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NY Productions | BackStageMom

NY Productions | BackStageMom

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FEATURE FILMS: CURRENTLY SHOOTING

69 Love Stories (replacing the previously announced production, V), an anthology film featuring 69 versions of the same story with 69 different couples. Directed by Marc Lafia. Shooting began in mid-May and continues through the summer. Principals and background: V Films, 191 Sixth Ave., Brooklyn, NY 11217, Attn: Irena Rogovsky.

*NEW The Back-up Plan, a romantic comedy. Directed by Alan Poul. Shooting July 17–24. With Jennifer Lopez and Alex O’Loughlin. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

The Bounty (akaThe Bounty Hunter), an action film about a bounty hunter hired to track down his ex-wife. Directed by Andy Tennant. Shooting from June 15 through late summer in New York and Atlantic City. With Gerard Butler and Jennifer Aniston. Principals: No further casting. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

Boy Wonder, a drama about a young man seeking his mother’s killer. Directed by Michael Morrissey. Shooting June 15–July 20. With Caleb Steinmeyer, Bill Sage, Tracy Middendorf, Zulay Henao, and James Russo. Principals: No further casting. Background: Extra Mile, Inc., 150 W. 28th St., Ste. 1601, NYC 10001.

A Couple of Dicks (aka A Couple of Cops), a comedy. Directed by Kevin Smith. Shooting June 1–Aug. 10. With Bruce Willis and Tracy Morgan. Principals: No information available. Background: Amerifilm Casting, 151 First Ave., Ste. 225, NYC 10003.

Dance Film Sequel, the latest installment in a dance movie franchise. Director TBA. Shooting through July 22. Principals: No information available. Background: Comer & Gallucio Casting, 440 Ninth Ave., Ste. 24, NYC 10001 or candgcasting@gmail.com.

*Going the Distance, a romantic comedy about a long-distance relationship. Directed by Nanette Burstein. Shooting July 14–Sept. 13. With Drew Barrymore and Justin Long. Principals: No information available. Background: Central Casting New York, 875 Sixth Ave., 15th fl., NYC 10001, Attn: Todd Feldman.

*NEW The Instant Messenger, a romantic suspense adventure. Directed by Felix Pena. Shooting July 11–Aug. 1 in Brooklyn and Manhattan. Principals: No further casting. Background: motosisfilms@yahoo.com. No pay.

*Just Wright, a romantic comedy about a physical therapist who falls for a basketball player. Directed by Sanaa Hamri. Shooting through Aug. 21. With Queen Latifah. Principals: No information available. Background: Kee Casting, P.O. Box 3175, Guttenberg, NJ 07093.

Morning Glory, a comedy about an old-school TV anchorman who joins a morning show. Directed by Roger Michel. Shooting June 1–Aug. 15. With Rachel McAdams, Harrison Ford, Patrick Wilson, Jeff Goldblum, and Diane Keaton. Principals: No further casting. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

Remember Me, a romantic drama about young lovers whose relationship is threatened by family tragedies. Directed by Allen Coulter. Shooting June 15–Aug. 3. With Robert Pattinson, Pierce Brosnan, Emilie de Ravin, and Chris Cooper. Principals: No further casting. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

UPCOMING FEATURE FILMS

2 Taryn Atkins Projects,a drama about how the decisions people make dictate their lives and a drama about a young woman with internal struggles. Both shooting in summer 2010. Principals and background: TCA Productions Inc., Attn: Casting Dept., 125-28 Queens Blvd., Ste. 610, Kew Gardens, NY 11415. Include two headshots showing different looks. For more information, go to www.tcaproductionsinc.com. Some pay.

*NEW Asabiyyah, a dramatic action feature set in the future. Directed by Jeff Bonistalli. Shoots late July to mid-September in Connecticut. Principals and background: JBonistall@aol.com. Also seeking staff: production, lighting, sound hands. Some pay.

Broken Souls, an indie thriller. Director TBA. Tentative start date of July 20. Principals and background: brokensoulsmovie@gmail.com. Some pay.

* NEW Bushwick, a drama about a detective investigating the murder of a runaway teenager. Directed by Luis Landivar. Shooting Aug. 1–14. Principals: Casting@landvariedinternational.com. Background: Not casting. For more information, visit www.landvariedinternational.com.

The Darkroom, an independent drama. Directed by Paul Rothman. Shooting begins in late summer, mostly in Manhattan and Brooklyn. Principals and background: Close Up Pictures LLC, 172 Fifth Ave., Box #67, Brooklyn, NY 11217, Attn: Casting Director. Possible pay for some roles.

*Dr. G., an indie feature. Directed by Tony Greer. Shooting begins in early August. Principals and background: tonyfilms@yahoo.com. Seeking the following principal roles only: African-American female, 30–35; African-American male, 30–35, fit and toned. Producer states: “Simulated sex scenes will be carefully choreographed and shot in a professional manner.” For more info, go to www.tonyfilmsltd.com. Deferred pay.

*NEW Eat Pray Love, a drama based on the best-selling memoir by Elizabeth Gilbert. Directed by Ryan Murphy. Shooting in New York Aug 2–28 (also shoots in Italy, India, and Bali). With Julia Roberts, Javier Bardem, and Richard Jenkins. Principals: No information available. Background: Central Casting New York, 875 Sixth Ave., 15th fl., NYC 10001, Attn: David Waldron.

*The Familia, a Latino mob love story. Directed by Emilio Rosa and Juan Shamsul Alam. Shooting begins later this year on Long Island. With Rosa, Tito Puente Jr., Santo Alam, Jaime Tirelli, Angel Salazar, Rick Borgia, and Steven Bauer. Principals and background: tainorosafilms@aol.com. For more information, visit www.tainorosa.com or www.thefamilia.us. Deferred pay.

*NEW Get Him to the Greek, a comedy set in the world of pop music. Directed by Nicholas Stoller. Shooting July 23–Aug. 2. With Rose Byrne, Jonah Hill, Russell Brand, and Elisabeth Moss. Principals: No further casting. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

*NEWSex and the City 2, a comedy. Directed by Michael Patrick King. Shooting begins in mid-August. With Sarah Jessica Parker, Kim Cattrall, Kristen Davis, Cynthia Nixon, and Chris Noth. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

Untitled Cybil Lake Project, a feature film. Shooting begins Aug. 10. Principals and background: Cybil Lake, c/o Benjamin James, 900 Broadway Ave., 2nd fl., NYC 10003. For more information, go to www.thecybillakeshow.com. No pay. Also seeking a producer.

*Untitled Stephen Padilla Feature, about four political strategists who meet to discuss the 2008 presidential election. Shooting begins in July and continues for a month. Principals: A Family Affair Films, 305 Columbus Ave., #54, NYC 10023. Seeking the following role only: male, early 50s, Caucasian, sneaky, cynical, partisan political animal. No pay. Background: Not casting.

TV IN PRODUCTION

Boardwalk Empire, a series for HBO about the rise of Atlantic City in the 1920s. Shooting pilot through July 21. The series is expected to begin shooting in September. With Steve Buscemi, Stephen Graham, Kelly Macdonald, Michael Pitt, Vincent Piazza, and Michael Shannon. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011. Men must be willing to have their hair cut short; women must have at least shoulder-length hair.

The Good Wife, an hourlong drama for CBS about the wife of a politician who returns to her law practice after her husband goes to jail. Shooting from July 15 until early 2010. With Julianna Margulies and Chris Noth. Principals: No information available. Background: Kee Casting, P.O. Box 3175, Guttenberg, NJ 07093. Note: AFTRA project.

Gossip Girl, an hourlong drama for the CW about young socialites, based on the novels by Cecily von Ziegesar. Shooting from June 29 through March. With Blake Lively, Leighton Meester, Penn Badgley, Taylor Momsen, Chace Crawford, Ed Westwick, Matthew Settle, Kelly Rutherford, and Jessica Szohr. Principals: Bowling/Miscia Casting, 349 Broadway, 3rd fl., NYC 10013. Background: Central Casting New York, 875 Sixth Ave., 15th fl., NYC 10001.

*NEW Law & Order: Special Victims Unit,an hourlong NBC drama. Shooting July 6–April 5. With Christopher Meloni, Mariska Hargitay, Richard Belzer, Dann Florek, Ice-T, Connie Nielsen, Stephanie March, B.D. Wong, Michaela McManus, and Tamara Tunie. Principals: Jonathan Strauss, Lynn Kressel Casting, Pier 62, Room 304, West 23rd Street and Hudson River, NYC 10011. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011.

Royal Pains, an hourlong comedy for the USA Network about a physician treating the rich and fashionable. Shooting through mid-August. With Mark Feurstein. Principals: No information available. Background: Grant Wilfley Casting, 123 W. 18th St., 8th fl., NYC 10011. Seeking AFTRA members only.

*NEW Ugly Betty, an hourlong dramedy for ABC. Shooting for Season 4 begins July 14 and continues through April 16. With America Ferrera, Eric Mabius, Tony Plana,, Ana Ortiz, Becki Newton, Mark Indelicato, Judith Light, Michael Urie, and Vanessa Williams. Principals: Geoffrey Soffer, Silvercup Studios East, Stage C, 34-92 Starr Ave., 2nd fl. studio, Long Island City, NY 11101. Background: Comer & Gallucio Casting, 440 Ninth Ave., Ste. 24, NYC 10001 or candgcasting@gmail.com.


DAYTIME DRAMA

All My Children (ABC). Judy Blye Wilson (casting director), Robert Lambert (associate, under-fives and background), 320 W. 66th St., NYC 10023. Send headshots, résumés, post cards.

As the World Turns (CBS). Mary Clay Boland (principals), LaMont Craig (under-fives), Kate Martineau (background), 1268 E. 14th St., Brooklyn, NY 11230. Send headshots and résumés.

Guiding Light (CBS). Rob Decina (casting director), Alison Goodman (associate, under-fives), Jill Creighton (assistant, background), 524 W. 57th St., Ste. 5320, NYC 10019. Accepts post cards and showcase invitations. Series is slated to end production in September.

One Life to Live (ABC). Julie Madison (casting director), Victoria Visgilio (associate), Sheryl Baker-Fisher (assistant), 157 Columbus Ave., 2nd fl., NYC 10023. Send headshots and résumés or post cards only.

http://insession.blogs.cnn.com/2009/09/13/dominick-dunne-buried-near-his-connecticut-home/

http://insession.blogs.cnn.com/2009/09/13/dominick-dunne-buried-near-his-connecticut-home/

Hi Beth,

I literally just finished watching the documentary "Dominick Dunne: After the Party." It was very interesting and very well done. I really felt as if it gave the viewer a true insight into the real Dominick Dunne.

I don't know if you're aware of this but at the very end of the film there is a shot of you whispering into Dominick Dunne's ear. It's very intriguing and I wish I were a fly on that ear.

I know that there really isn't anybody that can "replace" Dominick Dunne as host of his show "Power, Privilege and Justice." However, I do hope that the TruTV Network finds a way to keep the show on the air.

Perhaps they can have a rotation of hosts such as yourself, Jean Casarez, and some of the current and former TruTV anchors. Former anchors Rikki Kleiman and Catherine Crier instantly come to mind.

I have admired your excellent reporting first on Court TV and now TruTV since the very beginning. Keep up your excellent work!

All the best to you!

~ POI

5 Signs Your Husband Is Gay | Lifescript.com

5 Signs Your Husband Is Gay | Lifescript.com

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5 Signs Your Husband Is Gay
By Matthew Kayser
One of the worst fears you have as a married woman is to one day find out that your husband is gay. Regardless of society’s level of acceptance of homosexuality, the thought of your spouse being gay is one that brings sadness and disappointment. No woman wants to discover that her husband is gay.

With that said, some women will attest to the relief that comes from finding out their spouse is gay after enduring a long and painful marriage. Still, the news tends to be devastating to women, particularly women who have raised a child with a gay spouse.

If you have a suspicion that your husband is gay, the following information will help you determine if your suspicions could be correct. First, we will discuss why you need to know if he is gay or not. Next, we will review some of the many signs that might be an accurate indicator of his homosexuality.

Why do you need to know if you have a gay husband?
While some people have argued that a marriage can survive with one heterosexual spouse and one gay spouse, the majority of research points in the opposite direction. There are certain instances of women discovering that a husband is homosexual and still accepting him as a spouse. This is seen particularly in a scenario where children are involved. The wife wants to keep the family together, no matter what. The need for the children to have their father around and the desire to model a traditional family is often so overwhelming that some women place their mental health and emotional wellbeing at risk.
This is the most complicated part of this discussion. First of all, it is important for you to realize that you should never assume that your husband is gay. There may be several signs that point in that direction, but until you know for sure, do not assume. You will be putting unnecessary strain on you and your family.

Let’s look at some of the signs that may indicate your husband prefers men. Remember that effeminate qualities in a man do not necessarily mean that he is gay. So it is wise to rule out some of the stereotypes often associated with gay men, such as having a lisp or carrying himself a certain way.

Another sign people often associate with a man being homosexual is his tendency to be overly sensitive or caring. It is somewhat ironic that most wives would love to have a spouse who is emotional and caring, yet it is automatically assumed that a man is gay when he expresses these traits. It isn’t fair to equate a man who is gentle, caring and emotional with a man who is homosexual.

Now that you have heard this disclaimer, let’s go over the signs that are reliable and that have withstood the test of time. One thing to look for is extreme homophobic behavior. If your husband turns almost militantly angry when confronted by someone who is gay, it may indicate that your husband is gay. This doesn’t make sense at first, but a deeper analysis will explain why.
People often lash out at those who embody traits they do not like about themselves. If someone is frustratingly shy, they may grow furious when seeing someone struggle to express him or herself. They are in fact empathizing with that person, but it does not come across that way.
If your husband continually makes “gay” jokes, or has revealed a certain amount of rage towards homosexuals or homosexual behavior, let that be a warning sign to you. Of course, he may just be very much opposed to the gay lifestyle. But at least consider the possibility.

It is now easier than ever to gain access to all types of pornography. Because it is also possible to track what people are viewing, it is widely considered a risk to view online material that is considered inappropriate in one’s particular setting. If your husband has consistently viewed homosexual pornography, remember that he probably would not be doing it if he did not enjoy it. It is simply too risky an activity to merely “check out”.

Your husband may also be receiving an inordinate amount of phone calls from men. If they are men you do not know or men that your husband does not willingly bring to your attention (such as an old friend from high school who happened to get in touch with him), be concerned.
Guys typically do like to hang out with each other unless it is in a group setting. Too much alone time with one man is a sign that perhaps your husband is gay. At the very least, you can suspect that he is involved in a level of intimacy with his male friend that he should be saving for you. Trust your instincts in this situation. If you really feel as though something strange is going on, there is probably a legitimate reason.

Another sign that may suggest you have a problem on your hands is if your husband suddenly loses sexual interest in you. If he is difficult to arouse or seems to be on another planet mentally during intimate moments, look into it. Communication is an essential element when trying to discover the truth. Of course, you can always ask your spouse why he appears to be distant during these intimate times.

Be careful not to approach your spouse in an accusatory manner, despite how worried you may be that he is gay. If he does not offer an explanation that is believable, search deeper. You have every right to probe because it is your future and your family’s wellbeing on the line.
Hopefully, you have the means and the fortitude to handle the situation with grace and dignity. People make mistakes. If your husband made the mistake of marrying you when he knew he was gay, you will eventually need to forgive him.

This is especially true if you have children. You want to demonstrate to them how to handle difficult situations and there is perhaps no better opportunity to do this than when you are discovering the truth about their father. If you have suspicions, remember that the above signs are usually good indicators that your husband is gay.

How's Your Sex Life?
For some of us, regular sex is as necessary as breathing; others don't mind an occasional dry spell. Where you fall on the nookie spectrum has a lot to do with just how passionate you are about making whoopee. Find out how much you really want it with this libido quiz.
Copyright © 1998 – 2009 – www.LifeScript.com – All rights reserved.

I Will Not Read Your Fucking Script
in Featured, Movies, Protest
Wednesday, Sep. 9 2009 @ 10:00PM

We know you've been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson.

JoshOlson.jpg
​I will not read your fucking script.

That's simple enough, isn't it? "I will not read your fucking script." What's not clear about that? There's nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I'll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

You're a lovely person. Whatever time we've spent together has, I'm sure, been pleasurable for both of us. I quite enjoyed that conversation we once had about structure and theme, and why Sergio Leone is the greatest director who ever lived. Yes, we bonded, and yes, I wish you luck in all your endeavors, and it would thrill me no end to hear that you had sold your screenplay, and that it had been made into the best movie since Godfather Part II.

But I will not read your fucking script.

At this point, you should walk away, firm in your conviction that I'm a dick. But if you're interested in growing as a human being and recognizing that it is, in fact, you who are the dick in this situation, please read on.

Yes. That's right. I called you a dick. Because you created this situation. You put me in this spot where my only option is to acquiesce to your demands or be the bad guy. That, my friend, is the very definition of a dick move.

I was recently cornered by a young man of my barest acquaintance.

I doubt we've exchanged a hundred words. But he's dating someone I know, and he cornered me in the right place at the right time, and asked me to read a two-page synopsis for a script he'd been working on for the last year. He was submitting the synopsis to some contest or program, and wanted to get a professional opinion.

Now, I normally have a standard response to people who ask me to read their scripts, and it's the simple truth: I have two piles next to my bed. One is scripts from good friends, and the other is manuscripts and books and scripts my agents have sent to me that I have to read for work. Every time I pick up a friend's script, I feel guilty that I'm ignoring work. Every time I pick something up from the other pile, I feel guilty that I'm ignoring my friends. If I read yours before any of that, I'd be an awful person.

Most people get that. But sometimes you find yourself in a situation where the guilt factor is really high, or someone plays on a relationship or a perceived obligation, and it's hard to escape without seeming rude. Then, I tell them I'll read it, but if I can put it down after ten pages, I will. They always go for that, because nobody ever believes you can put their script down once you start.

But hell, this was a two page synopsis, and there was no time to go into either song or dance, and it was just easier to take it. How long can two pages take?

Weeks, is the answer.

And this is why I will not read your fucking script.

It rarely takes more than a page to recognize that you're in the presence of someone who can write, but it only takes a sentence to know you're dealing with someone who can't.

(By the way, here's a simple way to find out if you're a writer. If you disagree with that statement, you're not a writer. Because, you see, writers are also readers.)

You may want to allow for the fact that this fellow had never written a synopsis before, but that doesn't excuse the inability to form a decent sentence, or an utter lack of facility with language and structure. The story described was clearly of great importance to him, but he had done nothing to convey its specifics to an impartial reader. What I was handed was, essentially, a barely coherent list of events, some connected, some not so much. Characters wander around aimlessly, do things for no reason, vanish, reappear, get arrested for unnamed crimes, and make wild, life-altering decisions for no reason. Half a paragraph is devoted to describing the smell and texture of a piece of food, but the climactic central event of the film is glossed over in a sentence. The death of the hero is not even mentioned. One sentence describes a scene he's in, the next describes people showing up at his funeral. I could go on, but I won't. This is the sort of thing that would earn you a D minus in any Freshman Comp class.

Which brings us to an ugly truth about many aspiring screenwriters: They think that screenwriting doesn't actually require the ability to write, just the ability to come up with a cool story that would make a cool movie. Screenwriting is widely regarded as the easiest way to break into the movie business, because it doesn't require any kind of training, skill or equipment. Everybody can write, right? And because they believe that, they don't regard working screenwriters with any kind of real respect. They will hand you a piece of inept writing without a second thought, because you do not have to be a writer to be a screenwriter.

So. I read the thing. And it hurt, man. It really hurt. I was dying to find something positive to say, and there was nothing. And the truth is, saying something positive about this thing would be the nastiest, meanest and most dishonest thing I could do. Because here's the thing: not only is it cruel to encourage the hopeless, but you cannot discourage a writer. If someone can talk you out of being a writer, you're not a writer. If I can talk you out of being a writer, I've done you a favor, because now you'll be free to pursue your real talent, whatever that may be. And, for the record, everybody has one. The lucky ones figure out what that is. The unlucky ones keep on writing shitty screenplays and asking me to read them.

To make matters worse, this guy (and his girlfriend) had begged me to be honest with him. He was frustrated by the responses he'd gotten from friends, because he felt they were going easy on him, and he wanted real criticism. They never do, of course. What they want is a few tough notes to give the illusion of honesty, and then some pats on the head. What they want--always--is encouragement, even when they shouldn't get any.
Do you have any idea how hard it is to tell someone that they've spent a year wasting their time? Do you know how much blood and sweat goes into that criticism? Because you want to tell the truth, but you want to make absolutely certain that it comes across honestly and without cruelty. I did more rewrites on that fucking e-mail than I did on my last three studio projects.

My first draft was ridiculous. I started with specific notes, and after a while, found I'd written three pages on the first two paragraphs. That wasn't the right approach. So I tossed it, and by the time I was done, I'd come up with something that was relatively brief, to the point, and considerate as hell. The main point I made was that he'd fallen prey to a fallacy that nails a lot of first timers. He was way more interested in telling his one story than in being a writer. It was like buying all the parts to a car and starting to build it before learning the basics of auto mechanics. You'll learn a lot along the way, I said, but you'll never have a car that runs.

(I should mention that while I was composing my response, he pulled the ultimate amateur move, and sent me an e-mail saying, "If you haven't read it yet, don't! I have a new draft. Read this!" In other words, "The draft I told you was ready for professional input, wasn't actually.")

I advised him that if all he was interested in was this story, he should find a writer and work with him; or, if he really wanted to be a writer, start at the beginning and take some classes, and start studying seriously.

And you know what? I shouldn't have bothered. Because for all the hair I pulled out, for all the weight and seriousness I gave his request for a real, professional critique, his response was a terse "Thanks for your opinion." And, the inevitable fallout--a week later a mutual friend asked me, "What's this dick move I hear you pulled on Whatsisname?"
So now this guy and his girlfriend think I'm an asshole, and the truth of the matter is, the story really ended the moment he handed me the goddamn synopsis. Because if I'd just said "No" then and there, they'd still think I'm an asshole. Only difference is, I wouldn't have had to spend all that time trying to communicate thoughtfully and honestly with someone who just wanted a pat on the head, and, more importantly, I wouldn't have had to read that godawful piece of shit.

You are not owed a read from a professional, even if you think you have an in, and even if you think it's not a huge imposition. It's not your choice to make. This needs to be clear--when you ask a professional for their take on your material, you're not just asking them to take an hour or two out of their life, you're asking them to give you--gratis--the acquired knowledge, insight, and skill of years of work. It is no different than asking your friend the house painter to paint your living room during his off hours.

There's a great story about Pablo Picasso. Some guy told Picasso he'd pay him to draw a picture on a napkin. Picasso whipped out a pen and banged out a sketch, handed it to the guy, and said, "One million dollars, please."

"A million dollars?" the guy exclaimed. "That only took you thirty seconds!"

"Yes," said Picasso. "But it took me fifty years to learn how to draw that in thirty seconds."

Like the cad who asks the professional for a free read, the guy simply didn't have enough respect for the artist to think about what he was asking for. If you think it's only about the time, then ask one of your non-writer friends to read it. Hell, they might even enjoy your script. They might look upon you with a newfound respect. It could even come to pass that they call up a friend in the movie business and help you sell it, and soon, all your dreams will come true. But me?

I will not read your fucking script.

Josh Olson's screenplay for the film A History of Violence was nominated for the Academy Award, the BAFTA, the WGA award and the Edgar. He is also the writer and director of the horror/comedy cult movie Infested, which Empire Magazine named one of the 20 Best Straight to Video Movies ever made. Recently, he has written with the legendary Harlan Ellison, and worked on Halo with Peter Jackson and Neill Blomkamp. He adapted Dennis Lehane's story "Until Gwen," which he will also be directing. He is currently adapting One Shot, one of the best-selling Jack Reacher books for Paramount.

©2009 Josh Olson. All rights reserved.