The Waiting Room Debuts Nationally
The Waiting Room, a documentary produced by our very own board member Bill Hirsh, has received rave reviews from critics across the country. The thought-provoking film weaves the stories of several patients, as well as the hospital staff at Highland Hospital in Oakland, CA, as they cope with the complexity of the nation’s public health care system.
The Waiting Room opened in New York City and Los Angeles last month. Starting today, the film will be playing throughout the San Francisco Bay Area, and will reach D.C., Seattle, and other cities in the coming month. The Waiting Room has received favorable reviews from leading publications including the New York Times, Washington Post, and New York Magazine. Yesterday, the San Francisco Chronicle published an outstanding review of the film. Here’s an excerpt from critic Mick LaSalle’s article:
“To watch The Waiting Room is to wish it would never end. This is human drama at its most intense and universal. The rare film that can change the way you think and see the world."
The Waiting Room team hopes the film will put a human face on the uninsured and help bridge the social, political, and cultural divide that separates the country on the health care. The film is intended to facilitate a more meaningful conversation about the kind of health care system Americans want and need.
We’re so proud of Bill and The Waiting Room team for encouraging a dialogue about one of the most important issues in our country. To check your local listings, visit: http://www.internationalfilmcircuit.com/twr/playdates.html.


Donate to Martha's Vineyard Film Festival
Find out more about the festival at tmvff.org
THE 22ND ANNUAL MARTHA'S VINEYARD FILM FESTIVAL is May 18-22, 2022. The Martha's Vineyard Film Festival connects the community through events, educational programs, and film production. The organization celebrates diverse artists and cultivates their power to transform lives and strengthen the cultural health of Martha’s Vineyard and beyond. This year, Martha's Vineyard Bank will match $7500 of the total amount donated through the Lift Store.


All of these combined made her extremely popular in China and all the world over. The listing above is what KnowInsiders gather relying on many elements. I’m certain that there are numerous beautiful and sexy women in China that we haven’t point out yet, so be at liberty to let us know in the comment part below. If you feel fascinated on this article, please like, share and follow KnowInsiders for extra.
Beside acting in many profitable films, Zhang has appeared in Elle and different magazines. In June 2009 she was a “guest of honor” at the Montblanc Arts Patronage Awards ceremony.
She was one of many actresses to be spotted by Stephen Chow when she was seen in one of many adverts. She was supplied the function of a young trainer within the movie CJ7, which was a success in China. She rose to prominence due to her roles in My Own Swordsman. She was also well-liked for her roles within the TV series Lurk.
She’s mainly recognized for her portrayal of Mrs. Yuen in the CJ7, which was a breakthrough. She was also well-liked for her role within the film The Mermaid, launched in 2016. After her success in Peacock, she took roles in movies like Seven Swords, Huayao Bride in Shangri-la, and Jade Warrior. She continued to receive accolades and nominations for her acting hottestchocolate.com/hot-chinese-women abilities. Zhang won the China Film Media Award for Best Actress in 2005 for her role in Peacock. This movie was additionally proven at the Berlin International Film Festival, the place she gained the Silver Bear for her unbelievable efficiency making her well-liked.
The fantastic thing about this Chinese girl is not solely observed by TV cameras but also by massive brands and thousands of followers on Instagram. The importance of natural magnificence can’t be overrated within the minds of Chinese sizzling girls. Like most ladies all over the world, these girls will gladly placed on a classy look and experiment with make-up and hair colors.
Moreover, she achieved some success as a singer who released 2 albums. Terry is our high writer and the particular person behind most of our site’s content material, including guides, reviews, and tips.
As an actress, she mostly acted as a very seductive, sexy, and tempting characters. With a slim physique, fairly superb breast dimension, and great expertise as an entertainer, it is impossible to not include her as one of the hottest Chinese fashions and actresses on the planet 2020. Bianca Bai, born in 1982 is one of the most respected female actress in East Asia. The Taiwan-born actress was already known as a well-known mannequin as quickly as she graduated from highschool. She was a fairly remarkable model, earlier than finally deciding to shift her career to be a film actress. She was nominated in 2010 for Best Leading Actress in a Television Series at the forty fifth Golden Bell Awards for her role in. She won seven worldwide awards along with her position in Crouching Tiger Hidden Dragon.
It is given to them by their mothers and handed on to their offspring. Chinese women place a excessive priority on their families and will go to great lengths to make sure their consolation and comfort. Zhou Dongyu portrays Chen Nian (陈念), an introverted high school scholar whose solely focus is getting a great score on the national school entrance examination, on which her future destiny hinges. However, after certainly one of her classmates committed suicide, she became the target of relentless bullying. With many different roles flooding in, it didn’t take lengthy for Zhao Liying to succeed in stardom following the success. Ni starred in the fantasy romance dramaLove and Destinywhich revolves across the love story between God of War Jiu Chen (九宸), and a young fairy maiden named Ling Xi (灵汐). Ling Xi, played by Ni Ni, by accident woke up Jiu Chen who had been sleeping for fifty thousand years after he sealed the demon lord away, and went through numerous struggles to achieve happiness.


Embassy Films is the premiere production services resource for companies who wish to shoot film, tv and commercials in Croatia, Slovenia, Montenegro, Bosnia and now in the US. We believe the power of collaboration is the key to producing great work and we are dedicated to supporting filmmakers with everything they need to make art, move hearts and blow minds. We are Embassy Films.
With offices throughout the region we offer the highest quality support to every kind of production anywhere in the area. With the best film-crews around that worked on major productions and Game of Thrones for six years running, with longstanding relationships with vendors and a staff that is passionate about filmmaking.
Now with an office in Los Angeles we are able to coordinate US-Croatian productions more efficiently and also offer production-services for our European and Asian Clients who wish to shoot in the US.
Embassy Films was founded in 2003 with a vision of its founder to open a service company in Croatia that would cater solely to foreign productions.
Embassy cleared a path for productions from all over the world to discover the value of Croatia’s diverse locations.
Working with major international productions and with an office in Los Angeles we offer seamless bidding and production coordination as well as U.S. production services for Europe and Asia.
Our focus is always to provide flawless production service work. Our dedication to make every shoot day the best shoot day eventually resulted in welcoming clients such as BBC, NBC, HBO and the Game of Thrones who have returned year after year to Croatia. Or as they call it, “Our home away from home”.
Take a look at our site and consider us for your next project to work with team that brings back the love and passion of old school film making.


I think my partner and I called this wholesome at least seven times over the course of the film. It was so good! I love Kiki; I love Jiji; I love the cast of characters whom are all universally warm and kind-hearted. I love flying as a motif, and even though the true arc of the movie (Kiki’s self-assuredness) came to a natural end I could have spent an entire series watching Kiki bop around this lovely world.
It’s tempting to compare this to Totoro, given that I watched it for the first time so recently as well. Totoro definitely hit me harder, and I think the purity and moral at the center of it is more potent; but unlike, say, the Pixar canon, it’s not that Kiki was a slightly lesser version — it had a completely different ambition and message.


Our YOUNG ACTORS SUMMER WORKSHOPS take place every July and August.
During the workshops students take part in various drama and acting games and activities, all the while working towards their own short film.
At the start of each day we lead the students through a vocal and physical warm up along with drama warm up games in order to prepare them physically and mentally for the day ahead.
During the week students will learn the fundamentals of acting and performance whilst preparing for acting in front of the camera. They can also enjoy other activities associated with creating a short film. During the workshops we will focus on character building, improvisation, environments, emotions, script writing, team work, confidence, acting for camera and much more.
At the end of the week students will act in their very own short film. The films will be shot using professional equipment under film set conditions. During filming students will have the opportunity to learn more about the world of filmmaking and working on a set. After the workshop is completed the footage will be edited using Final Cut Pro and each student will be sent a copy of his or her work upon completion.


New Promo of IPKKND…Aaaah,*Dead*
IPKKND - 28th May 2012 ‘On Location’ (Arnav Kidnapping & Fan Message)
Khushi : Aap..Aap Kab Aaye?Hamein Toh Patahi Neehi Chala Ki……..
Barun : What’s The Point?
Sanaya : (Laughing)
Uff their SMILE Maardala <3
Mr.Right…….Mrs. Right Is Missing :p
Barun Sobti’s not quitting TV for B’wood
Does he feel like a superstar? “I had no idea that this show ( Iss Pyaar Ko Kya Naam Doon?) would be loved and appreciated so much. But no one knows what clicks with the audience, sometimes some tracks work, some don’t,” he admits.
Like some of his contemporaries, Barun’s soon going to sizzle on big screen in an urban rom-com. “I am doing Main Aur Mr Right with Shenaz Treasury and Kavi Shastri and am thrilled about it,” he says. There were rumours that the dapper young Dilliwala was going to take a break from his show, which had sent his fans in a tizzy. Barun says, “I am going nowhere. I’m shooting in Mumbai for my film and TV show simultaneously. Both the production houses are extremely helpful and I am sure I will be able to juggle between the two.”
No plans of quitting TV then? “Well, playing the main lead role in a daily soap can be very stressful. So every TV actor needs a break from time to time. But I have no plans of giving up TV. In fact, I don’t make long term plans about anything because I don’t want to be called a fool if they don’t work out.”
Barun who shares a fab screen chemistry with co-star Sanaya Irani, was romantically linked up with her. Barun is quick to dismiss them with nonchalance when he says, “Sanaya’s a nice girl. We are very comfortable doing all sorts of scenes. She is quite cooperative and sincere. It isn’t difficult to be friends with her.”
Barun’s known to enjoy a lot of female adulation. Is it a heady feeling? he says “I haven’t really come across any special incidents involving with my female fans, so am not sure about how much my fans love me. In fact, I think my fans are well-behaved.” He also is hailed as one of the most grounded actors on television who hasn’t let success go to his head. Barun laughs ruefully, “I don’t think I am that grounded! I am very excited about all the things happening around me at the moment.”
Television actors don’t want to take professional risks, considering their limited shelf lives. Is that why Barun’s already planning his Bollywood move? “I don’t have any back-up plans. While
acting is risky, not all actors are insecure. If you are insecure as a person, then it is going to show in your professional life anyway,” says Barun.
Barun broke a lot of hearts when he recently got married and yet continues to bask in his new found stardom. On the other hand married actresses find it difficult to retain their stardom. Is the television male chauvinistic somewhere? “Most actresses tend to take a sabbatical post marriage, so one feels that may be they don’t want to take their careers seriously. I haven’t come across many girls who have got married and had no work,” he explains and as he goes on to add, “I don’t think the viewer’s perspective changes after an actress gets married. They like the actress for the character she plays. Not every one in the audience wants to marry a TV star they idolise!”
Married to his childhood sweetheart (Pashmeen Manchanda), the much in love star says, “My wife is cool and sensible. She knows everything about me and my work. In that sense life’s easy. Things haven’t changed between us after marriage, because we’ve been together for a long time. The only
difference is that now we get to spend more time together.”
GIFs from Maha Episode..Already Missing Arnav :(
SARUN Offscreen Masti (Aww,how sweet they are) <3


Got the idea from Watchmojo and decided to put my own sin on things and add some of my own entries, these are basically the characters who help the main characters to realize their own true potential not only including chacratcers from Disney and Pixar movies but also from Disney TV shows.
Jiminy Cricket – Pinocchio
Rafiki – The Lion King
Merlin – The Sword in The Stone
A wizard who makes it his objection to be Arthur’s teacher by educating him on using his smarts as opposed to his strength until Arthur becomes Kay’s squire which infuriates Merlin which leads to an argument between him and Arthur over his future which leads to Merlin blowing himself to Bermuda but eventually returns. – egnomac
John Silver – Treasure Planet
Though Silver is technically the villain in many ways he ends up warming up to Jim Hawkins filling the void as a father figure though his decision to do so causes his crew to question his loyalties. – egnomac
Genie – Aladdin
The Genie is a jinn appearing in the Aladdin franchise from Disney. He is never given a proper name. He was portrayed by Robin Williams in the first film.
Dodger – Oliver & Company
Though Dodger and Oliver’s first meeting was a bit rocky eventually Dodger welcomes him into the gang and give him his first sense of a real family which kind of hurts Dodger after he and the others rescue Oliver from Jenny’s house and Oliver stating that he finally found a real home and him feeling that Oliver is being ungrateful especially since he took him in and made him a part of the gang. – egnomac
Tadashi Hamada – Big Hero 6
Tadashi Hamada is a fictional character who appears in Walt Disney Animation Studios’ 54th animated feature, Big Hero 6. The film is inspired by a Marvel comic book of the same name.
Hiro’s brother who convinces him to use his smart mind for greater purposes than using them for illegal robot fights and introduces him to the research lab at his university where his other friends who are also working on their projects and even shows him Baymax Tadashi’s invention for medical assistant. – egnomac
8 Fairy Godmother – Cinderella
Doc Hudson – Cars
In the beginning Doc really didn’t like Lightning McQueen mostly of what he represented as a hot shot racer caring only about winning trophies and breaking records its not until later where its revealed that Doc was once a racer like Lightning but was in an accident and after finally being put together was tossed aside and have another racer take his place and later Lighning really takes in everything Doc said about him only caring about himself and no one else, and in Cars 3 Lightning even starts to feel just like Doc realizing that his racing days are numbered. – egnomac
Luong Lao Shi – American Dragon Jake Long
Though Jake’s grandfather is a bit of a hot tempered old man who’s methods of teaching Jake to control his dragon powers are questionable at best its only because he’s aware of the dangers that Jake will have to face as his role of the American dragon that he pushes him so that he’ll be ready for what ever comes his way. – egnomac


As a commemorative production for the opening of the Daikanyama Metaverse Studio, “META Kabuki Genji Memories” was streamed live and archived on a virtual space for the first time in Kabuki history.
This is the first Kabuki production to use virtual production (a filming technique that fuses 3DCG backgrounds and VFX with images shot in the real world in real time), and is based on the immortal masterpiece of classical literature, “The Tale of Genji”. The real-time synthesis of the virtual backgrounds of the Heian period and the live-action images of the kabuki actors creates an immersive experience that makes the audience feel as if they are in the Heian period. Kabuki actors Ichitaro Nakamura and Hayato Nakamura will take on this new dimension of Kabuki performance. Nakamura Ichitaro will play the role of the five families and also serve as the general director. Hayato Nakamura takes on the role of Hikaru Genji for the first time in his career.
In addition, the staff of E&H Production, a studio established in 2021 by Seonghu Park, known for directing “GARO-VANISHING LINE-“, “GOH”, and “JUJYUKI KARASEN”, will participate in the production as directors. This is a new type of entertainment that combines Kabuki, virtual production technology, and animation.


Mountain Consulting supports a number of investment propositions each financial year. The investment propositions tend to be “interesting” alternative asset classes which we market through the financial intermediary sector.
Mountain Consulting has provided investment propositions to the intermediary sector since 2012 and are known to the intermediary sector for our projects.
The offers we support are usually tax advantaged through the provision of EIS and SEIS investor benefits.
Our current offers are:
- Showtime Theatre Productions EIS
- New Sparta Film Development Productions SEIS
- Atlantic Screen Media EIS
- RLC Ventures Fund 2
Showtime EIS Offer
SHOWTIME THEATRE PRODUCTIONS is an EIS qualifying company that will produce content for the burgeoning theatre sector. The business of the Company will be to invest in theatre productions where at least 50% of the investment is provided by co- financiers. Showtime Theatre Productions will work closely with partners, including the Ambassador Theatre Group and Universal Music, to co-invest into a number of productions, which are booked to run in The West End and subsequently to tour nationally. The Showtime Theatre Productions EIS provides a diversified range of theatre productions providing full theatre tax credits and full EIS relief to investors.
The first two selected productions are:
- Dolly Parton’s 9 to 5 The Musical, starring Louise Redknapp and Brian Conley
- The Who’s Tommy the Musical
New Sparta Productions Film Development SEIS Offer
NEW SPARTA PRODUCTIONS collaborates with emerging and established filmmakers to develop, produce, and finance a varied slate of feature film projects, unified in their distinctive creative vision, strong commercial potential, and international theatrical appeal. Most recently, NSF co-financed Yorgos Lanthimos’s The Killing of a Sacred Deer alongside Film4, starring Colin Farrell and Nicole Kidman. Previously, NSF financed Juan Carlos Medina’s The Limehouse Golem starring Bill Nighy and Olivia Cooke, Martin Koolhoven’s Brimstone starring Dakota Fanning and Guy Pearce, Catherine Hardwicke’s Miss You Already starring Toni Colette and Drew Barrymore, and Matteo Garrone’s Tale of Tales, starring Salma Hayek, Vincent Cassel, and Toby Jones. New Sparta Productions is part of New Sparta Asset Management, which is the Family Office of Dr Jerome Booth, a well-known economist and leading expert on emerging markets. The New Sparta Productions SEIS provides a diversified slate of SEIS production development opportunities, with full SEIS tax relief benefits.
Atlantic Screen EIS Fund
THE ATLANTIC SCREEN EIS FUND will focus on three clear segments – Music Scores for Film and Television, Comic Books and TV series development. Investment funds will be used to subscribe for shares in companies operating predominantly in these segments of the industry. The aim is to focus on creating portfolios for investors which have asset backing and solid income streams, whilst also benefiting from favourable tax reliefs which are supported by the UK Government.
RLC Ventures Fund 2
RLC Ventures back extraordinary founders and allow them to excel exponentially. RLC’s strategy is to invest in early-stage and scalable tech businesses that will shape the future. RLC invests into the following 6 key verticals: Enterprise; AI; FinTech; PropTech; ImpactTech and Gaming. The RLC Ventures offer is a mix of SEIS and EIS investment opportunities.
For details on all our offers, including IMs, please visit our Investment Offers page.


Today, my older brother and I saw Wind River at our local AMC theater. I went into seeing this film not knowing much about it. To be honest, I was quite shocked that my older brother had picked this somewhat obscure and unknown movie for us to watch. It was a pleasant surprise really, one that I haven’t experienced in a long time. Usually, I know what movies my older brother and I go see, due to the nature of social media and the mainstream media really hitting home the urgency for all of us to “go see the next big movie!”
I’ll begin with my thoughts on the film itself (without spoilers). I’ll be primarily talking about the way foreshadowing was used, and also, how the character development for each character for equally distributed throughout the entirety of the film (minus the minor characters who were there for mere plot device).
To begin, Elizabeth Olsen’s character in the film existed for 2 reasons. The first; was to act as a light comedic relief being that the nature of this film is quite serious and also a bit suspenseful at times. And the second reason, is due to the fact that she’s a “city-girl”, meaning that she was in “new territory”, so to speak. Olsen’s character really was a great bridge for city people to get a glimpse at just how different living in the Midwest, or any large vacant landscape, can be like. It was a humbling reminder that life outside of the city is more reliant on reality instead of consumerism. Resources are scarce (in terms of “back-up”, which if you’ve seen the film, you’ll know what I mean), and also the vast sense of ambiance the film portrayed both beautifully and hauntingly at times. It was a nice getaway from our modern-city living, and it helped me to really put things back into perspective.
The main character, played by Jeremy Renner, is quite the lead man for the movie. He plays such an integral part of the overall film, and it’s awesome to see that his character is such a relatable man. Usually in a lot of modern-day films, the lead man is unrealistic in the way that they are portrayed. Even in a lot of suspense movies nowadays, many of the lead actors do unimaginably tricky stunts that just seem so over-the-top ridiculous, that it can be quite hard for audience members to find common ground with such acrobatic and action-packed moves. But with Renner’s character in Wind River feels so honest and natural, that it’s hard not to relate with a lot of his struggles in life as a man trying to do his best to help his community out.
I found that this film’s chief triumph lay in the way the director portrayed these seemingly normal, everyday people in such a believable light. Often times, the “glitz and glamour” of Hollywood ruins the sense of genuine authenticity, that a lot of so called “Indie Films” are often times lacking in the connection department with their audience members.
With Wind River, everything just falls so gracefully into place. The whole ensemble just feels incredibly satisfying and refreshing.
Some of the secondary characters were also portrayed wonderfully. It was hyper-realistic at points; I began to forget I was watching a film. I found myself melding my existence into the films at times, just because of how realistic and believable the whole film was. There was this ever-looming feeling of natural dread in terms of how dreary life can be at times, and also a heavy feeling of duty on the line. It was as though these characters had come to life and were actual real people; not merely just characters being acted out by actors and actresses. I also believe the movie score, even though it wasn’t memorable (minus the opening and closing songs), gave off a sort of familiar sound to the life of the movie. It felt at times distorted, but this was intentional in order to foreshadow certain events coming up. Overall though, the many issues and obstacles the main and side characters face in this film were portrayed wonderfully.
Foreshadowing was also well-done in the film. There were times where it felt as though something were going to happen, but instead, nothing did. And then, there were a couple of moments when seemingly nothing was “out-of-the-ordinary”, and all of a sudden, something major happened in the movie. It was an intentional mismatch of events which led us, the audience, on quite an interesting ride which felt more mental then thrilling. But this, in my opinion, was a good thing.
Of course, this film wasn’t without it’s downfalls.
I think the only massive gripe I had with Wind River was the choice to have a cameo of Jon Bernthal in the film (Walking Dead anyone?). It really threw me off from the film, and it actually took me out of the moment sinse all I could think about during his scene was the fact that he was the asshole guy in AMC’s The Walking Dead. But otherwise, I think the entourage of actors and actresses in Wind River were perfectly caste. Another gripe, but less prominent, was the fact that there were perhaps 2 or 3 times where the film felt like it could speed up just a little bit. I felt that the timing during certain scenes dragged on, or full of unnecessary time-fillers. There’s one moment in particular where Renner’s character is have a supposed “deep moment” with Olsen’s character, and after he spills his emotions out to her, she just kind of awkwardly asks where the bathroom is in Renner’s house. This moment was so awkward for me in fact, that I even caught myself whispering underneath my breath how “awkward” it was.
However, with that stated, the whole film felt organic and true to itself; which is really all that matters to the end. The movie didn’t feel like it was ever lying to itself, and it was presented in such a manner that made the audience members respect, and even honor, such a humble honesty and raw integrity. Overall, I give Wind River a 4 and 1/2 stars out of 5. If you’re thinking of seeing this movie, please go check it out when you feel serious. Thank you for reading this far, I’ll be back to upload another post later today. Till then ~
Forever in Your Debt,


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When asked about his falls in the film, Mike Miranda said that he was paid $500 for each fall. The interest is very much appreciated! Grupa motocyklowa Warrior`s Stunt Rider`s-LWG z okolic K��pna zainteresowana stuntem motocyklowym maj��ca "chynci" na kontynuowanie tego zwariowanego sportu ;D “The most iconic scene is the bicycle boogie scene, where we’re doing tricks in a high school gymnasium, and for those scenes they had a bike fixed on a dolly, and shot from the waist up so it looked like I was on a bicycle,” Allen explains. Everest. Rad is a 1986 American sports film directed by Hal Needham and written by Sam Bernard and Geoffrey Edwards. He appeared as a stunt rider in the 1986 movie "RAD". As Allen puts it, “If you see me and my head on my body, that’s actually me. The ramp was cut down to a 25 foot tall version. When we are not out on the trails or writing topnotch articles to help you become a better rider, we like to chill out and watch mountain bike movies. Which is kind of interesting that the topic of the day was the 1986 BMX racing movie, the cult favorite, Rad (which is getting a brand new 4k release). Rod and Rex's dance suits were borrowed from the movie, V. During filming none of the stunt riders were able to complete one entire lap of Helltrack. Warriors Stunt Riders-LWG. Cru’s love interest, Christian, was played by future Full House star Lori Loughlin, whose résumé was about as deep as Allen’s at that point. Heartland���s skilled stunt performers Posted on Jun 16, 2016 Continuing my theme (and promise) of giving you photos you have never seen before, here are some photographs from season 9 ��� Despite playing a 17-year-old in the movie, Bill Allen was 23 when he did this film. Sold out. Jun 4, 2018 - Explore Marketing By Vcianci.com's board "Rad Rick old school BMX" on Pinterest. For your convenience, the following sources are used by Rob when reporting about the Coronavirus on the show. Directed by Hal Needham. As the film's original title was "Balls Out! Eddie Fiola does the stunt work for Lori Loughlin (Christian) when Cru and Christian ride in the park. But Hal Needham knew full well what the movie depended on: great stunts scored to killer tunes. With Bart Conner, Lori Loughlin, Bill Allen, Talia Shire. At least that’s what stuntman-turned-director Hal Needham (Smokey and the Bandit, Cannonball Run) was hoping for when he made the 1986 BMX film Rad. Sold out. Rad shares the adventure of one young man���s desire to win an infamous BMX race, fittingly called Helltrack. Soundtracks. BMXROB wrote: Dude in the Norco jersey always cracks me up in that scene introducing all the riders. During practice for the film, Rick Moliterno (one of the stunt riders for the film), broke his leg. Flash back to 1986 and BMX reigned supreme in the collective consciousness of kids everywhere thanks to RAD, the movie that made bicycle motocross a widespread sensation. “It really, definitely, no doubt, helped kick the sport into high gear and spread the gospel of BMX. Well on July 24th the classic BMX film was released all digital and on-demand platforms such as Apple TV, Amazon, VUDU, and more. The only song that was in the movie and wasn't on the soundtrack was The Charm Kings song, "Caught Up in the Crossfire". For the prom scene, Pat Romano handled Loughlin’s “dancing,” while freestyle master Martin Aparijo filled in for Allen. The new star was hardly alone in terms of a lack of experience. He worked as a stunt rider for Escorts. That film’s opening featured a shot of children riding bikes on a dirt track, pretending that they were motorcycle racers, and that moment is credited with sparking a national phenomenon. Sure, he auditioned for some lead roles before his first encounter with Needham, but he was just another young actor trying to find his place in Hollywood. Saw these the other day and wanted to share # crujones # barttaylor # radbmx One week to go until FISE World Montpellier. Because of this, the song is now lost. Often on a contractual basis, this job has a wide variety of options. If you didn’t know already, Rad the movie was recently brought back to life with a full 4K restoration. The 1200 remains popular with stunt riders , ��� Sometimes you need to rest or the weather is just so awful that you cannot face heading out. You can't ride all the time. Eddie Fiola is responsible for Bill Allen's stunt work in RAD. However Cru Jones' real first name is "Christopher" uttered once by his mother in the movie. That man was Olympic gold medalist and gymnast Bart Conner, who not only had little experience as an actor, but was also rehabbing some serious injuries that he battled through in his heroic performance at the 1984 Summer Olympics in Los Angeles. This was written later into the film, when Cru is about to start the Helltrack race, but Rick, sitting on Christian's truck, asks him to sign his cast. So for people to name their kids ‘Cru Jones’ – I just heard another one a couple weeks ago – I get inundated all day long for requests for autographs or personal appearances. The film stars Bill Allen as Cru Jones, a young BMX aggressive racer, alongside Lori Loughlin and Talia Shire. Now it seems like it’s what audiences rather than what critics want that matters. Thanks for your interest in RAD and us riders. | • Archival commentary track with: Bill Allen, actor Bart Conner, writer Sam Bernard and various BMX stunt riders • “The Stuntman Directs” – an interview with director Hal Needham • “Writing something Rad” – an interview with Sam Bernard • “Rad 25” – footage from the 25th anniversary event A pop culture and cult film staple for nearly 35 years, we���re overjoyed to bring Hal Needham���s RAD to 4K Ultra HD and Blu-ray for the first time, in a fully loaded and strictly limited edition. So, my hat’s off to this guy.”. Haro marketed its products with the help of Bryan Blyther, Mike Dominguez, Bob Morales, and other popular freestylers in this sport. His first movie job was as a stunt rider in the 1987 film War Party. They shot around him and it was fine, but somebody like that, they’ve just done so much to their body. In all, a team of more than 25 BMX stunt riders was used to provide Rad ���s dazzling action scenes. Hal was able to inspire great confidence and safety. With Bart Conner, Lori Loughlin, Bill Allen, Talia Shire. Learn by watching video tutorials for thousands of tricks from the top professional riders. He was paid every time he did a backflip and got applause from the cast and crew.”. 27 of 29 found this interesting Professional stunt riders got where they are today by attempting stunts, crashing, dusting themselves off, and trying again. It’s a slow-motion bicycle ballet set to “Send Me an Angel,” and it’s a scene so memorably cheesy that it is still the subject of parody today. These helmets were worn by the riders and are a big part of my childhood. Rad is a 1986 American sports film directed by Hal Needham and written by Sam Bernard and Geoffrey Edwards. Allen refers to the film’s stunt crew as “the best bike riders in the world,” and they were so convincing that people still believe that he was really pulling off those tricks. Thank you. Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys Black History Month STARmeter Awards San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events And also for people who have discovered movies from the 80s and become somewhat obsessed with some of them. People were asked to remove their jackets to make it look like summer, and leaves on the tress were painted green. The 1200 remains popular with stunt riders, and is used by a wheelie school in the UK. 10 all time great motorcycle stunt riders July 4th, 2013 Jesper Bram 1 Comment » | View blog reactions Apart from being great at nipping through traffic, easy to park and even avoiding the London congestion charge, motorbikes are also great fun. Kickboxing in Say Anything…, collegiate diving in Back to School, skiing in Better Off Dead, wrestling in Vision Quest, motocross in Winners Take All, and of course karate in The Karate Kid. The name "Cru" is short for "Cruiser" which his friends call him several times. Stunt Coordinator Roy Alon, performers Tip Tipping and Lex Milloy “Hal, being an old school stuntman, said, ‘I’ve got a sack full of Percocet, come on down, I’ll fix you up,’” Allen laughs. The man who asks Cru to sign his cast is Rick Moliterno, now owner of Standard Bykes. Bill Allen was born in 1962. The second I put on a mask, all bets are off.” The actor tried to learn some of his own tricks, but all he really learned was “how to bleed profusely.” So when it came time to create the magic of that one-of-a-kind prom scene, there would need to be some trickery involved. But that’s a huge part of the allure and the charm, especially for the fans. 562 likes. 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Duke tells two of the riders to trick Cru up so Bart can win. I have to watch this movie again its been a long long time. Whether you wanted to trick and freestyle in the streets, hit the ramps and parks, or rip through trails, the flick inspired a lot of kids to get [���] After appearing in 2015’s Heroes of Dirt, the story of a BMX rider who wants to be a stunt champion, Allen is making plans to reteam with Aparijo “for some other BMX movies.” Now, at 53, he’s finally learning the tricks and stunts that he never learned while making Rad. The 1971 motorcycle racing documentary On Any Sunday is believed to be the first motion picture to offer a taste of Southern California’s bicycle style to the rest of America. He had some jagged scars on his upper arms and I said, ‘Bart, what happened there?’ And he said, ‘Oh, that’s where my biceps exploded.’ I never followed up on that question. In the scene, Cru and Christian take their bikes to the dance floor, much to the amazement of their classmates and the chagrin of Bart and Duke Best, a bike manufacturer who is way too interested in the lives of teens. Rad 25 – a festival-cum-reunion organized by the Calgary Underground Film Festival, themovierad.com and City of Cochrane – brought together the movie’s director, producer, writer, stars, BMX stunt riders and fans to recapture the joy of its underdog story, the loose and kitschy cool of its 1980s dialogue and music and the awesomeness of its unprecedented BMX stunts. There are always stories and life lessons to be told through athletic competition, and there is also money to be made by piggybacking on the popular trends of the day, so long as kids with an appetite for something new are willing to shell out a few bucks at the local cinema. We’ve got some more BMX movies coming out, so in this particular instance the critics didn’t get it.”. But I have to say, being on the set that day, that was scary. The original title of the film was "Balls Out". This wholesome, sweet movie about a ���local boy who makes good��� set a generation of kids on fire for BMX��� and yet amazingly, in real life, its star had never actually owned a bicycle. While the movie is still remembered fondly by children of the ‘80s and longtime BMX enthusiasts – perhaps no one loves it more than Daniel Tosh – Rad has been hit with an unfortunate distinction in recent years. A pop culture and cult film staple for nearly 35 years, we’re overjoyed to bring Hal Needham’s RAD to 4K Ultra HD and Blu-ray for the first time, in a fully loaded and strictly limited edition. It’s fairly obvious that the BMX action scenes in Rad were done by professionals. BMX Plus magazine did an article on this. Smith talks to Cru before the race. The footage of the complete Helltrack race took 2 weeks to film. But Hal Needham knew full well what the movie depended on: great stunts scored to killer tunes. “That should tell you a thing or two about this movie in particular in that the fans went crazy for it, still do to this day. Get a personalized plan which will easily adjust to your level and The best riders are coming to town to prove who the best in BMX is. This video is unavailable. During practice for the film, Rick Moliterno (one of the stunt riders for the film), broke his leg. That’s what happens, I guess. Stunt riders are employed as stunt-doubles in movies, working with western stunt shows as well as traveling performing groups. Your arms explode if you put too much stress on them. ���Those professional bike riders made the film,��� he told the fans at Rad 25. The Johnny Blaze incarnation of Ghost Rider appears in a self-titled video game, which served as a loose continuation of the 2007 movie of the same name. Bill, the star of the movie, was forced to dye his hair darker for the movie so that he and Eddie would look more alike. This special limited edition 3D Lenticular (front) and Holographic (back) slipcover (designed by Earl Kessler Jr. and based on the iconic original poster artwork) is strictly limited … Allen continues to act, racking up credits that include a small part on Breaking Bad. These are videos that you watch again and again. Tennant's head was superimposed upon that of the stunt rider in post-production. It's a real honor to have people interested in the movie and myself after all these years. It doesn’t meet their criteria on what a good movie is and it’s deep fried in ’80s cheese. Watch Queue Queue Prior to filming that scene, a lot of people involved with the making of Rad became sick from some bad fried chicken. Robert: I think that RAD was not a commercial success, but it was definitely a success within the world of BMX bike riders and, as you pointed out earlier, a whole generation of up-and-coming young riders. Rad is very precious to those BMX Olympic riders. Flash back to 1986 and BMX reigned supreme in the collective consciousness of kids everywhere thanks to RAD, the movie that made bicycle motocross a widespread sensation. | Fortunately for Allen, Needham was familiar with one of his earliest roles – a small part on Hill Street Blues – and that was all it took to land him the part of the Kix-eating, newspaper-delivering, BMX badass. It's a real honor to have people interested in the movie and myself after all these years. Since he falls 3 times in the Helltrack race, that totals up to $1,500. He tells him to "Go balls-out!". Needham certainly wasn’t the first to bring BMX – short for bicycle motocross – to the big screen. In the 1980s, Hollywood had a passion for merging less popular and even unusual sports with teen romance. And yet it’s not a movie that the critics would give two looks at. From then on, Allen has fallen deeper into the world of real-life BMX, hanging out with the stunt riders from the movie and even taking up the sport himself. “José Yáñez, his backflip that was done three or four times in the movie, now it’s done in every skate park, and you’ll see 12-year-old kids doing backflips all day long and double backflips,” Allen says. The first movie was released in 1994 and features Jeremy McGrath, Ricky Carmichael, and Travis Pastrana. In order to look like his stunt double, Eddie Fiola, Bill Allen had to dye his hair. Bill Allen performed one bike stunt in the film, and that's when Cru crashes through the fence on his paper route to notice the Helltrack advertisement, but there were two guys on wires pulling on the fence. As Allen describes it, he was “dangerously ill,” even “on death’s door,” and you can see it in his face as he’s reacting to Loughlin’s cues. Twelve years later, director Brian Trenchard-Smith brought the style to Australia in BMX Bandits, which featured a teenage Nicole Kidman in just her third movie role. When it came time to film the Helltrack scenes, it was the fall season. Thanks to John Creed In this era of peak content, it seems impossible there’s a film that’s impossible to find. Courtesy, Jeremy Moser, themovierad.com - Scenes from the 1986 BMX movie Rad, which was filmed in Cochrane and Calgary. | BMX, Tricks: The basics that you need to know to get started for the first time. Dare-devil stunt riders, resplendent in leather body suits sporting the logo's of their sponsors, doing amazing and jaw-dropping feats on sport bikes or big gleaming cruisers, have always been associated with a dangerous sort of sexy. Bill Allen got the role of Cru thanks to an episode of Hillstreet Blues that he did. These helmets were worn by the riders and are a big part of my childhood. Jamie Clarke, who played Luke, is now the 9th Canadian to climb Mt. Carey and Chad Hayes, the Reynolds twins, had a few roles each before they became Duke Best’s devious goons, and the man who was picked to play Cru’s rival, Bart Taylor, had two small parts to his name. Filming delayed because the Helltrack starting ramp was so high, none of the riders wanted to go down it. Directed by long-time stuntman (and Burt Reynolds collaborator) Hal Needham, Rad is the story of Christopher “Cru” Jones (played by a very charming Bill Allen, and stunt double Eddie Fiola): a high school upperclassman, morning paperboy, and afternoon busboy with a love for BMX (that’s Bicycle Motocross, if you didn’t know). A little look at how this incredible stunt was done. The race scenes were filmed one section at a time - 5 times over, before filming the next section. This landing page will be updated daily, for as long as developments unfold. Originally, "Trainee script writer" was written, but it was pulled at the last minute, worrying they could be fined. It was a very reverential occurrence when this guy did a backflip, and he screwed it up a couple times and that was woven into the storyline. Here is the best part about it: it technically does not count as doing nothing. The Johnny Blaze incarnation of Ghost Rider is available as downloadable content for LittleBigPlanet , as part of "Marvel Costume Kit 2". “So my concern was that he could actually physically do the role.” Living in Los Angeles in the early ‘80s, Allen was well aware of Conner’s “golden boy” abilities, having watched the gymnast score a “sack of medals” in ’84. Based off of Eddie Fiola, who played Luke, is now.! Basis, this phrase was used to provide Rad ’ s what audiences than... 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As a way of celebrating our generation’s 20s and all that jazz, I decided to revisit a 1980s anthem – Danger Zone, by Kenny Loggins.
As the new Top Gun movie is set to come out this summer in June, it seemed only appropriate to mash-up scenes from the trailers of ‘Top Gun: Maverick’ with Kenny Loggins performing in the original Danger Zone music video.
After all, one of the big questions surrounding the new movie is ‘will Danger Zone be in Top Gun Maverick?’.
Thankfully, both Kenny Loggins and Tom Cruise (sort of) confirmed that Danger Zone will be part of the new Top Gun movie. Great balls of fire!
Hope you enjoy watching this just as much as I did putting it together.
Absolutely love Top Gun!


30th SGIFF at SMF Village: In Conversation with Naoko Ogigami
Award-winning Japanese filmmaker, Naoko Ogigami, graduated from Chiba University then went to the United States in 1994 to study film at the graduate school of the University of Southern California, School of Cinema-Television. She returned to Japan in 2000 and started making films, the first of which, [Yoshino's Barber Shop] (2003), received Special Mention at the Kinderfilmfest in the Berlin Film Festival 2004. Naoko's subsequent films, [Kamome Diner] (2006) and [Glasses] (2007), have been successful both in Japan and internationally, the latter having received the Manfred Salzgeber Award at the Berlin Film Festival and nominated for Grand Jury Prize at the Sundance Film Festival. In 2000, she made her first English language film, [Toilet], in Toronto, Canada. Her 2017 film [Close-Knit] received the Teddy Jury Award at the Berlin Film Festival, among many other awards in the film circuit. She is also the writer for [Rilakkuma and Kaoru], a stop-motion animation series which premiered on Netflix in 2019.
Join Naoko Ogigami as she talks about her films, writing for film and her future projects.
Official Website: sgiff.com
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" Ghost ", a musical adaptation of the film starring Demi Moore and Patrick Swayze, will be on view until June 21, 2020.
" Ghost " is a Jerry Zucker movie released in late 1990 featuring Sam (Patrick Swayze) and Molly (Demi Moore) a happy couple until Sam is murdered in an alley under Molly's eyes. Sam becomes a ghost who communicates with a clairvoyant (formidable Whoopi Goldberg ) a little scam on the edges. Sam will then try to communicate with Molly and find out who killed him.
This feature film had attracted 3 million spectators at the time of its release in France.
Become a true Parisian in shops, restaurants, taxis, metro etc ... At the end of this fun and interactive training, the "Parisian" will have no secrets for you!
Already more than 500 000 spectators followed the advice of Olivier Giraud. Why not you ?
The level of English scares you? Rest assured, our French spectators come out of the theater with the arrogant feeling of being bilingual.
Come relax in an international atmosphere where French and expatriates mix to laugh at the behavior of the inhabitants of the Capital!
And for Parisians, the mirror of your daily life awaits you ...
Dress code for Parisians: Do not change your habits, come in black!
Dress Code for Provincials: Come as you are but do not be ashamed!


“Star Wars Episode V: The Empire Strikes Back”, or more simply known as “The Empire Strikes Back”, is the sequel to “Star Wars Episode IV: A New Hope” (more simply known as “Star Wars”), the original episode “The Empire Strikes Back” is my second favorite episode, my favorite is “Star Wars”. Most of the original characters are in this movie, including Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), Han Solo (Harrison Ford), Chewbacca, R2-D2, C-3P0, and of course Darth Vader. , the evil. galaxy master.
“The Empire Strikes Back” picks up three years after “Star Wars.” The evil Empire, led by Darth Vader, has been hunting down the rebel alliance, chasing them across the galaxy to Hoth, a frozen planet covered in ice. Luke stays out very late one day and nearly freezes to death, but Han comes and revives him. Luke also receives a message from Obi-Wan Kenobi’s spirit telling him that he is going to the planet Dagobah.
After fighting off some nasty Imperial Walkers, the Princess, Han, Chewie, and C-3P0 escape in the Millennium Falcon. Meanwhile, Luke pilots an X-wing fighter along with R2 and heads to Dagobah. There he meets Jedi Master Yoda, a small guy with long pointed ears. Luke begs Yoda to begin Jedi training for him, to which he finally agrees, following the persuasion of Obi-Wan’s spirit.
Han and the princess try to flee from the pursuing Imperial forces. They attempt to jump into hyperspace, but the Falcon’s hyperdrive is broken. They end up defeating several fighters by flying into an asteroid belt. They hide in the cave of a large asteroid, only to find it inhabited by a giant slug, which swallows them. They escape.
Han and the gang head to Cloud City, a planet covered in clouds. There Han meets his friend Landowe. But they are soon captured by Darth Vader and his forces, who got there before them. Vader ends up freezing Han inside a black slab, which keeps him alive but unconscious, and sends him to the Emperor.
Meanwhile, during his training, Luke has a vision of his friends in trouble in Cloud City. Luke realizes that they will die unless he rescues them, so he leaves Dagobah to save them, promising to return to complete his training. Yoda and Obi-Wan fear that Darth Vader will capture him.
Once Luke arrives, Darth challenges him to a lightsaber battle. Luke is no match for Darth, who cuts off his hand. Darth then tells Luke that he is his father, though Luke doesn’t believe him. Darth urges Luke to join forces with him, but he refuses. He leaves Luke dangling from an antenna with his one good hand. Luke begs Obi-Wan to save him, but to no avail. He then calls out to Leia, who hears him through the Force. She tells Han to fly back to Cloud City to save him, which she does. R2 manages to fix the hyperdrive and the crew escape from the Empire. A medical robot gives Luke an artificial hand.


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“When the American school of pacing presents a film, it says to you: ‘Come and have a great experience!’...Whereas the German school says: ‘Come and see a great experience!”
D.W. Griffith “Pace in the Movies”
“Peter Brook...pointed out that contemporary theater has never solved the technical (and artistic) problem of theatrical ranting: the meretriciousness that infects the attempt to communicate inner life with words and gestures that must resound to distant balconies...At the close of most performances, I’m convinced the audience is not applauding the play they’ve seen or the actors, but applauding themselves just for being there.”
Ron Rosenbaum “My Theater Problem – and Ours”
Is theater obsolete? Is that question even permitted? Film won its battle for respect a long time ago. Only a few reactionary holdouts insist that movies are trash, and their cinematic illiteracy makes them as philistine as they believe moviegoers are. But suggest that film can do everything theater can do, and better, then you must be an idiot, and probably the sort of moviegoer incapable of appreciating, say, Bergman, the most theater-obsessed of directors. (Although his films could not be less theatrical, making such brilliant use of silence, whispers, close-ups of the human face, and the virtuoso cinematography of Sven Nykvist.)
I’m glad it was Ron Rosenbaum who pointed out that the emperor is naked. As fervent a Shakespearean as he is a Dylanologist and Nabokovian, Rosenbaum can hardly be accused of indifference to the literature of the theater. But he can see (and hear) that plays are now better served by film than by the stage.
In 1995 I saw Ralph Fiennes play Hamlet on Broadway. It seemed like a big deal at the time. And for years I told everyone (and myself) that it was. But really, nothing of his performance has stuck with me. I can’t say the same of his Coriolanus, in the film he directed, though it’s certainly a lesser play.
I’m told (by people who may believe it) that live theater is charged with the thrill of danger, uncertainty, the chance of the unexpected. Which means, what, that we’re waiting for an actor to blow a line or trip over the scenery, so we can appreciate the skill with which he recovers from his fuck-up? Sit outside an office building in midtown Manhattan (one of the ones with steps that serve as box seats for the passing parade) during morning, lunchtime, or evening rush hour and you’ll get that same charge, at higher voltage, multiplied many times over, at no cost. And you can venture into the slipstream yourself any time you want. (About which more to come.)
What theater offers that film doesn’t, at the most basic level, is the presence of the actor, which happens to be the title of a book by Joseph Chaikin, one of the theatrical “radicals” of the sixties whose heroic and necessary efforts to reinvent theater ultimately fell short. (The upstarts of Off-Off-Broadway, talented as so many of them were, didn’t go far enough in overturning theatrical convention, and their innovations were largely absorbed into the mainstream. Or abandoned altogether, in the case of the Living Theater’s felonious assaults on its audience.) But that presence is diminished when it’s caged by the proscenium arch. And a close-up composed of pixels or celluloid has a presence unreachable on the stage.
Probably the most vivid theatrical performance I can recall is Fiona Shaw reciting “The Waste Land” in one of the last run-down theaters on 42nd Street. No painfully fake stage set, no curtain...no “acting”, really. Just a body and a voice and a poem. Not an imitation of reality, but reality itself. The fragility of the surroundings – a ruin destined to become a brightly lit house of family entertainment – only heightened that reality.
That theater wasn’t as grand as the New Amsterdam, where Louis Malle and Andre Gregory’s Vanya on 42nd Street was filmed, but it was enough. The space reached out to meet the audience. Film lives in a two-dimensional screen; we accept this. An outdoor or underground (literally or figuratively) screening is a novelty, sometimes a genuine event, but the future of film doesn’t hang on our ability to generate happenings such as spontaneous, pop-up, outlaw cinematheques in empty lots. (Or, to use the much more evocative French phrase, terrains vagues.) But theater has to stop hoarding its space and life behind the fourth wall.
Which brings us, at last, to Sleep No More. For those of you who have been sleeping, Sleep No More is a production by the British company Punchdrunk. They’ve taken over three adjoining warehouses in New York’s Chelsea to stage a performance based on Macbeth, with some Rebecca thrown in, maybe The Shining, a little Vertigo and Mulholland Drive on the soundtrack (as well as “A Nightingale Sang in Berkeley Square” and other vintage acetates), and uncountable cultural and dramatic elements and artifacts your unconscious will be sorting out in perpetuity. It takes place over six floors and maybe a hundred rooms: an asylum, a detective’s office, a candy shop, a hospital, an apothecary, a taxidermist’s shop, gardens, woods, a hotel lobby, bedrooms, a ballroom, a salon... (If this were a game of Clue, it would last forever.)
Oh, and this is “Shakespeare” without words. The actors don’t speak, and neither do you. You put on the required mask and following them as they dance, fuck, kill, type letters, pack their bags, have orgies, cast spells, get born, get murdered, eat, drink, get naked, shower, bathe, slip poison into someone’s teacup, and hang themselves. One of them may even kiss you. (But keep your hands to yourself; unstated, strip club rules apply. At least I think they do...)
And what sucks is you miss some of it. You may miss a lot of it if, as I did on my first visit, you fall down the rabbit hole of the set itself. Months of work went into “Manderley” (Rebecca) at the “McKittrick Hotel” (Vertigo), and it shows: no drawer is empty, no cupboard is bare, and even the candy store is stocked. (Help yourself. Other props are off limits, and black-masked “stagehands” - who will kindly sherpa you to the comfort and safety of the bar if it all becomes too much to handle - also enforce the integrity of the set. At least I think they do...) And however much time and money were spent (the ticket is expensive, but Punchdrunk hopes to break even), matching funds of vision and imagination and sick humor and rapturous excess (maybe even research) flowed generously. The spirit of David Lynch (and of Jack Fisk, the brilliant production designer he shares with that other – and utterly different – American original, Terrence Malick) lives in every dusty wing chair and vintage surgical tool and feather-bedecked padded cell in the place. (Birds may be Sleep No More’s primary motif.)
Also, the bar/lounge (where a less than Cabaret-sinister but still slightly ominous dinner-jacketed MC entertains and briefs you as you await the dark elevator that will deliver you - and possibly you alone - to one or another floor of the McKittrick) serves absinthe. Which, should you indulge, will be the least mind-altering part of your evening.
In short, this brave new theater is not a writers’ medium. This rubs some people the wrong way. They dismiss “immersive” (the word is new, unrecognized by some dictionaries, defined by others as pertaining to digital technology) theater as just a highbrow variant of solve-the-mystery dinner theater diversions, or, worse, those choose-your-own-adventure books written for pre-adolescents. But why should theater be a writers’ medium?
There’s an economic reason, of course. With fewer and fewer paying outlets for more and more writers, what playwright wouldn’t hang on to the stage with all his strength? At the same time, does any playwright believe his dialogue has more life when projected to the balcony than when delivered to the sensitive eye and ear of the camera? If theater is the only game in town – because God knows Hollywood has little room for adult drama - you play. But why else keep at it? “Tradition” doesn’t seem like that strong a draw. The traditions of the theater are kept alive in the literature itself, and not so much in the reviews and memories of Uta Hagen in Who’s Afraid of Virginia Woolf? or Jose Quintero’s The Iceman Cometh, or in the drunken intermission hope that you’ll spot one of the ghosts just about every pre-Depression Broadway theater claims to harbor. Nostalgia isn’t what it used to be.
And speaking of Old Broadway, let’s toss out the adage “No one ever walked out of the theater humming the scenery.” Because Sleep No More will have your brain and body humming the scenery for a long time. This is theater to dream with, dream through, dream about. It’s theater to make you reconsider the meaning and purpose of all the rooms in all the buildings you pass through, to change the way you look at the world. Which would seem to be art’s highest purpose. And if theater becomes a way of drawing out the dream life of the spaces you inhabit every day (with actors as your “spirit guides”) rather than a brief tour of the lives of others (which will always be available through the rich but relatively “distancing” narrative forms of the film and the novel), then it will beautifully fulfill Andrei Tarkovsky’s demand for art that “obliges the audience to build the separate parts into a whole, and to think on, further than has been stated…from the point of view of mutual respect only that kind of reciprocity is worthy of artistic practice.”


This circulated elongated coin has been pressed on a copper penny (may be Lincoln or Wheat).
Universal Studios Hollywood1 is located in Universal City not Hollywood.
Jaws2 is a 1975 American thriller film directed by Steven Spielberg and based on Peter Benchley’s 1974 novel of the same name. In the story, a giant man-eating great white shark attacks beachgoers on Amity Island, a fictional New England summer resort town, prompting the local police chief to hunt it with the help of a marine biologist and a professional shark hunter. The film stars Roy Scheider as police chief Martin Brody, Robert Shaw as shark hunter Quint, Richard Dreyfuss as oceanographer Matt Hooper, Murray Hamilton as Larry Vaughn, the mayor of Amity Island, and Lorraine Gary as Brody’s wife, Ellen. The screenplay is credited to both Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.
Shot mostly on location on Martha’s Vineyard in Massachusetts, the film had a troubled production, going over budget and past schedule. As the art department’s mechanical sharks suffered many malfunctions, Spielberg decided to mostly suggest the animal’s presence, employing an ominous, minimalistic theme created by composer John Williams to indicate the shark’s impending appearances. Spielberg and others have compared this suggestive approach to that of classic thriller director Alfred Hitchcock. Universal Pictures gave the film what was then an exceptionally wide release for a major studio picture, over 450 screens, accompanied by an extensive marketing campaign with a heavy emphasis on television spots and tie-in merchandise.
Now considered one of the greatest films ever made, Jaws was the prototypical summer blockbuster, with its release regarded as a watershed moment in motion picture history. Jaws became the highest-grossing film of all time until the release of Star Wars (1977). It won several awards for its soundtrack and editing. Along with Star Wars, Jaws was pivotal in establishing the modern Hollywood business model, which revolves around high box-office returns from action and adventure pictures with simple “high-concept” premises that are released during the summer in thousands of theaters and supported by heavy advertising. It was followed by three sequels, none with the participation of Spielberg or Benchley, and many imitative thrillers. In 2001, Jaws was selected by the Library of Congress for preservation in the United States National Film Registry, being deemed “culturally, historically, or aesthetically significant”.


It's going to be a transcendent Spring at TIFF Bell Lightbox
Indigenous rights, Scorsese, Pagnol, Lynch, the Transcendental style, and lots more
It's about time to leave winter behind and spring into a new season at TIFF Bell Lightbox. Experience illuminating moments in film, explore Indigenous rights issues, and enjoy a slate of thought-provoking new releases.
Devoted to classics, favourites, rarities and recent restorations, the spring edition of TIFF Cinematheque sends audiences on a spiritual journey through film; enjoy a keynote lecture and onstage conversation with director/screenwriter Paul Schrader, the voice behind such films as Taxi Driver, Raging Bull, and Cat People, which kicks off the series Transcendental Style: Spirituality in the Films of Bresson, Dreyer and Ozu, diving into the work that inspired the filmmaker; and TIFF Cinematheque Special Screenings pays tribute to auteurs Martin Scorsese and Abbas Kiarostami, and French novelist, playwright, and filmmaker Marcel Pagnol.
Additional highlights include: the ongoing Short Cuts programme, showcasing the best of Canadian and international short films, this edition exploring Our Digital Lives; two additions to the ongoing series Aabiziingwashi (Wide Awake/Unable to Sleep): Films and Conversations; and TIFF’s free year-long programme Canada on Screen continues to celebrate Canada’s sesquicentennial.
New Releases this season include: David Lynch - The Art Life, a documentary directed by Jon Nguyen with Rick Barnes and Olivia Neergaard, which follows the notorious director on an intimate journey through the formative years of his life; director François Ozon’s elegiac tale of love and remembrance Frantz, in which a young woman mourning the death of her fiancé forms a bond with a mysterious Frenchman who has arrived to lay flowers on her beloved’s grave; Juho Kuosmanen’s irresistible and touching debut feature The Happiest Day in the Life of Olli Mäki captures the true story of the famous Finnish boxer; graphic novelist Dash Shaw recruits the voices of Lena Dunham, Susan Sarandon, and Jason Schwartzman for his first animated feature My Entire High School Sinking Into the Sea; Matt Tyrnauer’s documentary Citizen Jane: Battle for the City chronicles legendary writer and urban activist Jane Jacobs’ struggle to save historic New York neighbourhoods; and Lady Macbeth from acclaimed theatre director William Oldroyd, which subverts Nikolai Leskov’s 19th century novella Lady Macbeth of the Mtsenk into a feminist cautionary tale of betrayal and revenge.
See all the season's films and events on our homepage. Member tickets are on sale now; everyone else can buy starting March 8 at 10 a.m.


- This event has passed.
Movie in the Park – Frozen
August 7, 2015 @ 7:00 pm - 10:30 pm
Join the Freeport Park District and FHN for the annual Movie in the Park Series. Movie will begin at approximately 8:30 PM depending on day light. Prior to the movie, there will be activities and entertainment beginning at 7:00 PM. The featured presentation on August 7th is Frozen.


We went to see Grease at Proctors Friday night. It was the production with Taylor Hicks (Idol - 2006) as Teen Angel & Ace Young (runner-up 7th Idol - 2006) as Danny. The show was absolutely terrific but I'm sorry Taylor Hicks just didn't cut it. The rest of the cast were really into their roles & interacted so well together & he was just there for himself! Probably the worse part was after the curtain call he came out & did one of the songs froms his latest cd & even though the show was over it felt like we were being held hostage having to sit through it!
Sorry if I have offended any Taylor Hicks "groupies" but that's just the way I felt about him!


Toy Story, as we all know, was a huge hit. Only it was almost scrapped before ever seeing the light of day. Pixar had been trying to make the first, feature length computer animated film for years. They finally got the chance when Disney gave them the green light for Toy Story. The incredibly talented team worked on it for months, they showed it to Disney, and…it was terrible. It didn’t work, no one liked it, and the whole project was weeks away from termination. In this first version, the Woody we all know and love was, for lack of a better term, an asshole. He was an unsympathetic and unlikable character, and nobody could stand to watch him. After this crushing blow, the Pixar team basically rewrote the entire story in two weeks, and it still wasn’t great, but was good enough to continue production. They kept iterating during production and Toy Story become a phenomenal hit making over $350 million alone, not counting the sequels, and made Pixar a household name.
It’s easy to think that most master works and successful products are fully formed ideas in the minds of their creators, just waiting to be realized. But more often than not, as with Pixar, it takes a lot of work to get there. It’s not just the rare genius, but the 99% perspiration that makes something a success.
I highly recommend watching The Pixar Story, especially if you have Netflix, since it’s available to watch instantly. There is a lot of other great stuff in there that would be interesting to anyone in a creative field.


It seems likely that this pattern will repeat itself indefinitely into the future, providing unmeasurable entertainment.
It is also true that the new Star Wars movies (Phantom Menace, Clone Wars, Vader is Back - or something) have provided a near endless supply of entertainment for Star Wars fans. However, 99.9% of this entertainment comes in the form of sitting around and talking about the ways the movies could have been better.
It is impossible to talk about these movies without, even by accident, mentioning a way by which they could have been improved.
Most of the methods of improvement can be summarized quite simply. They are ways in which the movies could be *better*. Better characters, better story, better moments, better casting, better writing . . . etc.
I can agree with that, but I've always had one huge issue with the challenge presented by Episodes I-III of Star Wars: at the end, the bad guys win.
That seems to me to be a structural flaw in the story that no amount of "better" is going to fix. At the end of the movie Obi-Wan Kenobi and Yoda, two cherished characters from the original movies, lose. A moment which I imagine goes something like this:
The bottom line is that Vader and the Emperor standing triumphant over a crushed republic and hundreds of dead Jedis is an ending that no amount of "better" is going to rescue.
Yoda: How did your battle with Anakin Skywalker go?
Kenobi: Great, I cut off all his limbs and left
him on fire next to a river
Yoda: At least the terrible evil who
betrayed us all and killed the Jedi is
Kenobi: . . . .
Yoda: He is dead right?
Kenobi: . .
. so, uh, how was your fight with Palpatine?
Yoda: oh, that . . . yeah, that
was fine, y'know,
Kenobi: like mine?
Yoda: yeah, uh, limbs .
. . lava . . . or something
Kenobi: . . .
Yoda: . . .
Kenobi: So, want to go hide out on remote planets for the next twenty
Yoda: sounds good
Don't get me wrong, I can appreciate a serious movie with a serious ending as much as the next guy. The Thin Red Line is one of my favorite movies of all time, and it ends with the harsh realities of war. But there are limits. You can't make a prequel of Saving Private Ryan that ends with the Nazis celebrating in the streets of France. That's going to be a terrible movie, even if it doesn't have Jar Jar Binks.
Those limits are especially applicable to an action movie about cowboy ninja wizards in space.
So how do we fix it?
The fact of that matter is that Episode IV starts in a dark place. The Jedi are dead, democracy is toast, and the Death Star is complete and blasting planets out of the sky. The prequels have to get us to that bad spot.
The answer, as with the corrections to all of George Lucas' idiocy, is pretty simple.
Episode III needs to end the moment before Episode IV begins. This way the triumphant ending of the movie can be the rebels successfully stealing the plans to the Death Star; the very theft which initiates the plot of Episode IV.
It's not that tricky to do. Simply lop off Episode I entirely. This way the first Star Wars movie is about the friendship and training between Obi Wan and Anakin. The second movie is about the betrayal of Anakin, the emergence of the Emperor and the fall of the Jedi. Then the third movie can be about the rise of the rebellion, and mostly center around Princess Leia. At the end, she manages to organize a group of rebels for the daring theft of the Death Star plans.
The third movie has the added benefit of allowing an explanation for why Yoda and Kenobi, the two most powerful good guys in the galaxy, are hiding in caves on remote planets. Yoda and Kenobi helped to organize the rebellion initially. However, their strength in the force allowed the Emperor and Vader to detect their presence, and could be used to give away the location of rebel bases and outposts.
This structure would mirror the basic outline for the first three movies. The first one is where we meet our characters and learn a bit about their struggles. In the second one the bad guys win. In the third, the good guys regroup and emerge with a gritty victory against all odds.
It's the formula by which all cowboy ninja wizards in space should live.


This is from the Fizbo episode. Cameron dresses like a clown and leaves Phil terrified.
And I totally get it. Clowns are scary. And I believe I have this movie to thank for my fear.
My dad is a huge Stephen King fan so naturally I was exposed to this show at a young age. I hate clowns. They suck. Especially when they turn into giant spiders. That was a spoiler alert, I think. It's been a while since I've seen that movie on account of me being scared of clowns.
Other than that I'm pretty fearless. Lie. I'm scared of many things.


This is the 4th editions I came out with... again, I have changed a lot of things, and hopefully this version can get the message across to audience. I have received many wonderful fee back from many people, thank you all. I was taking all the advices very serious and tried to make a film that contents all the ideas and gags. But after all I was confused, I realized that I can't possibly to produce a film that everyone likes. Therefore I decided to make a film that would please me the most and wish the humor within would make you enjoy as well. Once again thanks for all the great ideas and suggestions.


Anonymous asked:Do you have any tips on writing insane characters? I haven’t been able to balance insanity with a real personality. Back story was he killed his son in a fit of rage, his wife stays with him out of love and the knowledge that she can control him to an extent to stop him from hurting others. Is it possible to have a fully insane character with bouts of sanity?
I instantly thought of the movie “A Beautiful Mind”, which is brilliantly done in regards to watching the main character’s downward spiral—but I don’t want to spoil it.
Remember your character is a reflection of real people, and so your character should be as developed as any of your other characters. He should be many-sided, with desires, flaws, strengths, contrasting and complimenting elements with other characters, and the ability to change (whether for good or bad). The character he is in the beginning should not be the character he is by the end.
So, here are some questions to fortify his foundation:
- What is the source of your character’s insanity? What drove him to this point? Was it a mental disorder? Something that happened to him in his childhood? If you’ve decided on a mental disorder, there should be a clear progression of how he fell apart, but also keep in mind that, predominately, a mental disability isn’t enough to drive someone to murder. “Nurture” is just as important as “Nature”, so don’t rely on a disability alone, as it perpetuates an unrealistic and harmful notion that those with disabilities are inherently and unpredictably dangerous.
- Does he have the capacity to think logically? Is his thought process coherent and understandable? Is it sympathetic or twisted? How does his mind tick and why does it tick that way? Characters don’t have to be sympathetic, although it adds a human element that readers can associate and identify with (which consequently causes readers to question whether or not they’re rooting for this character). Consistency, however, is important. Readers need to understand how a character started at point A and ended up at point F – unless the character himself doesn’t even know (as an unreliable character/narrator, which is always good fun), and perhaps experiences such things as blackouts in memory.
- What does your character want? Does he want to stop hurting others? Does he want his wife to help him? What is he willing to do to achieve his goals? What’s stopping him? What’s standing in his way and how does he tackle it? Does he take medication to keep himself stable? Does he want to take this medication? Showing his struggles and his failures and how he gets back up, if he does, adds to his character dimension.
Do not let his insanity define him – rather, he should be the one to define his insanity through his actions. This goes for any character with an atypical lifestyle. People are not defined by what they are — they define what they are as people. The moments where he’s stable should reveal who he is.
Additionally, make sure it’s clear and believable why his wife still stays with him. What’s their history? Why does she love him? What does she see in him that compels her to stay? Is she staying with him because she loves him or is she staying with him because she’s afraid of him? How does she stop him from hurting others? How does it affect her?
(cross-posted from KSW on Tumblr)


Santa Barbara International Film Festival celebrates 30 years
Venturelli GroupJanuary 19, 2015
Our entire team is honored to be a sponsor of the prestigious Santa Barbara International Film Festival as it celebrates 30 years this season, from January 27 through February 7, 2015. This season at the SBIFF, 24 of the 2015 Academy Award nominees have earned spots on the most coveted of festival ballots. Get your tickets now! - Gabe
If you have never attended one of the many events hosted during the film fest, this is a great year to start a new tradition. Celebrating its 30th season, the 11-day celebration of cinema celebrates the achievements of nearly 200 diverse films with showings hosted at several historical theaters in beautiful downtown Santa Barbara. Many films will be making a world premiere, including much anticipated and critically-acclaimed feature-length and documentaries from the U.S., Spain, Uganda, Finland, China, Israel, Mexico, Austria, Canada, Serbia, United Kingdom, France, Germany Bulgaria, and many others.
This year, the world-renowned cultural festival will present its Montecito Award to actress Jennifer Aniston in honor of her celebrated career. Aniston’s most recent performance is a moving account depicting a woman living with chronic pain in “Cake.” She will be recognized in a ceremony on Jan. 30 at the Arlington Theatre.
In addition to Aniston, the following awards will be presented with special screenings and activities. Tickets are available for purchase online for the entire season of films, events, panels and galas.
Jan. 28: The Attenborough Award Honoring the Cousteau Family for Excellence in Nature Filmmaking. Includes a screening of Jean-Michel Cousteau's new film “Secret Ocean 3D.”
Jan. 29: Cinema Vanguard Award Honoring Eddie Redmayne and Felicity Jones
Jan. 31: Modern Master Award Honoring Michael Keaton
Feb. 1: Virtuosos Award Honoring: Chadwick Boseman (Get on Up), Ellar Coltrane (Boyhood), Logan Lerman (Fury), David Oyelowo (Selma), Rosamund Pike (Gone Girl), J.K. Simmons (Whiplash), Jenny Slate (Obvious Child)
Feb. 3: Variety Artisans Award Honoring: Trent Reznor & Atticus Ross, Gone Girl (Score), Dion Beebe, Into the Woods (Cinematography), Steven Noble, The Theory of Everything (Costume Design), Sandra Adair, Boyhood (Editing), Bill Corso & Kathrine Gordon, Foxcatcher (Hair & Makeup), Suzie Davies, Mr. Turner (Production Design), Shawn Patterson, “Everything is Awesome” from The Lego Movie (Song), Joe Letteri, Dawn of the Planet of the Apes & The Hobbit: Battle of the Five Armies (VFX).
Feb. 4: Outstanding Directors of the Year Tribute, Honorees TBA. This year, the SBFF’s Outstanding Director of the Year Award will be combined with the Directors Panel to honor and celebrate five of the year's top directors in one evening.
Feb. 5: American Riviera Award Honoring Patricia Arquette and Ethan Hawke
Feb. 6: Outstanding Performer of the Year Award Honoring Steve Carell
Feb. 7: Closing Night Film – “McFarland, USA” with Kevin Costner and Director Niki Caro in attendance.
Feb. 7: Women's Panel with Guests (TBD). The “Creative Forces: Women in the Business” panel debuted in 2005 and celebrates influential women from all stages of film production including editing, directing, costuming, casting, production design, and producing come together to discuss the unique challenges and successes they have faced in the film industry.
For more information to make your move to Santa Barbara, contact Gabe Venturelli at 805-680-5141, or send an email.