Southan morris biography of donald
The award-winning Artist of the Year series is an incredibly complex production with very different demands on the crew and the artists. We sit down with Director Southan Morris to get his take on the action, starting with Portrait Artist of the Year, just weeks before filming the new 2020 series begins.
“When it comes to Portrait Artist of the Year surprisingly the most challenging aspect was getting right the iconic set. We wanted something bold that immediately makes a statement, but it also had to be workable for the competing artists. For the first-ever series, we spent months in pre-production working through different permutations and then rehearsing in different shapes and spaces. We eventually settled on a round set, which divided into 3 sections. That allows for one sitter and three artists in each section. When we are shooting set pieces within our set it can become tricky because you can have a presenter and sitter looking outward and artists looking inward. The cameras at this stage will be working on an arc, so you have to be very mindful of sightline issues. We’ve also had to accept that sometimes we capture crew-members and their kit in the back of shot. So, during these set pieces I need to be structured about the approach, but mindful that the flow of the day isn’t lost.
One of the unique things about both productions is allowing the audience ‘in’ on set. It’s such an important part of the programme because their enthusiasm is infectious, which adds to the drama of the day. The show is now so popular that we have some fans who come along on several days in a row. This can cause problems in the edit when the same people keep popping up in the back of shot. We have to discreetly and politely ask them to move!
We asked Southan how watching a celebrity ‘sit still’ combined with ‘watching paint dry’ makes for an entertaining programme….
Morris earned a Ph.D. in philosophy from Southern Illinois University, Carbondale (dissertation: John Dewey and the Behavioristic Context of Ethics) and a Masters in Taxation from DePaul University, Chicago. He is Professor Emeritus of Accountancy at the University of Illinois Springfield, (retired CPA and Certified Fraud Examiner). He has taught graduate or undergraduate courses in ethics, taxation, financial accounting, fraud examination, business ethics, logic, and philosophy, including classes at the Marion (IL) Federal Penitentiary. Before embarking on his teaching career, he spent 18 years as a practicing CPA in the Chicago area. His books include Economic Inequality: Utopian Explorations (Peter Lang, 2024); Taxation in Utopia: Required Sacrifice and the General Welfare (SUNY Press, 2020); Tax Cheating: Illegal—But Is It Immoral? (SUNY Press 2012), named the ForeWord Book of the year Silver winner in Political Science in 2013; Opportunity: Optimizing Life's Chances (Prometheus Books 2006). He has published articles in business ethics, philosophy, taxation, and utopian studies. Don Morris is Professor Emeritus of Accountancy at the University of Illinois Springfield. His career has been divided between his CPA practice and teaching. His teaching career began at John A. Logan College in Carterville, Illinois where he taught philosophy, ethics, and logic from 1972–1979, including extension classes at the United States Penitentiary at Marion. From 1980 to 1997 he worked as Certified Public Accountant in the Chicago area, including ten years as owner of a CPA practice specializing in tax planning and compliance for small businesses and entrepreneurs. In 1997 he sold his CPA practice and returned to the classroom teaching courses in taxation, accounting, fraud examination, and business ethics at Eastern New Mexico University until 2006 and then at the University of Illinois Springfield until 2014. Morris has published numerous articles on taxation and business ethics.
It’s interesting that you say “sitting still” because quite a few of our sitters co
His academic training includes a PhD in Philosophy from Southern Illinois University and a Master's in Taxation from DePaul University, Chicago.
Documentary on Gerry Goffin, Carole King’s Songwriting Partner and Ex-Husband, in Production (Exclusive)
And it’s hard to think of a more vivid example of that syndrome than Gerry Goffin, Carole King’s late ex-husband and longtime writing partner, who was responsible for the lyrics of such timeless songs as “Will You Still Love Me Tomorrow?,” “You Make Me Feel Like a Natural Woman,” “Up on the Roof,” “The Loco-Motion,” “One Fine Day” and dozens more — he wrote the lyrics for a total of 114 Billboard Hot 100 hits for artists including Aretha Franklin, Barbra Streisand, Diana Ross, Rod Stewart, Natalie Cole, James Taylor, Ray Charles, Whitney Houston, Kylie Minogueand of course, King.
Goffin’s story will finally be told in “Will You Still Love Me Tomorrow?,” a documentary — named after his and King’s first-ever No. 1 hit, written in 1960 when he was 20 and...
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