He was portrayed by Leonardo DiCaprio.
- 1 Biography
- 1.1 Early life
- 1.2 Police Academy
- 1.3 Release from prison
- 1.4 Meeting with Madolyn
- 1.5 Finding Out Costello's Awareness
- 1.6 The Deal
- 1.7 Finding Costello's true agenda
- 1.8 Madolyn
- 1.9 Tailing Colin
- 1.10 Meeting Costello
- 1.11 Captain Queenan murder
- 1.12 Delahunt death
- 1.13 Call from Colin
- 1.14 Ambush in Sheffield
- 1.15 Encountering Colin and the Tape
- 1.16 Attempted Arrest and Death
- 2 Personality
- 3 Gallery
- 4 Trivia
- 5 References
Billy was born on November 7, 1984, to Catherine R. Costigan and William Costigan Sr., in Boston. He had relations with the Irish mafia in South Boston, from his father, who was not a gangster, but a baggage handler at Boston Logan Airport. He had relatives who were part of the Irish mafia, like his uncle Tommy Costigan who gets busted selling guns to federal officers, his cousin Sean Costigan, who is a drug dealer and best known of all, his uncle Jackie Costigan, respected by gangsters including Frank Costello himself. He also had relatives from his mother’s side on the North Shore (likely Andover), which appear as she is passing away from cancer in the hospital (Uncle Edward). His parents divorced from Billy's early age, forcing him to live with his mother in wealth on the North Shore, and on weekends in the Irish neighborhood of Southie. At some point in school he hit a sport teacher with a folding chair, in Deerfield. His father died at an unspecified point in the life of Costigan for unknown causes. Later his mother passed away as well, from an unknown sickness.
Billy decided to enroll at the Massachusetts State Police Academy shortly before his mother's death. Costigan begins in the Massachusetts State Police Academy, where he befriends Trooper Brown. Before he is able to graduate, he went to the Special Investigation Unit headquarters, where is called by Captain Oliver Queenan and Staff Sergeant Sean Dignam, and is brought into their office. As he begins his interview with Captain Queenan and Staff Sergeant Dignam. The two decide to put Costigan into an undercover operation in an attempt to infiltrate Frank Costello's crew, thanks to his contacts with the South Boston mafia. With a false accusation, he leaves the academy and serves time in jail and is placed on probation to gain credibility.
Release from prison
After Costigan left the police for four months, upon Costigan's release, he contacts his cousin Sean, and the two begin selling cocaine. In the evening with his cousin he goes to a bar in Costello in Worcester, where he beats a guy who made fun of him. He is stopped by Costello's right-hand man, Mr. French. The next morning in a bar, he beats two Italian-American mobsters from Providence. After these actions, on the evening of that day he met Frank Costello for the first time in a bar. As they goes to the backroom with Mr. French, French hits Costigan's injured arm onto a table and searches on him, saying he's clean. Frank then repeatedly hits Billy's broken hand, interrogating Billy with accusations of being a cop. Billy holds up under questioning. The next day Billy has an "interview" with Frank, and consequently joins Costello's crew.
Meeting with Madolyn
As part of his cover story as a disgraced policeman he must see a "court ordered" shrink. he has appointments with psychiatrist Madolyn Madden. However, he has a breakdown when is given only two pills and she orders him to leave. She meets with Billy outside to inform him that she will help him get over his distress, she then decides to transfer him to a different councillor and he asks her to meet for a cup of coffee, much to her surprise.
Finding Out Costello's Awareness
Costigan becomes aware that Costello is aware of having a rat in his crew. So, he calls for Queenan and Dignam. After briefly fighting Dignam since Dignam threatened to delete his file, he informs Queenan about Costello's awareness of the "rat" and will find out who he is. Dignam and Queenan reveal that Costello has a mole in the Special Investigation Unit.
After a few months the Chinese arrive in Boston, while with Costello and his crew are in the Chinese deal, Costello is texted by Colin Sullivan to keep their phones off, in which Costello insists and tells his men to check their weapons and phones off. However, Costigan secretly haves his phone on and he slowly texts Queenan, informing him of the monies presence at the deal. As the Chinese leave with their microprocessors, Costello makes a remark, saying "They didn't figure we had a navy" to Costigan, referring to the fact that the Chinese are arrested, the microprocessors it turns out to be false. Later, he has a conversation with Dignam about Costello's awareness and Costello's mole in the SIU as he goes to meet with Madolyn.
Finding Costello's true agenda
Billy goes to a junkie's house as Mr. French sets off firecrackers to prevent schoolchildren and other civilians from hearing gunfire. He smashes a picture frame on the junkie's head, which wakes him up. He asks the junkie of what he does to pay. Soon, the junkie mentions Costello's involvement with the FBI. Costigan quizzes the junkie about the FBI, in which he profuses about being high, resulting in Costigan shooting the junkie in the kneecap. The junkie reveals that Costello is an FBI informant. Then, Costigan escapes with French. In the evening he goes to Queenan's house, Costigan informs Queenan that Costello is an undercover FBI informant and that he never gets busted since he is protected from his crimes. The next day, he picks up an envelope from Frank's crew hideout. He rewrites the word "cittizins" (Fitz misspelled it) to "citizens", in which Fitz believes it's wrong. He gives the envelope to Timothy Delahunt and leaves.
He meets Madolyn at her old apartment since she moved with Colin. She reveals that she moving with Colin to Costigan and soon after the two made love.
At a pornography theatre, Costigan spies on Colin, who is meeting with Costello. As he spies on them, Costello chats with Colin about Colin's "reassignment" and Costello gives him the "citizens" envelope. Then, when Colin leaves, Costigan tails him. Colin becomes aware and he sets out to hide somewhere to ambush him, in which Billy does the same thing. after accidentally murdering a Chinese Resturant worker, Colin successfully escapes. Colin goes to the SIU to see the camera footgram, and see Costigan's face, but he can't.
Costigan arrives at the bar to meet Costello. As he chats with Costello about FBI relations, Costello reveals that there's a "rat" in his group, surprising Costigan. While Costigan shits his pants, Costello begins showing off his Beretta 84B Cheetah to Costigan and running drugs through the city. Frank leaves.
Captain Queenan murder
Two days later, he calls Captain Queenan. As Queenan goes on the train, he sees Costigan, commenting that Queenan has a tail but Queenan explains he doesn't. However, Sullivan ordered some Internal Investigations cops to stalk Captain Queenan, to find out if he went to the infiltrator and tell Costello who he is. As they leave the train, they separate and Costigan texts Queenan to meet him at 344 Wash. On the roof, Costigan informs Queenan that Costello will find out his true identity and will kill him. Queenan requests that they will figure out what to do. As Billy receives a call from Delahunt, telling him to meet at 344 Wash. Realizing this, the two try to escape. Unfortunately, the crew are already in the building and heading up. Queenan orders Costigan to escape as he attempts to negotiate with them. As Costigan escapes, Queenan falls to his death, landing in front of Costigan. As Costigan is over Queenan's body, Fitz, Delahunt and the rest of the crew sees Costigan and orders him to get in the van, only for them to be shot at the Internal Investigations Unit officers, with a wound on Delahunt.
At the hideout, Fitz goes at Costigan of his whereabouts. As Costigan explains, Delahunt, on the couch and badly wounded, calls for Billy. Costigan goes over and Delahunt revealed that he mistakenly gave Costigan the wrong address (he told him 314 Wash), but Costigan came to the right one indicating that Delahunt know Costigan's true identity, Costigan attempts to pull out his gun and kill him but Delahunt goes on asking Billy to tell him why he didn't go there before he gargles under his throat and dies. Costigan feels his pulse and leaves the hideout.
Call from Colin
As Costigan is drinking in deep depression, Colin calls him from Queenan's blood-stained phone. Suprised, he packs up his stuff but he decides to contact back. As he calls Colin, Colin says that he is taking over Queenan's unit and asks for Dignam but Colin reveals that Dignam is on a leave of absence. Colin asks to meet him but Billy hangs up.
Ambush in Sheffield
During the withdrawal of cocaine in a crate, in a warehouse in Sheffield, Costigan sends Colin a message of Costello's crew whereabouts. At the deal, Costigan escapes as the crew are ambushed, in which there is a shootout between the police and the mobsters, which will cause the death of most of the mobsters, including French, who while backtracking with the car, slams and shoots himself in the neck shortly before the car explodes. Meanwhile, Costello gives in to his escape, and is joined by Sullivan, who asks him about the FBI and Costello tells him that he wouldn't report him because he's like a son for him, but Sullivan teases him and after dodging Costello's shot kills him.
Encountering Colin and the Tape
Costigan meets with Colin at the SIU headquarters. As he asks Colin for a favor to find Costello's rat and arrest him. And as Colin recovers Billy's police record, revealing his information, Costigan finds the "citizens" envelope under Colin's files and he leaves. Colin comes back to his office to find Costigan gone and the "citizens" letter on show he then accesses Billy's record and erases it. Later, Costigan encounters Madolyn in front of Colin's apartment and he gives her a disc. After Madolyn discovers the disc is a conversation between Colin and Costello she silently enters the bedroom and despite Colin's plea's does not come out Sulivan thencontacts Costigan, who revealed that Costello recorded everything for evidence for the FBI and Costello's lawyer came to Costigan about the disc. As Costigan taunts Colin since he is the mole of Costello, he tells him to meet at 344 Wash at 3:00 PM, where Queenan was killed.
Attempted Arrest and Death
At the meeting, Costigan ambushes Colin and pistol-whips him. Costigan handcuffs him and Colin reveals that he erased Costigan's record. As they are about to leave, Trooper Brown comes up the roof and draws his gun. As Brown orders Costigan to drop his weapon and step away from Sullivan, Costigan refuses and explains that Colin is Costello's rat and has evidence. As they head for the elevator, Colin's anger expresses if they land into jury. Sullivans begs Costigan to kill him, who replies "I am killing you", meaning Sullivan's career and his relationship. As they exit out the elevator, Costigan is shot in the head by Trooper Barrigan, who shoots Trooper Brown when he discovers Costigan's body. Barrigan reveals to Colin that he was also a mole for Costello and Colin kills Barrigan in response confirming his preference to a police life and desire to change. When Costigan, Brown and Barrigan died, Colin is rescued by the police, he wanted to nominate Billy for the medal of merit.
Billy Costigan enrolls at the Massachusetts State Police Academy to become a trooper, wants to become a member of the state police, but reluctantly learns that he will never be able to become a state trooper, despite the fact that he never committed crimes related to the mob, because of his connections with the Irish mob in Boston, even if he hears and knows he is not part of it. He was forced to live in two worlds, one at the weekend with his father in Southie, and another in the upper middle class in North Shore with his mother. From an early age his family had a split, from the divorce of his parents, cutting ties with his relatives. This has influenced his youth. Billy has experienced times that have made him emotionally vulnerable. Despite does not become a trooper, he will be caught by Captain Queenan and Staff Sergeant Dignam as an infiltrator in the Irish mob, thanks to his connections there. Billy worked for Frank Costello for months, and lived as much as he can to infiltrate life, knowing that Costello could find out he was the mole and kill him at any time, making him feel stress, anxiety or anger, even taking pills. Billy, however, is willing to do all he can to continue his mission and finish the job, managing to convince Costello, when he was accused by him of being the mole, of not being him the mole. When he finished his mission, he wanted to quit his job as a cop, and get his identity back, which he hid during the infiltration period. When he finds out that Colin Sullivan is the mole in the police, he tells Madolyn, who despite being engaged to Sullivan, had developed a hidden love even with Costigan before proving it to everyone. He brought him the remarks of the speeches of Costello and Sullivan, which had been entrusted to Billy, because Costello trusted Billy for more than anything else. Afterwards he wants to meet Colin on the roof of the 344 Wash, because he wants to arrest him, but then he discovers that Colin has eliminated his file, and therefore he is no longer part of the police. Billy then brings Sullivan into the elevator, after intervening Brown, who is incredulous of the situation. Shortly before arriving on the ground floor, Colin tells him that he prefers to be killed, rather than watching his fall. Billy says his last words: "I am killing you", in the sense that by demonstrating his accusations with the proofs that Costello gave him, he will collapse ruinously, he will lose his desire to always aim high. After Costigan, Brown and Barrigan died, Sullivan plans to register Costigan for the medal of merit. It could’ve been an 'act' to convince his superiors or maybe Sullivan appreciated the sacrifice that Costigan made for the Police, one he never got a chance to do.
- Originally Tom Cruise was planned to play Billy Costigan.
- Leonardo DiCaprio gained fifteen pounds of muscle for his role as Billy Costigan.
- Leonardo DiCaprio was one of the three Oscar winners, along with Jack Nicholson and Matt Damon.
- Leonardo DiCaprio called his one-on-one scene with Jack Nicholson "one of the most memorable moments of my life."
- Leonardo DiCaprio described Billy Costigan as being in a "constant, 24-hour panic attack.".
- Leonardo DiCaprio called Billy and Colin "two sides of the same coin".
- He is inspired off of the undercover officer Chan Wing-Yan, of Infernal Affairs (2002).
- Tom Kemp plays Billy Costigan, Sr. and Zachary Pauliks plays Billy Costigan, Jr. as a child. A scene had been recorded in which Frank Costello spoke to Billy's father who was cut, but it is possible to see them in the film in a photo.
- When Billy and Frank are sitting in a bar, Billy is just sitting at the table. In the next shot he's suddenly in the middle of blowing smoke rings into the air.
- Billy's telephone number is 617-869-1469, seen when Colin calls him, but when Billy calls back from that same phone a couple of minutes later, the calling number shows as 617-177-9528, which doesn't match.
- The trailer shows the part where Sullivan accesses Billy's file. In the trailer the social security number is 135-01-6629, while in the film it is 229-00-8003.
- The first time Colin Sullivan accesses Billy's file, his date of birth is November 7, 1984, but when he re-enters the file the second time, the date is November 7, 1980.
- Between the discovery by Costigan of the envelope on Colin's desk, and the return of Colin in the room, the arrangement of the various piles of documents on the desk have changed.
- On the envelope Madolyn receives, Billy's return address is on Conant St. in Boston, but Conant St. is in Revere.
- When Billy is arresting Colin, he says "you didn't come here to talk, you came here to get arrested" but his mouth is not moving.
- "Costigan, William M" Seen the middle name or the initial of it, while Colin accesses Billy's file.
- Is seen in Billy's file.
- The murder of Myles Kennefick takes place on September 19, 2006, making The Departed set in 2006. At one point in the film, during a meeting with Queenan and Dignam, Billy Costigan mentions that a year has passed, coming to 2007. In the Colin phone "Mar 16,06", or March 16, 2007 (2006, it is a plot error, as Kennefick died in September of this year). On this day the affair between the Chinese mob and Costello takes place. They pass six months, expressed by Billy, four from the Chinese deal. The events that follow take place day after day, and Billy Costigan's death takes place eight days after the deal (16), making it July 24, 2007.
- "Costigan, Catherine R." it is written in Billy's mother's pills container, seen while Billy is in her apartment.
- "And I'll forget your grandmother was so nice to me." Expressed by Mr. French to Billy.
- "That maggot uncle of yours... Tommy Costigan, is another goof." Expressed by Staff Sgt. Dignam to Costigan.
- Is seen in the database in the movie.
- "And one priest" Expressed by Costigan to Staff Sgt. Dignam.
- Is the 12-year-old boy who married his uncle priest John Costigan.
- "I got kicked out, like, four months ago." Expressed by Billy Costigan to Aunt Kathy Costigan.
- "Like I said, two days ago my guy damn near found out who Costello's rat is. But he lost him in the streets." Expressed by Captain Queenan to Colin Sullivan.


There are sports movies. And there are (very few) movie productions with sustainability embedded in their DNA. “Knights 58,” now in its pre-production phase, may well be the first sports movie to use state-of-the-art green production techniques.
WHAT IS THE SAILLANT COMPANY?
Transforming our World by Accelerating
Sustainability towards the Future.
Founded by Antonio Saillant, The Saillant Company is a multi-platform production company whose main focus is on redefining sustainability by engaging all entertainment and business verticals in co-creating enduring sustainable practices.
Chief Executive Officer
What are you doing to transform yourself into being completely sustainable, and how do you inspire others to do the same? See why Antonio Saillant is so deeply passionate about transforming humanity to saving the planet.


168 works from 130 Indigenous nations to screen at Māoriland Film Festival in Ōtaki – 20th to 24th March 2024
The largest Indigenous film festival in the world is back in 2024, presenting 168 films and video works from over 130 Indigenous nations across five days in sunny Ōtaki on the Kapiti Coast in Aotearoa, New Zealand.
The Māoriland Film Festival returns for its eleventh year with the largest programme to date, including 11 feature films, eight feature documentaries and 16 short film programs.
Festival director Madeleine Hakaraia de Young said 2024 saw the largest number of eligible films submitted for program consideration to date, with films from Aotearoa, Australia, Canada, United States, Finland, Norway, Kazakhstan, Brazīl, Chile, Colombia, Cook Islands, Greenland, Fiji, India, Kenya, Marshall Islands, Palestine, Mexico, Nepal, Russia, Sierra Leone, Taiwan and more.
“Every year, we see the groundswell of Indigenous storytelling continue to grow. Māoriland is a global event – so we prioritise bringing new communities and voices to the festival. ,” says Hakaraia de Young.
“It’s never been more important for Indigenous voices to be heard. We see the power of film storytelling to grow empathy and create change. Every success in our Indigenous screen community grows our ability to go further.
“The theme of this year’s festival “Kia Tau Te Rongomau” is a call for peace. We have worked with Rachael Rakena to curate an exhibition down Ōtaki’s Main Street with artists Tāme Iti, Regan Balzer, Johnson Witehira and Ngataiharuru Taepa in response to this theme.
“We’re honoured to have these esteemed artists share their response to our theme as our 2024 Māoriland Keynote at Rangiātea Church on Wednesday, March 20th.”
Screenings will then open that evening with the world premiere of season two of the Reciprocity Project, a series of short films which reframes the relationship we have with Earth, other living beings, and one another. They ask – what does a ‘return’ to land, language, and reciprocal practices mean to you and your community?
With seven films from seven nations (United States, Canada, Finland, Rotuman, Taiwan, Sierra Leone & Kenya), the project explores the time-honoured and current ways of Indigenous being in the face of the current climate crisis.
All seven Reciprocity Project teams will attend the festival with an in-person Q&A following the screening. Filmmaker participation is an aspect that sets the Māoriland Film Festival apart from other festivals in Aotearoa.
Māoriland anticipates 2024 will see the highest number of filmmakers in attendance yet with Q&As to be presented at most screenings.
Highlights include The Mountain, the feature directorial debut from actress Rachel House, a heartfelt story of healing and friendship. Hey Viktor!, the unauthorised mockumentary sequel to Smoke Signals from Cody Lightning, as well as a spotlight on Indigenous Australia, including several feature and short films.
“We have chosen to highlight films from Te Whenua Moemoea – Australia – our Indigenous cousins across the sea. Their national referendum about whether there should be a dedicated Aboriginal voice in their parliament coincided with our own general election here in Aotearoa,” says Hakaraia de Young.
“Our Māoriland team were on Gadigal country in Sydney that week for a major festival on arts and technology. As we participated in panels on Indigenous potential and collaboration, we saw the injustice of an Indigenous political voice that had been crushed.
“We felt the mamae in the hearts and souls of filmmakers from Country. We believe that by sharing their stories, we can find ways to support each other going forward.”
Set in 1940s Australia, The New Boy depicts the mesmeric story of a nine-year-old Aboriginal orphan boy who arrives in the dead of night at a remote monastery run by Sister Eileen.
Created by acclaimed Kaytetye director Warwick Thornton and starring Cate Blanchett, the film depicts a tale of spiritual struggle and the cost of survival.
The documentary You Can Go Now shares the story of First Nations artist Richard Bell, whose confrontational work and attitudes have stirred the Australian art world.
He challenged the status quo with his manifesto, labelling the Aboriginal Art industry as ‘a white thing’ defined by colonial power structures that profit most from it.
And for closing night, Frybread Face and Me is a coming of age film by Native American director Billy Luther (Navajo, Hopi, and Laguna Pueblo).
The film tells the story of two Navajo cousins from different worlds bond during a summer at their grandmother’s ranch in Arizona while learning more about their family’s past and themselves.
Alongside film screenings, the festival will host Q&A sessions with filmmakers, film industry korero and events, and more.
The Māoriland Film Festival runs from 20th to 24th March across several venues in Ōtaki. Tickets will be available from February 12th on iTicket.
- 168 Titles including
- 11 Feature Films
- 8 Documentary Feature Films
- 125 Short Films
- 24 Experimental, Digital, Interactive, Animation & Game works (MATCH Exhibition)
- 130 + Indigenous Nations
- 56 Titles from Aotearoa New Zealand
- 19 World Premieres, 13 International Premieres, 8 Southern Hemisphere Premieres, 47 New Zealand Premieres
About Māoriland Charitable Trust
Māoriland Film Festival is the showcase event of Māoriland Charitable Trust, which grows social, cultural and economic opportunities for Māori & Indigenous film and creativity from the Māoriland Hub in Ōtaki.


Erin Austin is a multi-disciplinary writer, performer, and producer living in Chicago. Her most recent credits include collaborations with Tellin’ Tales Theatre, Lyric Opera of Chicago, Hub Theatre, Red Theatre, American Theatre Company, and Chicago Dramatists.
Erin is a proud co-founder of Living Room Playmakers: a playwrights collective that writes and produces site-inspired work in unexpected places all around Chicago. lrplays.org
She’s taught screenwriting at Northwestern University and playwriting at The Chicago Academy for the Arts.
When not writing plays, Erin writes scripts and produces content for educational videos and computer games at NogginLabs, Inc.
She holds a BFA in Musical Theatre from the University of Miami and an MFA in Writing for the Screen + Stage at Northwestern University.


Gone With The Wind
Item type: Poster Date: 1980 = 1989 Description: Spoof film poster for “Gone With The Wind” starring Ronald Reagan and Margaret Thatcher. Made for Friends of the Earth in the 1980s. The stars of the 1939 film are replaced in this photo-montage poster by US President Reagan and Prime Minister Thatcher. The title refers to the feared effects of nuclear war. The image of Thatcher in Reagan’s arms gives an impression of British politicians being subservient to the US.


Video Editor, Motion Graphics
Landon is a Texas native and began his career in film at the age of 12 as an actor. He later went on to earn a BS in Radio, Television, Film at the University of Texas, where he graduated with honors.
He began his editing career at GSD&M as an in-house editor and A/V Engineer. Landon has freelanced and worked as the lead editor at Beef & Pie Productions since 2013.
Landon believes good storytelling is the foundation of editing.
Outside the studio, Landon can be found hiking and fishing on Barton Creek and small streams throughout central Texas and northern New Mexico.


- Qian Lau
- Born in China, moved to England when she was 12.
- Studied Film and Media studies.
- Travelled all over with her family.
- Likes to be kept busy and hates being bored.
- Studious but eloquent.
- Lives and breathes films.
- Chinese, Mandarin and French.
Everyone calls me Qian – I’m the video editor. I take what we call raw digital video, create short clips and string the clips together to produce a video that fits a brief from our client. So in this case, the video will run with a music track. I add transitions between the clips and special effects, so the video really captures the mood of the music. I work with the audio editor, to make sure sound and pictures come together seamlessly in the video segment. It’s very satisfying when it works really well.


CAN A DIRTY DEED GET DONE DIRT CHEAP?
A fun and frenzied dark comedy about a boundary-pushing woman trying to get a discount for a murder-for-hire. When Sophia steps inside of Charlotte's truck, everything hits the fan and spirals out of control. Feeling trapped, Charlotte struggles to negotiate with Sophia and maintain the ounce of sanity she has left before her next meeting.
Written & Directed by Angie Comer, The Smartest Dumb Girl features acclaimed & multi-talented stand-up comedians Jenny Zigrino from Bad Santa 2 and Fifty Shades of Black and Zainab Johnson From Amazon Prime's Upload. An alumni from the AFI Directing Workshop for Women, this is Angie's 7th short film. With eight feature scripts and TV pilots to her credit, Angie is a gutsy and clever filmmaker with the skills to hook, fire-up and inspire any audience.
The Smartest Dumb Girl is lightening in bottle with a slick pace. It's the type of story that celebrates raunchy & funny women. The very talented Michelle Clay is our Editor | Producer, and she has collaborated with Angie on several films. The music is headlined with an original rap song from a female artist out of Australia, Honey-B-Sweet.
Do you have questions or comments about our film? Do you have a theater where we could arrange a screening? Send us a message, and we will get back to you soon.
The Smartest Dumb Girl - Short Film
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The best short film festival in the city is happening tomorrow. I went last year and it was awesome.
Here's how it goes: You show up at a stranger's house and watch an hour or so of short films with a bunch of strangers sitting a bit too close to you on couches in various states of disrepair. Then, you go to another house and do the same thing. At the end, you vote for your favorites. That simple process is Seattle's own Couch Fest.
The final details for the 2010 Couch Fest short film festival have just been released. This year, the festival is centered in the Capitol Hill area and sure to draw a crowd at a low admission price of $5. The films start at noon and you switch houses every hour until 6 p.m. Bring snacks, bring a date, bring a smile, and bring wheeled transportation to get you from house to house.


The Repertory Theatre is 30A’s premier professional theatre company located in the heart of downtown Seaside, Florida. Most of their performances take place in the 75-seat Meeting Hall Theatre. The Seaside REP Theatre opened in 2001 and has since built itself into a first-rate theatre company, attracting some of the finest talent from around the world.
Each year, they put on performances in comedy, improv, broadway, and magic, exhibiting every aspect of live performance!
The Seaside REP Theatre is a great indoor activity, perfect for rainy days and late-night entertainment! Visit their website for a full list of upcoming performances.
Visit Website: https://lovetherep.com/


Date(s) - 07/02/2019
7:00 pm - 10:00 pm
Memorial Hall, StAnn's Chapel
Category(ies) No Categories
This time the film is Finding Your Feet (2017), a sparkling English comedy starring Emelda Staunton, Timothy Spall, Celia Imrie and Joanna Lumley. On the eve of retirement a judgemental snob discovers her husband’s affair with her best friend and is forced to live with her bohemian sister in an impoverished Council estate.
The food is again supplied by Kate@Folly and this time has a Moroccan theme – kofta kebab, cous cous salad, pita bread and cucumber yogurt – scrummy !
Food will be served at 7.00 p.m. with the film starting at 8.00. Bring your own drinks and glasses.
Tickets are a very reasonable £10, available from Holywell Stores.


Production Hell in Space:
Alien 3’s production, like most flawed films, is more interesting than the film itself. Sparked by bold new director David Fincher, an established horror film brand that had brought Fox nearly 150 million dollars in revenue, and a studio system unsure of what to do with its property, Alien 3 was produced. Through the conflict, Alien 3 was released to theaters and panned as a mess. It was disorganized, confusing, and without a clear vision. The film was poorly received, almost ending David Fincher’s career. The 2003 box set release of all four Alien films came with director’s cuts for each of them, except for Alien 3. Fincher had disowned the film and has since made a reputation of not releasing any alternative cuts to his work. DVD producer Charles de Lauzirika was put in charge to take bits of the reworked script and unused clips and put together a cut closer to what Fincher had aimed for. What he created was one of the biggest alternative cuts to a film ever, one that added nearly 30 minutes of footage, reworked characters, plot, and spawned a whole new discussion about the film.
Since the advent of DVDs, producers have been adding more special features to help raise sales. Director’s Cuts have been a great way to convince consumers to buy films they either already own or were previously uninterested in. With these alternative cuts, some films have been released with more than just an added scene or alternate ending. Troubled films like Superman II or Blade Runner sought to return some of the artistic control back to the director, changing whole tone of the film or reworking certain plot points, as an attempt to reclaim the project. Alien 3’s Assembly Cut is a fascinating look into what studios look for in a big box office release, what characterizes that David Fincher style, and how the smallest edits can rework a film.
Trying to work how the Assembly Cut came to be is a messy process for the same reason it failed: there were simply too many people involved in the production. David Giler, Walter Hill, and Gordon Carroll were some of the chief writers and producers of the film. Along with four other writers though, the film still ended up in production without a script due to numerous rewrites and edits. Most of the final theatrical script was written by them, however it was altered by numerous executives. Until the film was printed, the story was being reworked over and over again. Before reaching Fincher, the film had a total of nearly ten writers’ fingerprints all over the production.
Renny Harlin was the first choice to direct Alien 3 and head the project. He was fresh off the success of Nightmare on Elm Street 4: The Dream Master and was being offered a lot of big deals around Hollywood. He was only 28 at the time. The task was daunting for Harlin, who saw the first two films as masterpieces and feared simply copying them. During this time, a lot of new concepts were played around with at Fox Studios. Harlin pitched ideas for an origin story for the Xenomorph, returning the film franchise to their home world. Fox was uninterested in 1990. Harlin quit the production, disillusioned with the project and tired of rewrites, and left to work on Die Hard 2.
One of the strangest and most influential scripts was presented by Vincent Ward. The film took place on a planet made out of wood and inhabited by monks. It was by far one of the most artistic and radical scripts presented. Again, Fox was not pleased. Lead actress Sigourney Weaver and Fox executive Jon Landau disliked the script’s direction, especially the use of Weaver’s character. Landau would prove to be one of the biggest adversaries of Fincher during his production. During this period the prison idea formed and around the same time Ward was fired and his story was reworked under Giler, Hill, and Carroll. The skeleton of his film still remains, with the monks reworked to prisoners and the isolated planet turned into a prison.
Alien 3 served as a stumble rather than a spring for rising-star director David Fincher. Prior to the production of Alien 3, Fincher was a very successful director in circuits outside of features film. He had his start in film as a production assistant, working up to a visual effects producer — not just in indie features, but at Industrial Light and Magic (ILM). After ILM, he directed major commercials for companies such as Coca-Cola and Nike. Given a massive budget to create eye-catching and bold shorts, Fincher was used to having a heavy amount of creative control and was used to fighting for it. Music videos secured his industry name. In 1985, Rick Springfield gave Fincher his big break (and feature directorial debut) at the young age of 22 with The Beat of the Live Drum. Working with multiple artists, he developed an iconic style that would dominate Fincher’s lens: dark, slick, and high technological. Watch Madonna’s Express Yourself and Vogue or George Michael’s Freedom to see to see this early development of Fincher’s style. His time at ILM and his work on music videos and commercials resulted in a director with an eye for detail and extreme perfection. He was young, but very seasoned. Eventually he would become famous for his crime thriller Seven, his outrageous Fight Club, and his Academy Award nominated films The Curious Case of Benjamin Button and The Social Network. However, it was long before those successes, at the age of 29 that he was entrusted with the chaos of Alien 3’s production.
During production, Fincher got along great with the actors. He often worked very light heartedly and gave the actors room for input. Meanwhile, the producers and creative crew leads were a different story. His experience in visual effects and his controlled methods made him difficult to work alongside. Amidst this animosity, Fincher was pressured to shoot faster and faster, with studio watchdogs on him at all times. Fox set priorities for him, wanting a more standard science fiction film while he was moving in a different direction. His vision was much more artistic and resembled the style of his later work. Furthermore, he did not express gratitude to the studio and was openly antagonistic. The novice director was not easy to manipulate, as the suits had no doubt hoped he would be. Rather than trying to finish shooting, filming wrapped with only three quarters of the movie complete.
The director was brought back to LA and his film was judged in its incomplete state. The original rough cut of the film was nearly 3 hours. Most of the film was removed or reworked. Fincher’s intended purpose was lost and muddled in the sea of rewrites and reshoots. After multiple screenings, they had to get approval for all additional shoots, and every reshoot increased the cost of the already over budget film. Most of the effects crew and the staff had finished and had to be paid extra to complete their work outside of their contract period. A $16,000 bald cap was made for Weaver to wear, due to her refusal to continually shave her head for every reshoot needed. Most promotional shots and the ending for the film are actually bald caps. The rushed bald caps may not have shown, but the ending of the film’s rushed appearance is apparent. CGI was left unpolished, character arcs were dropped, and Fincher became more and more depressed as the work went on. Upon its release, he divorced himself from the project and nearly signed off working in Hollywood. Although we will never see what Fincher’s real intention was, the Assembly Cut is a view into what could have been.
One of the subtlest changes in the Assembly Cut was inclusion of the religious dialogue, reestablishing the religious overtones from the original Ward script. This religious subplot gave a lot of the prisoners, a group of very unlikeable characters, a little redemption in the bleak film. The brutality of Fincher’s cut was scaled back, as Newt’s autopsy was removed from the film. Newt was the little girl rescued from the Hadleys Hope terraforming colony on LV-426 and protected by Ripley in Aliens. The autopsy scene was meant to demonstrate the paranoia Ripley had over another alien attack and also give her character more time to portray her almost maternal mourning. One of the lesser features of the theatrical cut was that it quickly moved past the deaths of the old crew and downplayed the emotional impact.
Catching the alien alive was also removed from the theatrical cut, which led to Paul McGann’s character, Golic, being scaled back. In the theatrical cut, the character is not seen in the latter half of the film after being locked up. In the Assembly cut Golic plays a second act villain, falling into insanity and freeing the locked alien. It adds a little extra push in the second half of the film and reminds the audience just how dangerous the people around Ripley really are.
The oddest change that was made was the alien’s host. In the theatrical cut it was one of the dogs. Since one of the chief influences for the alien redesign was a dog, this is understandable. However the original host was an ox and the chest bursting scene was more brutal. Effects coordinators used real animal guts and blood, but were forced to reshoot the scene with new special effects when switched to the dog. Most of the these changes are trivial in comparison to alternations to the ending.
In the Assembly Cut the alien does not burst out of Ripley’s chest as she jumps into the molten lead. The Assembly Cut changes Ripley’s last minute blood spurt and defeat into self-sacrifice and redemption. With the added religious imagery, this helps build a theme that was missing from the theatrically released film. Alien 3 is the darkest of the Alien films and shows Ripley at her weakest. She is without weapons, she has fallen for a killer, she is not nearly as strong as she was in Aliens nor as supported as she was in Alien. In comparison to the previous two films that saw her as the ultimate combatant against the scourge of the Xenomorph, this film took a much more reserved approached. Ending with the plunge into lava made for a more resolved ending for the character.
If you watch the Assembly Cut, you will not find a film that is better than the original, Alien, or it’s sequel, Aliens. However you will find a film that is more rounded and detailed. If you are a fan of David Fincher, I think this is the version you should watch. You can see the early buds of what would become of his style. Do be aware that two different Assembly Cuts exist with the superior one on the Alien Anthology Blu-Ray release with cleaner audio and effects.


How to Choose the Best Action Movie for Kids
In case you are organizing a movie day for your children, you have to choose the best film for them to watch. Action movies are a fan favorite for many kids because of the fantasies that they get from the movies. There are a plethora of action films in the market, and it can be hard to get the best. You need to choose a movie that will not scare your children. Choose a film, which does not have a lot of death scenes because the children will not sleep well at night. Here are tips to help you when choosing the perfect action movie for your kids.
Start by looking for action movies which are fit for kids. You should use various online sources in your research. There are many websites you can look at to know more about these action movies. The best websites usually divide the movies into adult and kid movies. Your curiosity should be peaked on the kid’s movie section. On the websites, you will learn a lot about these movies before you choose the one you want. Read the online testimonials of people who have watched the movies in the past, so that you can get an insight of what the movie is about.
Choose a couple of movies, which you think are the best so that you can find out more about them. You should google the synopsis of the movie before choosing the one you want. The plot of the movie will give you an idea of what the movie is about. You will get a chance to know whether the film is the right movie for kids. Always avoid films with many adult scenes. Such movies might corrupt the minds of the children. Avoid very violent films.
The action films are full of fighting scenes, but you shouldn’t choose a movie, which is all about violence. It is important to look at the trailers of the movies that you have identified in your search. The best place to watch these trailers is on YouTube. By watching the trailers, you will be able to nature of the movies.
Make sure that the film you choose for the children is captivating. When you watch the trailer, you will be able to determine the quality of language used in most of the films. Avoid the movies which have a lot of abusive languages. It is not good for the kids to start using this vulgar language. The final stage is to select the ultimate action movie for the children to watch.


On Sunday, January 17, 2010 from 3 p.m. to 5 p.m., the Veterans Museum & Memorial Center will be screening the World War II drama "Only the Brave" with a Q & A session with film director Lane Nishikawa following the film.
"Only the Brave" is a drama about the events of the all-volunteer Japanese-American soldiers who rescued the Lost Battalion of World War II. The screening coincides with the Museum's latest exhibit, "Japanese Americans in the Military" and is free with museum admission.
$5 for Adult
$4 for Veterans and Seniors
$2 for Students with validID
Admission is FREE for Active Duty Military and their Dependants, children under 12, and Museum Members.


Have you ever been flipping through the channels on a lazy Sunday and come across an Elvis movie marathon? Probably so. Do you ever leave the channel and consume them? No? Well, I do. Yes, Yes. I love Elvis Presley. I even have the Elvis XM satellite radio station preprogrammed in my car. I could listen to him sing all the time. His voice is right up there with Jason Mraz and Dan Auerbach (for me anyway). Not to mention, he once had incredible sex appeal.
One can't help but to love the cultural icon, King of Rock and Roll. He is a genre unto his own. Born in Mississippi, but will forever be apart of Tennessee history. I have never been to Graceland. I've come real close once, but my husband swears he will take me one day. I believe you can't have too much of a good thing.
My favorite Elvis movies? =) I can sit through them all, but I get really excited when I run into Clambake(yes, I know the ridiculousness of this movie). If you haven't seen it, well, it's about Scott(Elvis) who is from a rich family, but sets off trying to live on his own switching places with a ski instructor. He falls for a woman who only wants a rich man and she sees through Scott because she thinks he is just a ski instructor. (See, typical Elvis)
I also love the movie, King Creole(one of my fave songs too). I love this one because it's set in New Orleans, and it's in black and white. Black and white does wonders for Elvis. This movie also focuses on his singing and a career start for Danny(Elvis) who starts singing in the "King Creole" club for money to support his father and sister.
I also got really pissed off that HBO didn't include "Bubba" in True Blood. For those of you who have not read the Sookie books, Bubba is an implied character. Harris only implies that Bubba is Elvis, she never says it outright, but you just know. Bubba was turned into a vampire during his "unfortunate overdose" by an overzealous fan. It resulted in a not so ideal state of mind for a vampire. He has to be baby sat, and loves cat blood. In other words, he is a little off his rocker. I thought it was brilliant, and he should have been featured in True Blood, because Bubba was also one of the 33 male characters I chose to be memorable, but didn't put him in my list.
Okay, enough about Elvis. Another one of my little dirty secrets is Cary Grant. *squee* Unlike Elvis, Cary stayed handsome throughout his life.
Cary in his prime.
Cary, an old fart, but he is still handsome.
Since this guy died two years after I was born, how did I ever develop this interest? I came across Cary watching old Alfred Hitchcock films. I do must say Suspicion was the one. Who doesn't love that movie? If you haven't seen it, it's about a gambling man who is broke marrying a woman in hopes of living off her fathers money. All in all, it comes down to, Lina(Cary's wife) becomes suspicious(it was more like paranoid to me) that Johnnie(Cary) wants to kill her for her life insurance. You know Hitchcock, gotta love him. Other Hitchcock films he has performed in: To Catch a Thief, Notorious. A whole list of movies can be found on his wiki page. He has played in movies with Katherine Hepburn, Frank Sinatra, Joan Fontaine, and Grace Kelly.
My absolute favorite movie featuring Mr. Grant, me being me, of course it's Arsenic and Old Lace. It is a film that was produced after a run on Broadway. The inspirations of this movie is why I love it. I love true crime and two separate incidents helped inspire this film. Amy Archer-Gilligan was a nursing home owner in the early 1900's who was accused of murdering elderly men in her care with arsenic. A book recently was published last year, The Devil's Rooming House by M. William Phelps. It is a highly entertaining true crime read about Amy Archer-Gilligan and the goings on in her home. MUST READ for any true crime lovers. The other inspiration for Arsenic and Old Lace were the Black Widow murders. These two women are comparable to Abby and Martha in the movie. The Black Widows were hit and run murderers, killing two homeless men for the insurance policies taken out on them. I frequently watch this movie as I have it on my DVR, I can recite the words.
My favorite line from Arsenic and Old Lace: "Madness runs in my family, it practically gallops!" Haha... too true.


And second, hey, maybe some folks still haven’t heard about it, and if they end up registering, they won’t be disappointed!
After all, it’s winter time and things are slow anyway. Once we get past the workshop, we’ll get back to the juicy winter blog topics you’ve come to expect: Henry Miller, bad sex writing, and Theo drinking from the toilet.
Until then, let us check out the writers who’ll be sitting in on our esteemed faculty, shall we?
Catherine Ryan Hyde is the author of 16 published and forthcoming books. Her newest releases are “Jumpstart the World” (Knopf, Fall 2010) and “Second Hand Heart” (Transworld UK, Fall 2010). Forthcoming is “Don’t Let Me Go” (Transworld UK, Spring 2011) and “When You Were Older” (Transworld UK, Fall 2011). Newer novels are “Becoming Chloe” (Knopf, 2006), “Love in the Present Tense” (Doubleday, 2006), “The Year of My Miraculous Reappearance” (Knopf, 2007), “Chasing Windmills” (Doubleday, 2008), “The Day I Killed James“ (Knopf, 2008), “Diary of a Witness”” (Knopf, 2009), and “When I Found You” (Transworld UK, 2009).
Older works include the story collection “Earthquake Weather,”, and the novels “Funerals for Horses,” “Pay It Forward,” “Electric God,” and “Walter’s Purple Heart.” “Pay It Forward” was adapted into a major motion picture, chosen by the American Library Association for its Best Books for Young Adults list, and translated into more than 23 languages for distribution in over 30 countries.
Eric J. Adams is an author, film producer, screenwriter, and journalist. Eric co-wrote and produced the independent feature film “My Suicide,” starring David Carradine, Joe Mantegna, and Nora Dunn. “My Suicide” won the coveted Crystal Bear Award at the Berlin International Film Festival and was selected to screen at SXSW in Austin, Gen Art Film Festival in New York, and the San Francisco International Film Festival.
With his new company, Sleeperwave Films, Eric is in development on a number of film projects, including a co-production with Halle Berry’s management company on his script “Supremacy,” the true story of a black family held hostage by white supremacist fugitives. Eric is also the author of several books, including the suspense/thrillers “Plot Twist” (St. Martin’s Press), “Birdland,” (Hodder & Stoughton) and the dramatic non-fiction “Loss of Innocence: A True Story of Juvenile Murder“ (Avon Books).
As a journalist, Eric has written for dozens of national and regional publications, including The New York Times, The Los Angeles Times, Wired, and Salon. He twice won silver medals at the Houston International Film Festival for his screenplays “True Crime” and “Desperate Night,” and he was recently named a Djerassi Screenwriting Fellowship finalist by the San Francisco Film Society.


This is an awesome movie! One of my all time favorites! This movie is just packed with adventure, danger, and other awesome things. Like jumping out of windows after hawks, almost being captured by bad guys, and the awesome story of the ship The Unicorn. I love this movie, it is just amazing! And the animation is so realistic, when I first watched it I didn't realize it was animated! Awesome details, and scenes. I actually have this movie on my shelf. Well anyways this is an awesome movie I think everyone should watch. There is a scene where somebody gets shot and other guys die, so really little kids might be scared. But I would recommend it to ages 10-up.


“We do on stage things that are supposed to happen off. Which is a kind of integrity, if you look on every exit as being an entrance somewhere else.”- Tom Stoppard
I am forever a fan of Shakespeare’s As You Like It, which features the line, “All the world’s a stage”. We live with this concept that we can prevent people from seeing what goes on backstage, but as a former performer I can tell you that it’s very, very difficult to keep the backstage hidden for long. Eventually, someone trips up and lets a curtain get pulled to reveal a backstage full of set changes, props, and the cables that keep everything in place.
I think it’s an interesting analogy for creative work. Understandably, we don’t want to show off everything (even the most seasoned actor would hate doing a quick-change exposed to an audience), but perhaps dropping some of the curtains would allow for a more authentic relationship with our audience.
If we allow small glimpses into the process, then we encourage our audience to come in closer, to see us as we are instead of the polished, finished product we willingly show.


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- Release date of movie : 2014-09-25
- Companies of movie : Why Not Productions, Wild Bunch, Desperate Pictures, Orange Studios,
- Countries of movie : United States of America, France,
- Language of movie : English,
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- Cast of movie :Shailene Woodley (Kat Connor), Eva Green (Eve Connor), Christopher Meloni (Brock Connor), Shiloh Fernandez (Phil), Gabourey Sidibe (Beth), Thomas Jane (Detective Scieziesciez), Angela Bassett (Dr. Thaler), Dale Dickey (Mrs. Hillman), Sheryl Lee (May), Jacob Artist (), Mark Indelicato (Mickey), Ava Acres (Kat (age 8)), Tia Barr (Secretary)
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Director : Gregg Araki, Novel : Laura Kasischke, Screenplay : Gregg Araki, Director of Photography : Sandra Valde-Hansen, Production Design : Todd Fjelsted
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XIX European film festival of short films in the format of animation, fiction, documentary, experimental films, and advertising will be held from November 22 to 29, 2010 in Warsaw, Poland.
The festival will be a unique launching pad for young and beginning filmmakers. At the festival will be presented 60 unique short films selected from more than 200 works representing more than 20 countries, including Romania, Poland, Great Britain, Portugal, Argentina, USA, Ireland, Australia, Belgium, Peru, India, Japan, Hong Kong, Spain, Croatia, Germany, France, Finland, Greece, Serbia and Switzerland.
The Warsaw part of the European Short Film Festival will be held at the Center of Contemporary Art in Zamek Ujazdowski. The demonstrations will also take place in fourteen other cities of Poland such as Lublin, Poznan, Gdansk, Wroclaw, Olsztyn and others.
Festival guests can expect daily full program with a variety of shows, presentations and, of course, pleasant surprises.
Monday, November 22:
18.30 KINO LUNA / LUNA FILM THEATRE
AMERYKAĆSKI FILM REKLAMOWY 2010
An American promotional film 2010. The Art and Technique of the American Advertising 2010. Screening of film-winners of AICP prize, which is a part of the permanent collection of the Museum of Modern Art in New York.
Ticket price: 7 PLN.
Friday, November 26:
19.00 FILMOTEKA NARODOWA - the projection room
UKĆAD (THE ARRANGEMENT) (1969) by director Elia Kazan. Presentation of the “How to be a good director” book of Elia Kazan published with the support of Young Cinema Foundation.
Admission is free.
Sunday, November 28:
19.00 KLUB POWIÄKSZENIE
ANIMACJE, DOKUMENTY I FILMY EKSPERYMENTALNE
W KONKURSIE / ANIMATION, DOCUMENTARIES AND EXPERIMENTAL FILMS IN COMPETITION
Admission is free. Screening lasts more than 3 hours.
Monday, November 29:
18.30, 20.30 KINO LUNA / LUNA FILM THEATRE
FABUĆY KONKURSOWE / FICTION COMPETITION
Screening of winning films of the festival in such nominations as animation, fiction, documentary and experimental films.
Ticket price: 7 PLN.
Hotels and apartments in Warsaw can be booked with immediate confirmation on www.poland-vacations.com


1. Who wrote Hamlet?
2. What country is Hamlet set in?
3. Does the play open in day or night?
4. Who are Bernardo, Francisco and Marcellus?
5. Who is Gertrude?
Queen of Norway
Queen of Denmark
6. Why did Laertes go to France?
To visit his family
To go skiing
7. What does the ghost ask of Hamlet?
8. What does Polonius think is the cause of Hamlet’s madness?
9. How did Hamlet know Rosencrantz and Guildenstern?
They are his cousins
From a sword duel
10. Who does Hamlet kill first?
11. Where does Hamlet put the body of the first person he killed?
In a wardrobe
12. Why does Hamlet ask the actors to change the play?
Because he didn’t like the ending
Because he wanted to show the truth about Claudius
Because he wanted to scare the people in the audience
13. Where did Claudius send Hamlet?
14. What did Claudius ask the King of England in his letter?
To kill Hamlet
To look after Hamlet
To ask if he could come visit him
15. Act 5 opens in a graveyard; who is being buried?
16. What did Hamlet do before the final duel?
Apologised to Laertes for their earlier fight
17. What does Claudius say about Gertrude after she falls on the floor from the poison?
She needs a nap
She feels ill when she sees blood
She toppled her chair over
18. Does Claudius tell the truth at the end of the play?
19. Who says the line ‘Goodnight Sweet Prince’?
20. Who gets the crown at the end of the play?
Here is a modern version of Hamlet, by Terry Deary.


Devon'S marriage to Ashley is one of convinience. In order for Devon to merge Tricorp hotels with Copeland's he should marry Ashley. Ashley's father is willing to marry her off to Devon. Later on, during their honeymoon, she comes across evidence of what had transpired between her father and Devon,though at this time Devon has seriously began to like her, like her bubbly personality. He realises this as he notices the change in her. Ashley tries to change herself to fit the kind of woman she thinks Devon wants as a wife. It was really sad to see her going through this, suffering.
Later Devon, after realising how much he hurt her, tells her he wants her back, her real self. The real Ashley. It was good to see this transformation, from a man who was only interested in what he would gain materially, to one who is hopelessly inlove with someone who, at first meant nothing to him, but a way to enhance his business.
Really looking forward to read more from the author.


Please note this event has been rescheduled to Friday, July 16.
Join us for a fun family movie at Newark Riverfront Park!
The Secret Life of Pets (2016). Directed by Chris Renaud and Yarrow Cheney. (87 min). Rated PG.
The quiet life of a terrier named Max is upended when his owner takes in Duke, a stray whom Max instantly dislikes.
The film will be screened in English with Spanish subtitles.
This event is FREE and no registration is required.
Event starts at 8pm, movie starts at 8:30pm.
Address: 730 Raymond Boulevard, Newark, NJ (Riverside)
Major support provided by
Additional support provided by


- Full $35
- Concession $30
- Group +4 $30
- Under 30s $25
Through live music, theatre and a heartbreaking true narrative, Lady Beatle explores the world of The Beatles and those who surrounded them as they rose to fame.
Starring UK-born Australian stage and screen star Naomi Price who you may know from The Voice Australia, Rumour Has It and Ladies in Black, Lady Beatle is a magical mystery tour with live performances of The Beatles’ greatest hits including Lucy in the Sky With Diamonds, Eleanor Rigby, Yellow Submarine and Penny Lane.
A show for theatre lovers and Beatles fans alike, rediscover The Beatles’ immortal catalogue reimagined through sparkling original arrangements performed live by this world-class vocalist and a virtuosic band of Australia’s top musicians.
The Little Red Company & Critical Stages Touring
“Utterly brilliant… I found the show so powerfully sentimental that I was misty-eyed for much of it…” - The Courier Mail
“Naomi Price has the kind of voice that can raise goosebumps on arms when singing any song – combining this talent with the music of The Beatles is a stroke of genius…” - Australian Stage
75 minutes with no interval
Make the most of your visit to Wyndham Cultural Centre and enjoy a drink or some snacks from the bar before the show. The venue and Box Office will open one hour prior to the start of the performance.
Warning: ages 15+


Dear Princess Buttercup,
Your movie, The Princess Bride, is one of my favorites. I think that may go without saying: who doesn’t love that movie? I see it’s been in the press lately because there was a rumor swirling that someone was going to remake it. This led to articles and tweets both praising and excoriating the decision. Obviously, I’m against it. But one article I found struck me because it addressed you personally:
In the original film, Buttercup is largely a passive character. The story may be titled after her—or at least what Humperdinck wants to make of her—but the plot tends to happen around Buttercup; it’s not advanced by her. Buttercup is a goal, a pawn, a means to an end. She’s carted about for a good portion of the movie like so much treasure to be won or lost, and then spends the second half moping drearily around the castle. The only bold action she gets to take (other than pushing Westley down a hill) is when she decides to take her own life to escape marrying Humperdinck.The Mary Sue
I’m sorry if this is the first time you’re reading it, but I want you to know I think that’s completely unfair. Yes, sure, it’s unfortunate that you get treated like a trophy by Prince Humperdinck, who is a jerk. And it would have been nice, in the Fire Swamp, if you had picked up that branch and smacked the R.O.U.S. in the head while it was munching on your true love, rather than just standing there.
But you are brave. You are passionate. And while Inigo has his steel, Fezzik his strength, and Westley is basically Batman, you also have a superpower: You talk smack better and more consistently than anyone in the movie.
Smack talk is a skill, and I love watching you develop it during the movie. In the beginning, you’re lobbing softballs. When you warn Vizzini that the Prince will see him hanged and he replies, “Of all the necks on this boat, Highness, the one you should be worrying about is your own,” that’s disappointing. But you get him back. “I suppose you think you’re brave, don’t you?” he taunts, and you shut him down with, “Only compared to some.”
You tell the Dread Pirate Roberts he can “die slowly, cut into a thousand pieces,” and by the end of the movie, when you call Humperdinck the “slimiest weakling ever to crawl the earth,” it hits him hard. It leads him to make the rash decision to kill Westley, which ultimately ends in his defeat.
Here’s why I say smack talk is a superpower: you can’t do it well unless you really know your target. When you tell these men (and they’re all men, sigh) off, you show them that you see them clearly, all their strengths and weaknesses, and you know how to hurt them.
What sucks, though? For all your perception and focus, it’s ultimately the man who gets to win. In a climactic scene, Westley delivers his “To the Pain” speech. This is his only foray into real trash-talk; for most of the movie he relies on his skill and dry wit. It disturbs Humperdinck, just as your words did. But because Westley has a sword, it’s the clincher. In a perfect world, your skill would be the one to work. Yes, it’s just words. But your story is about Story, and the power of words to move us and show us the truth.
Wherever you are, I hope you’re leading a happy life, speaking truth and believing in true love. You are an inspiration. Thank you for reading my letter.


LEARNING WITH THE MOST VETERAN ACTORS IS A
GUARANTEE TO SUCCESS
Tony Isbert, Actor and Drama Teacher, has extensive professional and teaching experience that only a few can match. He comes from a family of actors: his grandfather was Mr. José Isbert (Pepe Isbert), and his mother was Mrs María Isbert. Two of his brothers also belong to show business: Mr Carlos Isbert, a dubbing actor and Mr José S. Isbert, a scriptwriter and a film producer.
Tony Isbert has been dedicated for years to the development of actors in foreign countries. He has two passions in life: acting anywhere, and the most satisfactory activity for him, to help young fellow actors to train and to improve their skills. Mr Isbert says that learning to teach has been as difficult as learning to act.
On this webpage dedicated to Tony Isbert you will find different documents that will help you understand why learning with this actor, whose main interest has been to become a real Actor, acting totally truthfully, is an extraordinary, reliable and worthy experience.
With the training courses on offer at this school, the actor-to-be will be able to learn and develop the skills needed to become a fine and pure actor, avoiding overacting features that could hide his or her inner talent. Also, the actor-to-be will learn to live the script, making it entirely his/her, performing the story as it were his/her own, enjoying acting and being an actor more than anything.


Ducting can be extremely versatile. It comes in all shapes & sizes & it can be used for a variety of purposes. Because of this, it is an extremely important material for film studios, production companies & prop makers. Not only that, but ducting & ventilation can make for a useful plot device for screenwriters. It provides a convenient means of getting protagonists into or out of a given situation.
If you’ve ever watched a science fiction film or TV programme, you’ve seen ducting in use. In fact, here are a few of the starring roles that ducting has played in TV & film. As ducting doesn’t get a movie credit, it’s not easy to go onto the Internet Movie Database & see what films it’s been in, but we’ve compiled a list of some of the most famous:
Ducting Red Dwarf
Many of the sets of Red Dwarf had ducting run throughout the ship. There is even an episode called Duct Soup which has the characters trying to get out of a room after a power outage only to find that Lister is claustrophobic. After several hours of crawling around, they end up in the same room.
Ducting in Aliens
The production design for all of the Alien movies incorporated a lot of ducting & in Aliens, Wynona Ryder lived in the ventilation system. There is a suspenseful scene where the Aliens close in on the cast through the space in the ceiling & then Newt finds an escape route in the ventilation system.
Ducting Set Design in Mission: Impossible Movies
Ventilation systems are often plot devices in films. You will have seen Tom Cruise climbing through one in Mission: Impossible in order to break into the CIA headquarters in Langley, Virginia only to be nearly dropped onto the floor. In M1:2, Tom Cruise does a skydive into the atrium of a building.
Star Wars Movies & Ventilation
In Star Wars, the characters got into the garbage compactor by jumping into a duct in the Death Star & ventilation systems have been mainstays of Star Trek & many other films. In the Phantom Menace, the Jedi go up a ventilation shaft to avoid the Trade Federation. This has turned into a meme on the Internet, for some reason.
Where was the scene in the Empire Strikes Back where Darth Vader tells Luke he is his father if not one of the largest ventilation shafts ever conceived? Finally, Star Wars: A New Hope is built on the weakness of the Death Star due to an exposed thermal exhaust port: these references are everywhere when you see them.
Die Hard – A Movie About Ducting
Die Hard could be called the ultimate ducting movie. Bruce Willis spends much of the movie crawling around in the ducting to evade his foe & even has to avoid being shot through the ducting.
But Ducting can be even more versatile. It can provide a look. Flexible ducting can be used to create a futuristic or ridged look for clothing (or space suits) & metal ducting & spiral ducting has been used to create parts for engines & cars and can be easily cut for anything metallic.
When you next watch a movie or TV programme, see if you can spot a piece of ducting. It will most probably be in the set design but you can often spot it on clothes, on cars & on other objects.
If you’re looking to use ducting in set design, prop-making or production design, please give us a call. Not only do we have a wide range of stock of weird & wonderful ducting but we have a significant amount of experience in consulting with film studios & production companies to help them find something that will suit the look & feel of their films. Please feel free to contact us & ask any questions.


Oz the Great and Powerful is a 2013 American fantasy adventure film directed by Sam Raimi.
Based on L. Frank Baum’s Oz novels, Oz the Great and Powerful serves as prequel to Baum’s 1900 introductory novel The Wizard of Oz and 1939 film. Set 20 years before the events of both sources (book and film), Oscar Diggs arrives in the Land of Oz in the year 1905 where he discovers the three witches namely Theodora, Evanora and Glinda. Oscar is then inclined to restore order in Oz, while struggling to resolve conflicts with the witches and himself.
The Land of Oz is an imaginative mix of live-action and CGI that pays homage to the iconic images and timeless sense of wonder in the classicThe Wizard of Oz. There may be missing links between The Wizard of Ozand Oz the Great and Powerful. For example, don't expect to hear any of the beloved musical cues. Also missing is the Wicked Witch of the West's mole.
Oz the Great and Powerful functions as something of an "origin story" for certain characters, detailing how both of the Wicked Witches (East and West) got their starts and how the Wizard attained his exalted position. Although there's no Dorothy and her color coordinated wardrobe or Toto, the Cowardly Lion and Scarecrow make cameos.
Oz the Great and Powerful doesn't offer much in the way of suspense or surprises. It is, after all, working toward a known conclusion: getting all the pieces in place for Dorothy's arrival. Still, it's a well-crafted story told with plenty of imagination and energy, and more than a little heart. The movie runs a little over two hours but doesn't wear out its welcome and there's some ingenuity in how the climax unfolds. It can't fully overcome the flaw of having the two villains escape but there's no way around that. As they skulk away toward the end of Oz the Great and Powerful, we know that a greater adventure awaits.
The film stars James Franco as Oscar Diggs, Mila Kunis as Theodora, Rachel Weisz as Evanora, and Michelle Williams as Glinda


The 10th kingdom [DVD] / Hallmark Entertainment in association with Babelsberg International Film Produktion ; produced by Carnival Films and Production Line for Babelsberg Entertainment ; produced by Brian Eastman, Jane Prowse, Simon Moore ; directed by David Carson, Herbert Wise ; written by Simon Moore
DVD | Distributed by Artisan Home Entertainment | 2000. | Fullscreen version.
Available at Midlothian DVD (DVD TEN) plus 1 more
3 videodiscs (ca. 417 min.) : sd., col. ; 4 3/4 in.
DVD player required; 2.0 Dolby surround.
Ann-Margret, Scott Cohen, Rutger Hauer, John Larroquette, Camryn Manheim, Ed O'Neill, Dianne Wiest, Kimberly Williams.
Music by Anne Dudley.
Contents are not closed-captioned, although container indicates closed-captioning.
Special features include production notes and information on the cast, crew, characters, and kingdoms. Also includes a 30-minute documentary, The 10th kingdom: the making of an epic, hosted by John Larroquette.
Feature was originally produced as a mini-series in 1999.
At the edge of the mortal world lies a mystical vortex leading to the Nine Kingdoms, a fantastic land where fairy tales are reinvented--and not with happily-ever-after endings. An evil queen has doomed Prince Wendell to life as a dog. His quest to recapture the throne leads him through a portal to the mythical Tenth Kingdom--Central Park! With the help of ordinary mortals Virginia and Tony, he battles evil in a parallel universe of trolls, goblins and fairy tale characters such as Snow White and Cinderella.
Carson, David, 1948-
Hauer, Rutger, 1944-2019.
O'Neill, Ed, 1946-
Hallmark Entertainment (Firm)
10th kingdom: the making of an epic.
12718 Hallmark Home Entertainment


Enjoy this blog because what you read is of legendary status.
Tuesday, May 26, 2015
45 Favorite Episodes: 18
Remedial Chaos Theory is a quintessential episode of Community. High-concept, ends with a speech, the characters love each other, and uproarious humor. I remember the afternoon before it aired, one of the writers for Community tweeted that it was the best episode the show had ever done. I was a bit skeptical, but once I watched it, I knew it was something special. It was unlike any episode of television that had ever come before it. The six different timelines, the fact that Jeff is a conniving son of a bitch, the googly eyes, the subtle racism. It's all just a perfect episode. And that moment when Troy walks in through the door to witness the chaos? Put yourself in Troy's place and realize that it's a perfect moment. After all, chaos already dominates enough of our lives.


A loner who carries out an empty existence in a dystopian city becomes infatuated with a synthetic female and soon learns that she is on the run from the law.
Story by Mark R. Healy
Music composed, performed and produced by Mark R. Healy
Bass performed by Rowan Salt
Artwork by Yigit Koroglu
Introduction by Jono Oldham
Steve Van Beckum
Download the soundtrack: https://beyondthedarkpodcast.bandcamp.com/
To support this podcast: http://patreon.com/beyondthedark
This is the final episode in Season One. A new season is currently in production.


Hiroshima International Film Festival
November 21st-23rd, 2020
The screening is scheduled at 11am JST on
Nov 23rd (6pm PST/9pmEST on Nov 22) at NTT Credo Hall.
Our director J.R. Heffelfinger, EP/Writer Akiko Mikamo and lead actor Sotaro Tanaka will be participating in a Q&A after the screening and will available to stream live approximately 11:51am JST. Stay tuned for more information.


The Asthenic Syndrome
A distraught widow who has just buried her husband is about to destroy everything and everybody, but mainly herself. An exhausted man tries to find an escape from his daily chaos and routine in perpetual sleep. While their paths don’t really cross, the film implies they both suffer from the titular syndrome – a weakness, enervation, fatigue that is equally concrete and allegorical.
Muratova’s most celebrated film, the epic The Asthenic Syndrome was winner of the Silver Bear at the 1990 Berlinale and brought her international acclaim. The film has been called a magnificent fresco and an apocalypse. Muratova created vivid images of desperate characters determined to endure, capturing and divining the state of the USSR on the eve of its collapse. A searing portrait of individual malaise and collective apathy, with polyphonic elements and absurdist tableaus, the film stuns the viewer with shock therapy, destroying every illusion. Muratova (an avowed animal lover) shot documentary footage in a dog pound for one of the film’s most harrowing scenes. The film’s only intertitles inscribe a credo, written as if a jolt of recognition to the spectator: “People don’t like to look at this.”
Constructed like Bach’s The Well-Tempered Clavier, The Asthenic Syndrome’s metier is dissonance. It’s two parts image a doubling asymmetry. The first part, in black-and-white, a film within a film, recalls the aesthetic of Muratova’s first films. The second, in colour, follows the sleepwalking life of an insignificant writer and literature teacher who suffocates in the dull routine of his mindless environment. Whether they confront the brutality and grotesqueries of their surroundings through aggression or passivity, each character wanders without goal, ‘progress’ eviscerated. Muratova’s grim hyperrealism is full of harsh contrasts, as irony, entropy and rage destabilise any single perspective.
Discussing the film in Positif in 1991, Muratova stated: “I could dedicate this film to Tolstoy. This is the key to my film. He says things about the naivety of the intelligentsia who believe culture and art can transform the world… I believe we can only draw attention, provoke, make people think. Try to refine the soul and raise the mental level. But the essence of what is inside cannot be changed. This film is a tragedy consecrated to that fact.” – Elena Gorfinkel
This screening of Kira Muratova’s The Asthenic Syndrome is programmed by Oliver Dickens to raise funds for Ukraine humanitarian aid and the National Oleksandr Dovzhenko Film Centre in Kyiv. The Russian invasion has disrupted funding, making it not only impossible for the Dovzhenko Centre to cover basic costs such as utilities or to continue its regular activities, but also to pay its staff salaries. Proceeds from this screening will be split between the Dovzhenko Centre and Ukraine humanitarian aid.
With thanks to the Dovzhenko Centre and Rio Cinema for their support. Special thanks to Close-Up Film Centre.
In partnership with Dovzhenko Centre, Sonic Cinema, Another Gaze, and Kino Klassika.


When a source of entertainment has reached the level of influence, regard, and recognition as 1939’s The Wizard of Oz, it’s hard to match, let alone top. While not initially successful upon release, over time The Wizard of Oz has become a legend; a film regarded as being so masterful and perfect that the idea of its legacy being tainted by the touch of another seems abominable. Memories of being whisked off to the magical Land of Oz are a defining moment in many childhoods, and a tradition that has been passed on from parent to child for decades. The songs, sets, characters, and Technicolor magnificence evoke strong emotional reactions in millions of people, to the point where the film’s quality is elevated far above what is actually achievable.
Archive for the ‘Movies’ Category
In tonight’s (March 18th) Season 2 finale of The Walking Dead, viewers caught a glimpse of a mysterious, cloaked figure who saved Andrea from certain doom.
The hooded, katana-wielding savior who was walking two armless zombies on chains could only be one person: Michonne.
Michonne is one of the most popular characters from The Walking Dead comic books, and fans — as well as co-executive producer Gale Anne Hurd — have been trying to implement her into the show since its inception.
Actress Danai Gurira (Treme/The Visitor) has been cast in the role of Michonne for the TV series.
Ghostbusters taught us that when asked if you are a god, you say, “yes!” Bill Murray has taught us that when asked if you want to make Ghostbusters 3, you say “No one wants to pay money to see fat, old men chasing ghosts.”
At least, that is the story that has been circulating. The National Enquirer recently reported that Bill Murray had attached a note with the aforementioned quote to a copy of the latest GB3 script rewrite, and then mailed it back to Dan Aykroyd, shredded into confetti.
Seth Graeme-Smith, the writer responsible for The New York Times best-selling novels Pride and Prejudice and Zombies and Abraham Lincoln, Vampire Hunter, as well as The Spider-Man Handbook: The Ultimate Training Manual, is working closely with Tim Burton and Warner Bros. on a follow-up to the 1988 cult classic Beetlejuice.
Burton is already producing the film adaptation of Abraham Lincoln, Vampire Hunter, so it shouldn’t be a huge surprise that Burton will want to continue to work around Graeme-Smith –- because when Burton likes someone, he will use them to fucking death.
Hollywood is in denial. They are fully convinced that they should remake everything at least once, even though it rarely works out. I can understand the financial motivations of wanting to revisit some successful franchises, capitalizing on the nostalgia factor. Hollywood knows that if they remake something like Transformers, even if the movies are abysmally awful – which they are – that people will still flock to see them for the sake of sentimentality.
Apparently the same producer behind the Transformers reboot, Don Murphy, is rumored to be working on a live action version of Captain Planet. Yeah, that’s right – Captain fucking Planet, that glaring genital wart attached to after school programming in the early 90′s.


Has it ever happened to you to fall in love with some film character? It has happened to most of us. But, has it ever happened to you to fall in love with some outfits of film characters wear in the movie? Most movie outfits have affected worldwide fashion setting new trends in it. People watching movies often try to copy their favorite movie’s characters’ way of dressing and that is how new trends in fashion have been set during past years. There is almost n person who doesn’t remember the iconic black dress designed by Hubert de Givenchy and worn by Audrey Hepburn in the iconic Breakfast at Tiffany’s. The fall season is time for warmer outfits, so we are reminding you of the most iconic coats in movie history.
These iconic coats have been an inspiration for many famous designers to create fall/winter collections during the past years. Today you can find many copies of these iconic pieces in fashion stores. Scroll down the page to find out the most iconic coats the film industry has created. Then choose your favorite one. We are sure you will have more than one favorite.
There is almost no person who doesn’t remember the iconic trench coat that Humphrey Bogart’s laid-back, suave character, Rick Blaine, wore the gabardine topper in Casablanca. Dating from 1942, this trench coat has been an inspiration for many collections of coats for women and men during the years. Designed by Burberry, this coat reflects both mystery and modesty, as the character itself presented in the movie.
Breakfast at Tiffany’s (1961)
We all remember the iconic black dress with pearls outfit that Audrey Hepburn’s character wore in Breakfast at Tiffany’s. This is definitely one of the movies in history that have set most of the fashion trends. It has made the LBD, kitten heels, and a single strand of pearls wardrobe-essentials. But, do you remember the orange Hubert de Givenchy designed coat that Holly Golightly wore in New York City when visiting the city with her neighbor and love interest Fred. It can be definitely put in the category of iconic coats that marked the movie history.
The Devil wears Prada (2006)
The Devil wears Prada is definitely one of the most stylish movies ever seen. It is a film that fashion lovers and fashion insiders can recite verbatim. Anne Hathaway playing the role of Andrea Sachs, a young college grad starting a career at a glamorous fashion magazine, has set so many fashion trends. But, definitely the most iconic between them is the iconic white wool tie-front coat that every magazine has put on its cover ever. Since it first appeared in the movie, this white coat has been used as inspiration for many iconic wool coats that women pleasantly wore during cold days.
Sex and the City (2008)
Definitely one of the most iconic characters on screen played ever, is Carrie Bradshaw played by Sarah Jessica Parker. Her unmistakable style has been an inspiration for many women that copied any single outfit she wore on the big screen. Her style was all about being dramatic. This wild and wonderful fur coat is proof of that.
The photograph (2020)
One of the most iconic coats from recent years, to be more exactly from the year 2020, is the patterned overcoat, which Mae Morton, played by Issa Rae wore in The Photograph. She was playing the role of a chic, sensible, and shy museum assistant. Her selected wardrobe presented the complexity of her character in a way that even the dialogue couldn’t express.
Funny Girl (1968)
In Fanny Girl, Barbara Streisand’s first movie, she plays the role of a young singer with a resounding voice trying to make a great career on the vaudeville stage. Her character evolution in the movie goes from a tenacious funny girl to a glamorous headliner. Her style does the same. We all remember her leopard-print coat that is both bold and dramatic.
Diana Ross’s most glamorous role was in Mahogany, a film presenting the story of an aspiring fashion designer, Tracy Chambers. As one future fashion designer, she has to envelope herself in the glitz and glamour. And she definitely a success in it! The white trench coat she wears while walking down the streets of Paris will stay remembered as one of the most iconic coats in movie history ever.
The Matrix (1999)
The Matrix is an action movie that is filled with groundbreaking special effects that have stood the test of time. It is definitely not one of the fashion movies on screens. But, some costumes worn during the scenes of the film have marked the fashion of the ’90s. The famous leather coats that Trinity (played by Carrie-Anne Moss) wore in the film are still used as inspiration for designing many leather coats even today.


- Bank Transfer
BIGFLIX is a Reliance Entertainment owned movie on demand service in 2008. It is India’s first movie on demand service. It allows users to stream or download movies at any time. It generates its revenues from subscription fees and does not rely on advertisements. BIGFLIX terms itself as a user’s 'Personal Blockbuster Theatre'. The portal offers a wide array of films, movie trailers and reviews on and about Indian entertainment. Movies are avialable in all languages english and Indian.


Audra grew up dancing in the east valley, successfully competeing in several regional and National competitions. She has been teaching in the Valley for 20 years, teaching hip hop, jazz, combo and musical theatre. She has a special place in her heart for young dancers. She has a amazing talent for beginning dancers in teaching them the basics and the love for dance. Audra specializes in musical theater and is excited about continuing her acting education this year at MCC. As Musical Theater director at iDance Studio, Audra will be teaching acting techniques and choreographing and directing musical theater productions.


I’ve got a week home alone to myself. My parent’s went on vacation, and this just happens to line up perfectly with the time most of my friends decided to go away as well, so I’m literally stuck alone. This is what I’ve got in the line up for the week (which will most likely last me two or three days at most).
I already watched (yesterday) Chloe (2009), Mutiny on the Bounty (1935) and Spartacus (1960) — Shit, Spartacus is a long movie! I was lucky enough to watch it on TCM though, no commercials. Then I watched The Sunset Limited, which was very interesting and well acted by Samuel L. Jackson and Tommy Lee Jones.
… Now I’m off to watch Lawrence of Arabia.@1 year ago with 5 notes
#chloe #mutiny on the bounty #Spartacus #sunset limited #lawrence of arabia #cool hand luke #citizrn kane #casino royale #shindler's list


Dive-in movie at the Natatorium Friday
The Morony Natatorium swimming pool is hosting a Dive-in Movie on Friday from 6 to 9 p.m.
The evening includes open swim and a Dive-in Movie featuring “Finding Nemo.” Kids and adults alike can swim prior to the movie and then relax in the pool on tubes or sit on the deck to watch the movie, which starts at 7 p.m.
Pizza slices, root beer floats and cocoa will be available for purchase. The cost is $5 person. Space is limited so don’t be late.
The Natatorium Pool is located at 111 12th St. N. For more information, call 452-3733.


The Indian film industry is known to produce the largest scale of movies annually. It consists of both Bollywood and South Indian cinema. South Indian movie news and Bollywood news are constantly circulating around. South Indian movies have recently received well-deserved acknowledgment globally.
This film industry comprises of five different film industries that are based regionally. All of them have a separate independent identity and have produced some great movies. These film industries have run along with the Hindi film industry from the very start and have played a great role in making Indian cinema what it is today. Here are five influential film industries that collectively make South Indian cinema.
Telugu cinema or Tollywood is one of the famous film industries in India that follows closely behind Bollywood. It is based in Hyderabad and has played an immense role in shaping the course of mainstream commercial cinema across the country. It is the second biggest industry after Bollywood and has produced some great short films along with art and masala films.
This film industry is based in Bengaluru and is known to produce 200 plus films each year. It is known as Sandalwood or Chandanavana. This film industry has given us major commercially successful and critically acclaimed movies. It is also screen in other countries such as the USA, UK, Canada, UAE, Germany, Brazil, and many more.
Originally based in Chennai, this is the largest film industry after Bollywood in movie production and distribution. This industry has established a worldwide presence due to its great movies. It is known as Kollywood which is the blend of two words Kodambakkam and Hollywood. They are best known for their silent movies that date back to 1918.
Malayalam cinema also known as Mollywood has earned the rightful reputation due to its strong character-driven stories and realistic touch. Their cinematography is on point and direction is exceptional. They are one of the growing industries that produce more than 100 movies in a year.
Tulu cinema is a small cinema that produces 4 to 5 movies annually. They are known as Coastalwood. This industry, however, has gained recognition to the extent that it is released in multiple cities and Gulf countries simultaneously. They have produced critically acclaimed movies and are known for good content and storyline.
These industries together makeup South Indian cinema and have currently delivered some major hit movies.


Download and Share Scarface Wallpaper. Discover more Al Pacino, Brian DePalma, Drama, Film, Movie wallpapers.
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Scarface is a 1983 American crime drama film directed by Brian De Palma and written by Oliver Stone.


HOW I LEARNED TO DRIVE
Tuesday, November 27 @ 8:00 pm
Wednesday, November 28 @ 8:00 pm
Thursday, November 29 @ 8:00 pm (Special symposium to follow this performance)
Friday, November 30 @ 8:00 pm
Saturday, December 1 @ 8:00 pm
Sunday, December 2 @ 2:00 pm
SCSU Theatre, in collaboration with Crescent Players, presents How I Learned to Drive by Paula Vogel, directed by Theatre Department Chair Kaia Monroe Rarick. This Pulitzer Prize winning play tells the story of a young girl, Lil’ Bit, and the relationship she has with her Uncle Peck that spans from her pre-adolescence into adulthood.
$15 General Public,
$10 SCSU Faculty/Staff w/Valid ID, Active Alumni, Senior Cit. (Limit 2)
$5 SCSU Students (Limit 2)
Seating: General Admission
Performed in the Kendall Drama Lab at Lyman Center
Seating is limited - Advance Purchase recommended
*Contains mature, adult themes.*
Due to the topical nature of the play, there will be an interactive mural hung outside the entrance to the stage--a place where audience members can tell their own stories with Post-It notes and markers. In addition to the mural, Drive's student dramaturg, with support from Crescent Players, will host a symposium immediately after the Thursday, November 29th performance; faculty members specializing in childhood trauma, sexual abuse, and Paula Vogel's work, among other topics, plan to discuss the play, its themes, and where you can find support on campus.