Schedule of Topics

Jan 18 – Introductions, expectations, schedule, blogs, assignments. Overview of topics & expectations, final project overview, film evaluation outline, and Hitchcock “The Master of Suspense.” Assignment: Respond to online response post of Hitchcock readings & videos, write film evaluation on a select Hitchcock film. Semester Project Update: Post up to three ideas for your final project.

Jan. 22 – Hitchcock Response post is due by 11:59 pm.

Jan. 24 (Wednesday) – Hitchcock film Evaluation should be posted to your blog (and email link to professor, and post link to evaluation assignment page) by 11:59 pm.

Jan. 25 – Class Topics: Why do awards matter? The impact of the script. Finalize your filmmaker project/topic before the end of class. Assignment: Respond to online response post of Woody Allen readings & videos, write evaluation on a select Woody Allen film (or a final project film). Semester Project Update:Finalize filmmaker for semester project.

Jan. 29 – Woody Allen Response post is due by 11:59 pm.

Jan. 31 – (Wednesday) – Woody Allen film Evaluation should be posted to your blog (and email link to professor, and post link to evaluation assignment page) by 11:59 pm.

Feb. 1– Topics: Francis Ford Coppola and/or Martin Scorsese. Assignment: Respond to online response post of Francis Ford Coppola and/or Martin Scorsese readings & videos, write evaluation on a select film (or a final project film). Semester project update: Identify (3) three films for review from your filmmaker.

Feb. 8 – Topics:  Clint Eastwood. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film). Semester Project Notes due today: Identify and turn in 5-7 (five to seven) strong sources for your biographical sketch. Print, online articles, audio, video sources, interviews with filmmakers, writers, actors, etc. are acceptable. The links or the initial sources should be shared with me via email.

Feb. 15 – Special guest – Gary Moore (actor & member of Screen Actors Guild nominating committee). Topics: John Hughes & Cameron Crowe. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film).  Semester Project Notes – due today: Have working draft of the introduction for your final paper. This should be turned in for grade and feedback. *This will count as a weekly writing assignment grade.

Feb. 22 – Topics: Daniel Day Lewis . Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film). Semester Project Notes: View one of your selected films by this date (and make detailed notes). Begin work on biographical sketch draft.

March 1 – Topics: Tim Burton & Steven King. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film).

March 4 (by 11:59 pm)  – Semester Project Notes: Have draft of biographical sketch complete and turn it in for grade and feedback. *This will count as a weekly writing assignment grade.

March 8  – (Thursday before Spring Break) – Topics: Tom Hanks & Ron Howard. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film). Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film (or a final project film).

March 8-15 – Semester Project Notes: Should watch final two films of your featured filmmaker (and make detailed notes). Have next draft of introduction, biographical sketch, and 1/3 of your film overview analysis complete.

March 15  – No Face to Face Class – Spring Break

March 22 – Topics: Emma Stone & Sandra Bullock.  Semester Project Notes: Have draft of introduction, biographical sketch, and 2/3 of your film overview analysis complete.

March 29 – No Face to Face Class – Easter Break. Semester Project Notes: Have draft of completed project ready (including intro, bio sketch, 3 films, wrap).

April 5 – Topics: Ridley Scott &  John Williams. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film.

April 8 –Semester Project Notes: Semester project is due by 11:59 pm. NO late projects accepted. 

April 12 – Topics: Peter Jackson. Assignments: Respond to online response post of featured readings & videos, write evaluation on a select film. This is your final written evaluation.

April 19 – Semester Projects Presentations (or screenings)

April 26 – Semester Projects Presentations (or screenings)

May 3 – Semester Projects Presentations (and screening).

 

***Schedule is subject to change

Final Film Choices

Presentation Guidelines (April 19, 26)

You will present your findings, research and your observation on your selected filmmaker on April 19 & 26.

The following dates/time slots were secured last night. If you don’t see your name, you should contact me.

April 19:

Kathryn -Reese Witherspoon

Tanner  -Sly Stallone

Thomas – Steven Spielberg

April 26:

Sam – JJ Abrams

Allie – Robbin Williams

Chelsea – Julie Andrews

Christian – Hans Zimmer & The Empire Strikes Back

___________________

Format

• Length – 15 minute -30 minutes (minimum – 1 hour max)
• Visual Aids – Optional – you may use powerpoint, Prezi, Keynote, Slidedog, etc. or short film clips or soundbytes, toys, photos, handouts, music clips, etc.
• Notes – Don’t read your presentation –speak from notes. Remember –you are the expert, and you’re sharing that knowledge with us.
• Top Five – Provide a list of five “must see” films from your filmmaker, and be able to explain why they’re the top five (if asked).
• Be Prepared -There will be a time for Q&A from me and the class.

 

What to include

• Bio – Provide background on hometown, family life, educational experience, early interests.
• Entertainment Industry – How did they break into the film world? Are they involved in any other type of entertainment business? What was the first big break into the Biz? How were they trained in the biz (formal education, on the job training)?
• Film Genres – Is the filmmaker drawn to certain types of films (animation, action, comedy, drama, etc.)?
• Trademarks – What trademarks or reoccurring elements have you seen with your filmmaker? Specialties? Role types? Themes? Message focus? Actors, actresses, directors or cinematographers they may work with regularly? Reoccurring sound design elements, music styles or visual elements? Any particular character conflicts show up in most films?
• Awards – What are some of the awards the filmmaker has achieved? Mention key (or landmark) films or types of roles? If it is several awards, mention number and identify 1^st major award and film.

  

  John Hughes La folle journ}e de Ferris Bueller Realisateur COLLECTION CHRISTOPHEL

• Present and future – What is the filmmaker currently working on, or planning to work on? Is there a new movie from the filmmaker currently in theatres? If so mention this and address if it is a success or failure (financial and critical).
• Film Highlights – Since you have viewed three films from the selected filmmaker now you should be able to offer insights on what you’ve gained from viewing the filmmaker in action (if you haven’t already addressed this). Think about the stylistic and technical approaches to filmmaking, the things that stand out the most about the performances and productions, things you learned from watching the action critically instead of for pure enjoyment, things that grabbed your attention on film that reading about it on paper didn’t, etc. You’re not being asked to recap each film – just highlight your findings about the experience you gained from watching the filmmaker in action. Anything surprise you about the research and applied evaluations?
• Five Things: Name three to five great things (or even trivia) that everyone should know about your filmmaker (if you haven’t already).
• Q&A – You should provide a time for questions and answers either during your presentation or at the end (your choice).

 

Peer/Audience Responsibility

• Engagement – Everyone in the class should be engaged and should ask at least 2-3 questions of someone else each night.
• Reviews & Assessments – You will be asked to provide a peer review and assessment of each film expert. I’ll provide guidelines.

 

Semester Project Rubric (due April 8)

**The semester project is due April 8 (no late work accepted).

You may submit a draft of your work to me as late as March 30 for feedback (and ten additional point on your project). If you decide to do this, you will receive feedback  by April 5. You draft must including strong working sections of each area of expectation (intro, bio, evaluations, wrap, source attribution).

Format guidelines:

• Your semester project should be a minimum 10 pages in length (double spaced if printed). Based on your materials (introduction, biography, compare/contrast sections –this should be easy). This should be based on five (5) to seven (7) strong and reputable sources outside of the films you view (do not use Wikipedia). Look for one additional source for each film you evaluate. You will also need a bibliography page at the end of your content pages using proper formatting. You should make sure that you offer strong transitions between each section as needed.
• 12 pt font (Georgia, Times, or Palatino).
• Header in upper right hand corner on each page should include the name of your selected filmmaker and your name.
• Number the pages in the upper right hand corner of each page.
• Category headings or subheadings as needed throughout the paper. Examples: Introduction, Biography, Film heading, etc.
• List your sources at the end of the paper on a bibliography page including the films you examine.
• The paper should be written in the appropriate scholarly style throughout your work including in-text citations when needed. You should always be aware of source attribution.
• There are numerous scholarly citation generators available online to assist you if needed. Ask if you need direction here.
• Use APA, MLA, Chicago or an appropriate format.

 

Expectation Guidelines

 

• Worth 20 points – The introduction (at least two – three strong paragraphs will offer a tease or a preview of what the reader will find in your paper. It should include limited information about your filmmaker, your chosen films, and why this filmmaker is interesting and worthwhile to explore (should not be just because you like them). *Worth 20 points

 

• Worth 25 points – A biographical sketchon your selected filmmaker should be based on five (5) – seven (7) strong sources (do not use Wikipedia). Sources may include video or audio interviews and reports, online references, or print pieces. I will need to approve your main sources. Things you should include (at a minimum) in this section: birthplace, family background, childhood interests, personality type, school or training, what inspired the filmmaker to enter the cinema world, film trademarks/themes, box office successes/failures, awards or critical success earned by filmmaker, etc. This should be approximately one-two pages in length. *Worth 25 points

• Worth 40 points – Compare/Contrast Section – An evaluation of at least three (3) of your selected filmmaker’s projects. You should use the film evaluation thoughts and guidelines we have implemented during this course as a guide. Explore the stylistic approach to each film and the impact the filmmaker made on the finished product. Look for filmmaker trademarks, techniques, themes –compare and contrastwhat you discover in these three films. Examine the following as appropriate: story, acting, characters, conflicts, lighting, messages, film genre, music, camera angles, cast, crew, etc. After viewing your film – you should also identify at least one outside source connected to that film to provide additional insight for your final draft of your paper. This section should be 1200-1500 words. Combined, part III should be about 3/5 of your final paper. Your main focus here is getting and understanding of the filmmaker’s style. You should be able to identify similarities (and strengths and weaknesses) of the filmmaker you’ve selected. *Worth 40 points

 

• Worth 15 points – Wrap/Conclusion  – You will then need to wrap the paper with an explanation and defense on why this filmmaker is or isn’t worthy of further study by others based on your research, observations and film evaluations. If the filmmaker is still living – what future prospects do you believe he/she has in film? If he/she is featured in a current film releases, this should be noted. This would also be a good time to mention any upcoming projects in the works (if you haven’t addressed it elsewhere). What insights did you gain from examining the filmmaker’s background and films? Because of this study, is there a new appreciation or reinforcement for your thoughts on the filmmaker’s work? Explain. This should be at least two (2) to three (3) strong paragraphs minimum (300-500 words would be sufficient).*Worth 15 points

 

• Loss of points – Additional points will be subtracted for identified spelling, grammar, or technical issues with project or formatting issues or misattribution of sources.

Peter Jackson Films for Consideration

Director/Producer Steven Spielberg (right) with Producer Peter Jackson (center) behind-the-scenes on THE ADVENTURES OF TINTIN, from Paramount Pictures and Columbia Pictures in association with Hemisphere Media Capital.

For your final film evaluation, you may select a listed film from Ridley Scott, John Williams or Peter Jackson. This evaluation is due by April 18 (11:59 pm). I will not accept late evaluations for this particular assignment. Follow the guidelines and rubric we’ve established throughout this semester. If you select a movie featuring Peter Jackson, you should pay special attention to the special effects and share details about that impact on the film.

The Frighteners (1996)

The Lord Of The Rings: The Fellowship Of The Ring (2001)

King Kong (2005)

The Lovely Bones (2009)

The Hobbit: The Desolation Of Smaug (2013)

Peter Jackson: Born of Monster Movies

From watching the original King Kong at nine years old, to shooting short films as a kid, to making cheesy & creepy horror films, to becoming an Oscar-winner …. Peter Jackson has become one of New Zealand’s greatest exports. His attention to detailed filmmaking, innovative special effects work and the the guts to take risks in filmmaking has brought Jackson fame, glory and legendary status.

Read this biography here:

https://www.biography.com/people/peter-jackson-37009

 

Here, Peter Jackson explores happiness, love, humanity and dreams …

https://www.forbes.com/sites/brianrashid/2016/09/20/an-afternoon-with-peter-jackson-director-of-lord-of-the-rings/#41b885ce1b88

Here, you’ll explore some of Peter Jackson’s favorite films (and inspirations):

 

Peter Jackson Trademarks:

https://prezi.com/zpgm94arqq7k/trademarks-of-peter-jackson-films/

Leadership Lessons from Peter Jackson & his Team:

https://www.talentgear.com/learn/december-2014/leadership-lessons-from-peter-jackson-and-his-team/

Answer Three of the following questions (Due 4.9.18 by 11:59 pm):

1. What did you discover about Peter Jackson that you didn’t know before? (select something different from other students)
2. What intrigued the most about Peter Jackson’s career?
3. Compare Peter Jackson to another filmmaker we’ve explored this semester (similarities).
4. Why do you feel that Jackson has been able to achieve such monumental success?
5. What life lessons can you learn from Peter Jackson?
6. How has Peter Jackson’s WETA company helped to shape filmmaking? Explain why you say that?

John Williams Films for Consideration

For your final film evaluation, you may select a listed film from Ridley Scott, John Williams or Peter Jackson. This evaluation is due by April 18 (11:59 pm). I will not accept late evaluations for this particular assignment. Follow the guidelines and rubric we’ve established throughout this semester. If you select a movie featuring John Williams’ score – you must write at least one paragraph focusing on the score, sound, and silence and the impact they play.

The Poseidon Adventure (1972)

 

The Sugarland Express (1974)

 

The Towering Inferno (1974)

 

Jaws (1975)

 

Star Wars: Episode IV – A New Hope (1977)

 

Close Encounters of the Third Kind (1977)

 

Raiders of the Lost Ark (1981)

 

E.T. the Extra-Terrestrial (1982)

 

The River (1984)

 

Empire of the Sun (1987)

 

Always (1989)

 

Hook (1991)

 

Far and Away (1992)

 

Jurassic Park (1993)

 

Schindler’s List (1993)

 

Amistad (1997)

 

Saving Private Ryan (1998)

 

The Patriot (2000)

 

A.I.: Artificial Intelligence (2001)

 

Harry Potter and the Sorcerer’s Stone (2001)

 

The Terminal (2004)

 

War of the Worlds (2005)

 

The Adventures of Tintin (2011)

 

War Horse (2011)

 

Lincoln (2012)

 

The BFG (2016)

The Music Lives: John Williams

“I have to say, without question, John Williams has been the single most significant contributor to my success as a filmmaker.” – Steven Spielberg

Address four of the questions after engaging in the materials below. Due April 9 (11:59 pm).

The music of John Williams has had a lasting impact of cinema and it has changed the voice of music’s impact on film. From “Jaws” to “Star Wars” to the “Harry Potter” franchise, his mark is well-established, and now in his eighth decade of life, he’s still producing award-caliber scores.

At 85 years old, John Williams has earned 51 Oscar nominations (22 wins), which is more than any other person alive; only the late Walt Disney has more nominations (59). Williams’ latest nomination was for Star Wars: The Last Jedi (2017).

Explore his biography, articles, and video clips below, and then address the questions for the response post.

Read the biography and check out clips of his music in action on the link below from the Biography Channel:

https://www.biography.com/people/john-williams-9532526

Here – John Williams discusses the “power of music” in this 6-minute interview:

In this five-minute clip from the AFI Lifetime Achievement Award recognition, you get a glimpse of the humor (and humbleness) of John Williams as he celebrates other within his journey:

This eight-minute segment explores the universal language of music from John Williams score for “Close Encounters of the Third Kind.”

After taking in all the materials  – address the following questions and post your responses to four of the questions by Monday, April 9.

1. How does John Williams discover and find musical voice for characters?
2. What intrigued you the most about Williams’ life?
3. What did you find most interesting about Williams’ approach to scoring film?
4. Provide thoughts about Williams’ exploration into “the power of music.”
5. As we’ve explored the importance of music, sound and silence this semester in film, how does getting to know more about John Williams and his approach help you appreciate the audio journey of film more?
6. Williams has been involved in some amazing blockbuster films throughout his life, as you’ve explored his life through the bio, clips & interviews – which of his films have had the biggest impact on you? Why? And how did his music add to that impact or appreciation?

Ridley Scott Films to Explore

For your final film evaluation, you may select a listed film from Ridley Scott, John Williams or Peter Jackson. This evaluation is due by April 18 (11:59 pm). I will not accept late evaluations for this particular assignment. Follow the guidelines and rubric we’ve established throughout this semester including examination of the trademarks (listed on the Ridley Scott bio page).

The Duellists (1977)

Alien (1979)

Blade Runner (1982)

Legend (1985)

Thelma and Louise (1991)

1492: Conquest of Paradise (1992)

G.I. Jane (1997)

Gladiator (2000)

Blackhawk Down (2001)

Kingdom of Heaven (2005)

American Gangster (2007)

Robin Hood (2010)

The Martian (2015)

All the Money in the World (2017)

Alien: Covenant (2017)

Ridley Scott Response Post (due 4.9.18)

Ridley Scott has over 100 television and film production credits; he’s produced nearly 2,000 commercials and has 25 feature films to his credit. At 80 years old, he’s still going strong producing Oscar-nominated work and performances as recent as this year’s award’s season (2017-18).

Explore the biography on our website, the audio & videos listed here, and examine the timeline of his work below.

After taking in all the materials address the following questions and post your responses to four of the questions by Monday, April 9.

Here –  Sir Ridley Scott explores a visual & audio journey of his filmmaking journey with a timeline of Scott-Cinema … Ridley Scott says there is no “One way to make a movie, no director’s cheat sheet.”

In this podcast interview – Sir Ridley Scott Sir discusses his career, gives advice to aspiring directors and lets us know what he looks for in a script.

 

 

If you would rather read the script to this dialogue, it is available here: http://www.bafta.org/media-centre/transcripts/bafta-a-life-in-pictures-sir-ridley-scott

Here -2018 BAFTA Fellowship recipient Ridley Scott talks about making his way from directing commercials to sci-fi blockbusters like Alien, Blade Runner and The Martian.

 

 

As a reminder: Post your responses to four of these questions by Monday, April 9 (11:59 pm).

1. After reading his biography on our webpage, why do you feel his family’s influence has continued to impact his life in the entertainment industry?
2. What are the most impactful lessons Scott shared about filmmaking (that you can apply to life). If you select this, you should post something different from other students.
3. Looking at the actors/actresses he’s had an impact on (within launching careers or providing opportunities) over the years, which filmmaker(s) gained the most from those opportunities. Explain and defend.
4. Scott has become a trailblazer in Sci-Fi, why did he say that he’s drawn to those stories – and how did they impact the film industry? Explain.
5. Now in his 80^th year, Scott isn’t slowing down. After listening to his interview or watching the interview segments, what are his secrets to continued success?
6. What intrigued or surprised you the most about Ridley Scott’s life, films or impact on cinema?
7. Scott has directed sci-fi, drama, action films, biopics & period films – based on the research provided here – how do you feel he’s been able to find success in multiple genres? Explain and defend.

Apples, Aliens & Award-Winning Cinema: The Life of Ridley Scott

By Brooke Smith (suggested edits by Noel T. Manning II)

Born in South Shields, United Kingdom on November 30, 1937, Ridley Scott showed an interest in the film industry beginning at a young age. As a young child he would find himself immersed in stories of escape and adventure, and film was his medium of choice. His explorations into worlds far and near, inner (the mind) and outer (beyond the galaxy) would pave the way for stories he’d eventually craft into feature films, and earn awards, and thrill audiences in the process. (Sir Ridley Scott Biography, 2013)

Early on, Ridley Scott wanted to follow in his brother’s (Frank) footsteps and join the Merchant Navy, but Scott’s father strongly discouraged this, as he saw potential in Ridley’s artistic talents and encouraged him to pursue them. (Ridley Scott 2015).

After receiving a creative design degree from West Hartlepool College of Art in the United Kingdom, Scott went to London’s Royal College of Art (England), where he honed his skills in filmmaking. After college, Scott worked with the BBC (British Broadcasting Company), designing sets and working on BBC TV, film, and commercial production. It was during this time he gained opportunities to learn the art of directing, and he attained his first directing job on the BBC’s series Z Cars in 1962 and Z Cars: Error of Judgment in 1965. (Ridley Scott Biography)

Scott was truly developing as a filmmaker, and it became obvious to many, but Ridley felt his talents were not appreciated from the BBC. So, he decided to go into advertising with his brother Tony in 1967. Together they formed their own production company; the next ten years proved to be very successful for Ridley Scott Associates, as the two Scott brothers made some of the best know television advertisements on British television.  (Sir Ridley Scott Biography, 2013)

In the 1970’s, Scott met and began working with producer David Putnam, and together they began working on long-form film ideas.  The Duellists, a 1977 film, was Scott’s first feature film, and it won Jury Prize for Best First Work at the Cannes Film Festival.  It was also nominated for the Palm d’Or (the film festival’s highest prize).  This attention to Scott’s work really launched his career, and became a game-changer for him. (Ridley Scott 2015).

After viewing the blockbuster, Star Wars, in theatres, Ridley Scott was inspired to explore big time budgets and effects that would impact audiences; he also wanted to develop his own brand of Star Wars that would inspire others. This led Scott to take on the directing of a gothic horror film set in outer space with the tagline … “In Space, No One Can Hear You Scream.” This film Alien (1979) launched a franchise, memorable characters, and the career of actress Sigourney Weaver. The 1979 film also became a classic on its own merit, and transcended the sci-fi genre. The Alien film series that Scott built has continued to produce spin-offs and sequels almost 40 years later. (Ridley Scott Biography, 2018)

In 1982, Scott introduced the world to another sci-fi classic, Blade Runner, a film that at first was not widely appreciated by viewers (yet had a cult following), but in the following years became accepted as one of the most cerebral and best sci-fi films ever created, and it also helped solidify Scott’s reputation for precise technical detail, unique story, and experimental narrative. In 2017, as producer, Ridley Scott brought the characters and story narrative back to the big screen with the Oscar-winning sequel, Blade Runner: 2049. (Manning, 2017)

In 1984, Ridley Scott went back into commercial television production after a dialogue with a genius by the name of Steve Jobs. Scott became the director of the first ever Macintosh Apple Computer commercial.  It aired during Super Bowl XVIII, and was set in a George Orwell-inspired “Big Brother-type” society where everyone is a carbon copy of the other except for one person breaking out of conformity (world-class athlete Anya Major wearing a white tank top with a Macintosh computer logo on). This commercial challenged minds, engaged viewers, and launched Apple as the alternative to the cookie-cutter computer crowd (Ridley Scott, 2015).

Scott has gone on to be recognized throughout the years for a variety of films and genres (sci-fi, action, drama, historical epics, adventure, biopics, etc.). Films like Gladiator, Thelma and Louise, Robin Hood, American Gangster, Hannibal, Blackhawk Down, The Martian, and All the Money in the World have all continued to add to his impressive resume of developing and creating art that inspires, narratives that are innovative, and characters that are memorable.  

From the minds of serial killers (Hannibal), to 2^nd Century Rome (Gladiator), to a road-trip with female bandits (Thema and Louise), to the solitary loneliness of Mars (The Martian), Ridley Scott knows how to paint stories visually with light, actions and sound. He creates landscapes and characters that feel authentic and yet unimaginable at the same time. Pure and simple, he’s a genius.

Throughout the years Ridley and his brother Tony (also an accomplished filmmaker) continued to find ways to work together, producing feature films and television series, movies, limited series, documentaries and specials.

As a director, Scott has been complimented on his willingness to listen to his actors and take their suggestions for character enhancements and backstories or character development when warranted. His careful detail to lighting and design has been called innovative, and many directors who admire his style have imitated him.  Scott also has a style that seems like a slow burn, or offers slow pacing until the major action scene, producing a greater thrill to the viewers. Scott also uses sound to cause a rise in tension and a buildup to the climax.  This is not only accomplished with music, but also with atmospheric or ambient sounds that complement a particular scene.  Ridley Scott is also known to sometimes work with a three camera set up per scene, to aid in a faster filming process. (Sir Ridley Scott Biography, 2013)

Several other trademarks represent his style in films: These include, but are not limited to, themes of artificial intelligence, alien races, corporate greed, character vs. God conflict, strong female characters, father and son conflicts, and characters searching for meaning and purpose beyond self. Scott also includes extreme levels of lighting, intriguing camera angles, urban environments, vast visual cityscapes, classical music, extensive atmosphere shots, and smoke-filled or foggy scenes. (Ridley Scott, 2015)

Scott has earned many awards and recognitions over his career.  Not only was he knighted by the Queen in 2003, but he was also inducted into the Science Fiction Hall of Fame in 2007, received a star on the Hollywood Walk of Fame in 2011, and was honored for lifetime achievement from the British Academy in 2018. Scott has been nominated for four Academy Awards for directing (Thelma and Louise, Gladiator, Black Hawk Down, The Martian), won two Emmy Awards (The Gathering Storm and Gettysburg), was nominated for six other Emmy Awards (Killing Kennedy, The Good Wife, The Pillars of the Earth, Into the Storm, The Andromeda Strain, and RKO 281), won a British Academy of Film and Television Award (Thelma & Louise), and nominated for three others (Gladiator, American Gangster, The Martian), won three Hugo Awards (Blade Runner, Alien, The Martian) and was nominated for four Golden Globes (Gladiator, American Gangster, The Martian, and All the Money in the World), just to name a few. Over all, by 2018, Ridley Scott has earned 39 major awards while being nominated 91 times during his five-decade career in major film & television production (Rovi, 2015) (Ridley Scott Awards, 2018)

According to Ridley Scott, “Art’s like a shark. You’ve got to keep swimming, or else you drown… you’ve got to keep bouncing around. People always ask me, ‘What’s the plan?’ There is no plan. I go to what fascinates me next.”  (Ridley Scott Quotes, 2015)

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Bibliography

Biography of Ridley Scott. (2015). (GradeSaver LLC) Retrieved February 10, 2015, from

Grade Saver: http://www.gradesaver.com/author/ridley-scott

 

Manning, N. T. (2017, December 12). The scott papers. Meet me at the movies [Shelby, NC], p. 19.

 

Ridley Scott. (2015). (The New York Times Company) Retrieved February 10, 2015, from

The New York Times: http://www.nytimes.com/movies/person/1548246/Ridley-Scott/biography

 

Ridley Scott Awards. (2015). Retrieved March 18, 2015, from IMDb:

http://www.imdb.com/name/nm0000631/awards

 

Ridley Scott Biography. (n.d.). Retrieved March 17, 2015, from IMDb:        http://www.imdb.com/name/nm0000631/bio?ref_=nm_ov_bio_sm

 

Ridley Scott Quotes. (2015). Retrieved March 17, 2015, from IMDb: http://m.imdb.com/name/nm0000631/quotes

 

Ridley Scott Biography. (2015). (A&E Television Networks) Retrieved February 10, 2015,          from Biography.com: http://www.biography.com/people/ridley-scott-9477021

 

Rovi. (2015). Ridley Scott Awards. Retrieved March 18, 2015, from Fandango:             http://www.fandango.com/ridleyscott/awards/P110579

 

Sir Ridley Scott Biography. (2013). (AETN UK) Retrieved February 10, 2015, from The

Biography Channel: http://www.thebiographychannel.co.uk/biographies/ridley-scott.html