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Paul Jones (1901–1968) was an American film producer. His major work was done for Paramount Pictures. Career. Jones produced films directed by Preston Sturges and those featuring Bob Hope, Dean Martin and Jerry Lewis. He also produced the Red Skelton comedy A Southern Yankee (1948) for Metro-Goldwyn-Mayer. External links. Paul Jones at IMDb
Paul Jones' career began as an assistant director in 1929, and he soon graduated to screenwriter and associate producer at Paramount by the mid-'30s. He hit his stride, though, as a producer of comedies, and was responsible for several Preston Sturges films, many of Bob Hope's most enjoyable comedies, and some of Dean Martin's and Jerry Lewis' best films.
Paul Jones. Producer: Sullivan's Travels. Paul Jones' career began as an assistant director in 1929, and he soon graduated to screenwriter and associate producer at Paramount by the mid-'30s. He hit his stride, though, as a producer of comedies, and was responsible for several Preston Sturges films, many of Bob Hope's most enjoyable comedies, and some of Dean Martin's and Jerry Lewis' best films.
Paul Jones. Soundtrack: The Gentlemen. Paul Jones was born on 24 February 1942 in Portsmouth, Hampshire, England, UK. He is an actor and composer, known for The Gentlemen (2019), The Boat That Rocked (2009) and The Princess Diaries (2001).
Paul Jones (born Paul Adrian Pond, 24 February 1942) is an English singer, actor, harmonicist, radio personality and television presenter. He first came to prominence as the original lead singer and harmonicist of the rock band Manfred Mann (1962–66) with whom he had several hit records including " Do Wah Diddy Diddy " ( UK #1, US #1) and " Pretty Flamingo " (UK #1).
John Paul Jones (born John Baldwin; 3 January 1946), is an English musician, songwriter, and record producer who was the bassist and keyboardist for the rock band Led Zeppelin. Prior to forming the band with Jimmy Page in 1968, he was a session musician and arranger .
Nov 6, 2014 · Cannes, France – It requires a certain amount of cinematic gear-shifting to jump from film to film here at the Cannes Film Fes¬tival. During the last few days, for example, I’ve seen Federico Fellini’s bizarre new study of feminism, Bertrand Tavernier’s thoughtful portrait of a young schoolteacher in Lyon, a Canadian thriller named “Double Negative,” and the British punk rock heroes, the Sex Pistols, in “The Great Rock and Roll Swindle.”
