Tag Archives: Clay Griffith

Meet the Crew: Sean Mannion – Prop Master

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Sean Mannion on the set of Aloha. Dec., 2013. Picture courtesy of Andy Fischer. © 2015 The Uncool.

Sean Mannion on the set of Aloha. Dec., 2013. Picture courtesy of Andy Fischer. © 2015 The Uncool.

Sean Mannion has been working in the film industry for twenty-five years. His career began in the late eighties and includes all types of genres. His resume includes working extensively with filmmakers such as Judd Apatow and recent Marvel hits like Thor 2: Dark World and Guardians of the Galaxy. Aloha is his first film with Cameron. 

Tell us your breaking in story…

I was a Production Assistant (PA) and my very first job was to sit on a generator beneath an overpass. I was directed to jump up and down, yell and wave at cars coming around a blind bend to get them to avoid hitting the generator. I spent twelve hours on the generator. Twelve hours of jumping up and down and waving. The shooting crew was shooting above, on top of the overpass. When lunch was called, they made me stay down there to keep protecting the generator. They sent my lunch down to me in a bucket dropped by a rope. I continued to wave with sandwich in hand. As I ate my cold sandwich, I thought, “Well, no place to go but up.”

You’ve worked on quite a few of Apatow’s productions (The 40 Year Old Virgin, Knocked Up, Funny PeopleBridesmaids, etc.). What was that experience like?

Working on an Apatow film is like working with family. A family that talks about vulgar things all the time. Judd does have an incredible loyalty to his people so the great thing is we get to work with the same people from film to film. It really is like a family. And we laugh a lot all day. The stuff on those sets are very funny. Tough to keep it together sometimes during takes.

This is your first Cameron Crowe film, right?

Yes. This is my first Cameron Crowe film where I’m not seated in a dark theater eating popcorn and milk duds.

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Jun 23, 2015

Say Anything… Turns 25!

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GoldenYearsP1-3

Going through boxes recently, we found the very first draft of “Say Anything….”  It began as a story about a golden girl, Diane Court, who also worked in her father’s nursing home, helping the residents through their “Golden Years.”  Over time, and many more drafts, the story also became about the lovelorn kick-boxing suitor — Lloyd Dobler — who identified himself and his mission in the very first scene.  Lloyd was so much fun to write as a character, and the collaboration to come with actor John Cusack remains a crackling reminder of what happens when the right people come together.

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Apr 14, 2014

Meet the Crew: Alex Hillkurtz – Storyboard Artist

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Tiffany Hillkurtz, Cameron, Andy Fischer and Alex Hillkurtz

Storyboard Artist Alex Hillkurtz has been working in the industry since 1993. He has worked on a wide variety of films during his career including the last four of Cameron’s films. We sat down for a two-part chat to learn more about his background and his variety of projects.

Is it true that you were born in England?  When did you come to the States?  Are you an American citizen?

I was born in England. My parents are British but we moved to Northern California when I was a baby, so I’ve grown up here. I quickly learned to speak American when teased in kindergarten about my British accent. I now have dual citizenship, so I feel like Jason Bourne when traveling with more than one passport. I’m sure having my feet planted on both sides of the Atlantic helps me to see things from different perspectives, but I can fluctuate between feeling at home on either continent, to feeling a complete outsider no matter where I call home.

How old were you when you knew you had some artistic talent?

I don’t remember a time when I wasn’t drawing. I was always that kid in the back of the class drawing space ships and dragons. I think it’s served me well.

Did either of your parents have that skill?

My mom does really nice pen and ink illustrations, and her father before her did some beautiful sketches during his time in WWII. I feel privileged to be the first generation in my family to actually make a living with art.

How did that early talent manifest itself?  What types of things were you drawn to?

I would fill reams of paper with drawings of dinosaurs, that was my early training. Maybe I should’ve spent my childhood drawing earnest and off-beat romantic characters instead. I was never a real comic book fan (though I know a lot of storyboard guys come from that tradition), but I was always a movie fan. My parents would take me to revival houses to see things before I could understand what I was seeing – Wages of Fear, Creature From the Black Lagoon2001: A Space Odyssey. And I was always drawing, just dumping my imagination on the page. Later for me came painting and watercolors.

Did you go to a trade school specifically for art, or did you go to a traditional University?

I went to Chapman University through their film program. That’s where I learned how to make movies – directing, cinematography, lighting, editing, sound, the whole thing. I came out of there with a good grasp on what it takes to make a film.

How did you get your first industry job as a storyboard artist?

I was a production assistant for a while after graduation and was shocked that no one wanted to hire me as a director! It was a pretty rough awakening after film school. I knew I could draw, so when I was working on Phantasm 3, I asked director Don Coscarelli if I could do some storyboarding, and he let me have a crack at a few sequences. I was in heaven. I got my first screen credit as a storyboard artist on that film, a big moment for me. I figure it was a win-win, because they got boards for a PA rate. From there I just started telling people that’s what I did, and some of them actually believed me.

Con Air Storyboard By Alex Hillkurtz

Was working in film something you’ve always wanted to do?

When I was real little I wanted to be a paleontologist, I wanted to dig up dinosaur bones in exotic lands. Then I saw Star Wars. I think half the people in the industry today trace their spark back to that moment in 1977. But it was the first time that a film aired “making of” programs on TV, and I could see that these magical things called movies were made by mere mortals. I got my hands on my dad’s Super-8 camera and suddenly my room was my movie studio, the back yard was an alien jungle planet. I made stop-motion comedies, spaceship battles, jungle dinosaur adventures, clay-mation spacemen on a paper mache moonscape…

Little did you know, the movie that sparked your love of film was produced by your future Father-In-Law, Gary Kurtz!  Some of your credits are under Alex Hill and others are listed as Alex Hillkurtz. Why the two different names?

My wife (ed. Tiffany Hillkurtz, an esteemed film editor and daughter of producer Gary Kurtz) and I combined our names when we got married. I’m a Hill, she’s a Kurtz. We thought it would be a cool thing to do and much better than a hyphen. The only debate was weather to go with Hillkurtz or Kurtzhill, or some scramble like Kilohertz. It’s fun to see the reactions of friends from high school or college who knew me then.

As an X-Files fan, I noticed you worked on the series back in 1999. What did you take away from that experience?

X-Files was a real eye-opener for me. Those guys worked so hard to achieve so much in so little time. In a lot of ways it felt like I was back in film school with a tight crew doing their best to achieve greatness. It was also when I met director Rob Bowman who was really open to suggestions. In our first meeting – he was filming an upcoming episode, so we would chat between takes – he treated me like a fellow filmmaker. He’d give me notes, but also wanted my take on things, and I felt comfortable enough to give it. That was also the same year I worked on Almost Famous, so suddenly I found myself working with directors who were secure enough to genuinely invite collaboration.

William & Penny – By Alex Hillkurtz

Speaking of that. That was your first project with Cameron. How did Almost Famous come to your attention?

I had worked with Art Director Clayton Hartley on a couple things, so he brought me on to do set illustrations. It was there that I met Clay Griffith and they introduced me to Cameron and thought there might be a few sequences that storyboards would be useful for. Or maybe they just liked that I was always playing a lot of Peter Gabriel in the office.

Stillwater on Stage – By Alex Hillkurtz

 

What was your storyboard process like with Cameron working on Almost Famous.

It was really great. The first scene I drew for him was William and the band being lead on stage by the light of a flashlight. There’s some heavy symbolism there for me being lead out of the dark, and having a backstage pass to this amazing film. From there Cameron just wanted to keep going. I drew William and Penny Lane driving along Sunset to the Riot House, Russell getting electrocuted on stage, the bus crashing through the gates, some concert stuff, some bus stuff, some hotel room stuff… There was an amazing energy working on that film, it was like we were all on the road with a band we love. None of us wanted it to end.

Vanilla Sky – By Alex Hillkurtz

Vanilla Sky seems like a natural film to require some extensive storyboarding. Did you just work on the ending or did you storyboard other sequences as well?

Again, there was quite a bit I drew for that film. The car crash, Times Square, the whole ending, etc… It was also the first time one of my drawings ended up on screen – the scene where Tom and Penelope draw each other, that’s my drawing of Penelope. Cameron had me do hundreds of sketches of her to catch the right mood. I think Cameron kept me on for a couple extra weeks just drawing pictures of Penelope Cruz. It’s a rough job.

Sofia – By Alex Hillkurtz

Moving on to Elizabethtown, what was the biggest challenge for you working on that film?

It was actually a pretty great experience because Cameron and I had a lot of time to really dive in deep on that one. It’s a very personal story for Cameron and we really peeled back the layers of almost every scene to find the images that best expressed the story. For a while there I was splitting my time between LA and London (my wife was working on a film in the UK), so I’d be drawing these quintessential American scenes, listening to a playlist of only American bands, and then have this amazing cultural whip lash when I looked out the window to see black cabs on rainy London streets. Very surreal.

Buster and Ben Sequence – By Alex Hillkurtz

What sequence in We Bought A Zoo went through the most changes in regards to your work?

Cameron and I worked on the Buster Roams Free sequence for a while. It’s a pivotal moment for Ben in the film, and Cameron really wanted to show this connection between Ben and the bear. We kept adding little moments between the two of them, even writing in unspoken dialogue between these two characters yearning for connection and escape, like a conversation between two men both at a crossroads in their lives. The scene also required a lot of logistics of how to shoot Matt Damon and a real bear together – whether we needed to use VFX, stand-ins, animatronics etc. In the end I think it was a fairly straightforward shoot, with the emphasis on the moment of connection between two wise men.

You’ve now worked with Cameron on four feature films. Tell me about your working relationship with him and why it’s been so successful. 

I think we trust each other to bring our best work. Cameron is a really intuitive writer, his scripts are a joy to read, and I love being in the room when we start turning his words into pictures. We’ll really unpack scenes to find out what they’re about at their core, and how best to express that visually. We’ll act things out, we’ll share clips from films we love, he has binders full of images culled from magazines that capture certain moments, emotions and gestures that we’ll incorporate into scenes. And he’s always scribbling down notes of ideas for dialogue or inspiration. You know the meeting is going well when Cameron is joyfully scribbling notes. And then there’s the music!

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We Bought A Zoo Storyboards

What is something about a storyboard artist that most people might not be aware of?

Movies can be such a visual feast, but they all start with a script, black and white words on a page. Storyboarding a scene is the first time a project is transformed from the written word into a visual medium. There’s something magical in that transition, it’s alchemy and I absolutely love it. A fellow storyboard artist has said that we’re the first ones to see the movie. That’s a cool thing!

You directed a film entitled Recipe for Disaster back in 2000.  Was that a short film or a feature?  Is it correct that humor writer Dave Barry wrote the script?  Did that experience have an effect on your subsequent storyboard work?  Do you hope to direct again in the future?

Yeah, that was a short film that my wife (before she and I met) had the script to. It’s based on a Dave Barry article that’s a spoof of disaster movies. It’s actually the project we met on, so thanks, Dave! I’ve made a few short films over the years, and you quickly learn that even if you can draw a sequence it doesn’t mean it’s shootable. Directing and storybaording feed off each other, so it’s a natural thing for me to go back and forth, figuring out new ways to stage action, interesting ways to portray an emotion. You can play on the page, try different things out, run the movie back and forth at no cost, it’s such an economical way to figure out your road map. Then when you go to shoot something, you’ve got a plan. You can always deviate from the plan, but it’s an amazing tool. And yes, I would love to direct again. I did second unit directing on It’s Complicated after boarding that film for Nancy Meyers, so the goal is to do more of that in the future.

You’ve worked with a wide variety of action and comedy directors in addition to Cameron (Jonathan Mostow, Simon West, Ivan Reitman, Peter Segal, Adam McKay, Nancy Meyers).  In what ways are they different?  How are they similar?

Some directors are very particular about what they want, so storyboarding becomes illustrating their vision. Others are very into collaboration. I really enjoy working with writer/directors, not only because I admire both those talents so much, but because they’ve lived with the story for a long time before anyone else gets involved. It becomes a matter of adding flesh to the bones, and discovering what sort of animal we’re all dealing with.

You’ve also recently worked with two directors who are more well-known as actors, both of whom are beginning their career as directors (Angelina Jolie and Ben Affleck).  Any differences they might share, having come into directing with such strong acting backgrounds?

Angelina was great. Having come from in front of the camera, I think she’s really good with actors. There’s an immediate trust you have with other actors because you’ve been there and you understand the vulnerability. The unknown for her was in staging the action scenes, and again, translating the written word into interesting visuals, and that’s where I came in.

Argo is Ben’s third film as director, and it turns out he knows what he’s doing. Writing and directing is one thing, but acting and directing, I’m in awe of that! I don’t know how people do it. There are big crowd scenes in the film, as well as locations in other countries that needed to be married to sets in LA. I think early on Ben saw just how prepared he would be once filming began if he was armed with a stack of storyboards.

Alex’s On-Set Workstation

Technology is radically changing the film industry these days, from visual effects to movie theatres to some films not having a single frame shot on actual film.  How has technology changed the work you do on a daily basis?

I draw digitally using a Wacom cintiq tablet and Corel Painter. I lay out the dialogue and descriptions digitally, so I can email pdfs of entire scenes. Gone are the days of physically cutting and pasting paper, hand writing shot descriptions, whiting out my spelling mistakes… It’s a lot cleaner now. I’ll draw any given scene four of five times, there’s always changes with staging, or location, or whatever, so making changes digitally is fairly seamless. But with all this technology, it still has to feel hand-made and organic. I don’t want the fact that I’m drawing digitally to get in the way of the emotions of the scene.

I’ve been drawing 100% digitally since 2001. I was on a film in NY working with a director in LA, and it was insanely time consuming to fax everything at the end of every day. So I dove in and got myself a cintiq tablet and I’ve never looked back. The trick became how to find digital tools that mimic the physical tools (pens, pencils, and paper) that I’m used to, and Corel Painter does that beautifully.

What do you see as the primary role of the Storyboard Artist?

Ultimately storyboards are a communication tool. Ten people can read a script and have ten different ideas of what the movie will look like. Once there’s a drawing on a piece of paper, everyone can start rowing in the same direction. As a storyboard artist my job is to get the director’s vision out of their heads so others can see it. It takes a lot of conversation, a lot of thumbnail sketches, a lot of shared images, maybe a dash of mind reading.

Finally, if your career dreams came true, what would you be doing in ten years?

You know, I’ll always be drawing, and as long as directors are willing to have me, I’m there. But I’d also like to follow in the footsteps of some of my teachers and do the writing/directing thing. I’ve got stories to tell and it would be a shame if they never got off the page.

For more on Alex, check out his official site!

© 2012 – Vinyl Films/The Uncool. All rights reserved.

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Jul 2, 2012

Meet The Crew: Clay Griffith – Production Designer

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We are pleased to present a new feature entitled Meet The Crew. A chance to meet some of the unsung “behind the scenes” heroes who help make the films. First up is We Bought A Zoo Production Designer, Clay Griffith. Clay has been working with Cameron in a variety of roles since Say Anything… We talk about his history and the monumental task of building The Rosemoor Zoo and Mee house.

Your career began by working for directors such as Jonathan Demme (Something Wild) and James L. Brooks (Broadcast News), what did you learn most from those early experiences?

My very first film experience was with Jonathan Demme on ‘Something Wild’……..I remember him saying to everyone in the Production Meeting, “Let’s talk about what we can do, not what we can’t do.”……..I was hooked on the movie making process from that moment on. It was like a lightening bolt had struck. There was nothing else in the world that I wanted to do other than to work on movies. I went to work for James L. Brooks when I first moved to Los Angeles. I was a production assistant at his film company Gracie Films. I read a lot of scripts in that Bungalow on the 20th Century Fox lot……when I wasn’t answering phones, or taking lunch orders for producers. Jim showed me about what it was to be a true writer/director. You had to immerse yourself in the story and the characters…..you had to breathe it.

I was in heaven!

As a Set Decorator on such films as Singles, Jerry Maguire, Sleepless in Seattle and Seven, what are your main duties? For those that may not know, what’s the collaboration like between Set Decorator and Production Designer?

My main duties as a Set Decorator was to help the Production Designer visualize the tone and environments of each set within the film. Visual collaboration is a very gratifying experience once you make that connection with someone. Ultimately, the Set Decorator is in charge of dressing both stage sets, and location sets with the appropriate furniture, art, light fixtures and various textiles. When I became a Production Designer, I would immediately spend large blocks of time with the Set Decorator in order to ‘synch’ up the visual roadmap of the film. I like to create a backstory for each character and location.

What were you most proud of from a set decoration standpoint on Jerry Maguire?

Wow! That is a good question…….I think the interior of Dorothy Boyd’s house was pretty great…….it felt very real to me when we finished dressing it. I had to get into the mind of a single mom and her little boy…….I must have drawn on my own childhood in some way. The SMI sports agents offices were at the opposite end of the spectrum from Dorothy’s house. The set literally took up the entire stage. It was a sea of desks and sports paraphenalia. Our goal was to make each cubicle tell us something about the person’s life who was working there….I think we succeeded in that effort.

You moved on to Art Direction on Almost Famous, what was that experience like?

It was like being shot out of a cannon! I had so much fun making that movie……..finally getting to run free with my own vision and truly collaborating with Cameron. I was actually hired as, and acted as the Production Designer on Almost Famous……but due to a few lawyers and some other choice people at the Art Directors Guild, I was not allowed to have the Production Design credit on that film. I ruffled a few feathers by making the jump from Set Decorator to Production Designer. It’s all good….I know the work on the screen was straight from my heart.

Rites of passage, baby. I cried when we finished making that movie. I did not want it to end…….and I think I was most likely exhausted.

Did you always want to be a Production Designer, or was it something that you gravitated towards once you were exposed to all of the different possible careers in the film industry?

When I got the job on Something Wild, as an assistant to the art department……I didn’t even know what an Art Department was!

Rosemoor Zoo Site Plan

As the Production Designer on Cameron’s last two films (Elizabethtown and We Bought A Zoo), what were your main responsibilities?

Every film that I have Designed for Cameron starts in a room with just the two of us and the script. We always begin the visual process of the movie talking about every character in the story….from that point on, our meetings become a running visual dialogue of artwork, photography, literature, films  and any ocular research that inspires us with the vision of our own film.

After that, it is all about finding the right locations for the project. Concurrently, I will be putting my key staff together of Art Directors, Set Decorator, Property Master, Graphic Designers, Set Designers, Lead Scenic Painter, Construction Coordinator, Lead Greensman, and Illustrators…….I know I am forgetting some positions here.

Making a film is a collaborative art form by nature. I think one of the main responsibilities in being the Production Designer for Cameron is that I am able to convey, and explain the visual tone of the film to just about everyone on the entire production.

Were you involved with Chris Baugh (Location Manager) and Lori Balton (Location Scout) on finding the location in Thousand Oaks where the Rosemoor Zoo was ultimately built?

Oh yeah. We spent a lot of time in the car together scouting just about every available ranch in the Los Angeles area.

What was the biggest challenge in designing and building the Rosemoor Zoo?

The biggest challenge in designing and building the Rosemoor Zoo……was designing and building the Rosemoor Zoo!!!!!  I was so happy once we found the Greenfield Ranch as our primary House and Zoo location……and then reality set in. Oh my God, I thought, now I actually have to pull this off! Aside from encountering a few large and disgruntled rattlesnakes, one of the biggest challenges was dealing with the constantly changing weather. We experienced winter, spring, summer and fall at that construction sight. Rain, frost and scorching heat makes it a little difficult to build a set sometimes……but my construction, paint and greens crew were absolutely up for the challenge, and they executed the build flawlessly.

Tiger Enclosure Design

Did you attempt to mirror its real life counterpart, The Dartmoor Zoo?

Yes, but only with particular animal enclosures, namely the Tiger enclosure. For the most part we tried to mirror the spirit and essence of what The Dartmoor Zoo really is.

Talk about the main objectives designing the Mee house.

The first objective was to design and build both the Mee House and the Zoo at the same time. We wanted the shooting crew to have the ability to be able to move the Zoo to the House, or the House to the Zoo whenever need be. Cameron and I agreed very early on in our meetings that the Mee House should have an inherent soul about it. Yes, it should be old and a little rundown around the edges….but someone used to love it, and that love should still be evident in the house.

 

I grew up in an old farmhouse in New York state……I immediately dove into my old family photo albums and started pulling tons of reference pictures of that farmhouse. It was a love letter to my own childhood in designing the Mee farmhouse.

An Inspiration from Clay’s Childhood Helps Build the Zoo

You seem to have a special relationship with Cameron that dates back to Say Anything… Tell us about your working relationship.

We have developed a shorthand with each other over the years. Cameron is a great communicator, and a great listener….I know that after I read the script for Say Anything… I was so overwhelmed by the dialogue and the true soul of the story, I had to meet the guy who wrote this script! Fortunately for me, I was working for James L Brooks at the time, and Cameron was in an office directly across the parking lot from Gracie Films. I got up from my desk and walked to his office and knocked on his door. I can’t even remember what the words were that came out of my mouth…..something about how amazing the Say Anything… script was, and I know it will be your first directing job, and I have some film experience already (Something WildDirty Dancing), and would you please consider me as your possible assistant on this project because I could help you out with some of the on-set stuff. It was like my voice was coming from somewhere else far away. He looked at me and said, “Well, thank you, man….I’m glad you dug it.”

Got the job about 4 months later. I guess that is my 20 seconds of courage story. Makes me smile when I think about it. I’m not sure if i answered the question….but that’s how the working relationship started.

Did you ever think you and Cameron would have this strong, long-lasting working relationship – think back to driving to set on Day One of Say Anything… – would you have ever imagined you both would be where you are now? 

Ha, Ha! I remember that day very well. When we were getting close to our exit Cameron turned to me and said, “I’ll give you Fifty dollars to keep driving down the freeway and pass that exit.”

And I replied, “No,no,no. This is the day that you will Direct your movie. You are my Director, and I am driving you to the set!”

To answer the question, I think in my heart I hoped that we would always have the relationship that we had at that very moment. Happy that we have arrived where we are now.

Last question, where did your nickname, Yeti, originate?

You sure have done your research! It is a nickname that I picked up from my sister actually. We moved to the Virgin Islands when I was around 8 years old……to make a long story short, it is derived from the local West Indian phrase, ” Yeah, you de Mahn!”…..somehow, along the way my sister fashioned her version of the phrase and applied to her unwitting brother, Yetimon….Yeti for short. It’s pretty funny when people call me that for the first time…..it’s almost like they are not sure of how to say it. Cameron had no problem adapting it to me at all.

© 2011 Vinyl Films/The Uncool. All rights reserved.

 

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Dec 20, 2011

Inquire Within: Zoo Origins

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Today is the debut of a new feature entitled Inquire Within… Through your submissions, Cameron will answer your questions in his own words. The goal is to have a new question and answer posting every few weeks leading up to the releases of The Union, Pearl Jam Twenty and We Bought a Zoo this fall. I’ll kick it off with a question around We Bought a Zoo and how it came to his attention.

The Uncool: How did We Bought A Zoo come to your attention?

Cameron: We Bought A Zoo came to us from Fox Studios, and producer Julie Yorn. It was immediately interesting, a true story that really stayed with me. I loved the book. There was also a wonderful script by Aline Brosh McKenna and a documentary that the BBC produced on Benjamin Mee’s story. It was rich with characters and had a strong beating heart in the tale of Benjamin and his family’s quest to bring the Dartmoor Zoo back to life. Gail Levin (our longtime casting director) also read all the materials and said “let’s have a blast.” Which we did. So happy to have had a chance to work with these actors, each one different and each one so committed.   It’s the kind of movie that they say doesn’t get made much anymore – a big story without a lot of fancy fireworks. Just strong actors, a great cinematographer in Rodrigo Prieto, and a chance to tell a human story with every emotion built into it. I could have never written this out of thin air – it all happened to Benjamin Mee – but I related so much to his journey.  I felt like it was my job to bring it to life.   I told Clay Griffith, my friend and production designer, “get ready to build a zoo.”  And so it began…

Please send in your questions for Cameron and maybe yours will be part of a future installment of Inquire Within…

Filed under News
Jun 1, 2011

David Crosby: Remember My Name Coming Soon!


  • Almost Famous- Starz
  • E-Town- Amazon,Hulu
  • Fast Times- Cinemax
  • Jerry Maguire- Amazon, Hulu
  • Vanilla Sky- Hulu