|Meeting:||Play With Your Food - Lunchtime Theater
|Start time:||12:00 PM
|End time:||1:30 PM (1 hours, 30 minutes)
|Location:||Fairfield Theatre Company
|Occurs:||This instance occurs on 1/16/2018.
|Details for the entire event:
January 16, 2017
Fairfield Theatre Company
70 Sanford Street
Fairfield CT 06824
its 16th season of lunchtime theater in Fairfield on January 16, at Fairfield
Theatre Company. Doors open at noon beginning with lunch, followed by the
playreadings and a discussion with the actors and director from 12:30-1:30pm.
January's plays include: Pulitzer Prize winning playwright Frank D. Gilroy's
autobiographically humorous and heartwarming tale Getting In; Scott
Mullen's comedic take on grown-ups in The Sandbox; and Deborah
Frockt's relevant look at workplace politics in Hard-Boiled.
Lunch catered by The Pantry. Tickets cost $47 for single shows or $180 for
season subscriptions. Visit www.jibproductions.org
or call the Box Office at 203.293.8729 for tickets.
|Additional details for specific dates:
|No registration required.
|Add to Google
|Add to Outlook/iCal


Saturday, July 18, 2009
We're definitely not MTV watchers, but I've been watching their new show 16 and Pregnant because our social worker and adoption agency were going to be featured on it. The season finale was Thursday, and the episode followed a teenage couple who decided to place their baby for adoption. The episode was very well done and presented adoption in a positive light. If you didn't see it on Thursday, you need to watch it here!


Maersk appointed Synaptic Digital’s media team to invite journalists from Trade and Business media outlets to attend the world premiere in London of Maersk’s new corporate movie “We are Maersk,” which was directed by Christoffer Boe, the winner of the Golden Camera award at the Cannes Film Festival in 2003.
The event took place in London on the 8th of February and 16 journalists whom the media relations team invited attended the event. During the evening, Synaptic Digital’s team arranged interviews for key spokespeople from Maersk with media outlets such as Reuters, Fairplay, Food and Beverage, Ultimamedia and Shipping Guide.
The event was a great success and even the day after the movie premiere the media relations team received request from outlets such as Bloomberg who wanted to receive the movie material, press release etc.
A corporate movie world premiere just the way it should be!
Watch the movie here:


Director, Communications & Air Force Service Section
With the planned release of a director’s cut on DVD this year, the GI Film Festival kicked off its 2010 screenings May 11 with the 10-year-old flick, “To End All Wars” about four of the 61,000 Allied prisoners of war during World War II who built the 400km Thai-Burma railroad.
“To End All Wars” is based on the autobiography of Capt Earnest “Ernie” Gordon, played by Ciarán McMenamin, from his book, “Through the Valley of the Kwai,” and begins in Ernie’s native Scottland, where he is stationed with the Argyll and Sutherland Highlanders infantry regiment of the British Army’s Scottish Division.
His unit was taken prisoner Feb. 17, 1942 after Singapore fell. The story revolves around him, Lt. Jim “Yanker” Reardon played by Kiefer Sutherland, and characters Maj. Ian Campbell and Dusty Miller. Their main Japanese captors included Sgt. Ito and a translator named Takashi Nagase. In the character development of all captors and captives, the movie relays the concepts of honor and hope from different points of cultural views.
If it sounds a bit like the classic “Bridge over the River Kwai,” that’s because they are related, in story at least. Kwai was a 1957, over Hollywoodized snippet of a singular incident in building this railroad, but it didn’t address the level of brutal suffering these POWs endured at the hands of their captors like this movie did. Nor did Kwai treat the enemy's ancient Bushido warrior code with the respect that director David L. Cunningham accomplished in this movie.
Bushido, which assumes westerners are as inferior as dogs, is introduced early in the movie when a POW passes a guard and is beaten for not showing the proper respect by bowing. While many aspects of Bushido are seen throughout the film including ritual suicide to save face as the loser of a battle, the most important Bushido credo shown is when Takashi explains the reason Sgt. Ito is a guard in the POW camp, a duty seen by the Japanese as a punishment. Sgt. Ito accepted this duty in place of his previous superior for some failure on his commanding officer’s part.
This concept rears its head later in the movie when Dusty is literally crucified on a cross in place of the Japanese killing Maj. Campbell, who is hated among all the captives for his divisive leadership and scheming plans to take over the camp. Despite the overtly Christian overtones of the scene, Dusty’s sacrifice is less a statement about his faith than it is about respect for the Bushido ways. Dusty was the only character who all along understood the Japanese culture, a lesson being learned daily in Iraq and Afghanistan today.
The obvious lesson of the movie is maintaining strength in the harshest of times. Some may say the lesson is more of hope, but I say it is more of strength because it manifests itself differently among the four main characters. We see Yanker transform from a self-centered black-marketer to a strong teammate who sacrifices himself to a severe shovel beating instead of the entire camp being punished. We see Ernie give strength to his fellow captives after he falls deathly ill by creating a jungle university studying Bard and Plato’s concepts of justice. While Maj. Campbell is the least liked character in the film, we see his strength buckle when his escape plan fails. And we see Dusty’s strength through faith and caring for others.
Overall, the film left me thinking about the necessity to study cultural diversity, the need for hope and strength in times of adversity, the concept of justice and who has the right and obligation to administer that justice, and the honor in sacrifice before glory.
At one point in the movie, Ernie is punished when he’s found conducting his classes, but convinces the camp commander that his teaching makes the prisoners better slaves for the Emperor when he turns the other cheek. There is a touching moment between him and Takashi, who has a level of compassion and understanding for the prisoners, when Takashi is allowed to return Ernie’s books to continue his classes. The movie ends with tearful footage of the real Ernie and Takashi 55 years later visiting the grave yard of their fallen comrades.


In this episode, Caroline talks to Aboriginal Elder and *everyone’s* favourite Uncle – Uncle Jack Charles.
Jack has lived a colourful and creative life, which has seen him wear many (many) hats: actor, performer, activist and even Senior Victorian Australian of the Year. When asked however, Uncle Jack humbly defines himself as someone who ‘just wants to give back and share his love of performance, and stories’.
In this episode, Caroline and Jack have a raw and candid conversation about his life. Some major highlights include what it was like for Uncle Jack growing up in the sixties during Australia’s white assimilation policies, and how these policies ultimately led him to being removed from his family at the age of four, and later, wrongfully jailed.
They discuss how Uncle Jack unintentionally ‘fell into acting’ when being asked to appear in a Sidney Poiter film. They also discuss what it was like for Uncle Jack to finally discover his biological family, during a recently taped episode of SBS ‘Who Do You Think You Are’ and how this experience continues to inspire Jack to see greater truth telling and Aboriginal led education enshrined in the Australian school curriculum.
Uncle Jack is a truly remarkable man, an Aboriginal and Australian legend. And this is episode not to be missed.
To find out more about Uncle Jack visit him at Facebook. Jack’s latest creative muse alongside other Aboriginal and Torres Strait Islander great, Preppers airs November 10 2021, on ABC.
Disclaimer: This episode was taped in September during the depths of Melbourne’s gruelling lockdown. A week when Melbournians watched in horror as the streets were filled with violent riots. During a very surreal-once- in-a-blue-moon-earthquake.


Matthew Hawksworth is Theatre Director in Residence and Teacher of Drama at the Upper School. In 2018, year 10 pupils viewed a NT Live broadcast of the Royal Shakespeare Company performing Macbeth. Matthew conducted a research project to evaluate the impact and effect of recorded theatre performances on teaching and pupil perceptions of the experience.
“They are learning to cast a critical, analytical eye over all mediums through which they experience performance. The content is at the heart of their appreciation of a performance, but this new form is allowing them the chance (and also their teachers) to reflect on how we observe theatre and all the possibilities this brings.”


Palace Players win northern divisional finals
Orkney’s Palace Players have taken top spot in the Scottish Community Drama Association’s 2017 northern divisional finals, with their production of Colin and Mary Crowther’s Silent Night.
The Palace Players took the Alex Drummond Trophy tonight, while the Jess Milne Quaich for runner-up went to the Aberfeldy Drama Club (Perthshire) for Ring Road, by Anita Vettesse
Three Orkney teams were competing in the northern divisional finals, in Kirkwall, and all three took silverware.
The Kennedy Thomson Quaich for best stage presentation also went to Palace Players, while the Alan Nicol MBE trophy for best moment of theatre went to the Stromness Drama Club’s production of The Widows of Clyth.
The Bon Accord Cup, for the best team from a community of under 500, went to the Birsay Drama Group for Nell’s Belles, by Kjartan Poskett.
The Palace Players will now go on to represent the Northern Division at the Scottish finals, in Pitlochry, from April 13-15.


eobard thawne actor
Eobard Thawne (Arrowverse) - Wikipedia
Eobard Thawne, also known as the Reverse-Flash, is a character in The CW's Arrowverse media franchise. Based on the DC Comics supervillain of the same name , he is primarily portrayed by Tom Cavanagh and Matt Letscher .
Matt Letscher - Wikipedia
Letscher portrayed Eobard Thawne / Reverse-Flash, initially in a recurring role on The Flash and later as a regular in season two of Legends of Tomorrow, and reprised the role in two episodes of its seventh season.
Eobard Thawne - Wikipedia
Eobard Thawne, also known as the Reverse-Flash and Professor Zoom, is a supervillain appearing in American comic books published by DC Comics.  Created by John Broome and Carmine Infantino, the character first appeared in The Flash #139 (September 1963) and has since endured as the archenemy of Barry Allen / The Flash.
Tom Cavanagh - Wikipedia
From 2014 to 2023, he portrayed Eobard Thawne / Reverse-Flash and the various versions of Harrison Wells on The CW television series The Flash; Cavanagh also directed several episodes of The Flash. Early life [ edit ]
Matt Letscher - IMDb
Matt Letscher. Actor: The Mask of Zorro. Matt Letscher attended the University of Michigan and received a BA in Theatre, but it was a pair of workshops with the legendary Uta Hagen that cemented his love of the craft.


Trib Preview: Slightly updated ‘Lady Windermere’s Fan’ keeps Oscar Wilde at its heart
by Alice Carter
Director Alan Stanford believes that any great play constantly reinvents itself.
Sometimes it does it on its own as audiences continue to find new truths in new productions of classics, such as “Hamlet” or “King Lear.”
At other times, those reinventions are inspired by the director’s vision.
As director of the Pittsburgh Irish & Classical Theatre production of “Lady Windermere’s Fan,” Stanford has moved Oscar Wilde’s satire from its original Victorian London setting to the post-World War II London of 1947.
It’s still set in the upper reaches of British society where trouble begins when the young Lady Windermere discovers that her husband has been seen spending a great deal of time with — and even more money on — a woman with a questionable reputation. When confronted, he not only refuses to discuss his relationship with Mrs. Erlynne, he insists that his wife invite the woman to a ball they are hosting that evening.
This is the third time Stanford has directed “Lady Windermere’s Fan.” Each time he has set it in 1947.
“When you look at a play like this in its Victorian setting, it looks a little like a museum piece,” Stanford says. “Wilde was a 20th-century playwright. He died before the 20th century, but he wrote modern plays.”
Stanford deliberately chose 1947, which he calls “a time of great optimism.”
“In 1947, the language of Wilde is still right,” he says. “In 1947, the aristocracy were still as closed a society as they were in 1890. It was a village life, where all the characters know one another.”
By 1948 and ’49, Stanford believes, society had begun to move into the less structured world of the 1950s.
Fast-forwarding the action by some 50 years allows the play to retain Wilde’s language and wit while making it more accessible to contemporary audiences. The change in eras will be most noticeable in the sets and costumes, he says, not the script.
“I made a few tiny changes to restore the rhythms. Now, it’s much more fluid. I would certainly not attempt to modify the words of Oscar Wilde,” Stanford says.
He did change one pair of words to clarify their political meaning: Tories and Radicals are now referred to as liberals and conservatives.
Like Wilde’s other plays, “Lady Windermere’s Fan” is witty, clever and often funny. The humor may cause some to miss the point that Wilde was a writer of Irish satire, not English comedy.
“He exposes their frailties rather than ridicules them,” Stanford says.
“Lady Windermere’s Fan,” he says, “is about the social agenda, about class obsession, about fear. … We believe honesty and truth are best, but (the play) demonstrates that truth is the most dangerous thing on the planet and should be used with care.”
Leo Marks, who plays Lord Windermere, compares Wilde’s play to those of Chekhov. “It’s not fluffy. It’s meaty, and it’s got more moments of grit and conflict and crisis than you imagine,” Marks says.
“It’s about what’s right and what’s wrong. … Nobody is a villain and nobody is a knight in shining armor,” says Nikki Doukas, who plays Mrs. Erlynne. She says it has become one of her favorite roles.
“She is so complicated and the most honest and devious woman you can imagine — she’s so strong, so smart,” Doukas says. “Very seldom do you get to play that particular (type of) woman.”
Ultimately, Stanford says, Wilde was writing about the competition between absolute ideals and the real world of ambiguity.
“Life is not black or white, but shades of gray,” Stanford says.
“And you can love people who are impure and complex,” Marks adds.
“Because you are yourself,” Doukas says.


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Kristianne is the co-founder and Executive Artistic Director of New Village Arts, where she has lead the company for the past twelve years from a small company with a budget of $2,500 to the current company with a budget of over $500,000. She has worked on every mainstage production NVA has produced as an actor, director and/or designer. Ms. Kurner has directed such productions as The Weir, The Nutcracker, Wait Until Dark, The Trip to Bountiful, Much Ado About Nothing, Summer and Smoke, The Santaland Diaries, Be Aggressive, Bulrusher, True West, Sailor’s Song, The Waverly Gallery and A Lie of the Mind. Her work has received numerous awards, including San Diego Theatre Critics Circle and Patte Awards for Theatre Excellence. Education: BFA Theatre, The College of William & Mary; MFA Acting, the Actors Studio/New School.
Alex Goodman comes to New Village Arts from La Jolla Playhouse, where he spent three and a half years, first as the Audience Development Manager and then Corporate Relations Manager. In those roles, he worked extensively with UC San Diego, several of the top innovative companies in the high tech and bio tech sectors, and many military organizations throughout San Diego County. In Chicago, Goodman worked with several large and small theatre companies including Victory Gardens, Steppenwolf, and the award-winning Strawdog Theatre where he served as Managing Director for two years. He is also the co-founder of MOB Productions, a theatre company dedicated to the shared experience of popular culture. Goodman earned his BA in Theatre from Western Michigan University, and his MFA in Theatre Management from Wayne State University in his hometown of Detroit. Goodman currently serves on the steering committee of San Diego’s Rising Arts Leaders, The City of San Diego Commission for Arts and Culture Cultural Tourism Committee, and is a graduate of the American Express Leadership Academy through the Center for Creative Leadership.
Ross Barrientos, Operations Manager | email@example.com
Ross Barrientos began her career as a stage manager and has worked in numerous theatres around San Diego County. From 2007 to 2012, she served as Production Manager for Cygnet Theatre and assisted in producing 35 shows at the theater’s 2 venues. Ross has stage managed Stage Kiss directed by Chelsea Kaufman (New Village Arts), miXtape (Lambs Players Theatre); Becoming Cuba directed by David Ellenstein, Time Stands Still, Fuddy Meers, First Night, Moon Over Buffalo, The Rivals, The Diary of Anne Frank, and Arcadia, (North Coast Repertory Theatre); Parade directed by Sean Murray, Ripples from Walden Pond, It’s A Wonderful Life (2007, 2009 and 2011),The Glass Menagerie, Our Town, The Tragedy of the Commons, The Norman Conquests Trilogy, Sweeney Todd, Noises Off, A Christmas Carol, The Receptionist, A Number, The Turn of the Screw, Arcadia, Yellowman, Copenhagen, The Invention of Love, Cat on a Hot Tin Roof, Pageant, and Bed and Sofa (Cygnet); A Dream Play directed by Kirsten Brandt, Macbeth, Nu, [sic], Berzerkergang, and The Universal Monster (Sledgehammer Theatre). She received her Bachelors degree in Theatre Arts from San Diego State University where she studied Stage Management with Craig Wolf and Paula Kalustian.
AJ Knox is a San Diego native who spent the last several years pursuing various theatrical endeavors throughout the country. Since returning to America’s Finest City, he has become heavily involved in local theatre and entertainment communities, including the founding of a small ensemble theatre company, performing in the San Diego Fringe Festival, and teaching theatre workshops through The Actors Alliance of San Diego, The Point Loma Playhouse, and more. A director, actor, designer, and playwright, AJ has worked in nearly every aspect of theatre throughout his academic, artistic, and professional careers, and his work has been seen in San Diego, Los Angeles, Seattle, Boston, Dublin, and Valdez, AK. He is the recipient of a number of awards and honors for his academic and artistic work, including the Kalman A. Burnim Prize for Scholarly Excellence in Drama from Tufts University. Directing: Psycho Beach Party, Mistletoe, Music & Mayhem!, Mr. Marmalade, The Alchemist, Endgame, Picasso at the Lapin Agile, and The Laramie Project. Acting: The Clearing, Doctor Schmoctor!, bobrauschenbergamerica, Rumors, Hamlet, Fuddy Meers, Pterodactyls, Six Degrees of Separation, Little Shop of Horrors. Design: Cry Havoc, The Wiz, SubUrbia, Six Degrees of Separation, Picasso at the Lapin Agile. Education: PhD in Drama, Tufts University; MA in Theatre Education, Emerson College; BA in Theatre Arts, Loyola Marymount University.


Starring: John Phillip Law, Marisa Mell, Terry Thomas, Michel Piccoli.
Top Ten Heist Movies. Best Movies of All Time Top Ten Saddest Movies Best Disney Animated Movies Scariest.The greatest bank robbery films are filled with action and suspense, and this movie list is a round-up of the best of the genre.
This list was compiled by having reddit.com users choose their favorite movies, of which the top 250 were compiled into this list.A high school teen stumbles into the aftermath of a bank robbery gone wrong and finds himself locked inside his school trying to.Sometimes simple is best. Everyone in this story named Heat as their favorite heist movie.
If you are looking for some high drama criminal affairs, these 10 best robbery movies are for you.Here are the 10 greatest movie heist scenes in honor of. we thus set about compiling our own list of the 10 best movie heist scenes — a collection.Synopsis: Diabolik (John Phillip Law) is the criminal mastermind who has just pulled off a huge heist.
Stream full movie Movies best movies streaming free reddit Watch and download using.The craziest bank robbery movies are steal and takers. Reddit LinkedIn. i want to know which is the best and clever bank robbery film.
Critics Consensus: Formulaic and often jarringly violent, 2 Guns rests its old-school appeal on the interplay between its charismatic, well-matched stars.Steal These 11 Heist Movies. 75 Best Heist Movies of All Time.Critics Consensus: The Man from U.N.C.L.E. tries to distract from an unremarkable story with charismatic stars and fizzy set pieces, adding up to an uneven action thriller with just enough style to overcome its lack of substance.
Steven Soderbergh has assembled a stellar cast for his next heist comedy.
I might be alone on this, but when it comes to heist movies, it seems like the genre has a few really great standouts and then a long list of copycats revamping the.Here is the list of 10 best heist movies of all time (in some cases you can call them robbery movies).Movies The Top 10 Most Underrated Movies According to Reddit. over 1.Synopsis: Joe Moore has a beautiful young wife, money owed to him and a job he loves.The characters in these robbery movies come up with some of the.Movies TV Business Style Politics Tech Culture Awards Video Subscribe Newsletters.WATCH: Woman Brags about Bank Robbery on YouTube, Gets Arrested.Bank robbery is the crime of stealing money from a bank, while bank employees and customers are subjected to force, violence, or the threat of violence. This.
Either way, we put together a list of the 75 best-reviewed heist movies of all time for you to look over, each with at least 20 reviews and sorted by Adjusted Tomatometer.A simple, funny movie, Crooks proves Allen still has the touch that made his name synonymous with off-beat comedy.Starring: Rene Russo, Pierce Brosnan, Denis Leary, Faye Dunaway.


Bristol Acting & Creative Evening
This is a place to be creative. Write, act and create for Screen and Live Performance. This group is here so you can try something you’ve never done before… Or to get back to doing what you love, with the focus on creating vibrant characters and entertaining stories.
We’re looking for creators from underrepresented genders. This includes cis women, trans women, trans men, non-binary people, and those who are otherwise marginalized. We want to bring contemporary perspectives to the forefront and create films and performances we’d want to watch ourselves. This includes expressing it through dramatic pieces but just as importantly through comedy.
This is a safe space for us all to learn and try new things, while making friends along the way. Plus, we want to actually produce tangible pieces of work you can be proud of.
Over the course of several weeks, we want you to walk away with one or more of the following: Being part of some small but mighty films, have a showreel under your belt, done some live performing, written something meaningful to you and much more.
This group can also be a brilliant way to expand your creative network, as we have attendees’ who demonstrate a range of skills including; Writing, Directing, Theatre and On-screen Acting, Camera Operating, Editing and Sound Recording.
Come join in, we would love to have you there!
Ticket Link- hdfst.uk/E71030


How do you take a story from an idea to a fully realized digital story? Understanding the different aspects of digital stories is important in determining the necessary steps to bringing a short personal story to life. This lesson is focused on getting students to structure to plan a short documentary, around a scripted voiceover narration. By examining the structure of the voiceover script, students will brainstorm ideas for visuals and sounds and will get to create a working storyboard for a digital story. Finally, they will reflect on what skills a documentary makers might need in order to find and create a great story.
You can deliver the four-part lesson, by starting with Let’s Get Real, which is focuses on understanding documentary conventions. Then follow it, with Telling A Real Story, which introduces students to journalistic practice, and then Choosing What Story To Tell, which focuses on finding a narrative structure for information collected through interviews.
This is the last of a series of lessons developed as part of Your Story project, which was funded by the US Department of State, Alumni TIES and World Learning.


posted October 31, 2019 02:02 AM
Any of the Powell Films Universal releases are rare, as he only had a small time window on the copyright at the time, although he did knock out standard and super 8 prints of each title, I believe his 2 best sellers from this deal was the Orson Welles classic "A Touch of Evil" and of all things the TV movie of "Munsters Go Home" which was a fun film for fans of the TV show.
posted November 05, 2019 12:50 AM
It's been re-listed, first down to £100, I looked this morning and now it's £90, perhaps in a few days it will come down to a more realistic price for a Standard 8 feature.
posted November 05, 2019 01:41 AM
Just a small correction,MUNSTER GO HOME was not a "tv movie" but an original theatrical feature in color,(the series was in b^w).This shows how popular the series was. The cheaper way would be to Join three episodes together and show them to the theaters."Tv movies" oficially started in 1966.
From: Christchurch, New Zealand
Registered: Jul 2006
posted November 05, 2019 07:14 PM
Ahh BACK FROM ETERNITY a great film, with the beautiful and very curvy Anita Ekberg I have it on 16mm and it is a great print, Yes MUNSTER GO HOME was a full feature in its own right and I believe it was a scope release, when the film came out down here in NZ it was a hit and the NZBC brought the rights to the TV series and it was well received as we did not have the TV series on at the time.
-------------------- "Raise The Titanic!", It would of been cheaper to lower the Atlantic!


Position Summary(Basic Job Function)
This is a temporary or on-call position. Provides support for concerts, sporting events, outdoor functions and related University special events. Duties may include working at an assigned station in a concession stand; preparing and dispensing refreshments; transporting, maintaining and arranging supplies, equipment and materials; operating a cash drawer; assisting with parking enforcement; acting as an event usher; and similar event related responsibilities. Term: Temps can work two (2) nine (9) month terms with a week break in service in between at the end of the second term terminate for three (3) months or switch to an on-call. On-Call allowed to work 1039 hours in any twelve (12) month period.
Unit Position Summary
Transforming Theatre Ensemble (TTE) uses brief theatrical sketches in a workshop setting to provide an interactive learning experience that engages faculty, staff, student and community audiences in collaborative problem-solving lead by a skilled facilitator. TTE sketches, which range in length from three to fifteen minutes, are centered on themes related to diversity, equity, and inclusion.
This is an on-call position, meaning there are no set hours. Actors are scheduled for rehearsals and performances based on their availability. An actor may be cast in 1-6 performances a year depending on demand and the actors availability. When case in a particular performance, actors are typically called for 1-4 hours of rehearsal prior to that performance. Depending on actor availability, rehearsals might be held during the day, evening, or weekends.
$20.00/hr. for rehearsals and memorization
$40.00/hr. for performances
- Acting experience in theatre or film.
- An interest in social justice.
- Strong capacity for line memorization.
- Ability to take direction/acting notes and adjust performance.
- Punctual and reliable.
Equal Employment Opportunity Statement
All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, citizenship, age, disability or protected veteran status.
Required Application Materials
A brief cover letter describing your interest in the position and an acting resume. Applicants may also submit video of a one-minute dramatic monologue, but it is not required.
Open until filled.
Please contact Artistic Director, Lynn Lammers with questions: email@example.com.


Acting as producers for Alex’s version of “The Raven,” No Limits Media provided the resources, professional crew and planning the project needed to document the challenges and rewards of the whole process of showing what is required to help a creative person with severe disabilities grow into his or her art.
Alex chose “The Raven” because it has been a source of fascination for him since he first read it in the 6th grade.
“To me “The Raven” is the story of losing a loved one – in this case, my own control and my own body.”
Alex identifies with the poem’s narrator, “Edgar”, who sinks deeper into despair over the loss of “Lenore.” The documentary helps show that Edgar and Lenore are simultaneous aspects of Alex.
Alex’s POV weaves together the behind-the-scenes story of Alex directing his movie, along with scenes and stories of the project’s creation, the communication struggles with the whole creative team, and an exploration of the special needs, challenges and triumphs which all the participants discovered while bringing his vision to life.
Alex is relentlessly optimistic. He has to be, because his severe cerebral palsy makes all his physical effort exceptionally difficult. Everything he physically undertakes is difficult to do, difficult to watch, difficult to understand. He struggles to make himself understood as he attempts to grow into his calling — to be a filmmaker. There is, however, a real question: Can Alex, even with the earnest help of committed media professionals from NLM, transcend his disability and become the artist he dreams of being?
No Limits Media shot the documentary to focus its narrative on the actual process of making Alex’s movie. We believe that oftentimes the story of what happens in a film behind the camera is more interesting that what happens in front. The challenge of the logistics and the clash of egos, vision and budgets create a constant sense of suspense as to whether the film will be finished and then find its audience. Add to these obstacles the demands of breaking through the shackles of the disability and we have a story which will be compelling to a broad audience.
The major filming is complete, and the project now requires $100,000 in finishing money to complete the editing and bring it to its audience. We believe that this will be a film that will be interesting to adults who care about human stories and will help change the perception and conception of disabilities.
Alex’s POV is a movie about making a movie. Alex Freeman, a young filmmaker from Massachusetts struggles to make his filmic vision of Poe’s The Raven. Alex is aided in his creative quest by the producers at No Limits Media (NLM), In the course of this documentary, Alex, his co- producers, and the audience together come to discover some profound truths about art, growth, the challenge of communication and the permanence of loss.


Table of Contents
- Popcornflix: The Ultimate Guide to Free Streaming Movies
- What is Popcornflix?
- How Does Popcornflix Work?
- Features of Popcornflix
- Why Choose Popcornflix?
- Popcornflix Case Study: Success Stories
- Case Study 1: “The Girl with All the Gifts”
- Case Study 2: “The Great Gatsby”
- Frequently Asked Questions (FAQs)
- 1. Is Popcornflix really free?
- 2. Can I download movies from Popcornflix?
- 3. Are there any limitations on streaming quality?
- 4. Can I watch Popcornflix on my smart TV?
- 5. Are there any age restrictions on Popcornflix?
With the rise of streaming platforms, movie lovers now have more options than ever to enjoy their favorite films from the comfort of their own homes. One such platform that has gained popularity in recent years is Popcornflix. In this comprehensive guide, we will explore what Popcornflix is, how it works, its unique features, and why it has become a go-to choice for movie enthusiasts worldwide.
What is Popcornflix?
Popcornflix is a free streaming service that offers a wide range of movies and TV shows across various genres. It was launched in 2011 by Screen Media Ventures, a leading independent distributor of motion pictures. Unlike many other streaming platforms, Popcornflix is completely free to use and does not require any subscription or sign-up process.
How Does Popcornflix Work?
Popcornflix operates on an ad-supported model, which means that it generates revenue through advertisements that play before and during the streaming of movies and TV shows. This allows users to access a vast library of content without having to pay any fees. The platform is available on multiple devices, including smartphones, tablets, smart TVs, and streaming devices like Roku and Amazon Fire TV.
Features of Popcornflix
Popcornflix offers several features that make it a compelling choice for movie enthusiasts:
- Large Library of Movies: Popcornflix boasts a vast collection of movies from various genres, including action, comedy, drama, horror, romance, and more. Users can easily find their favorite films or discover new ones through the platform’s intuitive interface.
- TV Shows: In addition to movies, Popcornflix also offers a selection of popular TV shows, allowing users to binge-watch their favorite series.
- Curated Collections: Popcornflix curates collections of movies based on themes, genres, and popular actors, making it easier for users to explore and find content that suits their preferences.
- Continuous Updates: The platform regularly updates its library with new movies and TV shows, ensuring that users always have fresh content to enjoy.
- High-Quality Streaming: Popcornflix provides high-quality streaming with minimal buffering, allowing users to enjoy their favorite movies and TV shows without interruptions.
Why Choose Popcornflix?
There are several reasons why Popcornflix has become a popular choice among movie enthusiasts:
- Free Access: The most significant advantage of Popcornflix is that it is entirely free to use. Users can enjoy a vast library of movies and TV shows without having to pay any subscription fees.
- Legal and Licensed Content: Popcornflix offers a legal and licensed streaming service, ensuring that users can enjoy their favorite movies and TV shows without any legal concerns.
- Wide Range of Genres: With its extensive collection of movies spanning various genres, Popcornflix caters to a diverse audience. Whether you’re a fan of action-packed thrillers or heartwarming romantic comedies, you’ll find something to suit your taste.
- User-Friendly Interface: Popcornflix features a user-friendly interface that makes it easy to navigate and discover new content. The platform’s search and recommendation features help users find movies and TV shows quickly.
- Availability on Multiple Devices: Popcornflix is available on a wide range of devices, including smartphones, tablets, smart TVs, and streaming devices. This allows users to enjoy their favorite movies and TV shows anytime, anywhere.
Popcornflix Case Study: Success Stories
Popcornflix has witnessed significant success since its launch, attracting millions of users worldwide. Let’s take a look at a couple of success stories that highlight the platform’s impact:
Case Study 1: “The Girl with All the Gifts”
In 2016, Popcornflix acquired the streaming rights for the critically acclaimed movie “The Girl with All the Gifts.” The film, directed by Colm McCarthy, gained widespread recognition and positive reviews. By making the movie available on its platform, Popcornflix introduced the film to a broader audience, contributing to its success and popularity.
Case Study 2: “The Great Gatsby”
Popcornflix partnered with Warner Bros. to stream the 2013 adaptation of F. Scott Fitzgerald’s classic novel, “The Great Gatsby.” The film, directed by Baz Luhrmann and starring Leonardo DiCaprio, received significant attention and generated a buzz among movie enthusiasts. Popcornflix’s collaboration with Warner Bros. allowed users to enjoy the film for free, further enhancing the platform’s reputation.
Frequently Asked Questions (FAQs)
1. Is Popcornflix really free?
Yes, Popcornflix is completely free to use. Users can access a vast library of movies and TV shows without any subscription fees.
2. Can I download movies from Popcornflix?
No, Popcornflix does not currently offer a download feature. Users can only stream movies and TV shows online.
3. Are there any limitations on streaming quality?
Popcornflix provides high-quality streaming, but the resolution may vary depending on the device and internet connection. Users with a stable internet connection can enjoy movies and TV shows in HD.
4. Can I watch Popcornflix on my smart TV?
Yes, Popcornflix is available on smart TVs from various manufacturers, including Samsung, LG, Sony, and more. You can download the Popcornflix app from your TV’s app store or access it through a compatible streaming device.
5. Are there any age restrictions on Popcornflix?
Popcornflix offers a wide range of movies and TV shows suitable for all age groups. However, some content may be more appropriate for mature audiences. Parents should exercise discretion when allowing children to access the platform.
Popcornflix is a free streaming platform that offers a vast library of movies and TV shows across various genres. With its user-friendly interface, legal and licensed content, and availability on multiple devices, Popcornflix has become a popular choice among movie enthusiasts worldwide. The platform’s success stories, such as the acquisition of “The Girl with All the Gifts” and the partnership with Warner Bros. for “The Great Gatsby,” further highlight its impact in the industry. Whether you’re looking to watch the latest blockbuster or discover hidden gems, Popcornflix provides an excellent option for free streaming entertainment.


What is this from?!
Rozencrantz and Guildenstern Are Dead.
what?! never heard of it. i’m going to have to look for this soon.
It’s a play about those two characters while the rest of Hamlet is going on. They drop in and out of the original play.
Remember Lion King 1 1/2? It’s basically a similar premise to this.
And for those unaware, Lion King is based on Hamlet
In the moments before she dies, a woman whose hair used to be bright ginger is visited by a man in a bowtie. She does not know who he is and thinks about giving him a piece of her mind till he moves forward and presses his fingertips to her temple. Memories flood her mind. People and planets and places she had saved alongside a long streak of nothing rush back to her. She remembers being the most important woman in creation. Then with a smile on her face Donna Noble closes her eyes and sleeps forevermore. The Doctor simply looks on with tears in his eyes as his best friend leaves this world with the only gift he could give her.
Reblog if it’s okay to start talking to you.
all the waifus


The Goonies is a 1985 American adventure comedy film directed by Richard Donner.
The Goonies need to solve a problem: a corrupt corporate developer has bought out their neighbourhood and plans to flatten all their homes. Luckily, the beloved gang stumbles on a treasure map. In the hopes of finding the treasure to buy back their houses, the Goonies embark on their quest through underground passages, aboard pirate ships, and behind waterfalls. (Running Time: 109 Minutes Approx)
The film will be shown on the Cathedral lawns with BBQ and bar facilities available on the night.
Cert PG: Tickets from £12-£17, please click on 'book this event' at the top of the page
Running time:109 minutes - approx - doors open from 19:00 film starts at 20:30
Further outdoor cinema dates


email@example.com or firstname.lastname@example.org
Megan has been in art administration for the last decade and has been a director, producer, a tour manager, production manager and company director. She has stage managed across the Twin Cities as an Equity Stage Manager. She has credits with several Twin Cities companies such as The Guthrie Theater, Children's Theater Company, Mixed Blood, History Theatre, Park Square Theatre, and Playwrights Center. Megan is the past Board Chair of the MN Theatre Alliance and serves on the board for Walking Shadow Theatre Company.
Graphic Designer and Web Master
Jack is a freelance graphic designer, photographer, and technician in the Twin Cities community. When he's not working on a project, you can find him as a production technician at ValleyFair and a lighting technician at Chanhassen Dinner Theatres.


Adventures in far-flung countries, voyages to distant planets, or quests in fantasy worlds - let your imagination fly away with these ten film picks.
Before an eccentric inventor accidentally miniaturised his children in 1989’s Honey, I Shrunk the Kids, or 2015’s Ant-Man took a journey into the quantum realm, 1987 flick Innerspace showed us what big screen fun could be had by making someone really, really small.
In this sci-fi comedy, Dennis Quaid stars as a test pilot who is miniaturised in a secret experiment, and accidentally injected into a supermarket employee, played by Martin Short. The result is entertaining and silly.
The film, which also stars Meg Ryan, was inspired by another flick with miniaturised people, 1966’s science fiction film Fantastic Voyage.
Raiders of the Lost Ark
“Indiana Jones… I always knew some day you’d come walking back through my door.” So says Marion Ravenwood when Harrison Ford’s plucky archaeologist steps into her bar in Nepal in 1981’s Raiders of the Lost Ark.
From the opening scenes in a jungle temple, to the dramatic opening of the Ark of the Covenant near the end, the first Indy outing provides pure, adrenaline-filled fun. And then there’s the unforgettable theme song, which we all recognise within seconds.
The NeverEnding Story
If you’re a child of the ‘80s, you may not be able to read that film title without feeling a burst of nostalgia, while the chorus of the theme song “tra-la-las” through your mind.
In the 1984 flick, a young boy called Bastian finds a book that transports him into Fantasia, a world of fantastic beings that only he can save.
The film, or at least its soundtrack, came back into the spotlight recently, when two characters in Netflix series Stranger Things 3 belt it out in an impromptu duo.
Back to the Future trilogy
“Great Scott!”, it’s Back to the Future, the blockbuster film series in which Marty McFly shares time travel adventures with eccentric scientist, Doc.
From the DeLorean time machine, to a masterful soundtrack and fun innovations like hoverboards, these are true feel-good films.
Also, the second in the trilogy gives you the chance to get a glimpse into the 2015 of the future, as it was imagined in the past (1989, to be precise).
David Bowie as a goblin king, Jim Henson puppets, and George Lucas as executive producer: Labyrinth is another ‘80s fantasy throwback that holds a treasured place in many people’s hearts.
In the film, teenager Sarah must journey through a huge and mysterious maze to save her baby brother from the goblin king.
The film wasn’t a big Box Office hit on release, but has since won a cult following.
Would you choose the red pill or the blue pill? It’s the choice between a hard truth or remaining in blissful ignorance. Thankfully for viewers, in the 1999 film The Matrix, hero Neo chooses enlightenment, and a trip down the rabbit hole which pitches him up against the robots who are really in charge.
You may want to skip the sequels, but the original film is a sci-fi dream.
Lord of the Rings trilogy
Take a long journey into J.R.R. Tolkien's Middle-earth, as young hobbit Frodo Baggins journeys to Mount Doom to destroy a mystical and powerful ring. While there’s a lot more at stake, this trilogy tells a story of friendship and unexpected heroism.
If you’ve already binged on the films, then try re-living the story through the pages of the original books.
Any film by director Guillermo del Toro will take you to another world, and that’s certainly true of 2006 movie Pan’s Labyrinth.
It’s a Spanish-Mexican fantasy film, which is described on the Rotten Tomatoes review site as Alice in Wonderland for grown-ups.
Set in 1944, five years into Franco's regime, Pan’s Labyrinth is an unlikely combination of fantasy film and war movie. The result, while spellbinding, is not for the faint hearted.
Escape to an alien planet, where a human mind can travel in an alien body (an ‘avatar’), and be dazzled by director James Cameron’s creations.
At 162 minutes, Avatar is certainly not short, but it’s truly sensational.
Until recently, the 2009 film was the biggest grossing film ever, making $2.7 billion worldwide. It has since been overtaken by Avengers Endgame, which is another top pick for flights of fancy.
Avatar’s long-awaited sequel is due for release in December 2021.
The Secret Life of Walter Mitty
Ever find your mind wandering, perhaps dreaming of a sunny beach or becoming the hero of your own adventures?
That’s the basic premise of The Secret Life of Walter Mitty, the 2013 film starring
Ben Stiller, who also was also its director.
He’s a daydreamer who is suddenly propelled into action in the real world and his adventures are bound to take you on a fantastic ride.
Whether you take your pick or decide to watch them all, you’re all set to be transported to distant lands with this film selection. Time to take your place on the sofa and make the most of the journey.
Come on board, it's easy
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OK a little behind on blog posts; the weekend was a little hectic. The one's I missed were Day 3- A Film You Watch to Feel Good (Rocky III) and Day 3- A Film You Watch to Feel Down (Old Yeller). Rocky III rather than I or II becuase it was the first I ever saw in the cinema; Rocky IV with the Soviets run close for that one. Old Yeller, is of course, the classic "sad" movie. But on with today.
Some Kind of Wonderful. Full movie in the above link.
This is a John Hughes high school movie, one that frequently gets overlooked because it came out in 1987 after a whole series of these movies. It follows the same basic plot of all of Hughes's movie. Basically, a lovestruck outsider who wants a popular person in school; typical romantic high school movie. However, the twist is a that this time, the outsider is a guy going after a girl. Essentially, it's Pretty in Pink with the sexes switched.
Actually, it's a pretty good movie. If anyone wants to remember the 1980's, this is essentially the film to go for. The music, the clothing, the cliques, etc. It reminds me of high school (I graduated in 1988). And this brings me to the reason for my choice.
This film doesn't remind me of any one person, but it does remind me of my friends in high school and the way everything was: the "romantic" crises, hanging out at Monaco's, detention, the clothes. It's just very nostalgic for me. Feel free to check this one out; it's really quite good and fun.


The key objectives of National Film Festival are to encourage youngsters and artists to document through films development and social issues and to appreciate the efforts of filmmakers’ contribution to the Rural Development sector which impact Rural India. Nominations are invited for submission of feature films, documentaries and short films made by amateurs, professional filmmakers and documentary creators on the broad theme of Rural Development to contest and for screening during the Film festival.
National Institute of Rural Development and Panchayati Raj (NIRDPR) is organizing its Fourth National Film Festival on Rural Development on November 20, 2019, and has invited entries for the event.
A fellowship of Rs.50,000, Rs.25,000 and Rs.15,000 will be awarded to the first, second and third-ranking prizes respectively for the Best Film under each category.
Entries must be sent through CD/DVDs or via WeTransfer/Google drive to Dr. Akanksha Shukla, Associate Professor and Head of Centre for Development Documentation and Communication, NIRDPR, Rajendranagar, Hyderabad – 500030, Telangana State. Accommodation will be provided for selected filmmakers on NIRDPR Campus.


Cultural stereotypes expressed by media permeate rational thinking and supplant misconceptions about other countries and ethnicities. It can be seen in advertising, television, and most prominently in film. Stereotypes of cultures outside of the U.S. are represented in film with a laundry list of characteristics that are not only considered clichéd, but also offensive. This typecast of cultural stereotypes can be seen in the hero-villain relationship in comic book movies, and this relationship is typically a representation of the U.S. (the hero) versus a foreign threat (the villain). In this, the villain character is a culmination of cultural stereotypes the U.S. maintains, and it is reinforced through the hero’s victory over them. A prime example of these stereotypes in film media is Marvel’s Iron Man trilogy, using non-white villains as a vehicle for the racial and cultural stereotyping of Middle Eastern, Russian, and Asian persons.
The Iron Man trilogy kicks off with an arrogant billionaire genius, Tony Stark, who makes his money inventing weapons technology for the U.S. military in their conflict in Afghanistan. Stark is perfectly representative of how the United States sees itself: wealthy, super-intelligent, surrounded by beautiful women and expensive things, and primarily, he represents the unsurpassed military power of the world. After a masculine display of weaponry in Afghanistan, Stark and company are attacked and Stark is taken hostage by a terrorist group and held in captivity. His captors interrogate him for information and demand him to build a deadly weapon, but in a stroke of American genius, he decides to build the Iron Man suit to escape. The trope of the Middle Eastern terrorist versus the American genuis is emphasized in this film as it “posits binary systems of Arab as animal, white man as savior; Arab as terrorist, white man—even one who makes weapons of mass destruction—as peacemaker” (Catalan, “’Heckuva Job, Tony!’ Racism and Hegemony Rage in Iron Man”). The contrast between the “hysterical Middle Easterner” and the “rational and collected American” reinforces the American stereotypes of Middle Eastern persons through this widely released piece of media.
In the second Iron Man film, the villain role shifts its eye from the Middle East to a Russian threat as Tony Stark faces Ivan Vanko, a Russian scientist with a vendetta against Stark. Similarly to superhero movies of the 1980s, Iron Man 2 faces and ultimately defeats a stereotypical Russian antagonist to symbolize America’s superiority. Vanko is a typecast Russian person, speaking few words in broken English, grunting through a tough exterior while drinking vodka and plotting revenge. This reinforces stereotypes of Russian peoples as cold, angry, tough people whose sold drive is to exact revenge on those who have wronged them. Iron Man 2 perpetrates cultural stereotypes just as effectively as the first film had by casting a stereotypical foreigner as the threatening villain that reinforces fear and hatred towards these cultural groups.
The third and final film in the trilogy, Iron Man 3, “perpetuates the stereotype of the inscrutable, maniacal Fu Manchu” through its interpretation of Marvel villain, the Mandarin (Kim, “Just how racist is Iron Man 3’s ‘the Mandarin?’”). Though half-Indian, half-British actor Ben Kingsley portrays the Mandarin, the interpretation of this villain represents Hollywood’s search for actors that are “brown, but not too brown” (Kim, “Just how racist is Iron Man 3’s ‘the Mandarin?’”). Kingsley portrays an clueless British actor in the film, as he simply posing as the terrorist figurehead, so his part is not to play an Asian character, but the villain role still represents a foreign threat to American hero Tony Stark. Though this Ben Kingsley’s portrayal nor the characteristics of the Mandarin are explicitly racist, the character trope of the foreign terrorist figure still finds itself alive and well in the third installment of Iron Man, contributing to American stereotypes of cultural groups, such as Asian persons, as seen in this film.
Iron Man movies, however, have a tendency to have “the initial non-white villain turn out to be a red herring for a white guys in a suit” (Kim, “Just how racist is Iron Man 3’s ‘the Mandarin?’”). This creates a stereotype that though foreign terrorists pose a threat to Stark and his American values, this can show how the non-white villain is not a capable adversary of Iron Man, and American threat, or the white guy in the suit can only pose real danger to the great Tony Stark. The adversarial nature of superhero films presents an opportunity to infuse cultural stereotypes into the hero-villain relationship as a symbol for American dominance and superiority to foreign cultures. The Iron Man trilogy employs these cultural stereotypes to inform the public’s perception of foreign ideologies and behaviors and relate them to negative, terroristic connotations.
Catalan, C. G. (2008, July 31). “Heckuva Job, Tony!” Racism and Hegemony in Iron Man. Retrieved December 7, 2016, from http://brightlightsfilm.com/heckuva-job-tony-racism-and-hegemony-rage-in-ironman/#
Kim, C. (2013, May 9). Just how racist is Iron Man 3’s “the Mandarin?” Retrieved December 7, 2016, from http://thegeekiary.com/just-how-racist-is-iron-man-3s-the-mandarin/1713
Kuchegemachi, T. (2013, July 18). Box Office Race: Refiguring Asian Villains in ‘Iron Man 3’ and ‘Star Trek: Into Darkness’ Retrieved December 7, 2016, from http://www.tft.ucla.edu/mediascape/blog/?p=1960


Sunday, May 30, 2010
Sunday, May 23, 2010
By Calarts Student Skyler Page
Tuesday, May 18, 2010
By Calarts Student Eric Anderson.
By Calarts Student Michelle Xin.
Sunday, May 16, 2010
By Calarts Student Shion Takeuchi.
Wednesday, May 12, 2010
Sunday, May 09, 2010
I want to start off this post by saying that I love animation festivals. They are great places to discover new films and to meet other animated filmmakers.
Year after year, however, I found that a great many films simply fell off the radar after the festival run... That is.. I never got a chance to see them again.
Fast forward to today, where there is a very clear and very real assumption that by submitting your film to festivals is the most important and/or only viable means of distribution for films available to a filmmaker. This perception is especially true among students.
While I think this is extremely untrue, the other side of the coin is that many filmmakers, especially students, feel that they cannot submit their films online before submitting to festivals - that festivals will not allow films if they are not debuting at the festivals themselves. I have also found this to be patently untrue. Looking at the major festivals terms of service, I have yet to find a festival that explicitly states that you cannot have a film screened at their festival if the film is submitted online.
Ottawa's rules and regulations are here.
Annecy's is here.
There wasn't a full regulation page for Zagreb, just this.
Spike and Mike's relevant page is here.
Animation Block Party's is here.
Anima Mundi's is here.
Siggraph's is here.
This is by no means exhaustive, but the common thread is there is a limit to when the film was created, that it must be able to pass for animation, etc. This seems to be the only major requirement that is not file format based. From Ottawa's regulations (seemingly in its entirety):
Any frame by frame or computer-assisted animated film or video made for cinema, television or internet may be entered. Only works completed after June 15, 2009 will be accepted.
I've never seen this mystery clause about that your film cannot get into festivals if they go up online. These are the larger animation festivals who I would assume have harder restrictions on submission. There may be smaller ones that do explicitly state the "no online" restriction but I haven't found one yet. The only thing that comes even close is Anima Mundi, that states it will:
Give preference to works that have not yet been on general
release or exhibited in other festivals in Brazil.
However, this would mean that you would have to hold off showing at any festival until anima mundi if it was your sole intent to insure your film screened there.
Which brings me to another important point. If your goal as a student filmmaker is to get your work out there, the Internet is a vastly more accessible medium. Your film can easily be seen by millions of people online rather than thousands at a festival. Granted, your audiences will be very different, but the exposure will be much larger. Animation festivals are a great way to get accolades from within the industry... but the internet is by far more powerful for getting your film in front of audiences.
Case in point with Alex Hirsch's student film "Off the Wall", which has more than 800,000 views on youtube, and probably much more adding up all the video sharing sites and duplicate versions of the video that pop up.
The only reputable distinction that I can think of that you might miss out on by submitting your film online is the academy awards. But their restrictions force you to show your film for three consecutive days in a theater accessible by academy members. I don't know of any student who has done that. I also assume that most students aren't holding out their films because they expect academy awards.
As a student, your film is a great calling card to help you get a job. If you make it difficult for people to see your film you are essentially eliminating a huge potential for job opportunities, especially ones that you yourself don't anticipate.
My last note: for those who do want to exclusively have a festival run of your film, please post it online eventually. This way you can have exposure from both. A huge number of fantastic student films never see the light of day online.
If I'm seeing this completely wrong please sound off in the comments. Again, I have no issue with festivals - in fact, I love them. But I like seeing filmmakers and their films reach their intended audience that much more.
Tuesday, May 04, 2010
Put yourself in Star Wars.
Monday, May 03, 2010
Headless Productions, started by the Victor Maldonado, Adrian Garcia and Alfredo Torres (the guys behind Nocturna).
By Sabrina Cotugno of Calarts.


Welcome to Big Screen Events!
Big Screen Events is Lafayette’s newest great time! We bring the magic of Hollywood and the experience of the movie theater to you! We are a full service audio visual company with over a decade in the entertainment business. It’s never a dull moment when you go with Big Screen Events. Our professional staff will make sure your event runs smoothly so you can sit back and enjoy the evening. Set up your own drive in or just float in the pool. Check out our packages for movies, video games, and more!


On the upper story of the 129-year-old Town Hall in Marine on St. Croix—a floor above the city offices and the library—more than 100 fold-out chairs sit before a 9-by-16-foot screen. Soon, people will crowd the vaulted auditorium for a documentary selected by the Marine Film Society. Yes, Marine has a film society.
It’s made up of two people: Paul Creager and Gayle Knutson. Documentary filmmakers themselves, they connected through Creager’s Square Lake Film Festival, discovered they both live in Marine and asked themselves: Have you noticed how many artists and filmmakers live in the St. Croix Valley? For starters, think Shawn Otto of Mystery Science Theater 3000. “It’s an inspiring environment, but still close to the arts and culture of the Twin Cities,” Creager says.
Before they teamed up, the nearest art movies showed an hour away at Lagoon Cinema in Minneapolis. Creager had equipment from Square Lake Film Festival; Knutson had connections with area filmmakers after nearly 30 years in the business. The Metropolitan Regional Arts Council funded them through Minnesota’s Legacy Amendment three years ago so they could establish the next annual film series for nonfiction in the Twin Cities area.
This year, the Marine Film Society will show five documentaries—one a month October 2017 through February 2018, most of them made in Minnesota. If the feature wasn’t made in the area, trailers advertise films that were. Knutson and Creager bring filmmakers to each screening—via Skype, if necessary.


Brent Berry Arts
I took this photo of Norbert during a break in the filming of "The Incident" back in 1990. He played the part of an Africa Corps POW,
the bad guy in the movie.. I didn't have a speaking part but I played the part of a German POW and a US Marshal. The days were long and it was a lot of work but it was fun. It was a great movie.
Norbert Weisser always makes a good German soldier, but of coarse he's German!


A Performance like no other.
You could say it’s a book that’s been 50 years in the making. Extensively researched, very limited and beautifully put together – Performance is the ultimate book that celebrates Donald Cammell and Nicolas Roeg’s iconic film of the same name, starring Mick Jagger and James Fox. And writer Jay Glennie has done the 1970’s classic the justice it deserves.
Featuring 400 images, including never-been-seen-before, on-location shots and exclusive interviews with cast and crew – it is the definitive celebration of a movie that was way ahead of its time and voted 48th greatest British film ever made, by the British Film Institute. Cool, cult and collectable – thanks again Jay Glennie for the collaboration.
Buy the book here


With various genres of Korean films slated to hit theaters this month, November has become a new battlefield, a season that had been regarded as relatively less competitive compared to summer and winter holiday seasons.
Last November, rookie director Ahn Tae-jin’s 9 billion-won budget “Night Owl” attracted 2.5 million moviegoers, becoming a box office hit. The film grabbed attention for combining thriller elements in a period setting. Actor Ryu Jun-yeol starred as a blind acupuncturist who “witnessed” the death of the crown prince.
Kicking off the month of November this year was “The Boys” directed by Chung Ji-young, which opened in theaters Nov. 1.
Based on a real-life high-profile case, the film revolves around three young men aged 19 to 20 who were falsely convicted for involvement in a murder in a small rural town in 1999. Veteran detective Joon-cheol (Sol Kyung-gu) receives information on the real culprit and throws himself into reinvestigate the case. But his efforts are soon interrupted by detective Woo-sung (Yoo Jun-sang), who originally handled the case. After 16 years, witnesses and the accused visit Joon-cheol.
As of Monday, the film ranked second in the local box office, attracting around 185,000 moviegoers in the first week.
Director Jung Bum-shik’s new horror film, “New Normal,” is opening on Thursday.
Jung, known for his particular colors in directing horror flicks as seen in his previous works, “Epitaph” and “Gonjiam: Haunted Asylum,” is returning with a creative omnibus-style horror movie. Actors Choi Ji-woo, Lee Yoo-mi, Ha Da-in and singer-actor Choi Min-ho of Shinee, Pyo Ji-hoon of Block B and trot singer Jung Dong-won star as everyday people such as an office worker, a part-time employee at a convenience store, an unemployed person, a middle school student and more.
Director Kim Sung-su’s “12.12: The Day,” based on the 1979 coup in South Korea, is opening on Nov. 22.
The historical drama film covers nine hours on Dec. 12, 1979, during the attempted coup led by the secret Hanahoe group in Seoul. Although the film is based on real events, the names of the characters have been altered to allow for a fictionalized plot line. Director Kim has helmed various hit action noir films, including “Beat” (1997), “City of the Rising Sun” (1999) and “Asura: The City of Madness” (2016).
Prolific actor Hwang Jung-min stars as Chun Doo-gwang, a core member of the military who instigates the coup attempt. Jung Woo-sung plays Lee Tae-shin, a commander who tries to stop Chun’s secret plan. Lee Seong-min and Park Hae-joon also appear as other officers.
Among the four films opening in November, “12.12: The Day” has the highest budget at around 23 billion won, and must attract 4.5 million moviegoers in order to break even.
In the last week of November, actors Lee Dong-wook and Im Soo-jung’s romantic comedy, “Single in Seoul,” will hit local theaters on Nov. 29.
The film follows Yeong-ho (Lee), a social media influencer who likes to be by himself, and Hyeon-jin (Im), an outgoing publisher who doesn't want to do a single thing alone, as they get closer while preparing to write an essay about single life together.


If you are dead, I hope you become a phantom or shadow to Locke. Then I can still see you on the show. You are much more interesting than any of the other characters. You have more depth than the other characters. You are one of the better actors as well.
And what is up with the two new characters....I can understand bringing in new characters like the Others for the whole plot to move along. But the other two who were supposedly part of the group for the past 72 days? Am I supposed to care about these people? They are just annoying, esp the guy.
I was hoping one of them was going to die. I care nothing for either of them. It hurts to watch them because they are so new. They dont seem to have any purpose.
Please come back, still be on the show. The show is going to die a little with you gone.


Last night I watched a light-hearted movie from Israel called Cupcakes. Since it was mostly in Hebrew I’m sure I missed some parts of the movie that didn’t make it into the subtitles but overall I thought it was a good model for storytelling.
The main plot is about six friends who live in the same apartment building who, in tryng to cheer up a neighbor whose husband has left, create a song and a video. One of the characters enters it in a competition for what I guess is supposed to be the Eurovision song contest, and they’re chosen to represent Israel.
Of course that causes conflicts for each of them, which are eventually resolved by the time of the performance in Paris. The woman whose husband has left learns to let go and have fun, which brings him back. The action of the movie allows the guy who's dating a closeted boyfriend to be honest with everyone. One girl meets a boyfriend, another realizes that a friend can be more, and a third accepts that her boss has been using her and changes jobs.
What I thought was interesting was how each of the six main characters had an arc throughout the movie, which was eventually resolved. Most of the arcs were romantic, but they covered everything from communication between parents and children and husbands and wives to coming out of the closet and artistic integrity.
An awful lot to jam into 70+ minutes! But the filmmaker did a good job in establishing each character and his or her conflict, then wrapping each strand up, though sometimes with a bit of coincidence. Overall, a good model for any writer, I think. Make sure that your characters stand out, that each has an arc, and you find a satisfying way of resolving that arc.


Peter Pan is a hero in all the stories that the girl Wendy Darling tells her brothers Michael and John. The boys love listening to their older sister’s stories. She tells them so enthusiastically and vividly that it almost seems as if Peter Pan really exists.
One evening, Mr. and Mrs. Darling go to a party. Nana, the dog, has to look after the children. Wendy’s father hears her tell the brothers the adventures of Peter Pan for the umpteenth time.
“Oh dear, isn’t it about time your fantasy gave way to a little more maturity,” he sighs as he puts the children to bed.
What Wendy and the boys don’t know is that Peter Pan secretly listens to the adventures every night by the window. This evening Peter has come to the house to look for his shadow. He brought Tinkerbell the fairy to help him with this. When Wendy suddenly wakes up, Peter asks her if she can attach his shadow to him.
“I think you are fantastic at telling about my adventures,” says Peter.
“Thanks, but my dad thinks it’s time to act like an adult,” Wendy replies.
“You should never want to grow up,” says Peter. “Come with me to my island. It’s called Neverland. I teach you to fly! You will have a great time there. You can continue to tell your stories to the six children who also came with me to Neverland. I call them the Lost Boys.”
“Only if my brothers can come along, then I will go with you,” Wendy concludes.
No sooner said than done. Peter teaches the three children to fly with the help of some fairy dust and so they leave London for Neverland.
In Neverland the children experience many adventures.
One day they are shot at by a vicious pirate. It is Captain Hook who once lost a hand in a fight with Peter Pan. He has come to take revenge. Peter asks Tinkerbell to take the children to a safe hiding place.
Tinkerbell has become very jealous in the meantime now that Peter gives much more time and attention to Wendy. When Peter and Wendy are not there, she tries to turn the Lost Boys and the brothers against Wendy.
When Peter finds out, Tinkerbell is not allowed to show herself in Neverland for a week.
Immediately afterwards, the children plunge into a new adventure. The Lost Boys and the brothers are captured by Indians. The chief thinks that the boys have kidnapped his daughter Tiger Lily. Fortunately, Peter has seen that Captain Hook is the one who kidnapped Tiger Lily. He manages to save her and brings her back to her father. The chief is so happy that he organizes a great big party. Everyone is enjoying themselves, but Wendy begins to feel homesick.
She tells her two brothers and the Lost Boys about the house in London.
“How our parents will miss us,” she says sadly. “How I wish I could go home. Let’s all go to our home in London. Our parents are so sweet, they will definitely want to adopt the Lost Boys.”
Peter Pan doesn’t like it. He is deeply disappointed and did not expect that Wendy would choose a life that could only lead to adulthood.
In the meantime, Captain Hook has caught Tinkerbell. He manages to get her to give him the address of Peter Pan and the children’s hideout. Hook then locks Tinkerbell and bursts into the hideout where he captures the children on his ship. He leaves Peter Pan behind with a package containing a bomb. Tinkerbell has managed to escape in the meantime and manages to intercept the package just in time and thus saves Peter’s life. He hurries to the pirate ship to save the children from death. Hook wants them all thrown ashore.
Of course Peter won’t let that happen and in a fight Captain Hook himself falls off the ship, where he is eaten by a crocodile.
The children sail on with the ship and with the help of a lot of fairy dust, the children fly back to London with the ship. At home they tell the whole story. The children are all lovingly received and adopted. The father looks into the sky for a moment and sees the tail of the ship disappearing high into the sky. It is not strange to him, because he recognizes it from his own childhood.


Big family day yesterday. Susan, I, our two kids, Susan’s parents, our friend Kenn and two of his daughters, all went to see Revenge of the Sith (Kenn’s wife, Amanda, and their youngest daughter visited relatives). Due to the size of our group, and the size of the rest of the audience, we wound up sitting about three or four rows from the front of the theater. Not the optimal viewing position, but it worked well enough. It’s pretty easy to get immersed in the film when your entire range of vision is consumed by it.
Verdict? It was great.
Some of the acting could have been better (in particular, except for Mace Windu’s big fight scene, I felt like Samuel L. Jackson was phoning in his performance), but the overall story was what I was hoping for. Without giving out any spoilers, there was lots of action, just enough politics, a tiny bit of romance, several incidents of dismemberment, and plenty of fear, anger, death, betrayal, and angst. Did I mention dismemberment? And a bit of painful disfigurement. That’s why this one is PG-13, you see.
Darth Sidious is sufficiently manipulative and evil. Yoda kicks a suitable amount of butt. Anakin is torn between loyalties to the Jedi, the Republic, and Padme. Obi-Wan is noble. The wookies are big and furry. The lava planet is hot (but at least it’s a dry heat). And we finally get to hear James Earl Jones again.
If you are a Star Wars fan and you don’t like this movie, you’re being too picky, and you need to relax. Have a beer. Or two.


Netflix, Amazon Movies Barred From Toronto International Film Fest's Industry Screening Venue
Exhibitor Cineplex says only TIFF titles that respect "the traditional theatrical model" may play on Scotiabank Theatres screens.
Stung by a string of showbiz failures, floundering comedian Rudy Ray Moore (Academy Award nominee Eddie Murphy) has an epiphany that turns him into a word-of-mouth sensation: step onstage as someone else. Borrowing from the street mythology of 1970s Los Angeles, Moore assumes the persona of Dolemite, a pimp with a cane and an arsenal of obscene fables. However, his ambitions exceed selling bootleg records deemed too racy for mainstream radio stations to play. Moore convinces a social justice-minded dramatist (Keegan-Michael Key) to write his alter ego a film, incorporating kung fu, car chases,
Dave Chappelle’s Fifth Netflix Special Debuts This Month
Not long after making his Broadway debut, Dave Chappelle is returning to Netflix with the premiere of his latest stand-up special very soon — we’re talking less-than-two-weeks-from-now soon. The streaming network announced today that Chappelle’s new special, Sticks & Stones, will drop on Monday, August 26. It marks Chappelle’s fifth Netflix special so far, following Deep in the Heart of Texas and The Age of Spin in early 2017 and Equanimity and The Bird Revelation, which were released on New Year’s Eve at the end of that same year.
In addition to the Netflix special, it was announced back in May that Chappelle will receive this year’s prestigious Mark Twain Prize for American Humor, which will be handed out at the Kennedy Center on Sunday, October 27, and later broadcast on PBS January 6, 2020. Veep star Julia Louis-Dreyfus took home the award last year.
Check out the first trailer for Chappelle’s new special below, featuring the voice-over talents of Morgan Freeman:
Joker Lands R-Rating for Violence, Sexual Content and 'Disturbing Behavior'
It's official. Director Todd Phillips' upcoming DC film Joker has been given an R rating by the Motion Picture Association of America.
It's hard to know what exactly to expect when the subversive comic book movie arrives later this year, but one thing was pretty certain from the start -- it's going to be a dark film. Today confirmed those suspicions, as the MPAA rating for Clown Prince of Crime's first theatrical solo outing has now been posted to the film's official website. Joker is rated R for "Strong Bloody Violence, Disturbing Behavior, Language and Brief Sexual Images."
This shouldn't come as too much a surprise to anyone who's followed the film's production, as those making it all-but-assured fans this would be an adult-oriented film more along the lines of James Mangold's Logan, rather than something like Avengers: Endgame.
Still, it's certainly interesting to see "Disturbing Behavior" explicitly listed as a reason for the Restricted rating, since such a description typically involves particularly creepy content. (Not that any film about the Joker's rise to infamy worth its weight in chattering wind-up teeth would be a walk in the park.) We'll undoubtedly learn more about what makes the movie so "disturbing" when it premieres soon at the Venice Film Festival.
Angel Has Fallen Review
This is a series that featured dialogue ranging from the action-movie gold (“Let’s play a game of fuck off — you go first”) to the unintentionally hilarious (“I’m thirsty as fuck!”) to the simply offensive (“go back to Fuckheadistan!”). Gerard Butler certainly has a niche, and knows it. But while he seems like an actor who doesn’t take himself too seriously, Angel Has Fallencuriously does. There is none of the sly pisstakery that the first two films had, and, at least until a spectacularly miscalculated mid-credits scene, a sober tone throughout.
Universal scored a strong performance this weekend from their new R-rated comedy Good Boys, which out performed expectations and took the top spot at the weekend box office. The studio also scored a second place finish with Hobbs & Shaw over a weekend that saw yet another five new wide releases hit theaters. However, outside of Good Boys, the weekend's four other newcomers mostly struggled over the weekend, which includes WB's Blinded by the Light narrowly finding its way into the top ten while UAR's Where'd You Go, Bernadette fell short.
With an estimated $21 million, Universal's Good Boys finished atop the weekend box office. Doing so with not only a strong critical reception heading into the weekend, but audiences liked what they saw, with the film receiving an 89% audience score at RottenTomatoes and a "B+" CinemaScore from opening day audiences. The film played to a crowd that was 52% male and 59% of the opening weekend audience was aged 25 or older. Looking ahead, the performance for the $20 million production is very close to the studio's $20.5 million opening for Blockers last April, which went on to gross over $60 million domestically.
In a year filled with sequels, adaptations and remakes, Good Boys sits alongside The Curse of La Llorona and Us (another Universal release) as only the third original film in 2019 to top the weekend box office. To go along with that, the film's performance helped Universal become only the second studio in 2019 to top $1 billion at the domestic box office so far.
Internationally, Good Boys opened in 13 overseas markets with an estimated $2.1 million, led by a $1 million opening in the UK. Next weekend the film will debut in France, Germany, Spain and Austria with openings in Italy and Australia in September and an early October launch in Mexico.
Finishing in second is Universal's Hobbs & Shaw, which held on pretty well as it entered its third weekend in release, dipping -44% and finishing with an estimated $14.1 million for the weekend as its domestic cume now climbs to $133.7 million. Internationally, the film added another $45.7 million, including a franchise record, $15 million debut in South Korea. Overall the film has now grossed over $303 million overseas for a worldwide cume totaling $437 million.
Disney's The Lion King landed in third place with an estimated $11.9 million as it is closing in on $500 million domestically after leap-frogging Finding Dory on the all-time domestic chart this weekend to become the 14th highest grossing domestic release of all-time with over $496 million so far.
Internationally, The Lion King added another $33.8 million this weekend for an overseas cume that now stands at $939.1 million and a $1.435 billion global tally. The result makes the film the #9 worldwide release of all-time, topping Avengers: Age of Ultron.
Sony Animation debuted The Angry Birds Movie 2 on Tuesday of this week and the animated sequel has struggled when compared to the original release, which delivered over $38 million in its first three days. By comparison, Angry Birds 2 could only muster an estimated $10.5 million this weekend for a $16.2 million six-day performance. The film received a "B+" CinemaScore while playing to an audience that was 51% female with 53% of the crowd coming in aged 25 or older.
Rounding out the top five is Lionsgate's Scary Stories to Tell in the Dark, which dipped -52% in its sophomore frame for an estimated $10 million and a domestic cume that now totals more than $40 million after just ten days in release. Internationally, the film added another $5.6 million for an international cume that now tops $14 million and a global cume just shy of $55 million.
Outside the top five, Entertainment Studios's 47 Meters Down: Uncaged fell well short of the studio's $15-16 million expectations with an estimated $9 million performance over the three-day weekend. The performance is also well short of the $11.2 million opening for the first film, which went on to deliver a solid $44.3 million domestically. The sequel received a "C+" CinemaScore from opening day audiences.
Battling for a spot out at the bottom of the weekend top ten is WB's Blinded by the Light and UAR's Where'd You Go, Bernadette with only one of the two able to crack $4 million over their first three days in release. Blinded by the Light debuted with an estimated $4.45 million over its first three days despite the fact it entered the weekend with great reviews and audiences that turned out seemed to agree, giving the film an "A-" CinemaScore. Unfortunately, this is the second disappointment for WB in two weeks following the release of The Kitchen last weekend. Blinded played to an audience that was 51% female with 86% of the crowd coming in aged 25 or older.
Outside the top ten is where we find Where'd You Go, Bernadette, finishing with an estimated $3.45 million. The film played to a crowd that was 66% female and 84% of the opening weekend audience was aged 25 or older. Opening day audiences gave the film a "B" CinemaScore.
In limited release, Fox International's Misison Mangal opened on Thursday and brought in $1.46 million over its four day debut from 263 locations; Sony Classics launched Aquerela in five theaters on Friday with an estimated $23,474 (PTA $4,693); and Cinema Guild's End of the Century opened in one theater with an estimated $10,398.
Next weekend gets off to an early start with Fox Searchlight's Ready or Not debuting on Wednesday followed by Lionsgate's release of Angel has Fallen and Sony's Overcomer on Friday.
You can check out all of this weekend's estimated results right here and we'll be updating our charts with weekend actuals on Monday afternoon.
Via Box Office Mojo


2010 – 2011 Screenwise Film and Television School 2 Year Intensive Course
2011 International Film School Sydney Adjustments Workshop.
2011 International Film School Sydney Intro to Directing Actors Workshop.
2011 International Film School Sydney Director’s Performance Workshop
2009 Western Sydney Nirimba Tafe Certificate 3 in Theatre and Screen
2009 Actors Centre Australia CAMERAconnection.
Keovilay Cola Saycocie was born on May 14th 1990 in Nakhon Phanom, Thailand. His family moved to Sydney, Australia in 1991, mainly residing in the western suburbs of Sydney. At the age of 14, He started to develop an interest in performing and entertaining. After graduating and completing his HSC, Cola decided to chase his hopes and dreams of one day becoming a working actor.
In 2009, Cola completed a Theatre and Screen course at Nirimba Tafe and performed in the Theatre productions The Perfect Blend and Somebody to Love. He also graduated from Screenwise Film and Television School in 2011 completing the 2 Year Intensive Course. He was trained by some of Australia’s leading actors and directors including Terry Serio, Gary Sweet, Anthony Wong, Peter Phelps, Dean Francis, Dan Krige, Alan Flower and many more.
Cola has landed a few commercials, such as “MLA – Beef (Throw another STEAK on the barbie)” and “UTS:INSEARCH”.
Cola has stated that he wants to hopefully be a respected inspirational Asian-Australian Actor, recognized around the world for inspiring Asian Actors to become performers, towards changing the perception and stereotypes of Asians in the world and Asians in the entertainment industry.


As WW2 began to spread, there was concern in the United States about the growth of Nazi influence in South America. As a precaution, then President Franklin D. Roosevelt deployed a Goodwill Envoy mission to South America as part of the Good
Neighbor Policy. That mission was lead by Walt Disney, who, along with a group of now historic animators, became so fascinated with the people and cultures they visited that 2 feature films were released which reflected the impact upon Disney and the animators.
The first film, “Saludos Amigos”, was a collection of 4 animated shorts interspersed with live action film from the areas that were visited. That film was released on August 24, 1942.
Here is the film in its entirety.


Batman: The Dark Knight Rises (BTDKR) is the perfect conclusion to the story that Chris and Jonathan Nolan started in 2004’s Batman Begins.
To be clear, I wasn’t excited about seeing this film. I wasn’t a huge fan of the first two. They are both excellent films, but this was not my Batman. I didn’t even plan on seeing it in the theatre. We didn’t have the kids for the weekend and I had taken a nap and woke up and decided it would be a good time to go to the movies. What’s playing? BTDKR was the closest to anything I wanted to see that was playing locally.
While BTDKR is the third film in the trilogy, it is really the sequel to Batman Begins. If you haven’t seen Batman: The Dark Knight, you could read the wikipedia article and be prepared for BTDKR. Then again, you can pick up both Batman Begins and Batman: The Dark Knight for $10 in Blu Ray each or somewhere around $6 in DVD.
There were a number of pleasant and unexpected twists. They play the Ra’s Al Ghul elements really well. Tom Hardy is very Banelike. He’s huge, skilled, and incredibly intelligent. The developments at Wayne Enterprises were full of intrigue and were handled well.
There is very much a Hero’s Journey angle to the story. They very much break Bruce Wayne and he has to rebuild himself as he has many times in the comics. There is another character who also goes through his own Hero’s Journey. John Blake while a hero throughout the movie is resisting a call to action. He goes through the whole cycle by the end of the movie.
Points in Favor
- This is the closest to the Batman of the comics that Chris Nolan has gotten. This time he got it completely right and made a great Chris Nolan film at the same time.
- Anne Hathaway makes a great Catwoman. Hathaway brings the right balance of sex appeal and
- Tom Hardy makes a great Bane.
- Joseph Gordon-Levitt does a great job in the role of John Blake. I can’t say too much about his role, but in many ways this film is John Blake’s story. It’s about the man he has become and the man he has yet to be.
- After seeing Gary Oldman as Commissioner Gordon for the third time, I’m not sure I ever want to see any one else in the role. For me he is Jim Gordon.
- The plot twists. There are so many potential spoilery elements it’s difficult to write a decent review without giving them away. Like most Chris Nolan films BTDKR is full of twists and turns that you don’t see coming.
- The new Batmobile, or rather The Bat, which is Batman’s flying Batmobile. I love that they did a possible Batmobile that flies.
- It is difficult to hear some of the dialogue. From Bane speaking from behind his mask to Christian Bale talking like he has laryngitis while in the Batman costume to Jim Gordon mumbling everything he says while in the hospital, they really seemed to go out of the way to make you try to hear what was said.
- Anne Hathaway as Catwoman. To do the things she was doing, she really should have been a more athletically built woman. It’s again not a huge issue, but it bothered me a little.
- They chose to go with the origin of Catwoman from Batman: Year One. While I don’t like that version of her origin, it provides an interesting motivation for the character.
Read them before or after. It really depends on what you want your movie viewing experience to be like.
- Batman: The Dark Knight Returns
- Bane vs Batman
- Batman: The Son of the Demon
- Batman: Year One
- Batman: Knightfall
Recommendation: HOT BUY! It’s definitely worth seeing. It’s both a great Batman film and a great Chris Nolan film. They definitely got it right with this one. And even better, it’s not in 3D.
Sidebar: Due to the tragic event in Colorado at the premiere, they had law enforcement officers at the entrance to the theatre. I had my messenger bag with me. I don’t like to leave my iPad in my truck. One of the officers came over and asked to look in my bag. I opened it and he asked what that was. I told him it was my iPad. He thanked me and went back to his post. The ironic thing is there were two other pockets that could have contained something that they wouldn’t want me to bring into a theatre. Also he didn’t look in or at the case I keep my bluetooth keyboard in. The case could have very easily concealed a weapon. I didn’t have a problem with them looking in my bag. I don’t use my bag to sneak snacks into the theatre. It’s just that the illusion of security is worse than no security.


Candice Onyeama Age, Height, Boyfriend, Net Worth, Full Wiki: Candice Onyeama is a Nigerian-British award-winning screenwriter and filmmaker. She is the founder of Genesis Child Films, a production company with a focus on great stories driven by Women of African descent. She is represented by Cassarato Ramsey.
Do you want to know Candice Onyeama Net Worth in 2021, Age, Height, Birth Date, Affairs, and her Boyfriend’s name? So you are coming to the exact place. FavCelebsWiki.Com will provide you all known and unknown facts of this screenwriter and filmmaker. So, read the full article below to get Candice Onyeama Full Biography.
Candice Onyeama Biography
Candice was educated at the Quaker school, The Mount in York. She moved to London to study a french degree at the University College London (UCL) where she also studied a module in French Film that inspired her interest in filmmaking. She won a Dada Award scholarship for a post-graduate diploma at the Drama Studio London.
After working as an actress for a few years, she realized her passion was behind the camera and after winning a competition on Ideastap, she attended directing workshops at the Northern film school and went on to make her first award-winning short film HUSH.
After starting out in acting and featuring in shows including BBC’s doctors, Candice moved to filmmaking. Her work has screened on television and at international festivals around the world. Her BFI Network film, BORN AGAIN was a winner of Shooting People’s New Shoots awards with director, Sarah Gavron, praising it as ‘a beautifully directed film. The well-reviewed film screened on BFI player as part of BIFA qualifying Soul Fest 2020 and was an official selection at BAFTA qualifying Aesthetica and Norwich film festival. Her debut short film HUSH, was featured in Afro Punk in 2017 and was the best screenplay winner at academy award qualifying Reel Sisters film Festival as well as the best short film winner at the British Urban film festival It was also broadcasted on the television network London Live.
Her short film ONCE AN OLD LADY SAT ON MY CHEST was featured as one of 6 top crowdfunding films to support on Metro and screened at festivals including bafta qualifying Underwire as well as on film platform Cinewax Candice’s filmography includes the short film MY VOICE, a commission by Into Film, as well as writing two short films for Orchid Cancer Charity. Candice’s short script, HELLO DADDY, was one of the 50 longlisted scrips out of 6803 submissions to the BBC Writersroom InterConnected Contest.
• Hush (Writer/Producer, 2016)
• Once An Old Lady Sat On My Chest (Writer/Director/Producer, 2018)
• My Voice (Writer/Director/Producer, 2019)
• Tala (Producer, 2019)
• Letter to My Unpresented Self (Writer, 2019)
• Uncle Mike (Writer, 2020)
• Born Again Italic text(Writer/Director, 2020)
Awards and Nominations
|2020||Shooting People||New Shoots Award||BORN AGAIN||Won|
|2019||South Social Film Festival||Audience Award||ONCE AN OLD LADY SAT ON MY CHEST||Won|
|2018||Film Africa||BAOBAB Best Short Film Award||ONCE AN OLD LADY SAT ON MY CHEST||Nominated|
|2018||Underwire||Best Screenplay||ONCE AN OLD LADY SAT ON MY CHEST||Nominated|
|2017||Reel Sisters||Best Screenplay||HUSH||Won|
|2017||BUFF||Best Short Film Award||HUSH||Won|
So, that’s was Candice Onyeama Net Worth 2021, Age, Height, Affairs, Full Wiki. I think you guys will understand this article and also got known and unknown facts about this actress. You may bookmark our website FavCelebsWiki.Com to get another wiki of a famous person. Thanks for being with us.


Daryl L. Stewart (he/him/his) is an award-winning actor, director, producer, curator and educator.
His acting credits include memorable roles in productions of Aida, My One and Only, Into The Woods, Five Guys Named Moe, Ragtime, Carousel and Little Shop of Horrors. Most recently, Stewart was featured in a short film adaptation of the Broadway musical, The Gospel At Colonus. His one man show at The Triad Theater, The Beauty That Remains , was nominated for a 2021 Broadway World Award for Best Cabaret.
Inspired by multihyphenates like Billy Porter, Geoffrey Holder and Andre De Shields, Stewart works regularly as a theater maker/actor and director. His directing/choreography credits include productions of Step Show: The Musical (Shepherds University), Hairspray (UCPAC), Hear Her Roar (Newark Symphony Hall), Simply Simone: The Music of Nina Simone, 13, This Wonderful Life (Luna Stage), An Incomplete History of Broadway (vala/digital), Dear Tina: A Love Letter To Tina Turner (GreenRoom42/Off Broadway), The Amen Corner and Into The Woods (Vanguard). Stewart has worked with Papermill Playhouse, Disney Theatrical Group, The Johnny Mercer Foundation, MASS MOCA, 62 Center for the Arts, Union County Performing Arts Center, Triad Theatre, Playwrights Horizon, Cohoes Music Hall, Newark Museum of Art, Luna Stage Theatre Company and New Jersey Performing Arts Center.
Most recently, Stewart hosted and executive produced a new live performance series entitled Broadway in the Bricks at the Newark Museum of Art. Stewart also hosted and executive produced The Equality Ball and Halsey Fest, two of New Jersey's biggest festivals.
A passionate educator and arts education advocate, Stewart's speaking engagements include lectures, panels and performances at Williams College, Kean University, Shepherd University, Monmouth University (Conference on Race), NJEA Convention, Art Educators of New Jersey Conference, East Side High School, Cicely Tyson School of the Performing Arts, RISE Academy, Paulo Friere Charter School, North Star Academy, Academy of the Performing Arts at UCTVS, The Pingry School, Mary Help of Christians Academy, Burnet Middle School, Union High School, St. Benedicts Prep and Seton Hall University - School of Law. He is also a sought after teaching artist and facilitator at the New Jersey Performing Arts Center - Center for Arts Education with 10+ years of experience.
Stewart is the co-founder of Vanguard Theater Company and the founder & CEO of Daryl Stewart Productions, a black owned and operated storytelling and production company. He made history as the Inaugural Theatre Curator of the Newark Arts Festival. Most recently, Stewart serve as Visiting Performing Arts Curator at the Newark Museum of Art (NMOA) - 2022.
He is the recipient of the NJEA Alumni Award of Excellence, Eulace E. Peacock Award, NYU Wasserman Award for Service in the Arts and an Urban League Young Professional Honoree for the Arts. He sits on several boards and advisory councils. Education: NYU (BA/Professional Certificate), NY Conservatory for Drama. Union: Stage Directors and Choreographers Society (SDC). He can be reached via social media: @thedarylstewart. He lives, works and plays in Newark.