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Alison Dundes Renteln (J.D. 1991) – political scientist, Professor of Political Science, Anthropology, Public Policy and Law at the University of Southern California. Ian Roberts (Ph.D. 1985) – linguist; Professor of Linguistics at the University of Cambridge [36] Bernard Salick (M.D. 1964) – medical entrepreneur, nephrologist.
Stu Bloomberg ( Life as We Know It, In the Motherhood) Julian Breece (The First, Mason Dixon, When They See Us) Robert Breech ( The Practice, LA Law, Boston Legal) Bryan Burk ( Lost, Westworld, Star Wars: The Force Awakens, Cloverfield) Jonathan Buss ‘98 (The History of Comedy)
Jun 17, 2019 · USC alumni films are bound to be successful: USC School of Cinematic Arts alumni have played crucial roles behind the camera in 21 of the 25 top-grossing domestic movies of all time. You already recognize the movies, now meet some of the Trojans who helped create these record-breaking box-office hits. USC alumni films make up 21 of the top 25 ...
Apr 23, 2014 · Intergalactic engineers star in a short animated film by Eric Law Anderson. Share. Arts. 12 years in the making, alumnus’ animated film premieres. USC alum uses his own money to complete the intergalactic tale. April 23, 2014 Allison Engel.
I’m a Scottish-Canadian filmmaker, software engineer, and visual effects artist with a passion for storytelling. Currently, I’m a Technical Director on James Cameron’s Avatar sequels and developing an original series for television. CS & Screenwriting @ Princeton University. IMDB.
Director: In the Grip. Eric Hayes is a Scottish-Canadian filmmaker, artist, and engineer. Over the past decade his animated and live action work has been showcased at film festivals around the world. Eric has worked at a number of studios including Weta Digital, Sony Pictures, and DreamWorks Animation, and holds a degree from Princeton University.
Feb 27, 2017 · In each film, Havaldar toyed with formulas and mechanisms that set up animation rigging and image capture for facial expressions — the skeleton that animators and filmmakers then use to paint vibrant photorealistic, or, in the case of Monster House, exaggerated depictions of actors’ faces in surreal worlds.
