Exclusive: Sugar23 has brought in industry vet Sally Ware to serve as a producer and manager on behalf of the company.
Ware joins from Industry Entertainment, where she repped both actors and filmmakers while packaging projects for film and TV. She started her career working for casting director Donna Isaacson on Joel and Ethan Coen’s The Hudsucker Proxy, and then spent three years in the Feature Casting department at 20th Century Fox working on such films as Nicholas Hytner’s The Crucible and Baz Luhrmann’s Romeo + Juliet. She then moved to New York and joined Gersh, where she spent the next 13 years as an agent in the talent department representing both emerging and well-established talent across film, television, and theatre.
Clients making the transition with Ware include actors Zosia Mamet (Girls), Mark Feuerstein (Royal Pains), Mickey Sumner (Snowpiercer), Will Harrison (Daisy Jones and The Six), Logan Polish...
Ware joins from Industry Entertainment, where she repped both actors and filmmakers while packaging projects for film and TV. She started her career working for casting director Donna Isaacson on Joel and Ethan Coen’s The Hudsucker Proxy, and then spent three years in the Feature Casting department at 20th Century Fox working on such films as Nicholas Hytner’s The Crucible and Baz Luhrmann’s Romeo + Juliet. She then moved to New York and joined Gersh, where she spent the next 13 years as an agent in the talent department representing both emerging and well-established talent across film, television, and theatre.
Clients making the transition with Ware include actors Zosia Mamet (Girls), Mark Feuerstein (Royal Pains), Mickey Sumner (Snowpiercer), Will Harrison (Daisy Jones and The Six), Logan Polish...
- 2/7/2024
- by Matt Grobar
- Deadline Film + TV
Exclusive: The biggest shake-up in a couple of decades in the casting world at big studios is occurring right now. It began a couple of months ago when veteran casting executive Nancy Foy left 2oth Century Fox and went into independent casting. Donna Isaacson, who was the most senior executive in casting at Fox and has worked there for the past 23 years, then decided to leave and also go back into independent casting. Both worked on hundreds of films at Fox, Fox 2000 and…...
- 3/18/2016
- Deadline
Playwright Tony Kushner, producer Marcy Carsey, and casting director Ellen Chenoweth will be honored by the Casting Society of America at this year's Artios Awards. The nominees for this year's awards—to be presented Nov. 1 in dual ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the American Airlines Theatre in New York—were announced today. Kushner, Carsey, and Chenoweth will be presented with special awards. The complete list of nominees follows.Big budget feature, drama"Avatar," Margery Simkin and Mali Finn (initial casting)"Inglourious Basterds," Johanna Ray and Jenny Jue"Nine," Francine Maisler"Sherlock Holmes," Reg Poerscout-Edgerton"Shutter Island," Ellen Lewis and Carolyn Pickman (location casting)Big budget feature, comedy"Couples Retreat," Sarah Halley Finn and Randi Hiller"Date Night," Donna Isaacson"Julie and Julia," Francine Maisler"The Proposal," Amanda Mackey Johnson, Cathy Sandrich Gelfond, and Angela Peri (location casting)"Valentine's Day," Deborah Aquila and Tricia WoodFeature,...
- 9/15/2010
- backstage.com
The following is a list of the top 25 Power Casting Directors in film and television (including Casting Director of the Year, Debra Zane; see page 9). We began with more than 100 candidates. In some cases, collaborations were so closely tied that we considered multiple people as one entity. Several drafts later, all 25 spots were cast.Notably omitted from the list are in-house casting executives at studios and networks, the inclusion of whom would have ballooned our list to 50 or more. But read about them online at www.backstage.com/spotlight. Focusing on independent casting directors leveled the playing field and highlighted people whose puissance is not affected by one scale-tipping affiliation. Now, on to the top 25!Kerry BardenCan you imagine Monster's Ball starring Erykah Badu, or American Psycho starring Leonardo DiCaprio? Kerry Barden can, because he saw them read the parts. "There are so many great actors that sometimes it's a...
- 4/2/2009
- backstage.com
Like many of today's top casting directors, Victoria Burrows got her start when personal computers were nonexistent, FedEx was in its infancy, faxes and videotape machines were rare, and black-and-white glossies were everywhere. "It used to be hard-copy pictures, then sit down and meet an actor," says Burrows with little nostalgia. "Often, you wouldn't tape them; you would just read them and do callbacks. That's all gone because of computers."Now, working on such motion-capture films as Disney's A Christmas Carol and Mars Needs Moms!, she spends her days in casting sessions with partner Scot Boland, calculating how actors' performances will translate in neoprene wetsuits covered with white dots and subsequently rendered by 3-D animation software. The auditions are uploaded to a computer and stored with other information on the servers of Cast It, a popular database management system that allows them to be viewed instantly by anyone with a password to the company account,...
- 4/2/2009
- by Todd Longwell
- backstage.com
Christian Kaplan has been promoted to senior vp feature casting at 20th Century Fox, where he is involved in casting films for the studio's units TCF, Fox 2000 and Fox Searchlight. Kaplan joined Fox in 1994 as the manager of feature casting. He was promoted to director in 1997 and vp in 1999. While at Fox he has been involved in the casting of numerous films, including the upcoming Robots, Fantastic Four, Walk the Line, and In Her Shoes. He also oversaw the casting of such recent films as I, Robot, The Day After Tomorrow and Cheaper by the Dozen. "Christian and I have worked together for almost 11 years, and it has been rewarding to watch him grow in the job," executive vp feature casting Donna Isaacson said. "I trust him implicitly; he has a great eye for talent and is a huge asset to the studio."...
- 2/10/2005
- The Hollywood Reporter - Movie News
Mass hysteria in all its fury is powerfully unleashed and captured in this teeming and tempestuous screen adaptation of Arthur Miller's classic play, "The Crucible". Buttressed by a formidable ensemble cast, featuring Daniel Day-Lewis, Winona Ryder and Paul Scofield, this splendidly wrought drama is as topical and urgent today as when it was written in 1953 as a parable against Sen. Joseph McCarthy's anti-Communist witch hunts of the era. In this day when rigid truth holders still scapegoat the "heathen," as practiced by sanctimonious fundamentalists of the religious right and closeminded academics of the politically correct left, Miller's prescient warning about the excesses of collective power and moral arrogance is, as ever, chilling and timely.
20th Century Fox should be able to count on strong reviews and likely awards to lure serious cinemagoers, but it's marketing challenge will be to entice viewers who may have been soured by the high school experience of "The Crucible", as taught by dowdy drudges and performed by brown-nosing students hoping to pad their college applications.
In this roiling adaptation, Arthur Miller has prismed his theme of the dangers of institutional tyranny through the underlying personal passions of the town's characters. In puritanical Salem, Mass., of 1692, religion was the community's most powerful and pervasive institution, and it was steeped in thorny truths that kept the good citizens in a moral straitjacket. In that historical instance, the church community's severe strictures against sexuality and pleasure cut deeply against human nature.
Sex is the taboo that bursts out here, as the adolescent girls of the village unleash their bottled-up sexual pangs in a secret dance in the woods. The most aroused participant is Abigail Williams (Ryder), who, we soon learn, has had the further audacity to have begun an affair with one of the area's most respected menfolk, John Proctor (Day-Lewis). While the girls' carousing may seem innocent enough from our late-20th century perspective, their actions were considered tantamount to a satanic saturnalia at the time, particularly by a narrow-minded minister who witnessed the "debauchery" and, in the mind-set of the day, could only explain it as having been done by the devil.
In Miller's cuttingly crisp filmic distillation, the public outcry against the young girls is particularly frightening.
In his wise scenario, we see how fear of the unknown causes otherwise good people to protect their world and personal stakes by finding a scapegoat; in this 17th-century case, the bugaboo was witches.
Nicholas Hytner's direction conveys the swirling forces at play here -- personal urges, societal strictures -- and crystallizes them with an equally succinct and expressive visualization. The performances are uniformly powerful, particularly Day-Lewis as the good farmer who must confront his own weaknesses as well as grapple with his considerable conscience.
Scofield's resonant baritone and sense of morality recall his towering performance as Sir Thomas More in Robert Bolt's brilliant "A Man for All Seasons". In this case, Scofield plays the most difficult of parts, a sincere and compassionate man whose goodness ultimately serves evil -- if ever the devil needed sympathy, Scofield evokes our compassion. As the lusty and manipulative Abigail, Ryder throbs with raging desires and self-serving betrayals.
Other performances are similarly well-sculpted, including Joan Allen's subtle portrayal of a god-fearing farm wife whose marriage has been betrayed; Peter Vaughan's forceful performance as a contentious landowner; and Bruce Davison as a politically manipulative man of god.
Unlike too many stage presentations of "The Crucible" that dwell on the gothiclike horrors of the community, Hytner's visualization is more complex.We see not a barren, rocky enclave of animosity but the crystal blue of the ocean's waters and the beauty in nature and in people that this type of hysteria quashes and negates.
Cinematographer Andrew Dunn deserves praise for not only his chiaroscuro lighting. Characters' faces are a sharp mix of bright light and darkness, aptly signifying the contradictory moral forces at work here. Similarly, composer George Fenton's rich and astringent score clues us to the hard inward rages that are billowing in this cautionary truism.
THE CRUCIBLE
20th Century Fox
A David V. Picker production
A Nicholas Hytner film
Producers Robert A. Miller, David V. Picker
Director Nicholas Hytner
Screenwriter Arthur Miller
Based on Arthur Miller's play "The Crucible"
Director of photography Andrew Dunn
Production designer Lilly Kilvert
Editor Tariq Anwar
Music George Fenton
Costume designer Bob Crowley
Co-producer Diana Pokorny
Casting Donna Isaacson, Daniel Swee
Sound mixer Michael Barosky
Color/stereo
Cast:
John Proctor Daniel Day-Lewis
Abigail Williams Winona Ryder
Judge Danforth Paul Scofield
Elizabeth Proctor Joan Allen
Rev. Parris Bruce Davison
Rev. Hale Rob Campbell
Thomas Putnam Jeffrey Jones
Giles Corey Peter Vaughan
Mary Warren Karron Graves
Tituba Charlayne Woodard
Running time -- 115 minutes
MPAA rating: PG-13...
20th Century Fox should be able to count on strong reviews and likely awards to lure serious cinemagoers, but it's marketing challenge will be to entice viewers who may have been soured by the high school experience of "The Crucible", as taught by dowdy drudges and performed by brown-nosing students hoping to pad their college applications.
In this roiling adaptation, Arthur Miller has prismed his theme of the dangers of institutional tyranny through the underlying personal passions of the town's characters. In puritanical Salem, Mass., of 1692, religion was the community's most powerful and pervasive institution, and it was steeped in thorny truths that kept the good citizens in a moral straitjacket. In that historical instance, the church community's severe strictures against sexuality and pleasure cut deeply against human nature.
Sex is the taboo that bursts out here, as the adolescent girls of the village unleash their bottled-up sexual pangs in a secret dance in the woods. The most aroused participant is Abigail Williams (Ryder), who, we soon learn, has had the further audacity to have begun an affair with one of the area's most respected menfolk, John Proctor (Day-Lewis). While the girls' carousing may seem innocent enough from our late-20th century perspective, their actions were considered tantamount to a satanic saturnalia at the time, particularly by a narrow-minded minister who witnessed the "debauchery" and, in the mind-set of the day, could only explain it as having been done by the devil.
In Miller's cuttingly crisp filmic distillation, the public outcry against the young girls is particularly frightening.
In his wise scenario, we see how fear of the unknown causes otherwise good people to protect their world and personal stakes by finding a scapegoat; in this 17th-century case, the bugaboo was witches.
Nicholas Hytner's direction conveys the swirling forces at play here -- personal urges, societal strictures -- and crystallizes them with an equally succinct and expressive visualization. The performances are uniformly powerful, particularly Day-Lewis as the good farmer who must confront his own weaknesses as well as grapple with his considerable conscience.
Scofield's resonant baritone and sense of morality recall his towering performance as Sir Thomas More in Robert Bolt's brilliant "A Man for All Seasons". In this case, Scofield plays the most difficult of parts, a sincere and compassionate man whose goodness ultimately serves evil -- if ever the devil needed sympathy, Scofield evokes our compassion. As the lusty and manipulative Abigail, Ryder throbs with raging desires and self-serving betrayals.
Other performances are similarly well-sculpted, including Joan Allen's subtle portrayal of a god-fearing farm wife whose marriage has been betrayed; Peter Vaughan's forceful performance as a contentious landowner; and Bruce Davison as a politically manipulative man of god.
Unlike too many stage presentations of "The Crucible" that dwell on the gothiclike horrors of the community, Hytner's visualization is more complex.We see not a barren, rocky enclave of animosity but the crystal blue of the ocean's waters and the beauty in nature and in people that this type of hysteria quashes and negates.
Cinematographer Andrew Dunn deserves praise for not only his chiaroscuro lighting. Characters' faces are a sharp mix of bright light and darkness, aptly signifying the contradictory moral forces at work here. Similarly, composer George Fenton's rich and astringent score clues us to the hard inward rages that are billowing in this cautionary truism.
THE CRUCIBLE
20th Century Fox
A David V. Picker production
A Nicholas Hytner film
Producers Robert A. Miller, David V. Picker
Director Nicholas Hytner
Screenwriter Arthur Miller
Based on Arthur Miller's play "The Crucible"
Director of photography Andrew Dunn
Production designer Lilly Kilvert
Editor Tariq Anwar
Music George Fenton
Costume designer Bob Crowley
Co-producer Diana Pokorny
Casting Donna Isaacson, Daniel Swee
Sound mixer Michael Barosky
Color/stereo
Cast:
John Proctor Daniel Day-Lewis
Abigail Williams Winona Ryder
Judge Danforth Paul Scofield
Elizabeth Proctor Joan Allen
Rev. Parris Bruce Davison
Rev. Hale Rob Campbell
Thomas Putnam Jeffrey Jones
Giles Corey Peter Vaughan
Mary Warren Karron Graves
Tituba Charlayne Woodard
Running time -- 115 minutes
MPAA rating: PG-13...
- 11/4/1996
- The Hollywood Reporter - Movie News
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