet him, he’s a very rich, incredibly wealthy man that is probably not from New Orleans but has been living here for a while. He’s about to have a three-day rager. What we realize about him, without giving too much of the story away, is that he’s very depressed as well. Like our main guy Kevin. He’s lost his true love. So, basically, underneath all the dirty jokes and all the dirtiness, there’s a message about love. Everybody in the film is missing that connection. Hank’s idea is, “Let me do one last great thing.” Hank really becomes obsessed with getting Kevin laid. It becomes more about getting his one true love back. In a way, Hank has created a love story, an imperfect match between two people. And maybe Hank’s gonna get a second love. He’s a mixture of a lot of different comedians that I loved that I’m kinda stealing things from. I’m just kind of creating this guy that I want to be iconic. One of those great characters that you remember for years to come, I hope.

MH: Who are some of the comedians you’ve looked to for inspiration?

SD: Hank’s got a lot of early Chevy Chase in him. He’s got a bit of Jack Nicholson in him. I think he’s got a bit of Bill Murray from Caddy Shack and movies like Stripes. There were a lot of the great comedies when I was growing up. I don’t laugh as much at comedies now. There’s guys like Will Ferrell and people like that that still make me laugh but for the most part, it’s really in the writing. I feel like comedy now is usually forced. Maybe I laugh once or twice in a comedy. Maybe. I haven’t seen a really, really funny movie in a long time. This movie and this script made me laugh out loud because you play it straight. You play it for realism and, to me, comedy is all about tone. These directors completely know what they’re doing when it comes to tone and that’s really important. You can be in a slap stick, broad movie more like Sandler does a lot or you can be in a film like Sideways which has incredible comedy but is played more straight. This is like a mixture of the two. And I really like the way they’ve told the story. I look forward to seeing it. I haven’t seen anything but people seem to be laughing so that’s always a good sign.

MH: Sex, Guaranteed seems like the tightly scripted kind of comedy from the 80s. There were a lot of comedies that came out in the 80s with big stars like Chevy Chase and they had excellent scripts that were very tight pieces of work. They were less improvisational.

SD: To me, comedy has now become almost like SNL vignettes stretched into a whole movie. But once the joke is out, it kind of becomes redundant. With this film, what you have are real characters, a real story and the jokes just play. They keep coming and coming and coming. I don’t read comedies everyday because I usually do dramas. So, for me, it’s a bit of a new frontier. I look forward to doing it more.

MH: Is there any amount of improvisation on set?

SD: Yeah! With a character like this, the Barnes brothers have given me freedom to add lines. I obviously look to them for their judgment and I’ve hopefully come up with some funny stuff. Me and my friend Mark have come up with some funny stuff. We’ve hopefully just added to what’s already really original and funny in the script. They totally give you room to improv but the scripts so tight that I find when you improv in this movie, you’re killing the jokes that are there. I feel like this script is so tight, you can just play the script and it will work. Once in a while, I’ll add a few more little tag lines or funny exit lines or things that the script didn’t have, just to bring it up a notch in those scenes. But for the most part, I’m just playing the character as written.

MH: I know you’ve shot in New Orleans before.

SD: Yeah, a couple of times, but not many.

MH: One movie in particular that I would love to see…

SD: Tony Kaye’s movie?

MH: Yeah! Black Water Transit. I’ve heard so much about it but it’s never been released.

SD: The $30 million Tony Kaye movie that’s never come out. Yeah, I’d like to see it, too. I saw a rough cut. I mean, Tony is crazy, but he’s a great filmmaker. This cut I saw was a visual masterpiece. It didn’t make much sense but it’s definitely worth seeing. Unfortunately, that movie, along with a David O’Russell movie and a bunch of other movies, are stuck in this lawsuit. I don’t know, but maybe one day when I’m sixty, it will come out. I forgot what part I played. It’s been seven or eight years ago. I’ve made a lot of movies since then.

MH: It was a big movie, and it’s just never surfaced. When you came back to New Orleans for this film, was there anything you were looking forward to visiting in New Orleans?

SD: I just remember New Orleans being such a fun town.I like being at a bar and being able to take your drink to go. That’s pretty cool. I’m also a fan of just the characters that you find. Talented musicians that you see on the street. Walk by and there is some sixteen-year-old girl playing the violin and it’s amazing. I like the quirkiness of the town. I like the people. For the most part, people are friendly and passionate. They don’t like change much. They’re very loyal to what the vibe is, which I think is great. Cause it’s an old city and it should have that feeling. I love the restaurants, the food, the music, going to Frenchmen Street, hearing the music. It seems like every weekend, there’s a different event, whether it’s French Quarter Fest or Jazz Fest or WrestleMania. A couple of weeks ago, there were wrestlers everywhere! It’s a kooky place but I like it and then you can leave it and go up Magazine and it becomes a different world in Uptown. It’s got flavor.

I can imagine worse places. I did a movie in Cleveland. That wasn’t fun. But New Orleans is fun and I always like going to the places that we’re shooting a movie in. I think what’s great about this film is that it was written for here. Brad Barnes has been here for like eight months writing and prepping this comedy, which is a long time. He got to really know the city and I think that’s smart. I’m not a big fan of coming to Louisiana and then trying to make it New York or another other town. I always find that to be terrible. I believe you should be in the city that you’re supposed to be in. If you’re for London, you go to London. If you’re in Peru, go to Peru like my last movie. If you’re in New Orleans, let’s do it in New Orleans. But obviously there’s a lot of tax breaks here and people are shooting tons of movies here, so it’s really become the back lot of the South.

MH: There are a lot of films shot here and sometimes people try to do something here that doesn’t really work.

SD: If you’re doing stage stuff, it doesn’t really matter. But the great thing about this movie is that not many movies are shot right in the French Quarter. We’re doing stunt scenes and some pretty crazy stuff right here off Esplanade and Chartres. That felt pretty cool. You see all the characters driving by right near Port of Call so you can go get a burger if you get hungry.

MH: Stephen, I see you spent time here…because you’re pronouncing everything right!

SD: Yeah, man, I know the good spots. Bacchanal in the Bywater, that’s a new spot that I’d never been to. It helps that I have some friends here. Mark, my buddy, he lives here and most of the time he keeps a place here. He’s done so many movies here. He showed me some spots I didn’t know because I prefer the non-touristy spots myself. I like to check out the cool New Orleans spots and that we have done.

MH: Frenchmen Street is a great place to start.

SD: Yeah, that’s a fun place. You really wanna hit it when there’s some great bands playing. Some nights are more commercial than others. I’m actually doing another movie right after this here so I’ll be coming back. I’m hoping to get Jazz Fest in, either the first weekend or the second, because I’ve never been for that.

MH: What’s the next film?

SD: It’s kind of an experimental film that I’m doing with a director named Nick Love. He’s kinda coming up over in England. He did a movie called The Sweeney with Ray Winstone. He does gangster movies in England. He’s real tight with Guy Richie and he’s young and this is his first American foray. It should be good and it’s really a big idea and a smaller, intimate story that’s character-based. It’s like Trainspotting meets Chronicle. It deals with a character that has powers but he’s not from a different planet. He just can do certain things that normal people can’t and it’s a pretty experimental thing. Right now, we have a very big treatment but the script is being formed as we speak. I really liked him and he brought his whole team from England. I’ll have some people hopefully from this one crew of people that I’ve worked with and go shoot that for five or six weeks from May till the end of June, I think. I’ll be here in the heat.

MH: It definitely gets hot.

SD: Yeah, it gets kinda sticky. I’m not the biggest fan of humidity, but we’ll give it a shot.

MH: There are drive-thru daiquiri shops.

SD: Drive thru daiquiri shops! I’m not usually driving so that’s a good thing. The reason my eyes are this red for this on-set interview is that I’m on my third day of my binge party here at the house. So I’m supposed to look a little messed up.

MH: I’m a really big fan of Blade. And comic book movies are unbelievably big now. That movie struck a note that I think has set the tone for the modern comic book movie. What were your conceptions of that film at the time? Did you have any idea what it would become?

SD: I knew it was the first Marvel movie made and I knew it was based on a comic that wasn’t that popular. Deacon Frost in the comic looked more like Whistler, Kris Kristofferson’s character. But Steve Norrington was the guy that sold me on that. To be honest, I had done a lot of independent movies before independent cinema became so trendy and I was not really interested in high concept movies. When Blade came along, it was the first huge paycheck. A big studio movie. It was a great character but I thought it was going to be the end of my career to be honest. I thought I was like a major sell out for doing it because I was really interested in art movies. When I was younger and working on Bob Rafelson movies and working with Harvey Kaitel and Nicholson. All these great actors I got to learn from. So, I thought doing this movie with fangs and blue eyes and… I though, “What the hell am I doing here?” I didn’t realize that I was turning a character into something that I still hear about every day if I walk down the Quarter.

MH: How has the legacy of the film surprised you?

SD: It’s crazy. We made it and it came out end of 1998-1999. It’s fifteen years ago. That’s pretty weird that people are like “Deacon Frost!” They’re still tripping but that’s a credit to the film. That was definitely an interesting time. I would put the first Matrix in there as well. I think Blade and The Matrix were definitely ahead of their time when it comes to effects. The groundedness of a comic book, where it doesn’t have to be so fantastical and I think that’s what made movies like Iron Man strong, too: putting Downey in that character and grounding it somewhat. Always in the end of those movies, they always get so fantastical. I feel like they always go too far with the fight scenes, spaceships and they start to lose me.

MH: I think that’s one of the real strengths of Blade’s finale. I remember seeing footage of what the original computer generated Frost at the end was supposed to be, and it jumped the shark.

SD: Yeah they spent like $8 million on this blood monster that never worked.

MH: And at the end of the day, the solution was a character solution.

SD: A huge fight scene. A nasty fight with the two guys. That’s all you need. You just wanna have it come to a head and this blood lava lamp thing they tried to do was just silly. The whole movie was hard, so why are we going silly at the end? I think it was hard for New Line and Bob Shaye to have to swallow that $7 million dollar waste of money but in the end, I think he made the right call. The movie was incredibly successful and spawned two sequels.

MH: You also did an amazing movie with Sophia Coppola called Somewhere.

SD: Yeah I love that movie.

MH: I love all of her films. They’re incredibly poignant.

SD: She’s the best. I think she’s a total original and Somewhere came at a time that was perfect for me to play that kind of character. She just embraced me in a way that really was out of nowhere. I was doing good films and was working. I had just done Felon, which seemed to get really popular after it came out. I did Public Enemies and World Trade Center. I was working with all of these great directors on more character kind of parts. And then Sophia just landed me after Felon. It was just an incredible experience working with her and winning the Golden Lion [at the Venice Film Festival]. And then I hear about that movie a lot, too, so obviously every audience is a different movie audience. You have your genre movie audiences that will talk about Blade and Felon and then you have artistic people who will be like, “Somewhere was the greatest film.”

I always get hit by different people and I believe as an actor you wanna hit different genres. I actually texted Sophia and said, “I’m doing a comedy. I’m playing this guy Hank. I think you’re gonna like it.” And she was like, “I’m so excited you’re doing comedy.” She’s always telling me I should do more comedy, so we will see how Hank Landry turns out.

MH: Somewhere’s a great film and it’s a certainly different side of you as an actor. It’s great to see you go from horrendously terrifying villain in Blade to action star in Public Enemies. And then Somewhere just came out of nowhere.

SD: I just try to mix it up. After Somewhere, I did Immortals as a commercial play, which obviously did really well and was Relativity’s biggest film. But after that, I wanted to do something intimate, so I did The Motel Life which got incredible reviews. I wish it would have done better and had more of a release but the work was awesome. That movie will become very famous in a few years. It might just take a little time but Emile Hirsch is in that with me and that was just a great experience. It’s just about mixing it up. I don’t wanna do the same thing all the time.

Sex, Guaranteed is now in post-production.

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The Mowgli’s with Lights at House of Blues

The seven-piece hippie outfit, The Mowgli’s, plays at House of Blues Friday night. Three and a half years after their debut album, Sound the Drum, the group is on tour promoting their newest feel-good record, Kids in Love.

The band- Colin Louis Dieden (vocals, guitar), Katie Jayne Earl (vocals, percussion), Dave Appelbaum (keyboards), Josh Hogan (guitar, vocals), Matthew Di Panni (bass), Spencer Trent (guitar, vocals), and Andy Warren (drums)- uses a combination of catchy choruses, jubilant beats and reassuring harmonies to boost listeners’ spirits. Their vibes will swallow you up so you cannot help but clap and sing along.

While many are familiar with their hit “San Francisco,” few are aware of their mission to bring awareness and kindness to others. The group launched a social campaign called “Be a Mowgli,” which encourages people to perform good deeds and spread love. It is this combination of mood-raising music and a genuine drive to change the world that is refreshing amongst rockers.

The Mowgli’s will bring you to a better place than the state you were in before the set. They are your friends, your mom and your golden retriever and by the end they will have you chanting, “I’m good, I’m good, I’m good/ Living life just like I should.”

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NOFF: ‘Plaquemines’ Wins $50,000 #CreateLouisiana Filmmakers Grant

One of the great new additions to the New Orleans Film Festival this year was the creation of the Create Louisiana Filmmakers Grant. This year’s winner, the first ever, was announced during the height of the festivities. Find all the details in the press release below.


Director Nailah Jefferson and Producer Jon Wood Awarded $50,000 2015 Create Louisiana Filmmakers Grant for their film, Plaquemines

Deep South Studios, the Louisiana Endowment for the Humanities and the New Orleans Film Society present grant to local filmmaking team at the Prytania Theatre during New Orleans Film Festival’s closing night festivities

NEW ORLEANS, La. (October 22nd, 2015)—Deep South Studios, the Louisiana Endowment for the Humanities and the New Orleans Film Society awarded tonight the inaugural 2015 Create Louisiana Filmmakers Grant to Director Nailah Jefferson and Producer Jon Wood, for their short film project, Plaquemines about a town in despair that estranges father and son.

The #CreateLouisiana Filmmakers Grant is an industry building grant program awarding $50,000 to a local filmmaking team for a short film to be completed over the next 12 months. The winner will receive mentorship and professional services throughout the year-long period, providing them with a unique opportunity to showcase their talent and the ongoing strength of the state’s creative economy.

“Deep South Studios is proud to sponsor this year’s #CreateLouisiana Filmmakers Grant and congratulates Director Nailah Jefferson and Producer Jon Wood for their strong work with Plaquemines,” says Scott Niemeyer, CEO/Developer of Deep South Studios and founder of Create Louisiana. “We look forward to working together over the next year on this exciting project.”

A total of 37 filmmaking teams applied for the 2015 grant, with teams from around the state submitting projects that highlighted the great indigenous talent that Louisiana has to offer.

Five finalists were selected and invited to pitch their projects to a panel of industry professionals during the 2015 New Orleans Film Festival. The five projects selected for the final round include:

·   Destiny is an Outlaw, directed by Daneeta Loretta Jackson, produced by Patrick Jackson
·   Drive Through, directed by Luisa Dantas, produced by Gianna Chachere
·   Elnora, directed by Kira Akerman, produced by Josh Penn and Sasha Solodukhina
·   Forked Island, directed by Nicholas Campbell, produced by Marcus & Yvette Brown
·   Plaquemines, directed by Nailah Jefferson, produced by Jon Wood *WINNER*

“It’s essential to the New Orleans Film Society’s mission that we support filmmaking talent indigenous to Louisiana,” says New Orleans Film Society Executive Director Jolene Pinder.

“We are proud to provide the 2016 New Orleans Film Festival as a platform for Nailah Jefferson to showcase her work.”

Deep South Studios teamed with the Louisiana Endowment for the Humanities (LEH) and the New Orleans Film Society (NOFS) to offer the inaugural #CreateLouisiana Filmmakers Grant, an industry-building program designed to recognize and celebrate the creative industries in Louisiana, including all of the burgeoning, indigenous filmmakers that contribute to Louisiana’s vibrant creative economy. Applicants were required to have lived in the state for at least 12 months prior to the grant deadline. The winning film is to be completed within 12 months of receiving the award, with the finished project set to screen at the 2016 New Orleans Film Festival.

“For nearly 45 years, the LEH has been telling Louisiana’s stories to the world.” says LEH Executive Director Miranda Restovic. “We are proud to join our partners in supporting the inaugural #CreateLouisiana Filmmaker Grant, a project that will shine a bright light on Louisiana.”

The filmmaking community responded by submitting applications for narrative, documentary and animated projects. The #CreateLouisiana partners evaluated the originality of concept; the experience of the director-producer teams; feasibility of the director’s vision; budget; marketing and distribution strategy; and the use of Louisiana talent in front of and behind the camera.

About Create Louisiana’s Partners

#CreateLouisiana initiative is designed to champion the indigenous entertainment talent of Louisiana and support the development of the region’s integral creative industries. Through social media, grants, and development programs, #CreateLouisiana will stimulate conversation and mobilize a communication network that shares the stories, information and resources contributing to our state’s vibrant creative economy. #CreateLouisiana aims to collectively inspire an understanding of the value of our Louisiana creative and cultural community and the talented workforce that drives its development.

Deep South Studios is a new full-service motion picture, television and digital media production facility. Located in New Orleans, Louisiana – the heart of the fastest growing film and media production center in the United States. Conveniently located a mere stone’s throw from the heart of New Orleans’ Central Business District (CBD) and the world-renowned French Quarter. It is the largest design-built independent film and television full-service facility ever constructed in the Southeastern United States. Deep South Studios is the lead sponsor for the inaugural year of the Create Louisiana Filmmakers Grant.

The mission of the New Orleans Film Society is to engage, educate and inspire through the art of film. Founded in 1989, the New Orleans Film Society (NOFS) is the producer of the annual New Orleans Film Festival, which has grown into a major showcase of local, regional, national, and international films. In addition to the annual Film Festival each fall, the NOFS hosts special events throughout the year: the French Film Festival, filmOrama, the New Orleans International Children’s Film Festival, Moonlight Movies, and other events designed to benefit local film audiences, artists, and professionals. Throughout the year, the NOFS reaches approximately 40,000 people through its programming.

The Louisiana Endowment for the Humanities is a non-profit organization dedicated to providing educational opportunities to all Louisianans. The Louisiana Endowment for the Humanities’ mission is to provide all Louisianans with access to and an appreciation of their own rich, shared and diverse historical, literary and cultural heritage through grant-supported outreach programs, family literacy and adult reading initiatives, teacher professional development institutes, publications, film and radio documentaries, museum exhibitions, cultural tourism, public lectures, library projects, and other public humanities programming.

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The Suffers at Voodoo Music + Arts Experience

After delivering soulfully gripping performances at Landmark Music Festival, Austin City Limits and CMJ Music Marathon, The Suffers will take the stage at Voodoo Music + Arts Experience on Saturday. The ten-piece soul band hails from Houston, Texas and released its debut EP Make Some Room earlier this year.

Adam Castaneda (bassist) and Pat Kelly (vocalist/keyboardist) began building what became The Suffers in 2011. What resulted was an eclectic outfit that combines rock, soul, blues and gospel and carries a sound larger than any festival they have played at. 

At first, the vocal range of frontwoman, Kam Franklin, is intimidating. But this quickly fades as she struts across the stage and seduces audiences with tracks like “Giver”, “Make Some Room” and “Gwan.” Franklin exudes emotion in a way that is reminiscent of Aretha herself.

The Suffers play at Voodoo Music + Arts Festival on Saturday, October 31st from 2:25-3:25pm.

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WINNERS: 2015 New Orleans Film Festival

The awards for the 2015 New Orleans Film Festival were announced over the weekend. Here’s the press release with all the details.

New Orleans Film Festival Announces 2015 Jury Award Winners

NEW ORLEANS, La. (October 18th, 2015)—The New Orleans Film Festival (NOFF) is excited to reveal its 2015 Jury Award Winners. This morning, hundreds of filmmakers, jurors and NOFF staff gathered at the Filmmakers Awards Ceremony and Brunch at Republic New Orleans for the announcement.

This year’s pool of NOFF submissions numbered over 3,400 and represented 100 countries of origin, both records for the organization. The 172 films selected from submissions that screened this year represent 48 features and 124 shorts. All shorts competed for a jury award, and a small number of feature films competed for a jury award. This year marks NOFF’s first as an Oscar®-qualifying festival, in the category of documentary shorts. The winner of the short documentary jury award qualifies for an Academy Award® nomination.


Apex Post Award for Best Sound in a Louisiana Film
Prize: $2500 in sound services from APEX Post
The Mourning Hills
Director: R. Todd Campbell

Apex Post Special Mention for Best Sound in a Louisiana Film

Prize: $1000 in sound services from APEX Post
Us Against The World
Director: Andrea Kühnel

Cinematography Award: Louisiana Narrative Feature
Prize: $10,000 camera package from CineVerse
Winner: DJ McConduit
Cinematography credits: Love Me True (feature); Copper Kingdom, The Lot and Tough Love (shorts)

Cinematography Award: Louisiana Narrative Short
Prize: $10,000 camera package from CineVerse
Winner: Natalie Kingston, who shot five different films:
Cinematography credits: 2B or Not 2B, Atchafalaya, Dandelion, Rite and Si



Jurors: Emily Hubley, Florian Perinelle, Leah Shore

Special Jury Award: Animation

Prize: Toon Boom Harmony Premium (one year license)
We Can’t Live Without the Cosmos
Director: Konstantin Bronzit

Helen Hill Jury Award for Animation

Prize: Toon Boom Storyboard Pro (one year license); Toon Boom Harmony Premium (one year license)
The Sun Like a Big Dark Animal (El sol como un gran animal oscuro)
Director: Christina Felisgrau and Ronnie Rivera


Jurors: Jane Cassidy, Joris Lindhout, Leslie Raymond

Jury Winner: Experimental Short

Prize: $250 from the New Orleans Film Society and LomoKino and LomoKinoscope package
Something About Which Nothing Can Be Said
Director: Ted Kennedy


Jurors: Ian Samuels, Dan Schoenbrun, Lauren Wolkstein

Special Jury Award: Narrative Short

World Wide Woven Bodies (Verdensvevde kropper)
Director: Truls Krane Meby

Special Jury Award: Narrative Short

Director: Anu Valia

Jury Winner: Narrative Short

Prize: $2,500 in film stock from Kodak
Turtle (Wu gui)
Director: Jordan Schiele


Jurors: Sara Kiener, Simon Kilmurry, Jason Osder

Special Jury Award: Documentary Short

Little Hero
Directors: Marcus A. McDougald. Jennifer Medvin

Jury Winner: Documentary Short

Prize: $500 from the New Orleans Film Society
Invisible (Niewidzialne)
Director: Zofia Pregowska


Jurors: Stephanie Allain, Christine D’Souza, Vadim Rizov

Special Jury Mention: Louisiana Narrative Short

The Love Song of M. Anderson Vincent
Director: Chen Gu

Jury Winner: Louisiana Short

Prize: $10,000 Post-Production Package from Digital FX
Director: Morgan Roberts


Jury Winner: Louisiana Feature
Prize: $10,000 Camera Package sponsored by Panavision
Directors: Jonathan Nguyen, Ashley George

Special Jury Award: Louisiana Feature

The King of New Orleans
Directors: Allen Frederic (co-directors: Coodie & Chike)


Jurors: Elena Fortes, Jennifer MacArthur, Basil Tsiokos

Jury Winner: Documentary Feature

Prize: $500 from the New Orleans Film Society, a Zacuto DSLr Z-Finder Pro and a consultation with Simon Kilmurry, executive director of the International Documentary Association
Hotel Nueva Isla
Director: Irene Gutierrez


Jurors: Eric Kohn, Stephanie Langoff, Dylan Marchetti

Jury Winner: Narrative Feature

Prize: $10,000 camera package sponsored by Panavision
Director: Claire Carré

Programmer’s Award for Artistic Vision

Prize: $250 Cash from the New Orleans Film Society and LomoKino and LomoKinoscope
Package Winner: Grazia Tricarico,
Director: Mona Blonde, Persefone (shorts)


Since 1989, the New Orleans Film Society (NOFS) has engaged, educated and inspired through the art of film. This year marks the 26th anniversary of the New Orleans Film Festival. NOFS hosts special events throughout the year: the French Film Festival, the New Orleans International Children’s Film Festival and other events designed to benefit local film audiences, artists and professionals. NOFS partners with local organizations to present monthly film series. NOFS reaches 32,000 people year-round through its programming. NOFS is a 501(c)(3) organization.

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Alexandra Metz Joins ‘NCIS: New Orleans’; Melanie Papalia In ‘You Me Her’

Alexandra Metz (The Originals) has booked a recurring role on CBS’ crime drama procedural NCIS: New Orleans. Metz will play Billy S., a young pregnant woman in 2005 distraught over the recent shooting of her husband during a hurricane. She is working with investigators to make sense of everything and find her husband's missing body. When LaSalle (Lucas Black), a troubled detective, appears impatient and dismissive with her, she sees right through him, going from…

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Intermission Report for Austin City Limits

It’s a given that at a large music festival people will rave about the headliners. But for the not-so-commercial music lovers and rock ballad enthusiasts, here is your guide to the second weekend of C3 Presents’ Austin City Limits.

Ben Howard

Time: Sunday, October 11th from 4:30-5:30pm

Stage: Samsung

About: English folkstar, Ben Howard, takes festival-goers on a journey each time he plays. Howard often begins a set seated, as he plays a meditative song like “All is Now Harmed” and then segues into a sorrowful, rock narrative. As calm as Howard’s music sounds, his performances are deep and intense. Gear up for Of Monsters and Men with Ben Howard at the Samsung Stage at 4:30pm.


Time: Sunday, October 11th from 1:30- 2:30pm

Stage: Miller Lite

About: Ease into Sunday’s lineup with Daughter. The group’s use of soft melodies and whimsical chimes evokes dream-like states reminiscent of Florence Welch. Lead singer, Elena Tonra’s lullaby voice that will calm you soul and ease your hangover.


Time: Saturday, October 10th from 3:30-4:30pm

Stage: Austin Ventures

About: The foursome fronted by Matt Myers carries a bluesy, indie-folk vibe, but ruffles just enough feathers to pull in alternative- music starved ears. Zak Appleby (bassist) delivers strong rock ballads coupled with delicate harmonies, while the vocals of Katie Toupin (keyboardist and guitarist) adds a hint of southern country twang. Drummer, Shane Cody, is as laid back as they come and may be found smoking a cigarette while providing the slow-march drumbeat for “Gasoline”. Houndmouth’s lyrics are comically dark, deeply sorrowful and unnervingly introspective.

The London Souls

Time: Friday, October 9th from 2:00-3:00pm

Stage: BMI

About: For years only a secret of New York City and Brooklyn locals, The London Souls have a classic rock vibe that is the 1960’s reinvisioned. The catchy melodies and lyrics of Tash Neal and Chris St. Hilaire are reminiscent of The Beatles, while their sound captures Lenny Kravitz in his prime. The duo’s stage presence and energy are the perfect way to kick of the second weekend.

Run the Jewels

Time: Friday, October 9th from 5:00-6:00pm

Stage: Miller Lite

About: Killer Mike and El-P form the rap duo Run the Jewels. Known for their articulate wordsmithing and manic energy, visitors can expect to hear their hits “Run the Jewels” and “Close Your Eyes.” It will be hard to top their weekend one set, which opened with an entrance to Queen’s “We Are the Champions,” but these rappers have unmatched energy and plenty of crowd love. If you are looking for a group to bounce to during sunset, you should be at Miller Lite Stage at 5:00pm.

Shakey Graves

Time: Saturday, October 10th from 3:20-4:20

Stage: Miller Lite

About: Time to support the “other” hometown local, Alejandro Rose-Garcia. Known as Shakey Graves, Rose-Garcia has an eclectic sound that ranges from country to freak folk to rock. His performance last weekend left viewers in awe as they watched him gallop across the stage, pause to pick his guitar and beat his homemade suitcase drum.

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HBO Now Arrives on the Roku

HBO Now, the stand-alone streaming service, just announced a Roku app for its customers. Roku remains one of the most versatile over-the-top boxes, featuring virtually every streaming product with the exception of Apple exclusives. HBO Go had previously been available on Roku, but not HBO Now.

HBO continues to move closer to Netflix’s business model, just as Netflix continues to become more like HBO.

Here’s the full press release:



HBO’s Internet Only Service Available Today on Roku Players and Roku TV Models with

30-Day Free Trial Offer

 SARATOGA, Calif. – October 8, 2015Roku, Inc. today announced that HBO’s internet only premium streaming service, HBO NOW, is available on the Roku® platform. Roku customers in the U.S. can now visit the Roku Channel Store to add the HBO NOW streaming channel to their Roku players (including the newly announced Roku 4) and Roku TV™ models. Roku customers can purchase a subscription directly within the HBO NOW channel on their Roku device, which will also enable them to access the service and on other HBO NOW enabled devices. HBO NOW is available for $14.99 per month with an available 30-day free trial offer.


With HBO NOW, Roku customers can instantly watch all of HBO on Roku players and Roku TV models —addictive series, unforgettable movies, thought-provoking documentaries, thrilling sports programs and entertaining comedy and music specials –all you need is the internet.

“HBO NOW is a hit with consumers and we’re thrilled to make it available to millions of Roku customers,” said Jeff Dallesandro, Senior Vice President, Worldwide Digital Distribution and Business Development, HBO. “Bringing our programming to consumers through HBO NOW is a natural evolution for HBO, and partnering with a streaming leader such as Roku greatly extends the reach of our service as we usher in this next phase of innovation for our network.”

“We applaud HBO for breaking the mold to deliver a fantastic standalone streaming service for consumers,” said Steve Shannon, general manager of Content and Services at Roku. “The combination of the Roku platform and HBO NOW signifies a new era of streaming for our customers because they now have instant access to HBO and its incredible selection of entertainment, even without a traditional pay TV subscription.”

HBO NOW is HBO’s new stand-alone premium streaming service that provides instant access to all of HBO—including envelope-pushing series like Game of Thrones®, Silicon Valley®, True Detective®,  BallersSM, Veep,®  and Last Week Tonight With John OliverSMas well as other current uncensored programming like Girls®, VICE, The Leftovers®, The Jinx and Going Clear.  HBO NOW also features every episode of every season of HBO classics worth seeing again like The Sopranos®, Sex and the City®, True Blood®, The Wire® and Deadwood®In addition, HBO NOW subscribers will have instant access to the most top box office, must-see films like American Sniper, Birdman, Wild, Exodus: Gods and Kings, Unbroken, Theory of Everything and Dumb and Dumber To. To subscribe to the streaming service, HBO NOW, consumers only need the internet.  Customers can learn more at

About Roku, Inc.

Roku is the creator of a popular streaming platform for delivering entertainment to the TV. Roku streaming players and the Roku Streaming Stick® are made by Roku and sold through major retailers in the U.S., Canada, the U.K. and the Republic of Ireland. Roku licenses a reference design and operating system to TV manufacturers to create co-branded Roku TV models. Under the Roku Powered program, Roku licenses its streaming platform to Pay TV providers around the world who want to use the Internet to deliver entertainment services through streaming players. Roku was founded by Anthony Wood, inventor of the DVR. Roku is privately held and headquartered in Saratoga, Calif., U.S.

About HBO

Home Box Office, Inc. is the premium television programming subsidiary of Time Warner Inc. and the world’s most successful pay TV service, providing the two television services – HBO® and Cinemax® – to approximately 122 million subscribers worldwide.  The services offer the popular subscription video-on-demand products HBO On Demand® and Cinemax On Demand®, as well as HBO GO® and MAX GO®, HD feeds and multiplex channels. HBO NOWSM, the network’s internet only premium streaming service, provides audiences with instant access to HBO’s acclaimed programming in the U.S. Internationally, HBO branded television networks, along with the subscription video-on-demand products HBO On Demand and HBO GO, bring HBO services to over 60 countries.  HBO and Cinemax programming is sold into over 150 countries worldwide.

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TRAILER: Bryan Cranston is ‘Trumbo’

Here’s a longer look at Trumbo, the new film from director Jay Roach that stars Bryan Cranston as the titular screenwriter who famously fought being blacklisted by doing what he knew best: writing.

Cranston is joined by Elle Fanning, Diane Lane, Helen Mirren, Alan Tudyk, John Goodman and Michael Stuhlbarg. The film opens on November 6.

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‘Stage Kiss’ Q&A with Aimee Hayes & Trey Burvant

Aimee Hayes and Trey Burvant are currently appearing in Southern Rep’s production of Stage Kiss, a comedy by Sarah Ruhl. Directed by Jason Kirkpatrick, the play also stars Richard Hutton, Madison Kerth, John Niesler, Matthew Thompson and Kirstin Wittershein. The play is running now through October 10. Tickets and more info are available here.

In Stage Kiss, Aimee and Trey portray two actors who, long after a disastrous but passionate love affair, are reunited on stage in a 1930s melodrama. Featuring a charming play-within-a-play, Stage Kiss reveals a frisky insider’s view of how love can unexpectedly happen both on and off the stage.

I saw the play last Friday and it was loads of fun. In addition to Aimee and Trey, Richard Hutton plays a memorably indifferent director, and John Neisler is pitch-perfect as the straight-man husband of Aimee’s character. Kirstin Witterschein was standout. I mention Matthew Thompson’s performance below as well.

1) On your first read through of Sarah Ruhl’s Stage Kiss, what impressed you the most?
Aimee: How fluidly she writes comedy. Her set-ups are so smart and sharp. Followed by how accurately she gets the mixed/ torn-up feelings many people have about their first loves.
Trey: The fact that we could hardly get through the reading due to the belly aching laughter in the room.

2) What stood out about it that made you say, “This needs to be produced in New Orleans”?
Aimee: Southern Rep Theatre has produced two other Sarah Ruhl plays. Our audiences totally adore her focus on women characters and how they negotiate their relationships, children and their careers.

3) Backstage romances are so commonplace in the world of theatre, as well as film, and they often mirror on stage/on screen relationships. What’s one you recall that ultimately helped a play you were a part of in the past?
Aimee: Most relationships I have seen (that lasted!) were between stage managers and actors…maybe these guys like having an organized woman in their lives?!?! However I did have the great honor of presiding over a wedding this summer for two actors who fell in love at first sight while working on a Southern Rep play. I was directing and saw these two people actually ignite – fall instantly for each other – upon meeting. It was intense. I am not sure I believed in that phenomena until I saw it happen there. Wow. It was an interesting rehearsal process to say the least.

4) What’s one that hurt a play and how?
Aimee: I haven’t seen that happen. Most folks try to be professional and get on with it. And yeah, I would never tell even if I have seen it!

5) If kissing is your thing, this is the play to see! What was the kissing policy during your rehearsal for Stage Kiss?
Aimee: Funny. Our post-performance discussions have focused on how you “stage kiss” when making a play. I guess I will get technical here: in short, no tongues, no overly open mouths, no biting, no teeth. As a courtesy, brush teeth, take vitamins, and warn ahead if you had the garlic soup at Lola’s – or bring some for everyone so no one can smell it. Respect and being totally professional about it. It is like doing fight choreography on stage: it is directed, it is the same every time, and it is focused on telling the story correctly, except it is with your mouth (see #8 below).
Trey: The only policy was issued from my daughter: wash your mouth before coming home.

6) Matthew Thompson plays a variety of different roles in Stage Kiss, and manages to stand out in each. He’s very gifted at physical comedy. What did he bring to the table in rehearsal that made the final play?
Aimee: Matt is amazing, isn’t he!? What I loved about him in rehearsal is how game he is for everything. He just goes with it and then brings in that extra something. He also has the best wigs…

7) What’s an example of a physical comedy bit that didn’t make the final play, but was funny in rehearsal?
Aimee: Actually Matt had a bit where he had a fall after my character leaves the stage. It was cut because the moment had to be about what was happening to my character as it was a reversal. But we enjoyed the hell out of it while it was still in.
Trey: I really wanted my Jerry Lewis prat fall to have a longer trajectory, like Nordberg in Police Squad, but alas we had to get on with it.

8) You’re theater veterans, so I’m sure there’s a good bit of the process that’s very familiar to you now. Do you ever say something that feels poignant, and then in retrospect think, “Wow, I sound like Tobias Fünke from Arrested Development?
Aimee: I say a lot of things that are not quite what I intended to say. My staff keeps a running list that we review once a year…which we would never offer up for publication. Tobias and I may have been cousins in another life.
Trey: Is poignant a food group?

9) Would you rather fight one horse-sized duck OR a hundred duck-sized horses?
Aimee: The former. I am assuming it is a rubber duck. Would just stick a pin in it. See #8.
Trey: Not sure waddle I’d rather.

Tickets are available now at Southern Rep’s website here.

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Southern Love at Landmark Music Festival

During the first weekend of fall Washington, D.C.’s West Potomac Park played host to the inaugural Landmark Music Festival. The festival drew musical acts from around the country, including D.C. local Ex Hex, Los Angeles based The Mowgli’s, New York City’s The Strokes and New Orleans’ locals, Dr. John. & The Nite Trippers.

The two-day event, produced by C3 Presents, was conceived in an effort to raise funds to help restore the National Mall or “America’s Front Lawn.” In exchange for a nominal- by comparison to other music festivals- $150 fee, visitors were able to experience an eclectic weekend of music. Fans of headliners Drake, The Strokes, Miguel, CHVRCHES and Alt-J arrived at the main stages as early as 12:30pm.

Many of the best acts played during the day. The Suffers from Houston, TX brought a healthy dose of soul, funk and southern blues. The raw emotion and energy of The Suffers’ , Kam Franklin was evident from their first song and one could not help feeling her sass when they covered “Hard Out Here for a Pimp.” Daughter took listeners on a journey through the psyche of vocalist Elena Tonra.

Rebirth Brass Band, who will be playing at the Maple Leaf in New Orleans on October 13th and 20th, kicked off Saturday night with that Frenchman-funk many have grown to love. New Orleans’ legend and six-time Grammy winner Dr. John brought his jazz-bluegrass vibe and voodoo mysticism to the Miller Lite Stage. Houndmouth carried Sunday afternoon with its melodic “Sedona” and finished strong with a cover of Dion’s “Runaround Sue.”

Notwithstanding the long concession and restroom queues, Landmark definitely “made its mark” and may prove to be the east coast answer to California’s Coachella Valley Music and Arts Festival in years to come.


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IN THEATERS: The Martian, Sicario

Two great films hit theaters this weekend. Ridley Scott is back in space with The Martian and the excellent director Denis Villeneuve is back with Sicario. The weather outside is beautiful, but don’t forget to check out both of these movies in theaters now.

The Martian

During a manned mission to Mars, Astronaut Mark Watney is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive.


An idealistic FBI agent is enlisted by an elected government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico.

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IN THEATERS: Pawn Sacrifice, Captive, The Green Inferno, The Intern, Hotel Transylvania 2, Stonewall

Awards season begins this weekend. Pawn Sacrifice promises a great performance from former Spiderman Tobey McGuire. Here’s the movies you can see in theaters this weekend:

Pawn Sacrifice

Set during the Cold War, American chess prodigy Bobby Fischer finds himself caught between two superpowers and his own struggles as he challenges the Soviet Empire. 114 min. Rated PG-13.


A single mother struggling with drug addiction is taken hostage in her own apartment by a man on the run who has broken out of jail and murdered the judge assigned to his case. 97 min. Rated PG-13.

The Green Inferno

A group of student activists travels to the Amazon to save the rain forest and soon discover that they are not alone, and that no good deed goes unpunished. 100 min. Rated R.

The Intern

70-year-old widower Ben Whittaker has discovered that retirement isn’t all it’s cracked up to be. Seizing an opportunity to get back in the game, he becomes a senior intern at an online fashion site, founded and run by Jules Ostin. 121 min. PG-13.

Hotel Transylvania 2

Dracula and his friends try to bring out the monster in his half human, half vampire grandson in order to keep Mavis from leaving the hotel. 89 min. Rated PG.


A young man’s political awakening and coming of age during the days and weeks leading up to the Stonewall Riots. 129 min. Rated R.

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TRAILER: ‘The Big Short’

Director Adam McKay’s dramatic turn The Big Short got its first trailer today. Based on the book of the same name by Michael Lewis, the film stars Brad Pitt, Christian Bale, Melissa Leo, Marisa Tomei, Steve Carell and Ryan Gosling.

The Big Short was shot in New Orleans. It will debut in theaters on December 11.

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WINNERS: 2015 Primetime Emmy Awards

Here are the nominees and winners of the 2015 Primetime Emmy Awards, which aired last tnight. The full list is below with Louisiana and Georgia connections noted in blue. American Horror Story remains an Emmy favorite, this time earning nominations for its latest installment Freak Show, including New Orleans-based casting direction Meagan Lewis, who won for the first time last year. The Georgia-shot shows The Walking Dead and Halt and Catch Fire were nominated, along with the HBO movie Bessie.

Here’s the full list:

“Better Call Saul”
“Downton Abbey”
“Game of Thrones”
“House of Cards”
“Mad Men”
“Orange is the New Black”


Bob Odenkirk, “Better Call Saul”
Kyle Chandler, “Bloodline”
Kevin Spacey, “House of Cards”
Jon Hamm, “Mad Men”
Jeff Daniels, “The Newsroom”
Liev Schreiber, “Ray Donovan”


Taraji P. Henson, “Empire”
Claire Danes, “Homeland”
Viola Davis, “How to Get Away with Murder”
Tatiana Maslany, “Orphan Black”
Elisabeth Moss, “Mad Men”
Robin Wright, “House of Cards”


Timothy Hutton, “American Crime”
Ricky Gervais, “Derek Special”
Adrien Brody, “Houdini”
David Oyelowo, “Nightingale”
Richard Jenkins, “Olive Kitteridge”
Mark Rylance, “Wolf Hall”


Felicity Huffman, “American Crime”
Jessica Lange, “American Horror Story” – Shot in New Orleans
Queen Latifah, “Bessie” – Shot in Georgia
Maggie Gyllenhaal, “The Honorable Woman”
Frances McDormand, “Olive Kitteridge”
Emma Thompson, “Sweeney Todd: The Demon Barber Of Fleet Street”


Anthony Anderson, “black-ish”
Matt LeBlanc, “Episodes”
Don Cheadle, “House of Lies”
Will Forte, “The Last Man On Earth”
Louis C.K., “Louie”
William H. Macy, “Shameless”
Jeffrey Tambor, “Transparent”


Lisa Kudrow, “The Comeback”
Lily Tomlin, “Grace And Frankie”
Amy Schumer, “Inside Amy Schumer”
Edie Falco, “Nurse Jackie”
Amy Poehler, “Parks And Recreation”
Julia Louis-Dreyfus, “Veep”


“The Amazing Race”
“Dancing With The Stars”
“Project Runway”
“So You Think You Can Dance”
“Top Chef”
“The Voice”


“The Colbert Report”
“The Daily Show With Jon Stewart”
“Jimmy Kimmel Live”
“Last Week Tonight With John Oliver”
“Late Show With David Letterman”
“The Tonight Show Starring Jimmy Fallon”


“American Crime”
“American Horror Story: Freak Show” – Shot in Louisiana
“The Honorable Woman”
“Olive Kitteridge”
“Wolf Hall”


“Drunk History”
“Inside Amy Schumer”
“Key & Peele”
“Saturday Night Live”


“Agatha Christie’s Poirot: Curtain, Poirot’s Last Case”
“Bessie” – Shot in Georgia
“Grace of Monaco”
“Hello Ladies: The Movie”
“Killing Jesus”


Jonathan Banks, “Better Call Saul”
Ben Mendelsohn, “Bloodline”
Jim Carter, “Downton Abbey”
Peter Dinklage, “Game Of Thrones”
Alan Cumming, “The Good Wife”
Michael Kelly, “House Of Cards”


Joanne Froggatt, “Downton Abbey”
Lena Headey, “Game Of Thrones”
Emilia Clarke, “Game Of Thrones”
Christine Baranski, “The Good Wife”
Christina Hendricks, “Mad Men”
Uzo Aduba, “Orange Is The New Black”


Alan Alda, “The Blacklist”
Michael J. Fox, “The Good Wife”
F. Murray Abraham, “Homeland”
Reg E. Cathey, “House of Cards”
Beau Bridges, “Masters Of Sex”
Pablo Schreiber, “Orange Is The New Black”


Margo Martindale, “The Americans”
Diana Rigg, “Game of Thrones”
Rachel Brosnahan, “House Of Cards”
Cicely Tyson, “How To Get Away With Murder”
Allison Janney, “Masters Of Sex”
Khandi Alexander, “Scandal”


Andre Braugher, “Brooklyn Nine-Nine”
Adam Driver, “Girls”
Keegan-Michael Key, “Key & Peele”
Ty Burrell, “Modern Family”
Tituss Burgess, “Unbreakable Kimmy Schmidt”
Tony Hale, “Veep”


Mayim Bialik, “The Big Bang Theory”
Niecy Nash, “Getting On”
Julie Bowen, “Modern Family”
Allison Janney, “Mom”
Kate McKinnon “Saturday Night Live”
Gaby Hoffmann, “Transparent”
Jane Krakowski, “Unbreakable Kimmy Schmidt”
Anna Chlumsky, “Veep”


Mel Brooks, “The Comedians”
Paul Giamatti, “Inside Amy Schumer”
Bill Hader, “Saturday Night Live”
Louis C.K., “Saturday Night Live”
Bradley Whitford, “Transparent”
Jon Hamm, “Unbreakable Kimmy Schmidt”


Christine Baranski, “The Big Bang Theory”
Gaby Hoffmann, “Girls”
Pamela Adlon, “Louie”
Elizabeth Banks, “Modern Family”
Joan Cusack, “Shameless”
Tina Fey, “Unbreakable Kimmy Schmidt”


Richard Cabral, “American Crime”
Denis O’Hare, “American Horror Story: Freak Show” – Shot in New Orleans
Finn Wittrock, “American Horror Story: Freak Show” – Shot in New Orleans
Michael Kenneth Williams, “Bessie” – Shot in Georgia
Bill Murray, “Olive Kitteridge”
Damian Lewis, “Wolf Hall”


Regina King, “American Crime”
Sarah Paulson, “American Horror Story: Freak Show” – Shot in New Orleans
Angela Bassett, “American Horror Story: Freak Show” – Shot in New Orleans
Kathy Bates, “American Horror Story: Freak Show” – Shot in New Orleans
Mo’Nique, “Bessie” – Shot in Georgia
Zoe Kazan, “Olive Kitteridge”


Joshua Brand for The Americans, “Do Mail Robots Dream Of Electric Sheep?”

Gordon Smith for Better Call Saul, “Five-O”

David Benioff and D.B. Weiss for Game Of Thrones, “Mother’s Mercy”

Semi Chellas and Matthew Weiner for Mad Men, “Lost Horizon”

Matthew Weiner for Mad Men, “Person To Person”


Tim Van Patten for Boardwalk Empire, “Eldorado”

David Nutter for Game Of Thrones, “Mother’s Mercy”

Jeremy Podeswa for Game Of Thrones, “Unbowed, Unbent, Unbroken”

Lesli Linka Glatter for Homeland, “From A To B And Back Again”

Steven Soderbergh for The Knick, “Method And Madness”


David Crane and Jeffrey Klarik for Episodes, “Episode 409″

Will Forte for The Last Man On Earth, “Alive In Tucson” (Pilot)

Louis C.K. for Louie, “Bobby’s House”

Alec Berg for Silicon Valley, “Two Days Of The Condor”

Jill Soloway for Transparent, “Pilot”

Simon Blackwell, Armando Iannucci and Tony Roche for Veep, “Election Night”


Phil Lord and Christopher Miller for The Last Man On Earth, “Alive In Tucson” (Pilot)

Louis C.K. for Louie, “Sleepover”

Mike Judge for Silicon Valley, “Sand Hill Shuffle”

Jill Soloway for Transparent, “Best New Girl”

Armando Iannucci for Veep, “Testimony”


John Ridley for American Crime, “Episode One”

Dee Rees, Christopher Cleveland, Bettina Gilois and Horton Foote for “Bessie” – Shot in Georgia

Stephen Merchant, Gene Stupnitsky and Lee Eisenberg for “Hello Ladies: The Movie”

Hugo Blick for “The Honorable Woman”

Jane Anderson or “Olive Kitteridge”

Peter Straughan for “Wolf Hall”


Ryan Murphy for “American Horror Story: Freak Show” – Show in New Orleans

Dee Rees for “Bessie” – Shot in Georgia

Hugo Blick for “The Honorable Woman”

Uli Edel for “Houdini”

Tom Shankland for “The Missing”

Lisa Cholodenko for “Olive Kitteridge”

Peter Kosminsky for “Wolf Hall”


Tom Bergeron, “Dancing with the Stars”
Jane Lynch, “Hollywood Game Night”
Heidi Klum, Tim Gunn, “Project Runway”
Cat Deeley, “So You Think You Can Dance”
Anthony Bourdain, “The Taste”


“Antiques Roadshow”
“Diners, Drive-Ins and Dives”
“Property Brothers”
“Shark Tank”
“Undercover Boss”


“Alaska: The Last Frontier”
“Deadliest Catch”
“Million Dollar Listing New York”
“Naked And Afraid”


“Bill Maher: Live From D.C.”
“The Kennedy Center Honors”
“Mel Brooks Live At The Geffen”
“The Saturday Night Live 40th Anniversary Special”
“Tony Bennett & Lady Gaga: Cheek To Cheek LIVE!”


“The Colbert Report”
“The Daily Show With Jon Stewart”
“Inside Amy Schumer”
“Key & Peele”
“Last Week Tonight With John Oliver”


“The 72nd Annual Golden Globe Awards”
“Key & Peele Super Bowl Special”
“Louis C.K.: Live At The Comedy Store”
“Mel Brooks Live At The Geffen”
“The Saturday Night Live 40th Anniversary Special”


James Hoskinson for The Colbert Report, “Show 11040″

Chuck O’Neil for The Daily Show With Jon Stewart, “Show 20103″

Amy Schumer and Ryan McFaul for Inside Amy Schumer, “12 Angry Men Inside Amy Schumer”

Jerry Foley for Late Show With David Letterman, “Show 4214″

Dave Diomedi for The Tonight Show Starring Jimmy Fallon, “Show 203″


Natalie Johns for “Annie Lennox: Nostalgia Live In Concert”

Louis J. Horvitz for “The Kennedy Center Honors”

Hamish Hamilton for “The Oscars”

Don Roy King for “The Saturday Night Live 40th Anniversary Special”

Glenn Weiss for “68th Annual Tony Awards”


“Beyoncé And Jay Z On The Run”
“The 72nd Annual Golden Globe Awards”
“The Oscars”
“Sweeney Todd: The Demon Barber Of Fleet Street”
“68th Annual Tony Awards”


“Between Two Ferns With Zach Galifianakis: Brad Pitt”
“Billy On The Street With First Lady Michelle Obama, Big Bird And Elena!!!”
“Childrens Hospital”
“Key & Peele Presents Van And Mike: The Ascension”
“Super Bowl XLIX Halftime Show Starring Katy Perry”


“American Horror Story: Extra-Ordinary Artists” – Shot in New Orleans
“Parks And Recreation: Behind The Final Season”
“30 For 30 Shorts”
“Transparent: This is Me”
“A Tribute To Mel Brooks”


“@midnight With Chris Hardwick”
“Last Week Tonight With John Oliver”
“Saturday Night Live: SNL40″
“Talking Dead”
“The Tonight Show Starring Jimmy Fallon”


“Alan Alda And The Actor Within You: A YoungArts Masterclass”
“Dog With A Blog”
“Girl Meets World”
“Nick News With Linda Ellerbee: Coming Out”


Neil deGrasse Tyson for “Hubble’s Cosmic Journey”
Anthony Mendez for “Jane The Virgin”
Miranda Richardson for “Operation Orangutan”
Peter Coyote for “The Roosevelts: An Intimate History”
Henry Strozier for “Too Cute!”


“The Case Against 8″
“Going Clear: Scientology And The Prison Of Belief”
“Kurt Cobain: Montage Of Heck”
“Sinatra: All Or Nothing At All”


“American Masters”
“Cancer: The Emperor Of All Maladies”
“The Jinx: The Life And Deaths Of Robert Durst”
“The Roosevelts: An Intimate History”
“The Sixties”


“Anthony Bourdain Parts Unknown”
“Foo Fighters: Sonic Highways”
“Inside The Actors Studio”
“StarTalk With Neil deGrasse Tyson”


“The Great Invisible”
“Hot Girls Wanted”


Anthony Bourdain for “Anthony Bourdain Parts Unknown”

Alex Gibney for “Going Clear: Scientology And The Prison Of Belief”

Brett Morgen for “Kurt Cobain: Montage Of Heck”

Mark Bailey and Keven McAlester for “Last Days In Vietnam (American Experience)”

Geoffrey C. Ward for The Roosevelts: An Intimate History “Episode 5: The Rising Road (1933 – 1939)”


Laura Poitras for “Citizenfour”

Dave Grohl for “Foo Fighters: Sonic Highways”

Alex Gibney for “Going Clear: Scientology And The Prison Of Belief”

Andrew Jarecki for The Jinx: The Life And Deaths Of Robert Durst “Chapter 2: Poor Little Rich Boy”

Brett Morgen for “Kurt Cobain: Montage Of Heck”


“Bob’s Burgers”
“Over The Garden Wall”
“The Simpsons”
“South Park”


“Adventure Time”
“Disney Mickey Mouse”
“Regular Show”
“Robot Chicken”
“Steven Universe”
“Wander Over Yonder”


John Roberts for Bob’s Burgers “Eat, Spray, Linda”

Seth MacFarlane for Family Guy “Our Idiot Brian”

Seth Green for Robot Chicken “Victoria’s Secret Of Nimph”

Dan Castellaneta for The Simpsons “Bart’s New Friend”

Tress MacNeille for The Simpsons “My Fare Lady”

Hank Azaria for The Simpsons “The Princess Guide”


Dave Blass, Hugo Santiago, Drew Monahan and Natali Pope for Constantine “The Darkness Beneath” “Feast Of Friends” “The Saint Of Last Resorts: Part One”

Deborah Riley, Paul Ghirardani and Rob Cameron for Game of Thrones “High Sparrow” “Unbowed, Unbent, Unbroken” “Hardhome”

Doug Kraner, Laura Ballinger Gardner and Regina Graves for Gotham “Pilot”

Steve Arnold, Halina Gebarowicz and Tiffany Zappulla for House Of Cards “Chapter 29″ “Chapter 36″

Suzuki Ingerslev, Cat Smith and Ron V. Franco for True Blood “Jesus Gonna Be Here” “I Found You” “Fire In The Hole” – Set in Louisiana (Shot primarily in Los Angeles


Bill Groom, Adam Scher and Carol Silverman for Boardwalk Empire “Golden Days For Boys And Girls” “Friendless Child” “Eldorado”

Donal Woods, Mark Kebby and Linda Wilson for Downton Abbey “Episode 9″

Howard Cummings, Henry Dunn and Regina Graves for The Knick “Method And Madness” “Mr. Paris Shoes” “Get The Rope”

Dan Bishop, Shanna Starzyk and Claudette Didul for Mad Men “Person To Person”

Michael Wylie, Elizabeth H. Gray and Halina Siwolop for Masters Of Sex “Blackbird” “Below The Belt” “One For The Money, Two For The Show”


John Shaffner, Francoise Cherry-Cohen and Ann Shea for The Big Bang Theory “The First Pitch Insufficiency” “The Clean Room Infilltration” “The Skywalker Incursion”

Michael Andrew Hynes and Maralee Zediker for Hot In Cleveland “Vegas, Baby/I Hate Goodbyes” “All About Elka”

Richard Toyon, L.J. Houdyshell and Jenny Mueller for Silicon Valley “Sand Hill Shuffle” “Homicide” “Adult Content”

Cat Smith, Maria Baker and Nya Patrinos for Transparent “The Letting Go”

Glenda Rovello and Amy Feldman for 2 Broke Girls “And The Zero Tolerance” “And The Fun Factory” “And A Loan For Christmas”

Jim Gloster, E. David Cosier and Jennifer Engel for Veep “Joint Session” “Tehran” “Convention”


Brian Stonestreet, Alana Lorraine Billingsley, Kristen Merlino and Scott Welborn for “57th Annual Grammy Awards”

Derek McLane, Gloria Lamb and Matt Steinbrenner for “The Oscars”

Derek McLane, Aimee B. Dombo and Mike Pilipski for “Peter Pan Live!”

Tyler Robinson, Schuyler Telleen and Katherine Isom for Portlandia “Dead Pets” “Call Me Al” “Fashion”

Anton Goss, James Pearse Connelly, Zeya Maurer and Lydia Smyth for The Voice “Episode 701″ ” Episode 806″ “Episode 815A”


Gayle Keller for “Louie”
Jeff Greenberg for “Modern Family”
Eyde Belasco for “Transparent”
Jennifer Euston and Meredith Tucker for “Unbreakable Kimmy Schmidt”
Allison Jones, Meredith Tucker and Pat Moran for “Veep”


Jill Trevellick for “Downton Abbey”

Nina Gold, Robert Sterne and Carla Stronge for “Game Of Thrones”

Laray Mayfield and Julie Schubert for “House Of Cards”

Laura Schiff and Carrie Audino for “Mad Men”

Jennifer Euston for “Orange Is The New Black”


Kim Coleman and Beth Sepko Lindsay for “American Crime” from ABC, ABC Studios

Robert J. Ulrich, Eric Dawson and Meagan Lewis for “American Horror Story: Freak Show” – Shot in New Orleans. Lewis is based in New Orleans

Billy Hopkins and Jackie Burch for “Bessie” – Shot in Georgia

Laura Rosenthal and Carolyn Pickman for “Olive Kitteridge”

Nina Gold and Robert Sterne for “Wolf Hall”


Dancing With The Stars • Routine: Elastic Heart • ABC • BBC Worldwide Productions
Derek Hough, Choreographer
Julianne Hough, Choreographer
Tessandra Chavez, Choreographer

Dancing With The Stars • Routines: 369 / It’s Not Unusual / Sing With A Swing-Apache

So You Think You Can Dance • Routines: Hernando’s Hideaway / World On A String / Maybe This Time
Spencer Liff, Choreographer

So You Think You Can Dance • Routines: Vow / So Broken / Europe, After The Rain
Sonya Tayeh, Choreographer

So You Think You Can Dance • Routines: Wave / When I Go / Wind Beneath My Wings
EntertainmentTravis Wall, Choreographer


The Big Bang Theory • The Expedition Approximation
Steven V. Silver, ASC, Director of Photography

Mike & Molly • Checkpoint Joyce
Gary Baum, Director of Photography

The Millers • Con-Troversy
Gary Baum, Director of Photography

2 Broke Girls • And The Old Bike Yarn
Christian La Fountaine, ASC, Director of Photography


Boardwalk Empire • Golden Days For Boys And Girls
Jonathan Freeman, ASC, Director of Photography

Game Of Thrones • Hardhome
Fabian Wagner, BSC, Director of Photography

Game Of Thrones • Sons Of The Harpy
Anette Haellmigk, Director of Photography

Game Of Thrones • The Dance Of Dragons
Rob McLachlan, ASC, CSC, Director of Photography

Game Of Thrones • Unbowed, Unbent, Unbroken
Greg Middleton, CSC, Director of Photography

The Good Wife • The Line
Fred Murphy, ASC, Director of Photography

House Of Cards • Chapter 29
Martin Ahlgren, Director of Photography


American Horror Story: Freak Show • Monsters Among Us – Shot in New Orleans
Michael Goi, ASC, ISC, Director of Photography

Bessie – Shot in Georgia
Jeffrey Jur, ASC, Director of Photography

Karl Walter Lindenlaub, ASC, BVK, Director of Photography

The Secret Life Of Marilyn Monroe
Chris Manley, ASC, Director of Photography


Laura Poitras, Cinematography

Going Clear: Scientology And The Prison Of Belief
Sam Painter, Director of Photography

The Jinx: The Life And Deaths Of Robert Durst • Chapter 2: Poor Little Rich Boy
Marc Smerling, Director of Photography

Kurt Cobain: Montage Of Heck
James Whitaker, Director of Photography

Franklin Dow, Cinematographer


The Amazing Race • Morocc’ And Roll
Alan Weeks, Cinematographer
Peter Rieveschl, Cinematographer
Petr Cikhart, Cinematographer
Ryan Michael O’Donnell, Cinematographer
Joshua Gitersonke, Cinematographer

Deadliest Catch • A Brotherhood Tested
David Reichert, Director of Photography
Todd Stanley, Director of Photography
Steve Wright, Director of Photography
Breck Warwick, Director of Photography
Matt Fahey, Director of Photography

Life Below Zero • Darkness Falls
Benji Lanpher, Director of Photography
Terry Pratt, Director of Photography
Simeon Houtman, Director of Photography
Mark St. Marie, Camera Operator

Project Runway • The Rainway
Gus Dominguez, Director of Photography

Survivor • Survivor Warfare (Worlds Apart)
Cinematography Team


Brady Bunch – Snickers •
BBDO New York, Ad Agency
O Positive, Production Company

Dream On – Adobe •
Goodby Silverstein & Partners, Ad Agencye
Level Films/Goodby Silverstein & Partners, Production Company

#LikeAGirl – Always •
Leo Burnett Chicago, Ad Agency
Chelsea Pictures, Production Company

Lost Dog – Budweiser •
Anomaly, Ad Agency
RSA Films, Production Company

Made In NY – Gatorade •
TBWA\Chiat\Day, Ad Agency
Smuggler, Production Company

With Dad – Nissan •
TBWA\Chiat\Day, Ad Agency
Park Pictures, Production Company


American Horror Story: Freak Show • Monsters Among Us – Shot in New Orleans
Lou Eyrich, Costume Designer
Elizabeth Macey, Costume Supervisor
Ken van Duyne, Assistant Costume Designer

Boardwalk Empire • Golden Days For Boys And Girls
John Dunn, Costume Designer
Maria Zamansky, Assistant Costume Designer
James P. Hammer, Jr., Assistant Costume Designer
Joseph LaCorte, Assistant Costume Designer

Downton Abbey • Episode 9 • PBS
Anna Mary Scott Robbins, Costume Designer
Michael Weldon, Costume Supervisor
Kathryn Tart, Assistant Costume Designer

Game Of Thrones • The Dance Of Dragons
Michele Clapton, Costume Designer
Sheena Wichary, Costume Supervisor
Nina Ayres, Assistant Costume Designer
Alex Fordham, Assistant Costume Designer

Wolf Hall • Part 3: Anna Regina
Joanna Eatwell, Costume Designer
Ken Lang, Costume Supervisor
Clare Vyse, Assistant Costume Designer


Empire • Pilot
Paolo Nieddu, Costume Designer
Eileen McCahill, Costume Supervisor

Empire • The Lyon’s Roar
Rita D. McGhee, Costume Designer
Sukari McGill, Costume Supervisor

Gotham • Under The Knife
Lisa Padovani, Costume Designer
Danielle Schembre-Borakovsky, Assistant Costume Designer

The Mindy Project • San Francisco Bae
Salvador Perez, Costume Designer
Gala Autumn, Costume Supervisor
Ivy Heather Thaide, Assistant Costume Designer

Olive Kitteridge • Incoming Tide
Jenny Eagan, Costume Designer
Debbie Holbrook, Costume Supervisor

Transparent • Symbolic Exemplar
Marie Schley, Costume Designer
Nancy Jarzynko, Costume Supervisor


Better Call Saul • Five-O
Kelley Dixon, ACE, Editor

Better Call Saul • Marco
Kelley Dixon, ACE, Editor
Chris McCaleb, Editor

Game Of Thrones • Hardhome
Tim Porter, Editor

Game Of Thrones • The Dance Of Dragons
Katie Weiland, Editor

Mad Men • Person To Person
Tom Wilson, Editor


Inside Amy Schumer • Last F**kable Day
Nick Paley, Editor
Billy Song, Editor
Laura Weinberg, Editor
Jesse Gordon, Editor

The Last Man On Earth • Alive In Tuscon
Stacey Schroeder, Editor

Silicon Valley • Sand Hill Shuffle
Tim Roche, Editor

Silicon Valley • Two Days Of The Condor
Brian Merken, Editor

Transparent • Pilot
Catherine Haight, Editor


The Big Bang Theory • The Comic Book Store Regeneration
Peter Chakos, Editor

Hot In Cleveland • I Hate Goodbyes
Ronald A. Volk, ACE, Editor

Mike & Molly • Fight To The Finish
Stephen Prime, Editor

2 Broke Girls • And The Move-In Meltdown
Darryl Bates, ACE, EditorBen Bosse, Editor


American Crime • Episode One
Luyen Vu, Editor

Houdini • Night 1
Sabrina Plisco, ACE, Editor
David Beatty, Editor

Olive Kitteridge • Security
Jeffrey M. Werner, ACE, Editor

24: Live Another Day • 10:00 P.M. – 11:00 A.M.
Scott Powell, ACE, Editor

Wolf Hall • Part 2: Entirely Beloved
David Blackmore, Editor


The Colbert Report • Farewell Colbert (segment)
Jason Baker, Editor

CONAN • Conan In Cuba
Dave Grecu, Editor

Key & Peele • Scariest Movie Ever
Rich LaBrie, Editor
Christian Hoffman, Editor
Phil Davis, Additional Editor

Last Week Tonight With John Oliver • N.S.A. Edward Snowden (segment)
Ryan Barger, Editor

Late Show With David Letterman • Finale Montage (segment) • CBS • Worldwide Pants Inc.
Mark Spada, Senior Editor
Andrew Evangelista, Editor


The Case Against 8
Kate Amend, Editor

Mathilde Bonnefoy, Editor

Going Clear: Scientology And The Prison Of Belief
Andy Grieve, Editor

The Jinx: The Life And Deaths Of Robert Durst • Chapter 1: A Body In The Bay
Richard Hankin, Supervising Editor
Zac Stuart-Pontier, Editor
Caitlyn Green, Co-Editor
Shelby Siegel, Co-Editor

Kurt Cobain: Montage Of Heck
Joe Beshenkovsky, Editor
Brett Morgen, Editor


The Amazing Race
Andy Castor, Editor
Julian Gomez, Editor
Andrew Kozar, Editor
Ryan Leamy, Editor
Jennifer Nelson, Editor
Paul C. Nielsen, Editor
Jacob Parsons, Editor

Deadliest Catch • A Brotherhood Tested
Josh Earl, ACE, Supervising Editor
Alexander Rubinow, Editor
Alex Durham, ACE, Editor

Project Runway • Finale, Part 2
Andrea Bailey, Editor
Jim Bedford, Editor
Julie Cohen, Editor
Ed Greene, Editor
Jensen Rufe, Editor

Project Runway All Stars • Something Wicked This Way Comes
Carlos David Rivera, Editor
Mary DeChambres, Editor

Shark Tank • Episode 608
David R. Finkelstein, Editor
Terri Maloney, Editor
Ed Martinez, Editor
Matt McCartie, Editor
Matt Stevenson, Editor
Andrew Oliver, Editor
Nick Staller, Editor
Joel Watson, Editor

Survivor • Survivor Warfare (Worlds Apart)
Frederick Hawthorne, Supervising Editor
Joubin Mortazavi, Editor
Evan Mediuch, Editor
Tim Atzinger, Editor
David Armstrong, Editor
Plowden Schumacher, Editor
Bill Bowden, Editor


Boardwalk Empire • Eldorado
Francesca Paris, Department Head Hairstylist
Lisa De Jesus, Key Hairstylist
Sarah Stamp, Key Hairstylist

Downton Abbey • Episode 6
Nic Collins, Key Hairstylist

Game Of Thrones • Mother’s Mercy
Kevin Alexander, Department Head Hairstylist
Candice Banks, Department Head Hairstylist
Rosalia Culora, Hairstylist
Gary Machin, Hairstylist
Laura Pollock, Hairstylist
Nicola Mount, Hairstylist

The Knick • Get The Rope
Jerry DeCarlo, Department Head Hairstylist
Rose Chatterton, Key Hairstylist
Suzy Mazzarese Allison, Personal Hairstylist
Victor De Nicola, Hairstylist
Christine Cantrell, Hairstylist

Mad Men • Person To Person
Theraesa Rivers, Department Head Hairstylist
Arturo Rojas, Key Hairstylist
Valerie Jackson, Hairstylist
Ai Nakata, Hairstylist


Dancing With The Stars • Episode 1907
Mary Guerrero, Department Head Hairstylist
Kimi Messina, Key Hairstylist
Jennifer Mazursky, Additional Hairstylist
Sean Smith, Additional Hairstylist
Gail Ryan, Additional Hairstylist
Dean Banowetz, Additional Hairstylist

Key & Peele • Aerobics Meltdown
Amanda Mofield, Department Head Hairstylist
Raissa Patton, Key Hairstylist

Saturday Night Live • Host: Martin Freeman
Bettie O. Rogers, Department Head Hairstylist
Jodi Mancuso, Key Hairstylist
Inga Thrasher, Hairstylist
Jennifer Serio Stauffer, Hairstylist
Cara Hannah Sullivan, Hairstylist
Joe Whitmeyer, Hairstylist

So You Think You Can Dance • Episode 1115
Sean Smith, Key Hairstylist
Dean Banowetz, Hairstylist
Ralph Abalos, Hairstylist
Shawn Finch, Hairstylist
Melissa Jaqua, Hairstylist

The Voice • Episode 818B
Shawn Finch, Department Head Hairstylist
Jerilynn Stephens, Key Hairstylist
Renee DiPinto-Ferruggia, Additional Hairstylist
James Dunham, Additional Hairstylist
Giannandrea Marongiu, Additional Hairstylist
Stacy Morris, Additional Hairstylist


American Horror Story: Freak Show – Shot in New Orleans
Monte C. Haught, Department Head Hairstylist
Michelle Cegila, Assistant Department Head Hairstylist
Daina Daigle, Hairstylist
Amy Wood, Hairstylist
Sherri B. Hamilton, Additional Hairstylist

Bessie – Shot in Georgia
Lawrence Davis, Department Head Hairstylist
Monty Schuth, Key Hairstylist
Iasia Merriweather, Hairstylist
Victor Jones, Hairstylist

Grace Of Monaco
Agathe Dupuis, Department Head Hairstylist
Silvine Picard, Key Hairstylist

Olive Kitteridge
Cydney Cornell, Department Head Hairstylist

The Secret Life Of Marilyn Monroe
Cliona Furey, Department Head Hairstylist
Cathy Shibley, Key Hairstylist
Jacqueline Robertson-Cull, Additional Hairstylist
Vincent Sullivan, Personal Hairstylist


American Idol • Finale
Kieran Healy, Lighting Designer
Harry Sangmeister, Lighting Director
Harrison Lippman, Lighting Director
George Harvey, Lighting Director

Dancing With The Stars • Episode 1911A
Simon Miles, Lighting Designer
Suzanne Sotelo, Lighting Director
Matthew Cotter, Lighting Director

Late Show With David Letterman • Show 4190
Steven Brill, Lighting Designer
Timothy Stephenson, Lighting Director

Saturday Night Live • Host: Amy Adams
Phil Hymes, Lighting Designer
Geoff Amoral, Lighting Director
Rick McGuinness, Lighting Director

So You Think You Can Dance • Season 11 Finale
Robert Barnhart, Lighting Designer
Matt Firestone, Lighting Director
Pete Radice, Lighting Director
Patrick Boozer, Lighting Director

The Voice • Episode 818A
Oscar Dominguez, Lighting Designer
Samuel Barker, Lighting Director
Daniel Boland, Lighting Director
Craig Housenick, Lighting Director
John Bradley, Media Server Operator


Dancing With The Stars: 10th Anniversary Special
Simon Miles, Lighting Designer
Suzanne Sotelo, Lighting Director
Matthew Cotter, Lighting Director

57th Annual Grammy Awards
Robert Dickinson, Lighting Designer
Andy O’Reilly, Lighting Director
Jon Kusner, Lighting Director
Patrick Boozer, Lighting Director
Harrison Lippman, Lighting Director

The Oscars • ABC
Robert Dickinson, Lighting Designer
Robert Barnhart, Lighting Director
Andy O’Reilly, Lighting Director
Jon Kusner, Lighting Director

The Saturday Night Live 40th Anniversary Special
Phil Hymes, Lighting Designer
Geoff Amoral, Lighting Director
Rick McGuinness, Lighting Director

Super Bowl XLIX Halftime Show Starring Katy Perry
Robert Barnhart, Lighting Designer
Dave Grill, Lighting Director
Pete Radice, Lighting Director
Jason Rudolph, Lighting Director


American Horror Story: Freak Show – Shot in New Orleans
Ryan Murphy, Creative Director
Kyle Cooper, Creative Director
Lee Nelson, Art Director/3D Supervisor
Nadia Tzou, Art Director/2D Supervisor

Bosch • Amazon Instant Video
Grant Lau, Creative Director
JJ Gerber, Creative Producer
Michael Radtke, Editor
Rod Basham, Flame Artist

Halt And Catch Fire – Shot in Georgia
Patrick Clair, Creative Director
Raoul Marks, Animator
Eddy Herringson, Designer
Paul Kim, Typographer

Manhattan • WGN America
Dan Gregoras, Creative Director
Jeremy Cox, Art Director
Jon Hassell, Creative Producer
Griffin Frazen, Designer

Marvel’s Daredevil • Netflix
Patrick Clair, Creative Director
Andrew Romatz, CGI Lead
Miguel Salek, Fluids Lead
Shahana Kahn, Lead Compositor

Olive Kitteridge
Garson Yu, Creative Director
Synderela Peng, Art Director
Michael Lane Parks, Editor
Alex Pollini, Director of Photography


Boardwalk Empire • What Jesus Said
Michele Paris, Department Head Makeup Artist
Joe Farulla, Key Makeup Artist

Game Of Thrones • Mother’s Mercy
Jane Walker, Department Head Makeup Artist
Nicola Matthews, Makeup Artist

The Knick • Method And Madness
Nicki Ledermann, Department Head Makeup Artist
Stephanie Pasicov, Key Makeup Artist
Sunday Englis, Key Makeup Artist
Cassandra Saulter, Makeup Artist
Michael Laudati, Makeup Artist
LuAnn Claps, Personal Makeup Artist

Mad Men • Person To Person
Ron Pipes, Key Makeup Artist
Maurine Burke, Makeup Artist
Jennifer Greenberg, Additional Makeup Artist

Sons Of Anarchy• Faith and Despondency
Michelle Garbin, Key Makeup Artist
Sabine Roller Taylor, Makeup Artist
Tami Lane, Makeup Artist


Dancing With The Stars • Episode 1907
Zena Shteysel, Department Head Makeup Artist
Angela Moos, Key Makeup Artist
Patti Ramsey-Bortoli, Additional Makeup Artist
Sarah Woolf, Additional Makeup Artist
Julie Socash, Additional Makeup Artist
Alison Gladieux, Additional Makeup Artist

Key & Peele • Episode 406
Scott Wheeler, Department Head Makeup Artist
Suzy Diaz, Key Makeup Artist

RuPaul’s Drag Race
Mathu Andersen, Department Head Makeup Artist

The Saturday Night Live 40th Anniversary Special
Louie Zakarian, Department Head Makeup Artist
Amy Tagliamonti, Makeup Artist
Jason Milani, Makeup Artist
Sarah Egan, Makeup Artist
Daniela Zivkovic, Makeup Artist
Melanie Demitri, Makeup Artist

So You Think You Can Dance • Episode 1108
Heather Cummings, Department Head Makeup Artist
Marie DelPrete, Key Makeup Artist
Amy Harmon, Makeup Artist
Tyson Fountaine, Makeup Artist
Adam Christopher, Makeup Artist


American Horror Story: Freak Show – Shot in New Orleans
Eryn Krueger Mekash, Department Head Makeup Artist
Kim Ayers, Key Makeup ArtistLucy O’Reilly, Makeup Artist
Michael Mekash, Makeup Artist
Christopher Nelson, Makeup Artist
Jillian Erickson, Additional Makeup Artist

Bessie • HBO – Shot in Georgia
Debi Young, Department Head Makeup Artist
Mi Young, Key Makeup Artist
Ngozi Olandu Young, Makeup Artist
Noel Hernandez, Makeup Artist
Sian Richards, Personal Makeup Artist

Houdini • Night 1 • HISTORY • Lionsgate Television and A+E Studios for History
Gregor Eckstein, Co-Department Head Makeup Artist

Olive Kitteridge • HBO
Christien Tinsley, Department Head Makeup Artist
Gerald Quist, Key Makeup Artist
Liz Bernstrom, Makeup Artist

The Secret Life Of Marilyn Monroe
Jordan Samuel, Department Head Makeup Artist
Patricia Keighran, Key Makeup Artist
Susan Reilly-Lehane, Personal Makeup Artist


American Horror Story: Freak Show – Shot in New Orleans
Eryn Krueger Mekash, Department Head Makeup Artist
Michael Mekash, Key Special Makeup Effects Artist
David L. Anderson, Prosthetic Designer
Justin Raleigh, Prosthetic Designer
Christopher Nelson, Special Makeup Effects Artist
Kim Ayers, Special Makeup Effects Artist
Luis Garcia, Special Makeup Effects Artist
James MacKinnon, Special Makeup Effects Artist

Boardwalk Empire • The Good Listener
Michele Paris, Department Head Makeup Artist
Joe Farulla, Key Makeup Artist

Game Of Thrones • Hardhome
Jane Walker, Department Head Makeup Artist
Barrie Gower, Special Makeup Effects Department Head
Sarah Gower, Special Makeup Effects Assistant Department Head

The Knick • Crutchfield
Justin Raleigh, Special Makeup Effects Department Head
Kevin Kirkpatrick, Key Special Makeup Effects Artist
Kelly Golden, Special Makeup Effects Artist
Ozzy Alvarez, Special Makeup Effects Artist
Danielle Noe, Special Makeup Effects Artist
Bernie Eichholz, Special Makeup Effects Artist
Michael Ezell, Special Makeup Effects Artist
Kodai Yoshizawa, Special Makeup Effects Artist

Penny Dreadful • Grand Guignol
Nick Dudman, Special Makeup Effects Department Head
Sarita Allison, Key Special Makeup Effects Artist
Barney Nikolic, Makeup Artist

The Walking Dead • Strangers – Shot in Georgia
Greg Nicotero, Special Makeup Effects Department Head
Jake Garber, Key Special Makeup Effects Artist
Carey Jones, Prosthetic Designer
Garrett Immel, Prosthetic Designer
Gino Crognale, Makeup Effects Artist
Kevin Wasner, Makeup Effects Artist
Andy Schoneberg, Makeup Artist


Chef’s Table • Francis Mallmann • Netflix • Boardwalk Pictures and City Room Creative
Duncan Thum, Music by

House Of Cards • Chapter 32 • Netflix • Donen/Fincher/Roth and Trigger Street Productions, Inc. in association with Media Rights Capital for Netflix
Jeff Beal, Music by

Outlander • Sassenach • Starz • Sony Pictures Television and Starz, in association with Tall Ship Productions, Story Mining and Supply Company and Left Bank Productions
Bear McCreary, Music by

The Paradise • Episode 8 • PBS • BBC Productions and Masterpiece
Maurizio Malagnini, Music by

Penny Dreadful • Closer Than Sisters • Showtime • SHOWTIME Presents in association with SKY
Abel Korzeniowski, Music by

Tyrant • Pilot • FX Networks • Fox 21 Television Studios and FX Productions
Jeff Danna, Music by
Mychael Danna, Music by


American Horror Story: Freak Show • Orphans • FX Networks • 20th Century Fox Television
Mac Quayle, Music by – Shot in New Orleans

Away And Back • Hallmark Channel • Hallmark Hall of Fame Productions
William Ross, Music by

Bessie • HBO • HBO Films in association with Flavor Unit Entertainment and the Zanuck Company
Rachel Portman, Music by – Shot in Georgia

The Missing • Eden • Starz • New Pictures & Company Pictures in association with Two Brothers Pictures, Playground Entertainment & the BBC
Dominik Scherrer, Music by

Sofia the First: The Curse of Princess Ivy • Disney Channel • Disney Television Animation
Kevin Kliesch, Music by

24: Live Another Day • 11:00 A.M. – 12:00 P.M. • FOX • Imagine Television in association with 20th Century Fox Television
Sean Callery, Music by


Elf: Buddy’s Musical Christmas • NBC • Warner Bros. Animation
Matthew Sklar, Music Director
Christopher Guardino, Music Director

The Kennedy Center Honors • CBS • The Stevens Company
Rob Berman, Music Director
Rob Mathes, Music Director

The Oscars • ABC • The Academy of Motion Picture Arts and Sciences
Stephen Oremus, Music Director

Peter Pan Live! • NBC • Universal Television, Sony Pictures Television, Storyline Entertainment
David Chase, Music Director

Stevie Wonder: Songs In The Key Of Life – An All-Star GRAMMY Salute • CBS • AEG Ehrlich Ventures, LLC
Greg Phillinganes, Music Director

Sweeney Todd: The Demon Barber Of Fleet Street (Live From Lincoln Center) • PBS • A Lincoln Center Media Production
Alan Gilbert, Conductor and Music Director


The Comedians • Celebrity Guest / Song Title: Kiss An Old Man • FX Networks • Fox 21 Television Studios and FX Productions
Kristen Anderson-Lopez, Lyrics by
Robert Lopez, Music by

Glee • Dreams Come True / Song Title: This Time • FOX • Ryan Murphy Productions in association with 20th Century Fox Television
Darren Criss, Music & Lyrics by

How Murray Saved Christmas • Song Title: You Gotta Believe • NBC • Universal Television, Universal Animation Studios, LLC, Rough Draft Studios, Inc.
Walter Murphy, Music by
Mike Reiss, Lyrics by

Inside Amy Schumer • Cool With It / Song Title: Girl You Don’t Need Make Up • Comedy Central • Jax Media
Kyle Dunnigan, Music & Lyrics by
Jim Roach, Music by

The Oscars • Song Title: Moving Pictures • ABC • The Academy of Motion Picture Arts and Sciences
Kristen Anderson-Lopez, Music & Lyrics by
Robert Lopez, Music & Lyrics by

Sons Of Anarchy • Papa’s Goods / Song Title: Come Join The Murder • FX Networks • Fox 21 Television Studios and FX Productions
Bob Thiele, Music & Lyrics by
Kurt Sutter, Music & Lyrics by
Jake Smith, Music & Lyrics by


The Dovekeepers • CBS • Take 5 Productions, Whiz Bang Films, LightWorkers Media, LLC and CBS Television Studios
Jeff Beal, Theme by

Marco Polo • Netflix • The Weinstein Company for Netflix
Daniele Luppi, Theme by

Penny Dreadful • Showtime • SHOWTIME Presents in association with SKY
Abel Korzeniowski, Theme by

Texas Rising • HISTORY • A+E Studios, ITV Studios America and Thinkfactory Media for HISTORY
John Debney, Theme by
Bruce Broughton, Theme by

Transparent • Amazon Instant Video • Amazon Studios
Dustin O’Halloran, Theme by

Tyrant • FX Networks • Fox 21 Television Studios and FX Productions
Jeff Danna, Theme by
Mychael Danna, Theme by


Black Sails • XVIII • Starz • Platinum Dunes and Quaker Moving Pictures in association with Starz Originals
Benjamin Cook, Supervising Sound Editor
Stefan Henrix, ADR Supervisor
Sue Cahill, Supervising Dialogue Editor
Jeffrey A. Pitts, Sound Effects Editor
Brett Voss, Sound Effects Editor
Michael Baber, Music Editor
Jeffrey Wilhoit, Foley Artist
Dylan T. Wilhoit, Foley Artist

Boardwalk Empire • The Good Listener • HBO • HBO Entertainment in association with Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions
Fred Rosenberg, Supervising Sound Editor
Bill Orrico, Sound Editor
Roland Vajs, Sound Editor
Ruy Garcia, Sound Effects Editor
Jeffrey Stern, Dialogue Editor
Annette Kudrak, Music Editor
Steve Visscher, Foley Editor
Mark Costanzo, Foley Artist

Game Of Thrones • Hardhome • HBO • HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions
Tim Kimmel, Supervising Sound Editor
Paula Fairfield, Sound Designer
Bradley C. Katona, Sound Effects Editor
Peter Bercovitch, Supervising Dialogue Editor
David Klotz, Music Editor
Jeffrey Wilhoit, Foley Artist
Dylan T. Wilhoit, Foley Artist

Gotham • All Happy Families Are Alike • FOX • Warner Bros. Television
George Haddad, Supervising Sound Editor
Dale Chaloukian, Sound Editor
Chad J. Hughes, Sound Editor
Ashley Revell, Music Editor
Joseph Sabella, Foley Artist

Marvel’s Daredevil • Speak Of The Devil • Netflix • Marvel Television in association with ABC Studios for Netflix
Lauren Stephens, Supervising Sound Editor
Jordan Wilby, Sound Design
Joshua Chase, Sound Effects
Christain Buenaventura, Dialogue Editor
Gregory Vines, Music Editor
Alicia Stevenson, Foley Artist
Dawn Lundsford, Foley Artist

The Walking Dead • Conquer • AMC • AMC Studios / Stalwart Films, LLC / Circle of Confusion / Valhalla Entertainment – Shot in Georgia
Jerry Ross, Supervising Sound Editor
Tim Farrell, Sound Designer
Lou Thomas, ADR Supervisor
Michael Baber, Music Editor
Joseph Tsai, Foley Editor
Clayton Weber, Foley Artist
Catherine Harper, Foley Artist
Gregg Barbanell, Foley Artist


American Crime • Episode One • ABC • ABC Studios
Walter Newman, Supervising Sound Editor
Kenneth Young, Sound Editor
Darleen Stoker, Sound Editor
Louie Schultz, Music Editor
Pete Reynolds, Sound Editor
Catherine Harper, Foley Artist
Gregg Barbanell, Foley Artist

American Horror Story: Freak Show • Curtain Call • FX Networks • 20th Century Fox Television – Shot in New Orleans
Gary Megregian, MPSE, Supervising Sound Editor
Timothy A. Cleveland, Sound Effects Editor
Paul Diller, Sound Effects Editor
Steve M. Stuhr, Dialogue Editor
Lance Wiseman, Dialogue Editor
Jason Krane, Dialogue Editor
John Green, Dialogue Editor
David Klotz, Music Editor
Noel Vought, Foley Artist

Houdini • Night 1 • HISTORY • Lionsgate Television and A+E Studios for History
Michael J. Benavente, Supervising Sound Editor
David Beadle, Sound Editor
Timothy A. Cleveland, Sound Editor
Rachel Corrales, Sound Editor
Paul Diller, Sound Editor
Gary Megregian, MPSE, Sound Editor
Ryan Maguire, Sound Editor
Michael Sana, Sound Editor
John Snider, Sound Editor
Robert Ulrich, Sound Editor
Lance Wiseman, Sound Editor
Jim Harrison, Music Editor
Joan Rowe, Foley Artist

Texas Rising • Night 4 • HISTORY • A+E Studios, ITV Studios America and Thinkfactory Media for HISTORY
John Laing, Supervising Sound Editor
Tom Bjelic, Sound Effects Supervisor
Alex Bullick, Sound Effects Editor
Tyler Witham, Sound Effects Editor
Mike Mancuso, Sound Effects Editor
Adam Stein, Sound Effects Editor
Petra Bach, ADR Editor
Jill Purdy, MPSE, ADR Editor
Mark Dejczak, ADR Editor
Mark Gingas, Dialogue Editor
Dermain Finlayson, Dialogue Editor
Dale Lennon, Dialogue Editor
Kevin Banks, MPSE, Music Editor
Jim Harrison, Music Editor
Steve Baine, Foley Artist
Simon Meilleur, Foley Artist

24: Live Another Day • 7:00 P.M. – 8:00 P.M. • FOX • Imagine Television in association with 20th Century Fox Television
Pembrooke Andrews, Supervising Sound Editor
Jeffrey R. Whitcher, Sound Editor
Robert W. Guastini, Sound Editor
Jeff Charbonneau, Sound Editor
Shawn Kennelly, Foley Editor
Melissa Kennelly, Foley Artist
Vincent Nicastro, Foley Artist


Anthony Bourdain Parts Unknown • Madagascar • CNN • Zero Point Zero Productions, Inc.
Benny Mouthon, C.A.S., Sound Designer

Foo Fighters: Sonic Highways • Seattle • HBO • HBO Entertainment in association with Roswell Films, Therapy Content, Diamond Docs and Worldwide Pants Inc.
Justin Lebens, Sound Editor

Going Clear: Scientology And The Prison Of Belief • HBO • HBO Documentary Films in association with Sky Atlantic and Jigsaw Productions
Bill Chesley, Sound Designer
Dave Ellinwood, Dialogue Editor
Dan Timmons, Sound Effects Editor

The Jinx: The Life And Deaths Of Robert Durst • Chapter 2: Poor Little Rich Boy • HBO • HBO Documentary Films in association with Good Things Acquisition Company
Duncan Clark, Dialogue Editor
Matthew Snedecor, Sound Effects Editor
Suzana Peri’c, Music Editor
John Carbonara, Music Editor

Kurt Cobain: Montage Of Heck • HBO • HBO Documentary Films in association with Universal Pictures, Public Road Productions and The End of Music
Cameron Frankley, Supervising Sound Editor
Dan Kenyon, Sound Effects Editor
Jon Michaels, Music Editor


Better Call Saul • Marco • AMC • Sony Pictures Television / Gran Via Productions
Phillip W. Palmer, Production Mixer
Larry Benjamin, Re-Recording Mixer
Kevin Valentine, Re-Recording Mixer

Downton Abbey • Episode 9 • PBS • A Carnival Films/Masterpiece Co-Production in association with NBC Universal
David Lascelles, Production Mixer
Nigel Heath, Re-Recording Mixer
Kiran Marshall, Re-Recording Mixer

Game Of Thrones • Hardhome • HBO • HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions
Ronan Hill, C.A.S., Production Mixer
Richard Dyer, Production Mixer
Onnalee Blank, C.A.S., Re-Recording Mixer
Mathew Waters, Re-Recording Mixer

Homeland • Redux • Showtime • SHOWTIME Presents, Fox 21, Teakwood Lane Productions, Cherry Pie Productions, Keshet
Dieter Keck, Sound Mixer
Nello Torri, Re-Recording Mixer
Alan Decker, Re-Recording Mixer
Larold Rebhun, Scoring Mixer

House Of Cards • Chapter 27 • Netflix • Donen/Fincher/Roth and Trigger Street Productions, Inc. in association with Media Rights Capital for Netflix
Lorenzo Millan, Production Mixer
Nathan Nance, Re-Recording Mixer
Scott R. Lewis, Re-Recording Mixer


American Crime • Episode Eleven • ABC • ABC Studios
Ben Lowry, Production Mixer
Rick Norman, Re-Recording Mixer
Ryan Davis, Re-Recording Mixer

American Horror Story: Freak Show • Magical Thinking • FX Networks • 20th Century Fox Television – Shot in New Orleans
Bruce Litecky, C.A.S., Production Sound Mixer
Joe Earle, C.A.S., Re-Recording Mixer
Doug Andham, C.A.S., Re-Recording Mixer
Evan Daum, ADR Mixer

Bessie • HBO • HBO Films in association with Flavor Unit Entertainment and the Zanuck Company – Shot in Georgia
Jim Ernswiller, Production Mixer
Roberto Fernandez, Re-Recording Mixer
Damian Volpe, Re-Recording Mixer
Ed Cherney, Music Mixer
Evyen J. Klean, Music Mixer

Houdini • Night 1 • HISTORY • Lionsgate Television and A+E Studios for History
Tamás Csaba, C.A.S., Sound Mixer
Onnalee Blank, C.A.S., Re-Recording Mixer
Ken Burton, Re-Recording Mixer

Texas Rising • Night 4 • HISTORY • A+E Studios, ITV Studios America and Thinkfactory Media for HISTORY
Santiago Nunez, Production Mixer
Christian Cooke, C.A.S., Re-Recording Mixer
Brad Zoern, C.A.S., Re-Recording Mixer


Modern Family • Connection Lost • ABC • Picador Productions and Steven Levitan Productions in association with 20th Century Fox Television
Stephen A. Tibbo, Production Mixer
Dean Okrand, Re-Recording Mixer
Brian R. Harman, Re-Recording Mixer
David Michael Torres, Foley Mixer

Parks And Recreation • One Last Ride • NBC • Deedle-Dee Productions, Fremulon, 3 Arts Entertainment and Universal Television
George Flores, Production Mixer
John W. Cook, II, Re-Recording Mixer
Bill Freesh, Re-Recording Mixer

Silicon Valley • Server Space • HBO • HBO Entertainment in association with Judgemental Films, Alec Berg, Altschuler Krinsky Works and 3 Arts Entertainment
Ben Patrick, Production Mixer
Elmo Ponsdomenech, Re-Recording Mixer
Todd Beckett, Re-Recording Mixer

The Simpsons • Simpsorama • FOX • Gracie Films in association with 20th Century Fox Television
Tara Paul, Re-Recording Mixer
Mark Linden, Re-Recording Mixer

Veep • Mommy Meyer • HBO • HBO Entertainment in association with Dundee Productions
Bill MacPherson, Production Mixer
Richard Davey, Re-Recording Mixer


57th Annual Grammy Awards • CBS • AEG Ehrlich Ventures, LLC
Tom Holmes, Production Mixer
Eric Johnston, Playback Mixer
John Harris, Broadcast Music Mixer
Eric Schilling, Broadcast Music Mixer
Mikael Stewart, House Production Mixer
Ron Reaves, House Music Mixer
Tom Pesa, Stage Mixer
Michael Parker, Stage Mixer
Pablo Munguia, Playback Mixer
Josh Morton, Package Mixer
Bob Lamasney, Audience Supplemental Mixer

Late Show With David Letterman • Show 4214 • CBS • Worldwide Pants Inc.
Kevin Rogers, Production Mixer
Harvey Goldberg, Music Mixing Engineer
Tom Herrmann, Front of House Mixer
Seth Mintz, Re-Recording Mixer

The Oscars • ABC • The Academy of Motion Picture Arts and Sciences
Paul Sandweiss, Audio Director
Biff Dawes, Music Mixer
Tommy Vicari, Orchestra Mixer
Kristian Pedregon, Re-Recording Mixer
Patrick Baltzell, FOH Mixer
Pablo Munguia, Music Playback Mixer

The Saturday Night Live 40th Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video
Robert Palladino, Production Mixer
Bill Taylor, Production Mixer
Marty Brumbach, Production Mixer
Ezra Matychak, Production Mixer
Bob Selitto, FOH Mixer
Chris Costello, Monitor Mixer
Devin Emke, Film Audio Mixer
Josiah Gluck, Music Mixer
Bob Clearmountain, Music Mixer

The Voice • Finale Results • NBC • United Artists Media Group, Talpa Media USA Inc. and Warner Horizon Television
Michael Abbott, Production Mixer
Kenyata Westbrook, Production Mixer
Robert P. Matthews, Jr., Production Mixer
John Koster, Production Mixer
Ryan Young, Post Production Mixer
Randy Faustino, Broadcast Music Mixer
Andrew Fletcher, PA Mixer
Christian Schrader, Supplemental Audio Mixer
Michael Bernard, Music Sub-Mixer
Eric White, Vocal Mixer
Michael Parker, Stage Monitor Mixer
Eddie Marquez, Production Sub-Mixer
Bill Dietzman, Monitor Mixer


Anthony Bourdain Parts Unknown • Jamaica • CNN • Zero Point Zero Productions, Inc.
Brian Bracken, Re-Recording Mixer

Deadliest Catch • Lost At Sea • Discovery Channel • Original Productions, LLC, a FremantleMedia Company for the Discovery Channel
Bob Bronow, C.A.S., Re-Recording Mixer

Foo Fighters: Sonic Highways • Seattle • HBO • HBO Entertainment in association with Roswell Films, Therapy Content, Diamond Docs and Worldwide Pants Inc.
Fred Stuben, Production Mixer
Jeff Fuller, Re-Recording Mixer
Eddie Kim, Re-Recording Mixer

Going Clear: Scientology And The Prison Of Belief • HBO • HBO Documentary Films in association with Sky Atlantic and Jigsaw Productions
Dave Mitlyng, Production Mixer
Tony Volante, Re-Recording Mixer

The Jinx: The Life And Deaths Of Robert Durst • Chapter 2: Poor Little Rich Boy • HBO • HBO Documentary Films in association with Good Things Acquisition Company
Tim Hayes, C.A.S., Production Mixer
Paul Marshall, Production Mixer
Coll Anderson, MPSE, Re-Recording Mixer

Kurt Cobain: Montage Of Heck • HBO • HBO Documentary Films in association with Universal Pictures, Public Road Productions and The End of Music
Steve Pedersen, Re-Recording Mixer


Black Sails • XVIII • Starz • Platinum Dunes and Quaker Moving Pictures in association with Starz Originals
Erik Henry, Visual Effects Supervisor
Kevin Paul Rafferty, On-Set VFX Supervisor
Paul Stephenson, Special Effects Supervisor
Annemarie Griggs, Visual Effects Producer
Mitch Claspy, Visual Effects Coordinator
Ken Jones, Lead FX Artist
Lari Karam, SFX Lead
Whitman Gove Lindstrom, Matte Painter
Charles Baden, Compositor

The Flash • Grodd Lives • CW • Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television
Armen V. Kevorkian, Visual Effects Supervisor
James Baldanzi, Visual Effects Producer
Keith Hamakawa, Associate Visual Effects Supervisor
Jason Shulman, Animation Supervisor
Stefan Bredereck, 3D Supervisor
Kurt Smith, 3D Character Artist
Lorenzo Mastrobuono, 3D Artist
Andranik Taranyan, Compositing Supervisor
Gevork Babityan, Lead Compositing Artist

Game Of Thrones • The Dance Of Dragons • HBO • HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions
Steve Kullback, Visual Effects Producer
Joe Bauer, Visual Effects Supervisor
Adam Chazen, Visual Effects Associate Producer
Jabbar Raisani, Visual Effects Plate Supervisor
Eric Carney, Visual Effects Previs Lead
Stuart Brisdon, Special Effects Supervisor
Derek Spears, Lead CG Supervisor
James Kinnings, Lead Animator
Matthew Rouleau, CG Supervisor

Marvel’s Agents Of S.H.I.E.L.D. • The Dirty Half Dozen • ABC • ABC Studios in association with Marvel Studios
Sabrina M. Arnold, Lead VFX Producer
Mark Kolpack, VFX Supervisor
Garry D’Amico, Special Effects Supervisor
Tracy Takahashi, VFX Producer
Kevin Lingenfelser, Compositing Supervisor
Matthew Von Brock, CG Supervisor
Mitch Gates, CG Lead Artist
Kevin Yuille, Lead Compositor
Briana Aeby, VFX Coordinator

Vikings • To The Gates! • HISTORY • An Octagon and Take 5 production in association with Metro-Goldwyn-Mayer for History
Dennis Berardi, Senior Special Visual Effects Producer
Michael Borrett, Visual Effects Producer
Ovidiu Cinazan, Lead Compositor
Jeremy Dineen, Lead FX Artist
Bill Halliday, Visual Effects Producer
Dominic Remane, Visual Effects Supervisor
Paul Wishart, Lead Environment Artist
Engin Arslan, Lead Lighter
Ken MacKenzie, Lead Animator


American Horror Story: Freak Show • Edward Mordrake, Part 2 • FX Networks • 20th Century Fox Television – Shot in New Orleans
Jason Piccioni, Visual Effects Supervisor
Justin Ball, Visual Effects Supervisor
Jason Spratt, VFX Producer
Tim Jacobsen, VFX Producer
David Altenau, Compositing Supervisor
Tommy Tran, Lead Compositor
Mike Kirylo, Lead CG Artist
Matt Lefferts, CG Artist
Donnie Dean, SFX Supervisor

Boardwalk Empire • Golden Days For Boys And Girls • HBO • HBO Entertainment in association with Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions
Lesley Robson-Foster, VFX Supervisor
Parker Chehak, VFX Producer
Douglas Purver, Compositor
Paul Graff, VFX Supervisor
John Bair, VFX Supervisor
Greg Radcliffe, Digital Artist
Rebecca Dunn, Compositing Supervisor
Aaron Raff, Lead Digital Artist
Steven Kirshoff, Special Effects Forman

Gotham • Lovecraft • FOX • Warner Bros. Television
Thomas Joseph Mahoney, Visual Effects Supervisor
Joseph Bell, Visual Effects Producer
Erin Perkins, VFX Coordinator
Eric Deinzer, Compositing Supervisor
Sina San, Matte Painter
Adam Coggin, Compositor
Mark Nazal, Compositor
Henrique Reginato, Compositor
Errol Lanier, CG Artist

Marvel’s Daredevil • Speak Of The Devil • Netflix • Marvel Television in association with ABC Studios for Netflix
David Van Dyke, Visual Effects Producer
Bryan Godwin, Visual Effects Supervisor
Karl Coyner, Digital Effects Supervisor
Steve J. Sanchez, Senior Compositing Lead
Julie Long, Visual Effects Coordinator
Pedro Tarrago, Visual Effects Editor
Neiko Nagy, Associate Compositing Lead
Moshe Swed, CG ArtistKjell Strode, FX Technical Director

The Walking Dead • Conquer • AMC • AMC Studios / Stalwart Films, LLC / Circle of Confusion / Valhalla Entertainment
Victor Scalise, VFX Supervisor – Shot in Georgia
Darrell Dean Pritchett, Special FX Supervisor
Matt Robken, VFX Producer
Gary Romey, VFX Coordinator
Martin Hilke, Lead 2D Artist
Franco Leng, Senior 2D Artist
Dylen Velasquez, 2D Artist
Michael Cook, Lead CG Artist
William L. Arance, Senior CG Artist


Brooklyn Nine-Nine • FOX • Universal Television, Fremulon, Dr. Goor Productions and 3 Arts Entertainment
Norman Howell, Stunt Coordinator

Community • Yahoo • A Krasnoff-Foster Entertainment and Harmonious Claptrap production in association with Universal Television and Sony Pictures Television
Ben Scott, Stunt Coordinator

It’s Always Sunny In Philadelphia • FX Networks • FX Productions
Marc Scizak, Stunt Coordinator

Saturday Night Live • NBC • SNL Studios in association with Universal Television and Broadway Video
Jeffrey Lee Gibson, Stunt Coordinator

Unbreakable Kimmy Schmidt • Netflix • Universal Television, Little Stranger Inc., 3 Arts Entertainment and Bevel Gears for Netflix
Jill Brown, Stunt Coordinator


The Blacklist • NBC • Davis Entertainment in association with Sony Pictures Television
Cort L. Hessler III, Stunt Coordinator

Boardwalk Empire • HBO • HBO Entertainment in association with Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions
Christopher Place, Stunt Coordinator

Game Of Thrones • HBO • HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions
Rowley Irlam, Stunt Coordinator

Sons Of Anarchy • FX Networks • Fox 21 Television Studios and FX Productions
Eric Norris, Stunt Coordinator

The Walking Dead • AMC • AMC Studios / Stalwart Films, LLC / Circle of Confusion / Valhalla Entertainment – Shot in Georgia
Monty Simons, Stunt Coordinator


The Big Bang Theory • The Expedition Approximation • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television
Brian Wayne Armstrong, Camera
John Pierre Dechene, Camera
James L. Hitchcock, Camera
Richard G. Price, Camera
John D. O’Brien, Video Control

The Daily Show With Jon Stewart • Show 20015 • Comedy Central • Central Productions, LLC
Andre Allen, Technical Director
Tom Dowling, Camera
Paul Manecky, Camera
Tim Quigley, Camera
Phil Salanto, Camera
Rich York, Camera
Paul Ranieri, Video Control

Dancing With The Stars • Episode 2009 • ABC • BBC Worldwide Productions
Charles Ciup, Technical Director
Bert Atkinson, Camera
Ron Lehman, Camera
Bettina Levesque, Camera
Mike Malone, Camera
Adam Margolis, Camera
Rob Palmer, Camera
Hector Ramirez, Camera
Brian Reason, Camera
Damien Tuffereau, Camera
Jeff Wheat, Camera
Easter Xua, Camera
Chris Hill, Video Control
Ed Moore, Video Control

Late Show With David Letterman • Show 4214 • CBS • Worldwide Pants Inc.
Timothy W. Kennedy, Technical Director
William J. White, Senior Video Control
Daniel Campbell, Camera
Al Cialino, Camera
John Curtin, Camera
Dan Flaherty, Camera
Karin Lucie Grzella, Camera
John Hannel, Camera
Steve Kaufman, Camera
George Rothweiler, Camera
Fred Shimizu, Camera
Jack W. Young, Camera

Saturday Night Live • Host: Taraji P. Henson • NBC • SNL Studios in association with Universal Television and Broadway Video
Steven Cimino, Technical Director
Paul Cangialosi, Camera
Michael Cimino, Camera
Carl Eckett, Camera
Eric A. Eisenstein, Camera
John Pinto, CameraLen Wechsler, Camera
Frank Grisanti, Video Control
Susan Noll, Video Control

The Voice • Episode 718B • NBC • United Artists Media Group, Talpa Media USA Inc. and Warner Horizon Television
Allan Wells, Technical Director
Diane Biederbeck, Camera
Danny Bonilla, Camera
Suzanne Ebner, Camera
Guido Frenzel, Camera
Alex Hernandez, Camera
Dave Hilmer, Camera
Marc Hunter, Camera
Scott Hylton, Camera
Katherine Iacofono, Camera
Scott Kaye, Camera
Steve Martyniuk, Camera
Jofre Rosero, Camera
Steve Simmons, Camera
Bryan Trieb, Camera
Terrance Ho, Video Control


The Kennedy Center Honors • CBS • The Stevens Company
John Field, Technical Director
JM Hurley, Senior Video Control
Danny Bonilla, Camera
Michael Breece, Camera
Pat Gleason, Camera
Helene Haviland, Camera
Charlie Huntley, Camera
Mike Knarre, Camera
Lyn Noland, Camera
Jimmy O’Donnell, Camera
Hector Ramirez, Camera
Chris Tafuri, Camera
Mark Whitman, Camera
Easter Xua, Camera
Susan Noll, Video Control

The Oscars • ABC • The Academy of Motion Picture Arts and Sciences
Eric Becker, Technical Director
Rick Edwards, Technical Director
John Pritchett, Technical Director
Rod Wardell, Technical Director
Rob Balton, Camera
Danny Bonilla, Camera
Robert Del Russo, Camera
David Eastwood, Camera
Suzanne Ebner, Camera
Pat Gleason, Camera
Ed Horton, Camera
Marc Hunter, Camera
Jay Kulick, Camera
Brian Lataille, Camera
Tore Livia, Camera
Steve Martyniuk, Camera
Lyn Noland, Camera
Rob Palmer, Camera
David Plakos, Camera
Jofre Romero, Camera
Danny Webb, Camera
Mark Whitman, Camera
Easter Xua, Camera
Terrance Ho, Video Control
Guy Jones, Video Control
Keith Winikoff, Video Control

Peter Pan Live! • NBC • Universal Television, Sony Pictures Television, Storyline Entertainment
Eric Becker, Technical Director
Bob Muller, Technical Director
JC Castro, Senior Video Control
Paul Ranieri, Senior Video Control
Rob Balton, Camera
Robert Del Russo, Camera
Fred Frederick, Camera
Shaun Harkins, Camera
Charlie Huntley, Camera
Jay Kulick, Camera
Tore Livia, Camera
John Meiklejohn, Camera
Jimmy O’Donnell, Camera
Tim Quigley, Camera
Claus Stuhlweissenburg, Camera
Mark Whitman, Camera

The Saturday Night Live 40th Anniversary Special • NBC • SNL Studios in association with Universal Television and Broadway Video
Steven Cimino, Technical Director
Paul Cangialosi, Camera
Carl Eckett, Camera
Eric A. Eisenstein, Camera
Rich Friedman, Camera
Chuck Goslin, Camera
John Pinto, Camera
Len Wechsler, Camera
Frank Grisanti, Video Control
Susan Noll, Video Control

68th Annual Tony Awards • CBS • White Cherry Entertainment
Mike Anderson, Technical Director
Eric Becker, Technical Director
Paul Ranieri, Senior Video Control
Ka-Lai Wong, Senior Video Control
Rob Balton, Camera
Robert Del Russo, Camera
Charlie Huntley, Camera
Ernie Jew, Camera
John Kosmaczwski, Camera
Jay Kulick, Camera
Tore Livia, Camera
John Meiklejohn, Camera
Lyn Noland, Camera
Jim Tufaro, Camera
Mark Whitman, Camera

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REVIEW: Mad Max: Fury Road

Micah and David review Mad Max: Fury Road, the new film that stars Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne and Rosie Huntington-Whitely. Directed by George Miller.

The SceneCast is the official podcast of Scene Magazine, the entertainment magazine. Find out more at Email us at


0:53 – Intro
3:25 – A Look Back at the Mad Max Franchise
13:20 – Mad Max: Fury Road review
24:23 – Spoilers for Mad Max: Fury Road

The Mad Max: Fury Road soundtrack can be found in iTunes here.


This episode of the SceneCast is brought to you by On Screen Custom Wardrobing by Baudier Marketing.  Whether you are a company seeking great promotional products, a film that needs crew shirts and wrap gifts , embroidered patches, or screen printing, Baudier Marketing does it better. When you need it, they deliver it FAST. Call us at 504-734-FAST. That’s 504-734-FAST.

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IN THEATERS: Black Mass, Maze Runner: The Scorch Trials, Captive, Everest, Grandma

The weekend begins tonight and there are some great films opening. First and foremost is Black Mass, the new film from Cross Creek Pictures. Sure, there’s football. But there’s also Johnny Depp’s comeback movie afterwards.

The Maze Runner: The Scorch Trials

The second installment in the Maze Runner series, the film follows Thomas, played by Dylan O’Brian, and the other gladers as they try to solve the mysteries of WCKD, the organization who place them inside of the Glades. Along the way, the group, along with other members of the resistence, must travel through the dangerous Scorch, a dangerous and desolate area. TBA min. Rated PG-13.

Black Mass

Johnny Depp stars in the true story of Whitey Bulger, one of the most violent gangsters turned FBI informant to take down an enemy mafia group. Joel Edgerton, Benedict Cumberbatch, Dakota Johnson, Peter Skarsgard, Kevin Bacon, Jesse Plemons, and Corey Stoll also star. 122 min. Rated R.


Jake Gyllenhaal joins an ambitious climbing team with Josh Brolin, Sam Worthington, and Jason Clarke that faces a severe snow storm as they climb Mount Everest. 121 min. Rated PG-13.


A single mother struggling with drug addiction is taken hostage in her own apartment by a man on the run after breaking out of jail and murdering the judge assigned to his case. 97 min. Rated PG-13.


Lily Tomlin stars as Elle who has just gotten through breaking up with her girlfriend when Elle’s granddaughter Sage unexpectedly shows up needing $600 bucks before sundown. Temporarily broke, Grandma Elle and Sage spend the day trying to get their hands on the cash as their unannounced visits to old friends and flames end up rattling skeletons and digging up secrets. 79 min. Rated R.

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‘Beasts of the Southern Wild’ Will Screen at the Saenger Accompanied by a Live Orchestra on Oct. 10

The Best Picture-nominated film Beasts of the Southern Wild features a fantastic score. And soon, you’ll be able to hear it performed live during a special screening of the film at the Saenger Theater in New Orleans. Here’s the press release with all of the details.

NEW ORLEANS, LA (September 16, 2015) – WORDLESS MUSIC is pleased to announce a rare screening of Benh Zeitlin’s Beasts of the Southern Wild accompanied by a live film score performed by co-composers Dan Romer and Benh Zeitlin, the Lost Bayou Ramblers, and Wordless Music Orchestra, conducted by Ryan McAdams. Together, the group performs the original score to a new, music-less print of the film that has been created for the occasion. This very special performance takes place Saturday, October 10 at the historicSaenger Theater in downtown New Orleans.

A magical realist fable, set outside of New Orleans, Beasts of the Southern Wild was the most celebrated independent film of 2012, winning over 75 awards internationally (including top prizes at Cannes and Sundance), along with four Oscar nominations for Best Picture, a Best Director nomination for Benh Zeitlin, and a Best Actress nomination for Quvenzhané Wallis (Hushpuppy). The New York Times has called the film “a passionate and unruly explosion of Americana.” Roger Ebert said: “Sometimes miraculous films come into being, made by people you’ve never heard of, starring unknown faces, blindsiding you with creative genius.”

Beasts of the Southern Wild tells the story of survival, heartbreak, humanity, and community told through the eyes of six-year-old ingénue, Hushpuppy. Residing with her father in the Bathtub, a small isolated community on an island off the coast of Louisiana, Hushpuppy is constantly forced to confront the harsh realities of poverty, environmental collapse, and her father’s failing health. Together, she and her father face many challenges, including the impending storm that threatens to drown the Bathtub. Through it all, Hushpuppy’s fierce bravery and vivid imagination help carry her through these seemingly insurmountable obstacles.

Listings Information

Who: Beasts of the Southern Wild screening + live film score with orchestra by Benh Zeitlin, Dan Romer, Lost Bayou Ramblers, & Wordless Music Orchestra (Ryan McAdams, conductor)

Where: Saenger Theatre (1111 Canal Street, New Orleans)

When: Saturday, October 10, 8:00 P.M. (doors open at 7:00 P.M.)

Tickets: $24 / $34 / $44 / $54 / $64  (no ticket fees at Saenger Theater box office)

More information:

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Robert Vosbein Elected President of the Louisiana Film and Entertainment Association

LFEA has elected Robert Vosbein as its new president. Here’s the press release in full.

NEW ORLEANS— Robert A. Vosbein, founder and CEO of Silver Screen Group, was elected President and will preside over the newly formed Executive Committee of the Louisiana Film and Entertainment Association (LFEA). A former attorney with Adams & Reese LLP for over 40 years, Robert has extensive experience in commercial litigation and has focused his practice over the past 10 years in the area of the Louisiana film incentive program.

This change in leadership has come about as LFEA reorganizes in order to strengthen its reach and effectiveness.

Under the new reorganization plan, President Vosbein and the newly elected Executive Committee will handle the day-to-day operations of LFEA. LFEA is heavily involved in legislative efforts to ensure the long-term success of the industry in Louisiana as well as efforts to attract more productions to the State.  It is committed to building and protecting jobs in the film industry.

“LFEA’s mission is to grow the film and entertainment industry in the state of Louisiana, to protect the jobs that have been created over the past 12 years, and to ensure the state makes a long-term commitment to the industry. We will be working diligently with the next Governor, the newly elected Legislature, and regulatory officials to ensure that our program is strong and that it continues to create quality jobs for the people of Louisiana” said Vosbein. “It is critical that our policymakers in Baton Rouge work to maintain a stable environment for film production in the state.”

LFEA is a statewide trade and professional association representing the thousands of its members depending on the film and entertainment industry in the State of Louisiana. Its purpose is to build a long-term, stable environment for film, television, and digital media production in the state.

For more information on the Louisiana Film and Entertainment Association, contact David Tatman, Executive Director.


September 14, 2015

Contact: David Tatman, LFEA Executive Director

(225)767-7640 • email:

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The New Yearwood

The cliché is that country’s down to earth. Although that label easily applies to Trisha Yearwood personally, her country soars, reaching for the sky with each breath. The Southern girl, born in Monticello, Georgia, worked hard to get her career to the stratosphere in the early ‘90s with her self-titled debut album, featuring the smash single “She’s in Love with the Boy.” Since then, she’s released ten studio albums that spawned eight number one singles. Not bad for a daughter from Jasper County.

A decade after marrying fellow country powerhouse Garth Brooks, Trisha’s on the road with him as the two make a comeback together. During that decade, Yearwood also released several cookbooks, memorializing her family’s favorite recipes for all of her fans to enjoy. Those books led to a popular show on the Food Network called Trisha’s Southern Kitchen. On the laid back show, Trisha invites her friends and family — including Garth — to help her craft great food of all kinds, including healthy updates of old Southern favorites.

On the weekend of July 10, Trisha and her husband Garth did multiple memorable shows at the Smoothie King Center in New Orleans. I connected with Trisha after to discuss her music, her cooking and why she loves New Orleans so much.


You have performed in New Orleans so many times. What makes it special for you? What makes the House of Blues special to you?

The New Orleans House of Blues in particular is just…special. Every time I play there, it just feels good. There really are just good vibes in the room, and the energy of the crowd is contagious. It’s hands down one of my favorite places I’ve ever played music!

When you return to New Orleans, what are the places you look forward to returning to?

I met Emeril in New York City years ago and had the pleasure of eating a meal he had prepared. From then on, I was hooked. I know there is a lot to taste in New Orleans, and I’ve had my share of visits to Café Du Monde, but I try to have at least one meal when I’m in town at one of Emeril’s places. I particularly love NOLA because it’s in the middle of everything, and I love its casual atmosphere.

You’ve mentioned before that you don’t consider yourself a writer. When you are approaching a new piece from another writer, what guides your interpretation of the piece?

A great song is like a really good conversation. I try to phrase songs in such a way that it just feels right to me. It’s not really even something I think about. It’s just intuitive. I look for songs that move me, and feel like mine when I’m done with them. I was raised on some of the greatest interpreters of song I’ve ever heard, namely Patsy Cline and Linda Ronstadt. They breathe in every word and make me believe every word they say. That’s the kind of singer I always wanted to be.

The environment that an artist lives in often has a big impact on what they are creating. How has living outside of Nashville changed the music you make?

I think that where you are in life has more to do with what you’re creating than where you live. Growing up in the South in Georgia, I would definitely say I was influenced by the country music of my parents – George Jones, Merle Haggard – and also by the Georgia artists I listened to, including the Allman Brothers and the Atlanta Rhythm Section, but my music is mostly molded by who I am at the time. My twenty-six-year-old self sang her heart out about what she knew. My now fifty-year-old-self has made a lot of mistakes since then, and learned a lot. Hopefully, that comes through in the music. I wonder what I’ll know at seventy!

Your recording career has been split, the first part happening during the 1990s and the second part happening after the digital music revolution in the early 2000s, which drastically changed the music industry. This has of course greatly impacted the business of making music. But it’s also impacted audiences, their listening habits and how they are discovering music. What is your greatest lament for music fans today? What are they missing out on that fans in the 70s, 80s and 90s might have taken for granted?
I think the biggest things fans miss out on now is the “album experience.” Most newer listeners don’t know what it’s like to sit down and listen to an entire body of work. It makes me sound old to say that, I know. And, truthfully, however you get your music is your choice. But when I think about the way I listened to music as a kid, that song on the radio might be the song that drove me to the store to buy the album. Nine times out of ten, through listening to the whole album, I discovered songs that were never released as singles, and those became my favorite songs. In today’s single-oriented music, where we don’t have to buy the album to get the song, we lose that experience. And we’re missing out on getting to hear some of the most well written, moving songs we’ll never hear.

Everyone who grows up in the South hopefully has great memories of cooking with family as a child. Both of my parents cooked many different things, but they also had their own “signature” dish: my mother’s was the most amazing chicken and dumplings and my father’s was excellent barbequed chicken. What were your parent’s signature dishes?

My mama made everything well, and I’m not sure she had a signature dish. I loved her fried chicken because she soaked it in a salt brine overnight, which gave the chicken such great flavor. My dad cooked barbecue chicken and Brunswick stew for school functions and men’s club fundraisers in my hometown of Monticello, Georgia.

Do you make them now?

I do make all of those foods. It’s one thing that keeps me connected to my parents even though they’re both gone now.

Sometimes taking your hobby and making it a professional endeavor can sour the fun a little bit! How do you keep Trisha’s Southern Kitchen fun for you?

The show is fun because we keep it real. I usually have my sister, or one of my best friends, on the show so it keeps it fun for me. It comes out of something I naturally love to do. So far, it hasn’t felt like work at all.

Where do you prospect for new recipes to reinvigorate with your own ideas?

I get new recipe ideas all of the time. It’s hard to find something new that nobody has ever done before. Most of my recipes evolve out of older recipes. I just try to put a new twist on them and still keep them authentic to me and my family.

You have so much charisma in television interviews! You also do such a great job of making room for guests on your own show. And, coincidentally, nightly talk shows are sorely lacking female talent. Would you ever consider giving Jimmy Fallon a run for his money?

Ha! That’s funny! I agree that nightly talk shows could use some females! I like to talk and I think I’m funny. Though, admittedly, sometimes I’m the only one who does! But I can’t imagine carrying a show like that and interviewing people all the time. I’d love to see Amy Schumer be a talk show host! I like her bawdy sense of humor and I think she’d be a great talk show host.

Touring is always grueling! And it makes many things difficult, especially eating on the road. Are you able to cook at all? Or is that something you have to set aside completely?

I don’t really cook on the road, which is why I do cook whenever I’m home. Luckily, on a tour this big, we travel with an amazing catering crew. They make every kind of option of food, and they even cook from my books sometimes, so I get a little bit of home cooking without having to do the work. I like that!

You’re on tour with your husband Garth Brooks right now. What was memorable about the many shows you played over one weekend in New Orleans in July?

This was the first city on our almost yearlong tour so far that I had played before and Garth hadn’t. It was fun telling him how awesome the crowds were gonna be! And they didn’t disappoint. What a weekend! I loved every single show, every single night. It was really amazing. We’re both already talking about wanting to go back and play there again!


photos by Kelli Binnings

Garth on playing New Orleans with his band:

As far as I know, I don’t think we’ve ever got to play New Orleans, so we’re excited about being here. The guys are ready. We’ve been on tour since September, so you kind of get your feet underneath you and start to feel good. We will take a break right after this for what we call our yearly “fix and repair.” We’ll bring the ship into the hangar and make all the repairs on it and make our adjustments. If we’re timed right, we should have everything down and good for this show, and then we’ll change everything right after we leave out of here. It’s great. We feel very lucky, especially at this point in our career, at this age, to be touring at this level. We feel good to be here! Along with a list with cities that we’ve been to before, we get to come to one that we don’t have a history with. Ms. Yearwood has a huge history with this city. House of Blues is one of the places that she says is one of the best places, so she couldn’t wait to be here.

Garth’s reaction to the massive response to his comeback tour:

I’m stunned. When I walked away from this business, the greatest gift that I’ve ever been given in my life – from God and the people – was the chance to raise my babies. That’s it. Second greatest gift that I’ve ever been given is the chance to get to do this again. At some point, we’re down to one child in the house and the house was a morgue. It’s quiet. And Ms. Yearwood goes, “What are we going to do?” and I said, “I don’t know.” She goes, “Would you ever think about touring again?” And I couldn’t believe she said it. I said, “Well, hell yeah, I would, but what if no one shows up?” And at some point you have to put your hat in the ring, and you have to risk being embarrassed. Chicago was the opening city. They answered the call very, very sweetly and every city has continued that tradition. We feel very lucky.

Garth on touring as an older man:

I’m fifty-three. I’m probably weighing in at about 250 now, which is not my touring weight. They take it out on you. But the truth is, it’s just fun. They let me be me. That’s what I love about it. I’m hoping that these people tonight will come to have fun and know that they’re going to see all the mistakes and all. And, hopefully, at the end of the night, that will make us closer, if possible. It’s funny how sometimes that happens. When you go out there with a confidence that people are coming out just to have a good time, then you get to go out and relax. We’ll all be nervous as hell, because it’s like a boxing match. You’ll spend the first fifteen minutes trying to get to know each other, seeing what kind of crowd you’re going to do, and if you’re going to have to work at all. And I have a feeling here that I’m not going to have to work at all. This is going to be fun! I’m hoping my job is to catch up. That’s what I’m hoping. I hope they come totally way ahead of me, I hope they kick my ass all over the place tonight, because that would be a fun way to start this run.

Trisha talks more about the House of Blues New Orleans:

It’s a slanted stage and you’re thinking that you’re going to go right into the crowd and it’s awesome. I’ve played a lot of clubs, a lot of small theaters, but there’s something about this particular House of Blues that is so memorable, so I love it. I love New Orleans.

Garth on the probability he’ll play his crowd favorite “Callin’ Baton Rouge” in Tiger Stadium:

Rumor has it that it’s played every home game [at LSU]. I’d hate to screw it up, because we worked hard on that recording to get it right. I love it…I get to see it on Youtube. I get to see the whole place erupt. It’s pretty cool. I just hope I get the words right this week! It’s my favorite song to perform, hands down. It’s just fun. The problem is, like all great things in life, is that it’s over before you want it to be. It’s just one of those songs. I could do it three or four times a night. I’ll be honest in telling people this: I use a guitar to hide my gut. That’s the whole reason I have it. You pay other people to play it. But on “Baton Rouge,” they actually let me play it on electric. And it’s never on, but I played the s*** out of it!

Trisha on compiling the set list for their joint show:

My set’s in the middle. It’s a Garth sandwich on each side. So there’s a list, but it can change. Garth’s can vary a little more than mine, but I can’t imagine doing a show and not doing “She’s in Love with the Boy” or “How Do I Live?” But sometimes I’ll just see a sign out in the crowd for something that’s not on the list and we’ll do it. The great thing about combining our bands is that I’ve got two of my guys out there with us who’ve been playing with me for nineteen or twenty years. They know all of the songs. And they’ll look at me like, “Really? You want to pull that one out?” But if someone holds up a sign, we’ll at least do a piece of it.

Garth on his set list:

That’s what it’s all about. Mattingly’s their fiddle player. He’s the guy that’s been with us the shortest and he’s been there twenty-one years. So if we’re going to do an audible, we can. The only thing on that list that I promised my band and crew that I’ll do is the first one. After that, we’ll see. I’ll start talking and if you’re doing an audible, you’ll introduce this song where they’ll all pick it up and go, “Oh, I know what song he’s talking about.” That’s the fun thing about live. You go out there and you just let it go. People know that they’re coming to see live, so anything can happen. So just come and have fun.

Garth and Trisha on critiquing each other’s live performances:

Garth: I critique her all the time, but I never say a word.

Trisha: I just talk behind his back a lot. Actually, we talk about how the crowd felt to both of us, whether we felt, “Oh, yeah, that was a cool moment.” I beat myself up probably every night for the little things that I know, but that maybe no one else will notice.

Garth: We talk about the philosophy of set lists, the philosophy of up-down…do you play ballads even slower in life for a dramatic feel or do you play the tempo even quicker in life for more of a dramatic rush? All those things, we go over. And the truth is, it’s all up to the crowd. Always. Like a sports team, you can have your game plan, but once that whistle blows, you’re adjusting to everything as it comes. And that’s the fun challenge of it.

Garth on including covers in the live show:

One of the questions that you get a lot is, “What are you listening to today?” And I’m kind of old school so I pull out some old school stuff. What kills me is seeing some seventeen-year-old girl singing something that I was listening to when I was seventeen, and she’s singing every word of it. That tells you the power of music. The power of those artists. Guys that I grew up on like Strait, Whitley, Skaggs and Randy Travis. I’ll also mention guys that I grew up on like Seger and Billy Joel. Stuff like that. You just let the people see who you are. Because that’s the thing, especially coming out now. Fifteen years coming back in, the worst thing I could do is try and chase something. You’ve just got to be yourself, and if they allow that to happen, and if the good Lord allows it, so be it. If not, all the money in the world ain’t going to buy another day. So just be thankful for what you’ve got, and find what’s next in your life. If you wake up breathing, then you’ve got something to do that day. Figure out what that is.

Trisha on balancing touring with filming her TV show:

A season of the show is about twenty-six episodes, and we film them in blocks of about three-to-four week windows, which I don’t have anymore. So the Food Network has been very kind to say, “We’ll take them when we can get them.” And so, on this tour for the past year, there have been a few ten-day blocks. We’ll take seven of those days and make seven shows. We’re just picking it up on the fly, and they’re being very kind about it. Very patient. It’s a challenge, but it’s good. I thought I was going to do it on the road, thinking “I’ll just figure out a way to do this show on the road!” But it takes about twelve hours to shoot an episode, so I can’t be like, “Well, Trisha can’t come out and sing her duet because she’s filming her show backstage.” I haven’t had a chance to figure that out yet.

I’m going to tell on myself because I figure that Garth is about to tell on me. Last night I was making sweet potato burgers out of the new book, and I had it all together. I’m looking at it, and I’m putting it together, and I’m like, “Something’s not right,” I make them all the time. And something’s missing out of the sweet potato burgers, and he goes, “Is it sweet potatoes?” like a joke. And I’m like, “Oh my god, it is! I left the sweet potatoes out!” They were still in the fridge. So he got them out, and I’m sure that will come back to haunt me forever.

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