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  1. Peter Rader is a writer, director, producer, cinematographer, and editor who has worked for Hollywood’s leading film and television studios over a career spanning three decades. The author of Playing to the Gods and Mike Wallace: A Life, he has mentored writers and taught classes and workshops at the Los Angeles Film School, the California State University system, and Harvard University. He ...

  2. Di Florio is married to filmmaker/author and Counterpoint Films partner Peter Rader, and is the proud mother of their two sons, Matteo and Luca. Peter Rader director: creative/business affairs. Peter Rader has worked as a film and television writer for 20 years. His first script, Waterworld, was produced by Universal in 1995.

  3. Jan 30, 2023 · Dan Rader is a Professor at the Perelman School of Medicine at the University of Pennsylvania, where he conducts translational research on lipoprotein metabolism and atherosclerosis with a particular focus on the function of high-density lipoproteins (HDLs).

  4. Weather Near St. Peters: Rain? Ice? Snow? Track storms, and stay in-the-know and prepared for what's coming. Easy to use weather radar at your fingertips!

  5. Jul 24, 2017 · Back in the mid-80s, Peter Rader was a young graduate who wanted to break into the film industry. According to Rader, it was during a meeting with Roger Corman in 1986 that the seed for Waterworld ...

  6. Aug 13, 2019 · Peter Rader is a writer, director, producer, cinematographer, and editor who has worked for Hollywood’s leading film and television studios over a career spanning three decades. The author of Playing to the Gods and Mike Wallace: A Life , he has mentored writers and taught classes and workshops at the Los Angeles Film School, the California State University system, and Harvard University.

  7. Aug 21, 2018 · A filmmaker and screenwriter’s biographical account of two 19th-century theater divas and their fabled feud. As Rader (Mike Wallace: A Life, 2012) notes, before the rise of French acting superstar Sarah Bernhardt (1844-1923) in the 1860s, popular theater was little more than a vaudevillian “social experience.”