Marcus Burnette

Marcus Burnette

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Most Known for...

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N/A N/A (7.8)

A self-proclaimed "pesky atheist" is encouraged to help strangers by someone claiming to be God who friends him on Facebook.
Marcus Burnett

Marcus Burnett

N/A

N/A

Most Known for...

Movie Picture

Shaun the Sheep: Party Animals 2010

There's no disguising the fun with Shaun the Sheep™ and his barnyard buddies in this party-fest of wild wackiness from the Oscar®-winning creators of Wallace & Gromit™. The farm is once again party central as Shaun, Bitzer, Timmy, and those Naughty Pigs cause all sorts of mayhem, from flying cue balls and pillow fights to nights of disguise and intrigue. Grab your invitation to laughter for some sheepherding fun that's sure to rock the flock!
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Shaun the Sheep: Shear Madness 2012

It’s madness in the meadow with Shaun the Sheep™ and his flock of mischievous merrymakers! Shaun expertly stops the pigs from running amuck and turning the farm into a porky paradise. He amuses his friends when he falls head over hoof for a beautiful stranger, and demonstrates what happens when curiosity gets the sheep after a hot air balloon lands and causes mayhem in the meadow. From the farm, to outer space and everywhere in between, Shaun and his barnyard buddies know how to have a woolly good time!
Marcus Burnett

Marcus Burnett

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Most Known for...

Movie Picture

The Revolution of Everyday Life 2010

In this film 9 women record themselves being alone. At times they get together as an experimental arts collective hotly debating the value of their private work and whether to do public performances. Two of them fall in love. One becomes obsessed with the other and simultaneously imagines an idealized love while the other wants her to find the revolutionary part of herself. Revolution of Everyday Life is a document of actresses playing actresses who play characters that fall in love. It is at the same time a love story that happens in the realm of fiction and in the realm of recorded reality. The result is a documentary film within a fictional one. The film becomes a site not for representation but discovery. It is a structure for things to happen, it becomes the site for performing, not acting, not re-presenting desire, but to enact it - it is a longing for politic of desire and an expression of its urgency.