James scott musician biography movies

Vanishing Point (In Production)
Narrative Documentary in three parts: Red, Yellow, and Blue ( mins)
Music by Jim Howard

Fragments
Narrative Documentary (44 min)
Music by Derek Stein

The Last of England as Director
Experimental Short (30 mins)
Companion piece to art installation, Denise Bibro Gallery, NY.
Music by Jim Howard

Loser Takes All (aka Strike It Rich) as Director/Writer
Feature based on the novel by Graham Greene, Produced by Christine Oestreicher
Miramax Films (84 mins)
Starring Molly Ringwald, Robert Lindsay and John Gielgud for Miramax / HBO, USA

Inspector Morse - The Last Enemy (Episode) as Director
Central TV, London. Starring John Thaw and Kevin Whately

Getting Even: A Wimp's Revenge as Director
After-School Special for ABC TV, Network USA. Starring Adolph Caesar, Jon Rothstein, and Marisa Berenson

Samson and Delilah as Co-Producer
Short Film (27 mins), Directed by Mark Peploe, starring Bernard Hill, Lindsay Duncan
National Film Finance Corporation / Flamingo Pictures

Every Picture Tells a Story as Director
Film on Four, Channel Four TV (80 mins)
Produced by Christine Oestreicher, Written by Shane Connaughton
Starring Alex Norton, Phyllis Logan

James Scott Garner Biography: Age, Net Worth, Wife, Children, Parents, Siblings, Career, Movies, Awards, Death

James Scott Garner, originally born as Bumgarner on April 7, , and passed away on July 19, , was a well-known American actor. He had prominent roles in numerous movies, including The Great Escape () alongside Steve McQueen and The Americanization of Emily ().

He also appeared in television series, playing memorable characters like Bret Maverick in the s Western series Maverick and Jim Rockford in the s private detective show, The Rockford Files.

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  • Full Name: James Scott Bumgarner
  • Other Name: James Garner
  • Date of Birth: April 7,
  • Age:

    James Scott

    James Sylvester Scott (February 12, – August 30, ) was an African-Americanragtimecomposer, regarded as one of the three most important composers of classic ragtime, along with Scott Joplin and Joseph Lamb.[1]

    He was born in Neosho, Missouri to James Scott Sr. and Molly Thomas Scott, both former slaves. In his family moved to Carthage, Missouri, where he attended Lincoln High School. In he began working at the music store of Charles L. Dumars, first at menial labor, but before long demonstrating music at the piano, including his own pieces. Demand for his music convinced Dumars to print the first of Scott's published compositions, "A Summer Breeze", in [1]

    In he moved to St. Louis, Missouri, where Scott Joplin introduced him to publisher John Stillwell Stark. The first Scott rag that Stark published, "Frog Legs Rag", became a hit, and Scott became a regular contributor to the Stark catalogue. In Scott moved to Kansas City, Missouri, where he married Nora Johnson, taught music, and accompanied silent movies.[1][2]

    With the arrival of sound movies, his fortunes declined. He lost his theater work, his wife died without child, and his healt

     

    THE LAST OF ENGLAND
    England and US | | colour | 30 mins

    Photography by Antar Abderrahman, James Scott
    Associate Editor: Robert Welkner
    Original Score composed and performed by Jim Howard
    Additional Music: “Westminster Waltz” by Robert Farnon, “Dambusters March” by Arnold Coates
    Conceived, directed, and produced by James Scott


    Like an embryo dividing, the project now became two pieces. The flag had asserted itself so clearly, there was no way for me, nor need anymore, to append the Sisyphus tiles or the figurines. This new piece would be like a brother or a sister. An accompaniment. The tiles would cover the entire area. But now I was left with the question, “what would the tiles be set in?”  This was soon answered as I explored the different mediums. I was looking for something thick, impasto, where the tiles could be embedded. In terms of color, I was looking for an all-embracing background that would give cohesiveness to the tiles. And then as I worked on this surface again, I began to treat it as though it was the receptacle of fossils, imprints, impressions from long ago. Bringing back the circle was still my concern, but now I saw the circle mor

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