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Movie Producers

February 10, 2007 | Richard Verrier, Times Staff Writer
Penney Finkelman Cox, a veteran animation executive who helped launch Sony Pictures' foray into animation, is stepping down to become a producer for the division, the company announced Friday. The management shake-up follows mounting tensions between Finkelman Cox and Yair Landau, vice chairman of Sony Pictures Entertainment, over creative control of the animation division.
February 6, 2007 | From Bloomberg News
Walt Disney Co. started a new company with the producers of "Polar Express" to make animated films based in part on the movements of actors. Producer-director Robert Zemeckis, with Jack Rapke and Steve Starkey, will make films that Disney will market and distribute, the Burbank-based company said.
January 26, 2007 | Claudia Eller, Times Staff Writer
Paramount Pictures Chairman Brad Grey has lost his appeal for a producer credit on "The Departed," a best-picture Oscar nominee released by rival studio Warner Bros. The decision by the Academy of Motion Picture Arts and Sciences, which doles out the Oscars, was made Thursday evening at a meeting of about 20 top producers who sit on the organization's executive committee.
January 26, 2007 | Josh Friedman, Times Staff Writer
Most 10-year-olds are happy with an allowance and some video games. Budding filmmaker Dominic Scott Kay wants creative control, along with a shot at the Sundance Film Festival. And, as often happens in the entertainment business, to get what he wants he's headed to court with one of Hollywood's top litigators in tow.
January 22, 2007 | Mark Olsen, Special to The Times
"Little Miss Sunshine" was awarded the Darryl F. Zanuck producer of the year award for theatrical motion pictures. The 2007 Producers Guild of America Awards were presented by Tom Cruise in a Saturday evening ceremony at the Century Plaza Hotel. Collecting the award on behalf of the dark, dysfunctional family comedy were producers Marc Turtletaub, David T. Friendly, Peter Saraf, and Albert Berger and Ron Yerxa. "Cars" was awarded the producer of the year award in animated film.
January 13, 2007 | Lorenza Munoz, Times Staff Writer
Universal Pictures can breathe a sigh of relief. Two of the studio's most prolific producers are expected to stay put at the studio, laying to rest speculation that they would find a new home. Working Title Films co-Chairmen Tim Bevan and Eric Fellner have not signed their new contracts, but the deal points were hammered out as of Friday, according to people familiar with the matter who asked not to be named because the negotiations were confidential.
December 28, 2006 | From staff and wire reports
A Los Angeles judge has delivered a legal setback to producer Bob Yari's challenge over the removal of his name from the credits as a producer of the Oscar-winning film "Crash." In a six-page ruling this week, Superior Court Judge Edward A. Ferns rejected arguments by Yari's lawyers that the Producers Guild of America and the Academy of Motion Picture Arts and Sciences are quasi-public organizations whose members' decision can be challenged through the hearing process.
GRAHAM KING is the kind of producer Hollywood likes, in part because he's good at raising money. Having developed an expertise buying and selling the foreign rights to films, the British native made a splash when he used foreign sales to secure much of the money needed to fund 2002's "Gangs of New York." The film featured two of King's most frequent collaborators, director Martin Scorsese and actor Leonardo DiCaprio.
TWO of the most prolific producers in Hollywood, Michael Shamberg and Stacey Sher, oversaw the acclaimed Oliver Stone film "World Trade Center," brought to their attention by their friend, the late producer Debra Hill. Released through Paramount Pictures, the movie chronicles the real-life struggle of two policemen fighting to survive beneath the collapsed World Trade Center towers on Sept. 11, 2001.
November 4, 2006
ALL LOS ANGELES is a sound stage, its people merely extras. Most Angelenos get that, accepting that a certain amount of inconvenience goes along with living in Hollywood's 10-million-inhabitant back lot. Local filming benefits everybody, providing jobs and pumping money into the economy. But at what point do we cross the line from being accommodating to exploited?
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