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Bookings & signings

Below-the-line agents find work for clients

Gersh signed comedy editor Debra Neil-Fisher (both “Hangover” films), line producer Jared Ian Goldman (“Summer at Dog Dave’s”), production designer Elizabeth Jones (“Damsels in Distress”) and editor Jason Gourson (“Bucky Larson: Born to Be a Star”). Agency booked production designers Julie Berghoff on James Wan’s “The Conjuring,” Richard Bridgland on Noam Murro’s “300: Battle of Artemisia,” Claude Pare on Thor Freudenthal’s “Percy Jackson and the Olympians: Sea of Monsters,” William Arnold on Rob Epstein and Jeffrey Friedman’s “Lovelace,” Sharon Lomofsky on History Channel’s “The Men Who Built America,” Cory Lorenzen on Fox’s “Breaking In,” Richard Sherman Richard Lagravenese’s “Beautiful Creatures,” Mark Digby on Ron Howard’s “Rush” and Elizabeth Jones on Alex Mar’s “The Pines.”

Gersh also booked d.p.’s Stuart Dryburgh on Peter Webber’s “The Emperor,” Jonathan Freeman on HBO’s “Game of Thrones,” Shelly Johnson on Simon West’s “Expendables 2,” Francis Kenny on FX’s “Justified,” Alwin Kuchler on Robert Schwentke’s “R.I.P.D.,” Don McAlpine on Gavin Hood’s “Ender’s Game,” Gregory Middleton on AMC ‘s “The Killing,” Teodoro Maniaci on CBS’ “Person of Interest,” Igor Martinovic on Laurie Collyer’s “Sunlight, Jr.,” Edward Pei on the indie “To Have and to Hold,” Frank Prinzi on Hallmark Hall of Fame/ABC’s “Crew Six” and Matthew Clark on Don Scardino’s “Burt Wonderstone.”

Gersh booked costume designers Tom Broeker on NBC’s “30 ROCK,” Daniel Lawson on CBS’ “The Good Wife,” Beatrix Pasztor on Mike Newell’s “Great Expectations,” Salvador Perez on Jason Moore’s “Pitch Perfect,” Jacqueline West on Sergei Bodrov’s “The Seventh Son” and Delphine White on BBC’s “Copper”; and editors Amy Duddleston on AMC’s “The Killing,” Art Jones on Lifetime pilot “This American Housewife,” Michael Lahaie on AMC’s “JJK Security,” Mary Reticker on NBC’s “30 Rock,” Aaron Yanes on Sebastian Corder’s “Europa,” Sam Bauer on Matty Beckerman’s “Brown Mountain Abduction” and Thom Noble on Rob Cohen Jr.s’

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