A work in constant progress (and occasional regress).
Alias:
Jennifer L. Booth
Jennifer Booth is a film and television physical production executive and producer. Notable films she has worked on include La La Land, the Oscar-winning musical, and John Wick, the well-loved action franchise. Booth has managed productions of all scales, from independent gems like Akeelah and the Bee and Strangers with Candy to large-scale studio projects and high-end television productions such as Marvel Studios' She-Hulk: Attorney at Law and Secret Invasion. Booth earned her Bachelor of Arts in Visual Arts, with a specialisation in Film/Video and Photographic Arts, from the University of California, San Diego, in June 1994, having studied there from 1989 to 1994. She began her professional journey as Head of Production at King Size Entertainment from 2000 to 2003, where she oversaw production for the independent film company and line-produced their films. Between 2005 and 2013, she worked as a self-employed producer and unit production manager on a wide range of independent and studio features, further sharpening her expertise in both creative collaboration and logistical execution. In November 2014, Booth joined Lionsgate as Executive Vice President of Production, a role she held until March 2020. During her tenure, she contributed to the studio's robust slate of features, ensuring projects were executed at the highest level. She then moved to PICTURESTART as Executive Vice President of Production from March 2020 to December 2020, where she oversaw physical production and post-production for both film and television. There, she developed streamlined production pipelines, created production plans, and coordinated with creative teams and studio partners to deliver projects efficiently and with artistic integrity. She joined Marvel Studios in December 2020, serving as Vice President of Physical Production until July 2023. At Marvel, she oversaw physical production on several streaming series, developing production strategies that balanced Marvel's high creative standards with practical considerations such as tax incentives and budget constraints. Her work included hiring key department heads and managing teams across all phases of production.
Co-Producer:
2004 The Heart Is Deceitful Above All Things
2006 Crossroads
2014 Addicted
Executive Producer:
2004 The Heart Is Deceitful Above All Things
2006 Crossroads
2014 Addicted
2025 Another Simple Favor
Line Producer:
2004 The Heart Is Deceitful Above All Things
2005 Extreme Dating
2006 Crossroads
2009 Halloween II
2014 Addicted
2025 Another Simple Favor
Production Manager:
2004 The Heart Is Deceitful Above All Things
2005 Extreme Dating
2006 Crossroads
2006 Madea's Family Reunion
2009 Halloween II
2014 Addicted
2025 Another Simple Favor
Production Supervisor:
2004 The Heart Is Deceitful Above All Things
2005 Extreme Dating
2006 Akeelah and the Bee
2006 Crossroads
2006 Madea's Family Reunion
2008 Disaster Movie
2008 The Burrowers
2009 Halloween II
2014 Addicted
2017 The Shack
2025 Another Simple Favor
Still Photographer:
2000 Poor White Trash
2004 The Heart Is Deceitful Above All Things
2005 Extreme Dating
2006 Akeelah and the Bee
2006 Crossroads
2006 Madea's Family Reunion
2008 Disaster Movie
2008 The Burrowers
2009 Halloween II
2014 Addicted
2017 The Shack
2025 Another Simple Favor
Unit Production Manager:
2000 Poor White Trash
2004 The Heart Is Deceitful Above All Things
2005 Extreme Dating
2006 Akeelah and the Bee
2006 Crossroads
2006 Madea's Family Reunion
2008 Disaster Movie
2008 The Burrowers
2009 Halloween II
2014 Addicted
2017 The Shack
2025 Another Simple Favor
Co-Executive Producer:
2022 She-Hulk: Attorney at Law
2023 Secret Invasion
2024 Echo
2025 Ironheart
Co-Producer:
2014 Farmed and Dangerous
2022 She-Hulk: Attorney at Law
2023 Secret Invasion
2024 Echo
2025 Ironheart
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.