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Movie Producers

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?
October 18, 2006 | Robert W. Welkos
Producer Edward Bass said Tuesday he has no plans to remove his name from the credits of director Emilio Estevez's period drama "Bobby" after a story in The Times detailed how Bass kept quiet about his controversial past to people who had worked on the film. The story revealed that Bass, then using his first name Michael, had served time in prison in the mid-1980s for mail fraud before emerging as one of Hollywood's most controversial promoters of celebrity-driven events.
May 23, 2006 | From Reuters
Movie moguls Bob and Harvey Weinstein's Weinstein Co. said it had taken an undisclosed stake in social-networking website ASmallWorld. The founders of Miramax Film Corp. led a group of investors including Bob Pittman, former chief operating officer of AOL Time Warner Inc., to make a "significant investment" in the site, which can be joined only by invitation from members.
January 16, 2006 | Michael Hiltzik
The world has heard much about the many facets of Jack Abramoff, the disgraced Washington lobbyist currently assisting federal prosecutors in a widening bribery probe. There's his Beverly Hills upbringing, his founding of a string of right-wing political groups beginning in college, his apotheosis as an uber-lobbyist funneling cash and favors to GOP members of Congress, and his coda as an admitted felon and Justice Department songbird.
August 5, 2005 | Natasha Lee and Monte Morin, Times Staff Writers
Hollywood producer Terry M. Carr hadn't had a movie credit in six years. But friends and acquaintances said he seemed to relish his role as doting father. While noticeably older than the young moms who shuttled their children to and from Warner Avenue School in Westwood each day, the 62-year-old Carr was so close to his 9-year-old daughter, Arieka, that he proudly took up Suzuki violin lessons alongside her.
The way Avi Lerner makes movies, there is no room for a wasted hour of daylight or an extra cushion in the star's trailer. Maybe that's why Lerner's low-budget Nu Image film company has made 40 films in the past six years at his studio in Bulgaria, though calling it a studio is something of a stretch. When I asked how many soundstages it had, he laughed. "We don't need soundstages. It's so quiet in Bulgaria you can just shoot in a warehouse.
November 5, 2004 | Claudia Eller
Paramount Pictures denied as "a lie" a producer's allegations that studio chief Sherry Lansing improperly tried to steer his film project to her husband, director William Friedkin. Martin Ransohoff is seeking $2 million in a Los Angeles Superior Court lawsuit filed this week, alleging that Lansing prevented his "The Long Ride" from moving forward because Friedkin was unavailable.
January 27, 2004 | Patrick Goldstein, Times Staff Writer
Now that Sofia Coppola is a star director, thanks to the critical acclaim surrounding her film "Lost in Translation," it's easy to find a lot of "old friends" crowing about how long they've known her, going back to her first film, "The Virgin Suicides," or her Milk Fed fashion line. But Fred Roos can top everyone.
November 7, 2003 | Chuck Philips, Times Staff Writer
A judge has reversed a state medical board ruling that revoked the license of a Westside psychiatrist for overprescribing addictive drugs to Hollywood producer Don Simpson, who died nearly eight years ago of an overdose. In a 42-page decision made public Thursday, Los Angeles Superior Court Judge Lloyd G. Connelly rejected the board's grounds for disciplining Dr. Nomi J. Fredrick -- and paved the way for the psychiatrist to practice medicine again. Fredrick lost her license Oct.
August 20, 2003 | Robert Abele, Special to The Times
To hear Chris Moore tell it, part of the proof that "Project Greenlight" -- the HBO series he's producing -- tells it like it is about making "The Battle of Shaker Heights" -- the Miramax film he's producing -- is the day a chair collapsed under him during a script meeting, a moment captured in all its comic glory by the TV crew. "Hey, I wish there hadn't been a camera there," admits Moore, whose lumberjack frame can now be said to work equally well for intimidation and slapstick.
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