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A graduate of
Northwestern University, PAUL MASON (Executive Producer) has
twice been awarded Fame Magazine’s Critic Award for writing
and producing the best television detective series (McMillan
and Wife), has been nominated for the Emmy for best
television series, (Ironside), and produced the series
which won the first Image Award from NAACP, (Ironside).
As Senior
Vice-President of Production at Viacom and Showtime for the last
10 years, Mason was responsible for $300 million dollars in
annual production. He analyzed costs for all projects produced
by Viacom Production, set the financial guidelines in accordance
with the finance department, hired the necessary personal to
produce the projects and supervised them to completion. During
his ten years at Viacom his actual results were within plus or
minus 1% of his estimates.
Mason recently
served as executive producer on the remake of The Amityville
Horror which was the last film released by MGM, prior to its
purchase by Sony. At Viacom, Mason, as Senior Vice President of
Production, supervised the television series, Diagnosis
Murder, Sabrina The Teenage Witch, ED, The Beat, City Lights,
The Chris Isaak Show, Resurection Blvd, Oz, Hoop Life, Lincs and
Matlock, among others.
On the
television movie and pilot front, he supervised The
Contender, Airtight, Avalon, Sabrina Goes to Rome, Sabrina Down
Under, Disciples, Inferno, Silencing Mary, Bouncers, Ghosts of
Fear Street, Alibi, Fast Company, Gramps, Brothers of the
Frontier, My Very Best Friend, Journey to Mars, Perry Mason
Mystery Movies, Ray Alexander Mystery Movies, Sin and
Redemption, Desperate Journey, and others.
In 1990, Mason
developed and established the Original Movie Division under
President of Showtime movies, Fred Schneier – the product of
which included Keeper of the City, Nails, Devlin, The Fear
Inside and Scam.
As an Executive
Producer or Producer, Mason’s credits include Where
Sleeping Dogs Lie, Nickel and Dime, Ski Patrol, Ghosts Can’t
Do It, Tender, Kansas, Full Moon in Blue Water, For Better or
Worse, Committed, Teen Witch, I, Madman, Seven Hours to
Judgment, Out on Bail, Killer Klowns from Outer Space, The
Further Adventures of Tennessee Buck, The Wild Pair, Programmed
to Kill, Survival Games and California
Kid.
Mason was also
the producer-writer on The Ladies Club, served as
co-executive producer on Fall Guy and Manimal, and
supervising producer on CHiPs.
Mason began his
executive career as Vice President in Charge of Development for
David L. Wolper, where he worked on Chico and the Man, Roots
and Man,
Myth and Monsters.
In addition to
his award-winning work on McMillan and Wife and
Ironside, Mason also wrote and produced for the classic
Robert Wagner suspense series, It
Takes a Thief
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DAVID WORTH (Director) believes
that his passion for cinema began during high school, when he
was inspired by a viewing of Orson Welles' Citizen Kane.
"I knew that I wanted to become a filmmaker and somehow I
had already taken the first step..."
Majoring in Motion Pictures at UCLA, he gained hands-on
experience in writing, photographing, directing and editing,
while screening and studying every film he could find, from D.W.
Griffiths’ Intolerance to Stanley Kubrick's 2001.
Influenced by the European New Wave filmmakers, Worth eventually
picked up a camera and began pursuing small independent
features. He was frequently hired as a Cinematographer / Editor,
but found himself doing everything from treatments, scripts,
budgets and production boards, to casting, crewing, storyboards,
second unit and production supervising.
Eventually gaining a reputation as a Director of Photography who
could deliver a quality look on a modest budget, earned him the
attention of Clint Eastwood. "I consider the year that I
worked with Clint to be my PhD in filmmaking… We had an
excellent rapport from day one, because we both loved the films
of John Ford and hated the thought of wasting any time or
money..." Their first feature together, Bronco Billy,
came in two and a half weeks under schedule, largely due to
Worth’s lighting technique, which saved the production over a
million dollars! It also became one of the most
critically-acclaimed Clint Eastwood films ever. Their next
feature, Any Which Way You Can, received the Academy of
Country Music Award as Picture of the Year and also became one
of the top grossing films of the decade for Warner Brothers.
Later, he photographed Bloodsport then directed Kickboxer.
Both films combined cost under 5 million dollars to
produce; still they became martial arts classics, launched the
career of Jean-Claude Van Damme and did astounding grosses
worldwide.
After teaching filmmaking at UCLA, directing episodic
television, photographing and directing the thrillers Tim
Lapse with Roy Scheider and The Prophet’s Game with
Dennis Hopper, Worth admits to bringing a fist full of
experience to any production. Having worked with indigenous
crews all over the world, from Sweden, South Africa, South
America, Italy and Mexico; to Hong Kong, Thailand, Macau,
Indonesia, Israel and Bulgaria, he believes that with today's
technology, quality films can be made anywhere. He recently
became a Canadian resident and is actively planning productions
there.
Worth’s ongoing vision includes: "Directing and/or DP-ing
wherever the bottom line makes sense, exploring a variety of
genres and styles, experimenting with new media and trying to
locate great material…" Whether it’s working on big
budget studio features, small independent films, martial arts,
family dramas, thrillers, episodic television or teaching, he’s
been there, done that and has the tee shirts. His motto
continues to be…"Have director’s finder and light
meters, will travel…"
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DAVID OMAN (Producer/Creator/Co-Writer) is not only
responsible for creating the story of House at the End of
the Drive, but he’s supplying his dog Sebastian as a
co-star, and he’s financing the film himself – a calculated
risk for someone making his feature film producing debut. But if
you ask him about that risk, he’ll simply say he’s on a
mission that will succeed.
A native of Los Angeles, and the son of a prominent LA real
estate developer and builder, Oman attended Beverly Hills High
School with his House at the End of the Drive
screenwriter Jim Vines.
He attended both Menlo College in Northern California and USC,
but dropped out of school to work. Following a two-year stint as
a page for ABC, he helped a friend serve a subpoena, which led
him into a 12 year career as a skilled private investigator,
specializing in fraud and divorce cases.
Picking up the entrepreneur gene from his father and the
business acumen from his mother, Oman left the investigative
business in 1998 to open a unique fast delivery ribs and chicken
restaurant called "Ribs USA." He then used his
experience to produce a video entitled, The Original Bachelor’s
Barbecue Show," an instructional video that offers
expert help in developing the barbecue experience into high
culinary art.
After a stint as an executive responsible for developing studio
connections for the first wave of video on demand services, Oman
started helping his father build a house on Cielo Drive – what
would become the house featured prominently in House at
the End of the Drive. While building the house, Oman also
pursued acting work, making his starring debut in The Spirit
World (he had previously appeared in small parts in Back
to School, Rules of Engagement and
Snow Falling on Cedars).
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JIM VINES
(Writer) is a native New Yorker who grew up in Los Angeles
and attended Beverly Hills High School with House at the End
of the Drive producer David Oman. His father, Lee Vines, was
one of the top names in the voice-over business of the 1950s and
1960s (he was the voice of Password and Hallmark Hall of Fame)
and his mother, Lillian Wells, was a fashion model and a starlet
at Columbia Pictures.
Vines developed his interest in the film business by writing,
producing, directing and acting in many student films and TV
productions in high school.
Surviving on the wages he made as a waiter, still
photographer, stuntman, and movie studio security guard, Vines
continued to write, selling his first script, The Perfect
Tenant, in 1997. (The movie was ultimately produced two
years later. It starred Maxwell Caulfield, Linda Purl and Earl
Holliman.)
The opportunity of House at the End of the Drive grew
from his previous relationship with producer David Oman, who was
determined to turn the controversial paranormal history of his
own new house into a feature motion picture.
Vines, who is also a script consultant, presently has several
movie projects in development.
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