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Celebrity

 
199 Total References
Web References
2012 Industry Advisors | Athena Film Festival
athenafilmfestival.com, 24 Oct 2012 [cached]
Lindsay Doran, President, Three Strange Angels
Nanny McPhee Presskit
www.firthfriends.com, 10 Nov 2010 [cached]
Produced by Lindsay Doran (in her third collaboration with Thompson, following "Sense and Sensibility" and "Dead Again") and by Working Title's Tim Bevan and Eric Fellner, the film is coproduced by Glynis Murray.
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Emma Thompson and Lindsay Doran have been working together as a screenwriting/producing team since 1990 when they met on the production of "Dead Again," which Thompson starred in and Doran produced.
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Emma Thompson and Lindsay Doran have been working together as a screenwriting/producing team since 1990 when they met on the production of "Dead Again," which Thompson starred in and Doran produced.
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At the time, Doran was in the lOth year of her search for someone to adapt Jane Austen's "Sense and Sensibility" into a feature film.
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"Emma is an extraordinary writer," says Doran.
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Following their experience on "Sense and Sensibility," Thompson and Doran looked for something else they could work on together, hoping to find the kind of passion project that "Sense and Sensibility" had been for both of them.
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Though they often contacted one another with ideas, nothing lit afire with either of them until Thompson told Doran about the Nurse Matilda series of English children's books over lunch in 1997.
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"I had never heard of them," recalls Doran, who at the time was President of United Artists Pictures.
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"Emma told me the most basic premise of the story at that lunch," Doran continues.
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After tracking down the three out-of-print books (Nurse Matilda, Nurse Matilda Goes to Town, and Nurse Matilda Goes to Hospital) in a library, Doran optioned them for Thompson to adapt and the development for "Nanny McPhee" began.
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The books contained a rich well of material that resonated with Thompson and Doran who both felt that the characters, situations and relationships had universal appeal.
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asks Doran.
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"Lindsay epitomizes the word 'producer,"' says Thompson.
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One of the first things Doran and Thompson agreed to change was the nanny's name.
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At the time in which the story is set, the word 'nurse' was synonymous with the word 'nanny.' "But after a number of people asked me about my 'nurse project' with Emma Thompson, it was clear we had to change the word from 'nurse' to 'nanny,"' recalls Doran.
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"We went through a couple ofpossibilities, but eventually our nanny emerged as Nanny McPhee," says Doran.
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" A lot of people thought Kirk Jones was a ninety-year-old Irish gentleman," Doran says.
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Jones responded to Thompson's screenplay just as Thompson and Doran had responded to "Waking Ned.
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"Kirk spoke with incredible passion about this chair," Doran continues.
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"She said from the very beginning that she wanted to play the magical nanny," recalls Lindsay Doran, "She thought it would be a really fun part."
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"Let's face it: we needed an impossible combination," says Doran.
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"They are the most badly behaved children in the history of the world, but there's a reason for that," notes Doran.
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"Kirk looked at tapes on his own; I looked at them on my own; and Lindsay looked at them on her own, and then we would confer afterwards about which we thought were good for recalls," says Glynis Murray.
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"Kirk just loved that detail," says Doran.
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"Evangeline is a character who starts out looking like a grimy scullery maid and ends up looking like a fairy princess," Doran explains, "but Mr. Brown doesn't see any difference, and that's one of the themes of the story.
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"The moments at which she changes are very specific," explains Doran.
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"One of the things I absolutely agree with Kirk about is that most period English movies have a palette that runs the gamut from black to brown," says Doran.
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"It was pouring with rain and very foggy on the day we first visited the Penn estate," remembers Doran.
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"This is the first time I've ever worked on a movie where the make-up person's first question was who was costuming it," says producer Doran.
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LINDSAY DORAN Producer
Lindsay Doran launched her career in the motion picture business in 1979, when she became assistant to the director of creative affairs at Avco Embassy Pictures.
Eventually, the company evolved into Embassy Pictures, and she advanced to vice president of creative affairs. While at Embassy, she served as the executive in charge of production on two films directed by Rob Reiner -This Is Spinal Tap (her first film credit) and The Sure Thing.
In 1985, Doran joined Paramount Pictures as senior vice president of production, and was eventually promoted to executive vice president of production. At Paramount, she oversaw the development and production of a number of films, including Pretty in Pink, Ferris Bueller's Day Off, Planes, Trains & Automobiles, The Naked Gun, Pet Sematary, and Ghost.
Doran left Paramount Pictures in 1989 to join Sydney Pollack's Mirage Enterprises.
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While at Mirage, Doran served as executive producer on The Firm and Sabrina, both directed by Sydney Pollack.
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In 1996, Doran became President and Chief Operating Officer of United Artists," Pictures. While at United Artists, she presided over production of the 18th and 19th installments of the James Bond franchise, Tomorrow Never Dies, and The World is Not Enough. She also oversaw The Man in the Iron Mask and Ronin as well as the hit remake of The Thomas Crown Affair .
In 1999, Doran left United Artists and resumed her career as a producer. She is currently the President of Three Strange Angels Inc, a motion picture production company based at Radar Pictures.
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Emma Thompson stars in the film making it Doran's and Thompson's fourth film together.
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It came as no surprise to learn that Emma had been working on the project with Lindsay Doran, the producer for a number of years.
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Lindsay Doran .... producer
The [sketch] that inspired [producer ...
www.opb.org, 10 Jan 2014 [cached]
The [sketch] that inspired [producer Lindsay Doran] to ask me to write Sense was based, in fact, on an Edith Wharton short story about a young woman who comes back after her honeymoon to confront her mother, who has not given her any information about sexual behavior.
I wrote a sketch about a young woman coming back to her mom and telling her about the small hairless mouse that her husband had attached in his lap. ... Clearly the husband has been trying to show this woman his genitalia and explain sex to her, and she doesn't get it and she's gone to describe this scene to her mother. And her mother doesn't understand at first, and then slowly starts to get the picture that this woman is so ignorant and knows nothing. And I guess Lindsay thought it was pretty funny and she also thought it was Austenian in some way, about misinformation and the mother-daughter bond.
On the Sense And Sensibility scene in which she cries hysterically
TVIFF News & Updates
www.lifedownstairs.com, 30 April 2003 [cached]
Lindsay Doran, President & CEO of United Artists Film Corp.
Newmarket Press: Lindsay Doran
www.newmarketpress.com, 29 Aug 2011 [cached]
Lindsay Doran Newmarket Press: Lindsay Doran
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Lindsay Doran
Producer Lindsay Doran received a Best Picture Oscar® nomination for Sense and Sensibility in 1995. She was born in Los Angeles and worked as a studio executive with Embassy Pictures and Paramount Pictures for ten years before becoming president of Sydney Pollack's Mirage Productions where she produced Dead Again and Leaving Normal. She also was the producer or executive producer on Sabrina, The Firm, and This Is Spinal Tap.
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Introduction by Lindsay Doran
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Introduction by Lindsay Doran
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