Linda wrote for the Toronto Star. Here is an archive of those articles:
- I ate my way through Colombia, from crunchy ‘big booty’ ants to homestyle food-market dishesby Linda Barnard - Special to the Star on October 21, 2022 at 10:00 am
Everything I ate was propelled by Colombia’s place as the second most biodiverse nation on Earth.
- He’s tamed Timothée Chalamet’s hair, made Stellan Skarsgård enormous and turned Jake Gyllenhaal into an amputee — ‘Dune’ makeup artist Donald Mowat is a Hollywood favouriteby Linda Barnard - Special to the Star on October 22, 2021 at 9:00 am
The Montreal-born Mowat worked closely with director Denis Villeneuve on the looks for ‘Dune.’ And once he’s done an actor’s makeup they keep coming back for more, including stars like Daniel Craig and Mark Wahlberg.
- True crime doc about Bruce McArthur hints at possible motivation of Toronto serial killerby Linda Barnard - Special to the Star on April 29, 2021 at 5:18 pm
Producer says he hopes the documentary will bring a deeper understanding “of the many factors that went into creating Bruce McArthur and abetting his crimes.”
- What can a group of American nomads teach an Oscar-nominated director? A lot, says Chloé Zhaoby Linda Barnard - Special to the Star on April 8, 2021 at 12:00 pm
For the real people in ‘Nomadland’ who live full-time in their vans, RVs and pickup trucks, the pandemic was just another bump in the road, Zhao tells Linda Barnard. She has learned to slow down and focus on what’s important.
- David Suzuki on youth-led activism, finding meaning in a messed-up world and taking his clothes off for publicityby Linda Barnard - Special to the Star on November 2, 2020 at 1:00 pm
‘The Nature of Things’ is set to launch it’s 60th season on Nov. 6.
- Filmmaker watched Greta Thunberg go from shy, solitary teen protester to world famous climate activistby Linda Barnard - Special to the Star on October 12, 2020 at 12:00 pm
‘I seriously had no idea that this was going to translate into something that was going to go beyond Swedish national television,’ says Nathan Grossman, the director of ‘I Am Greta.’
- Anthony Hopkins, Kate Winslet honoured at TIFF virtual gala at Lightbox theatreby Linda Barnard - Special to the Star on September 15, 2020 at 4:54 pm
Only TIFF co-heads Cameron Bailey and Joana Vicente, along with show hosts Chloe Wilde and Tyrone Edwards of ETALK were in the theatre as part of an hourlong CTV broadcast.
- ‘The Laundromat’ director Steven Soderbergh saw an urgent need to carve Panama Papers scandal downby Linda Barnard - Special to the Star on October 4, 2019 at 10:00 am
Keeping pace brisk in ‘The Laundromat’ seen as vital to keep audience from being ‘overwhelmed with the amount of data.’
- Meryl Streep delivers emotional speech — and serenades the crowd — during TIFF tribute gala at the Royal Yorkby Linda Barnard - Special to the Star on September 10, 2019 at 12:11 pm
The evening gave guests a rare chance to sit down to supper with Hollywood notables (including Joaquin Phoenix) and rising stars, moviemakers and industry luminaries.
- Renée Zellweger on looking past tragedy to find ‘so much joy’ in Judy Garland biopic at TIFFby Linda Barnard - Special to the Star on September 9, 2019 at 2:29 pm
Returning from long hiatus, movie star finds acuity and longing for domesticity in buzzy portrayal of ’40s superstar.
- Looking for celebrities during TIFF? Here’s our map to the starsby Linda Barnard - Special to the Star on September 5, 2019 at 9:00 am
Your best bets for star-spotting during the Toronto International Film Festival
- Chernobyl’s Jessie Buckley takes a star turn in Wild Roseby Linda Barnard - Special to the Star on June 20, 2019 at 2:30 pm
Irish actor Buckley stars as a Glasgow single mother dreaming of Nashville stardom in movie that debuted at TIFF in 2018.
- Julianne Moore’s Gloria Bell is endearing and enduringby Linda Barnard - Special to the Star on March 14, 2019 at 4:30 pm
Moore’s never been more engaging as a plucky grownup seeking romance, no matter the obstacles.
- TIFF women’s rally supporters explain why they’ll take over King St. on Saturdayby Linda Barnard - Special to the Star on September 7, 2018 at 6:00 pm
Backers of Share Her Journey event, including Canada’s Mia Kirshner, lay out personal reasons for their support.
- Yorkville makes surprise comeback as TIFF party destinationby Linda Barnard - Special to the Star on September 3, 2018 at 12:30 pm
While the business of TIFF stays downtown, some of the hottest parties this year are coming back to the festival’s birthplace. The festival kicks off Thursday.
- Peter Howell: What to see at TIFF 2018by Peter Howell - Movie Critic,Bruce DeMara - Entertainment Reporter,Linda Barnard - Special to the Star on August 30, 2018 at 11:00 am
Capsule reviews of some of the films at the Toronto International Film Festival, which runs Sept. 6 to 16.
- Grace Jones, still glorious, in Bloodlight and Bamiby Linda Barnard - Special to the Star on May 31, 2018 at 9:02 pm
- Helen Mirren glad to revisit old friendship with Donald Sutherland in road-trip movie The Leisure Seekerby Linda Barnard - Special to the Star on March 15, 2018 at 4:00 am
Film deals frankly with aging and death: ‘It’s not a subject we see a lot,’ says its British star.
- Life-changing role in A Fantastic Woman has trans performer looking aheadby Linda Barnard - Special to the Star on February 8, 2018 at 8:42 pm
Daniela Vega will play a cisgender woman in next film and says her ‘creativity has no limits.’
- Billy Elliot star Jamie Bell back on the dance floor with Film Stars Don’t Die in Liverpoolby Linda Barnard - Special to the Star on January 24, 2018 at 2:58 pm
Scene in new film with Annette Bening gracefully expresses characters’ ‘sexual gravitation’ toward each other, says actor.


Sneak Peek of New Film about Atheists: Coming Out in America
A new documentary by Tiroir A Films sheds light on one of the most misunderstood and despised groups in America: atheists.
Coming Out in America (working title) focuses on young people in different parts of the country that are taking the bold step of “coming out” as nonbelievers. The film highlights how their lives are turned upside down because of strong pushback from their schools, peers, the community at large, and in some cases their own family. This pushback ranges from rejection and isolation to physical threats.
What does that tell us about our current society? Is there room for non-religious people to assert their legitimacy within our society? The goal of this film is to show that goodness can exist within everyone regardless of religion or lack of religion. But moreover it shows the need to find common ground in an ever-polarizing country in order to move on and progress as a society.
For more information and a short video preview of the film, follow this link to the AHA’s story.


Haile Gerima doesn’t hold back when it comes to his thoughts on Hollywood. The power games of movie producers and distributors are “anti-cinema,” he put it recently. The three-act structure is akin to “fascism” — it “numbs, makes stories toothless.” And Hollywood cinema is like the “hydrogen bomb.”
For decades, Gerima, the 75-year-old Ethiopian filmmaker, has blazed a trail outside of the Hollywood system, building a legacy that looms large over American and African independent cinema.
But as he spoke with me recently on a video call from his studio in Washington, D.C., Gerima found himself at an unexpected juncture: He was about to travel to Los Angeles, where he would receive the inaugural Vantage Award at the opening gala of the Academy Museum of Motion Pictures, which is also screening a retrospective of his work this month. A new 4K restoration of his 1993 classic, “Sankofa,” debuted on Netflix last month.
After 50 years, Hollywood has finally come calling. “I’m going with a lump in my throat,” Gerima said with his typical candor. “This is an industry I have no relationship with, no trust in, no desire to be a part of.”
Gerima tends to speak directly and without euphemism, his words propelled by the force of his conviction. The filmmaker has been at loggerheads with the American film industry since the 1970s, when he was a student at the University of California, Los Angeles. There, he was part of what came to be known as the L.A. Rebellion — a loose collective of African and African American filmmakers, including Charles Burnett (“Killer of Sheep”), Julie Dash (“Daughters of the Dust”), Larry Clark (“Tamu”) and others, who challenged the mainstream cinematic idiom.
Gerima’s first project in film school was a short commercial called “Death of Tarzan.” An exorcism of Hollywood’s colonial fantasies, it provoked a response from a classmate that Gerima still remembers fondly: “Thank you, Gerima, for killing that diaper-wearing imperialist!”
The eight features he has since directed bristle with the same impulse for liberation, employing nonlinear narratives and jagged audiovisual experiments to paint rousing portraits of Black and Pan-African resistance. In a phone interview, Burnett described Gerima’s work as coursing with emotion: “People have plots and things, but he has energy, real energy. That’s what characterizes his films.”
The stark, black-and-white “Bush Mama” (1975) charts the radicalization of a woman in Los Angeles as she navigates poverty and the Kafkaesque bureaucracy of welfare. “Ashes and Embers” (1982) — which opens with the protagonist driving into Los Angeles with dreams of Hollywood before being abruptly stopped by the police — traces the gradual disillusionment of a Black Vietnam War veteran. In “Sankofa,” one of Gerima’s most acclaimed films, an African American model is transported back in time to a plantation, where she’s caught up in a slave rebellion. Other films, like “Harvest: 3,000 Years” (1976) and “Teza” (2008), explore the political history of Gerima’s native Ethiopia.
For the filmmaker and his wife and producing partner, Shirikiana Aina, these visions of fierce Black independence are as much a matter of life as art. Most of Gerima’s movies have been produced and distributed by the couple’s company, Mypheduh Films, which derives its name from an ancient Ethiopian word meaning “protector of culture.” Mypheduh’s offices are housed in Sankofa, a bookstore and Pan-African cultural center across the street from Howard University, where Gerima taught filmmaking for over 40 years. This little pocket of Washington is Gerima’s empire — or his “liberated territory,” as he likes to call it.
“When I think of Haile’s cinema, I think of the cinema of the maroon,” Aboubakar Sanogo, a friend of Gerima’s and a scholar of African cinema at Carleton University in Ottawa, Canada, said in an interview, invoking a term for runaway slaves who formed their own independent settlements. “It’s very much a cinema of freedom. Hollywood is the plantation from which he has escaped.”
If Gerima is now ready to dance with the academy (which, incidentally, has never awarded a best director Oscar to a Black filmmaker), it’s because of the involvement of a kindred soul: Ava DuVernay.
The “Selma” filmmaker, who co-chaired the Academy Museum’s opening gala, has been the driving force behind the Haile-ssance of 2021. Array, DuVernay’s distribution and advocacy collective, spearheaded the restoration of “Sankofa.” The company also rereleased “Ashes and Embers” on Netflix in 2016, in addition to distributing “Residue,” the debut feature by Gerima’s son Merawi, last year.
Speaking by phone, DuVernay said that in collaborating with Gerima, she felt she had come full circle: Years ago, she modeled Array on the example set by Gerima and Aina’s grass-roots distribution initiatives.
“I was very influenced by this idea that your film is an extension of you, and it does not have to be given away to someone else to share with the world,” DuVernay said. “The self-determination of self-distribution, that was a radical idea to me. I didn’t have to go around begging studios — I could make my film and be in conversation with an audience independently.”
It was a strategy Gerima and Aina forged during the initial release of “Sankofa.” The film gives galvanizing form to an idea that courses through all of Gerima’s work: that Africans are not the victims of history, but its heroes. “I always felt that slavery is not about brutal white people,” he said. “Slavery is about Black Africans refusing to be slaves. The consequences of that cannot be the dominant aspect of a film; otherwise, you participate in creating Hollywood victims.”
But getting this film — born of unprecedented co-productions with Ghana, Burkina Faso and other African countries — seen by Black audiences in America required its own kind of fearless independence. When a well-received premiere at the 1993 Berlin International Film Festival did not lead to any American distribution deals, Gerima and Aina did what they knew best: They turned to their community.
They rented a local cinema in Washington, and held screenings and meetings to spread the word. The response was overwhelming: The theater was packed for 11 weeks, and soon they were raising money for a second print to show in Baltimore, where it ran for 21 weeks. As community and cultural groups started reaching out from Illinois, Kansas, Arkansas, California and elsewhere, Gerima and Aina slowly established what they call the “Sankofa family.”
“They were our airport in every state,” Gerima said. “Underclass Black people put this movie on the map of the world.”
Now, nearly 30 years later, a pristine restoration of “Sankofa” is streaming on Netflix in multiple countries. There’s something poetic about the movie introducing new audiences to Gerima’s legacy: Its title derives from a Ghanaian term that translates loosely to “retrieving the past while going toward the future.”
The phrase was on my mind as I spoke with Gerima. He was in his editing “cave,” as he described it, and a picture of his father was on the computer screen behind him, the image zoomed into the man’s ear, as if he were listening in. A writer of political plays, Gerima’s father figures prominently in “Black Lions, Roman Wolves,” a documentary about the Italian invasion of Ethiopia in 1935 that the filmmaker has been editing throughout the pandemic. Gerima said it’s been stuck in postproduction because of “surrealistic” negotiations with Istituto Luce Cinecittà, Italy’s state-owned film company, over newsreel footage from the war.
He recalled that when he premiered “Adwa” — his documentary about the 1896 victory of Ethiopian forces against Italian invaders — at the Venice Film Festival in 1999, the press had criticized Istituto Luce for not participating in the production. “So they wrote me a letter saying, ‘In your next film, we will participate.’ But every time a bureaucrat changes, the policy changes. And I have to start the A-B-C-D of everything again.”
It is experiences like these that make him wary of institutional support. “I don’t trust eruptive social discourse,” he said. “The well-meaning people at the Academy Museum — what happens when they are not there anymore? Who comes in? And what happens to the inclusiveness idea, then? This is the anxiety I have.”
Aina, who joined us for the tail end of our interview, seemed more cautiously optimistic as she spoke of the museum’s Vantage Award. “I hope that it means that our work can get a little easier,” she said simply. “We just want to be able to have the capacity to make our movies, and to leave something in place that future filmmakers can incorporate into their new visions.”


|Location :||Dedham Public Library, 43 Church Street|
|Date :||23-Feb-2012 Thursday|
|Time :||02:00 PM - 03:30 PM|
Good readers are invited to participate in a Readers Theatre Program at the Dedham Main Library during February School vacation. Readers Theatre activities require no costumes, stage sets, or props – they rely on the readers’ voices to bring characters written on a page to life. Registration is necessary for this program. Interested parties should contact the Dedham Main Library Children’s Room in person or by phone (781-751-9283).


Wade Wilson already had his difficulties with Ajax (sorry, Francis) in Deadpool, but now director Tim Miller revealed that Ed Skrein’s character almost had three additional sidekicks, namely Garrison Kane, Sluggo and Wire.
“They were Ajax’s sidekicks – they’re all good characters,” Miller told IGN. “[Deadpool creator] Rob Liefield is still crying because Garrison Kane’s not in the movie, and Wire had one of the single best jokes in the script ever; his death was pretty epic. But I felt like, honestly – and this is not pandering – I wanted some more women in the movie. And so I wanted to replace them with a female superhero, or supervillain in Gina [Carano]’s case.”
Screen writers Paul Wernick and Rhett Reese added that there were also finances involved:
“They were Ajax’s muscle and we ultimately for budget reasons consolidated those three characters into the Angel Dust character. And I think a lot had to do with there’s some CG elements to those characters,” Wernick explained.
Rheese: “Garrison Kane has a bionic arm for instance, and that was going to be expensive. Wire shoots wires out of his extremities. We had a really cool scene where he was fighting Deadpool and Deadpool was cutting through the wires with his swords, but all expensive and all CG, and when it came time to make the movie we just had to make some hard, hard decisions.”
Considering the amount of money Deadpool made ($757,2 million as of right now), the characters could’ve probably easily been put in the film – however, do keep in mind that movies have been ruined by too many villains in the past, i.e. Spider-Man 3. Personally, I thought Ajax/Francis worked great as a villain with only one sidekick. What do you guys think? Let us know on Instagram and Twitter!


In June 2007, Mr. DiFusco performed his new play, WALK’N THRU THE FIRE, (a
memoir and a spiritual journey), at the Hayworth Theater (Los Angeles). The play
received rave reviews. Los Angeles Times says, "This absorbing autobiographical
piece reflects DiFusco’s life long search for meaning. WALK’N dives into issues
that he has grappled with for a lifetime. From the Viet Nam service that spurred
TRACERS to the sense of mortality raised by the deaths of five siblings, DiFusco
relates his unblinking view of what he’s learned with passion, grace, and humor.
It’s good to have him back on the boards where he belongs." L.A. WEEKLY "DiFusco
is a gifted story teller who plumbs the hearts, heads, and significance of his
characters. He plaits their lives into a large and accessible canvas with
insight, passion, and humor." The play is on LA Weekly Steven Mikulan’s 2007 New
Plays Ten Best list.
He created the ground-breaking,
critically-acclaimed Viet Nam play TRACERS, with a group of Viet Nam
veteran-actors. He directed the premiere production at the Odyssey Theatre in
Los Angeles. The play was subsequently produced by the Steppenwolf Theatre
directed by Gary Senise. DiFusco directed the New York premiere at Joseph Papp’s
Public Theatre, (produced by Joseph Papp and VETCO). Jack Kroll of Newsweek
called it, "a land mine of a play that blows complacency to shreds". TRACERS was
published in Otis Gurney’s Ten Best Plays of 1984/85, by Dramatists Play Service
and by Hill & Wang Publishers.
After directing and mentoring numerous productions here and
abroad, he directed the 20th Anniversary production of TRACERS
at the Odyssey Theatre, where it premiered. (L.A. Weekly ‘Pick
of the Week’ and Back Stage West "Critics’ Pick"). Back Stage
West wrote, "Riveting…TRACERS is as vivid, grim and powerful as
it was 20 years ago!" TRACERS continues to be produced by
theatre companies throughout the U.S. Los Angeles’ Gangbuster
Theatre company’s production opens February 29, 2008 at the
Victory Theatre, and the Hermosa Beach Playhouse production
opens May 27, 2008.
Directing credits include Don Nigro’s NECROPOLIS on New
York’s Theatre Row, Hollywood’s Tamarind Theatre, MARKED TREE
(nominated for five ADA Awards) and WHITE PEOPLE, both at the
Road Theatre. WHITE PEOPLE received ‘Critic’s Choice’ in the Los
Angeles Times and the Back Stage West. It was awarded five
Valley Theatre League Awards (including Best Director, Best
Ensemble and Best Production) and was nominated for two Los
Angeles Drama Critics’ Circle Awards. He directed ALI at the
Odyssey Theatre, a one-man show written and performed by
Geoffrey Ewing about the one and only, Muhammad Ali. It received
L.A. Weekly’s ‘Pick of the Week’ as well as rave notices from
Variety, The Hollywood Reporter and the Los Angeles Times; and
WILL STRIP FOR FOOD (also L.A. Weekly ‘Pick of the Week’) at
Glaxa Studios and the Tamarind Theatre.
Other directing credits include POLICE OFFICERS’ WIVES at the
Ventura Court Theatre; the critically-acclaimed a cappella
musical AVENUE X at the Odyssey Theatre, a production which
garnered six L.A. Weekly award nominations (including Best
Director), an Ovation Award nomination for Best Musical and
eleven Drama~Logue awards; CUT, POISON & BURN at Chicago’s Mary
Arrchie Theatre; JOAN & THE ZULUS (with Grace Zabriskie);
AFTERSHOCK, LOVE OR SOMETHING OUT ON HWY. 97 and ROUNDS at The
Cast Theatre; HAIR at the Heliotrope Theatre; JACK RUBY IS MY
IDOL for the Mark Taper Forum’s New Works Festival; THE DEALS
ARE GOIN’ DOWN at the Embassy Theatre; and ANIMAL at the
Odyssey, as well as dozens of readings and new/original plays.
He is a member of The Actor’s Studio Playwright/Directors Unit,
LA Writer’s Center, and VetStage.
DiFusco served as Technical
Advisor on the Emmy-Award winning HBO film, DEAR AMERICA:
LETTERS HOME FROM VIETNAM and directed a video of TRACERS. He
has worked as a director/part-time faculty member of the
American Academy of Dramatic Arts.
With writing partner, Claudia Adams, he has written three
other screenplays and received the Gold Award for Best Dramatic
Adaptation at the 2000 WorldFest Houston for their screenplay
TERMITE HILL. Their video of POLICE OFFICERS’ WIVES received the
Bronze Medal in the Social Issues category at the 1998 WorldFest.
DiFusco completed a ‘revised’ edition of TRACERS, published
again in 2000 by Dramatists Play Service.
As an actor he has
appeared on Lifetime’s, "Strong Medicine", the independent film
AMERICAN ROULETTE, the Movie of the Week, TONYA & NANCY: THE
INSIDE STORY; TO HEAL A NATION; LOST IN AMERICA; PRECIOUS
IMAGES; THE MASTER; THE GREATEST AMERICAN HERO; BLACK WIND and
BREAKER! BREAKER! His stage credits THE BALKAN TRILOGY, BUFFALO
SOLDIER, CHICAGO CONSPIRACY TRIAL, BACK BAR, LOVE OR SOMETHING
OUT ON HWY. 97; TRACERS; EDMUND; THE NIGHT OF THE IGUANA, THE
TIME OF YOUR LIFE, PEER GYNT; THE KID; CAUCASIAN CHALK CIRCLE,
among others. As a poet, he has performed his original work in
many Los Angeles venues.
Mr. DiFusco has received the New York Drama Desk Award, The
Los Angeles Drama Critics’ Circle Award, two L.A. Weekly Awards,
two NAACP Awards, a Drama~Logue Award, a Robby Award, two Valley
Theatre League Artistic Director Awards and the USAF
Commendation Medal for Meritorious Service in Viet Nam.


The first episode of our new show, RedRoom NOW! aired on Saturday at 12noon and on Sunday at 11pm. Did you catch it on either Prism TV Channel 22, or on Digital Broadcast, on Movies+, channel 47.5?
If you missed it, watch it now online, here’s the link https://youtu.be/zS4G06jiUeM
We’re excited about being able to share all the creative things happening in our neighborhood in the Las Vegas Downtown Arts District! Watch our show, and stay tuned for more!


What do you get when a book publisher and a film producer start a company?
This isn’t a joke, folks. Will Evans, founder of Deep Vellum Publishing, and Dallas Sonnier, producer of the critically-acclaimed film Bone Tomahawk, teamed up last year to found Cinestate, an entertainment company in Dallas that combines book publishing, film production, and audio production.
The objective of the company is simple, but brilliant.
“The idea is that we will sign and publish books, but when we sign them we get the rights to the audio and the film adaptations as well,” Evans said. “We publish the book and we’ll do an audiobook, then we’ll turn it into a movie to continue to grow the audience.”
Cinestate’s unique business model has so far proved successful. The company already shot one movie that comes out this fall – Brawl in Cellblock 99, starring Vince Vaughn. Brawl in Cellblock 99 was written and directed by S. Craig Zahler, the same man who wrote and directed Bone Tomahawk. Sonnier was Zahler’s manager in Los Angeles, and the two teamed up to create Bone Tomahawk.
“Craig writes a lot and he’s got insane talent,” Evans said. “His star is just rising in the world as a writer, both for screen and books.”
Zahler wrote the script for two of Cinestate’s upcoming films – Puppet Master: The Littlest Reich (a reboot of Full Moon’s 1989 Puppet Master) and Dragged Across Concrete. Zahler will also direct the latter film, which stars Mel Gibson and Vince Vaughn.
“Dragged Across Concrete is a very gritty, dark cop drama and that’s what Craig specializes in is gritty, dark stuff,” Evans said.
If you’re interested in becoming the next Craig Zahler, Cinestate accepts blind submissions through email at firstname.lastname@example.org. However, aspiring screen writers and authors need to pitch the story quickly and in an intriguing manner. Authors also need to fit Cinestate’s genre, which Evans describes as “Blade Runner meets Westworld.”
“We’re looking for genre-based writing, so sci-fi, thriller, horror, dark fantasy, action, adventure, and true crime dark mysteries,” Evans said. “We want a smart story very well told with a very unique hook. We want something that’s never been done before.”
As Cinestate grows and expands, Evans wants to add more women writers and writers of color to the Cinestate portfolio.
“We are building something that is genre-based here, but it is still very important to us to have diverse voices,” Evans said. “Some of the best writers are neglected by others, because sexism and racism are real things. If we can look for those stories and seek them out aggressively, hopefully we can make connections between those authors and audiences that are just starving for amazing stories like that.”
Look for Brawl in Cellblock 99 coming out this fall, and in the meantime, Bone Tomahawk is currently streaming on Amazon Prime.


Monday, June 7, 2010
I don't know why it hit me today but the movie Birth is a pretty amazing movie. It's one of the movies that I find myself pondering about the ending for days every time I watch it . I love everything about this film from the creepy kids performance to the low tones in the droning music to the amazing cinematography.
This is the plot:
"A narrator lectures to an unseen audience, mentioning that he disbelieves in reincarnation. We then see this man running through Central Park, where he dies of a heart attack. Ten years later, the man's widow, Anna (Nicole Kidman) has accepted a marriage proposal from her boyfriend, Joseph (Danny Huston).
When Clifford (Peter Stormare), Sean's best friend, arrives at Anna's engagement party, his wife Clara (Anne Heche) excuses herself, saying she forgot to wrap Anna's gift. Instead, she buys a replacement after hurriedly burying the gift while a young boy (Cameron Bright) secretly looks on.
At a party for Anna's mother (Lauren Bacall), the boy who followed Clara claims to be Anna's deceased husband, Sean, and warns her not to marry Joseph. At first Anna dismisses the boy's claim. When Anna receives a letter from him the next day warning her not to marry Joseph, she realizes the boy truly believes he is her reincarnated husband.
That night Anna and Joseph discuss the letter. Since the building watchman seemed to know the boy (and that the boy is also named Sean), Joseph calls to get more information. When Sean answers the phone, Joseph rushes downstairs to confront him. He takes him to Sean's father (Ted Levine), where the three of them order Sean to leave Anna alone. Sean refuses to recant his story, and a pained Anna sees the young Sean collapse in his father's arms. She has begun to believe the boy may be a manifestation of her dead husband.
Sean leaves a message on Anna's answering machine, which her mother overhears. That day at lunch, Anna's mother mentions that Sean wants to meet Anna in the park, and that she will know where. Anna hurries to Central Park and finds Sean waiting in the spot where Anna's husband died. He offers to submit to questioning.
Anna's brother-in-law Bob (Arliss Howard), a doctor, talks to Sean, recording his responses on tape. He answers frankly all the questions, even giving intimate details of Anna and Sean's sex life. Sean is brought to Anna's by his fretful mother (Cara Seymour), and he is able to identify parts of the apartment. Everyone except Anna remains reasonably doubtful. Anna's family becomes worried, particularly her sister Laura (Alison Elliott), who treats young Sean with contempt.
When Anna misses an appointment with her fiance to spend time with Sean, Joseph begins feeling worried not merely about the boy, but about Anna's odd behavior. Joseph's jealousy is made plain when he physically attacks Sean. When Sean runs out, Anna follows him and kisses him on the lips.
Anna seems convinced by the boy's story and asks Clara and Clifford to meet him. Clara encounters Sean at the door and asks him to visit her later. When he visits, he brings a backpack full of Anna's love letters to Sean. These were Clara's spiteful engagement gift which the boy secretly unearthed and read the night of the party. We learn that Clara was Sean's lover before his death, and that he gave the letters to her unopened as proof of his love. Clara was jealous that Sean would not leave Anna, but abandoned her plan to give Anna the letters. When Clara points out that if he were really a reincarnation of Sean he would have come to her first, Sean runs out in a state of confusion and guilt.
When Anna finds Sean, she suggests they run away and marry when he is of legal age. He tells her that if he were really Sean he would have loved Clara, and since he loves Anna he must not be the reincarnated Sean.
Anna apologizes to Joseph, and they are married at the beach. Sean wrote a long letter apologizing to Anna, wondering why he had the delusion of being her husband. Anna wades into the sea in anguish after the ceremony. Joseph gradually pulls her back onto the sand and whispers reassuringly into her ear."


Congratulations to are very much in order for two television legends.
We’re not really exaggerating, either.
What else would you call the most popular cast members from iconic shows Gossip Girl and The OC?
That’s right, folks, Leighton Meester and Adam Brody are expecting another child!
A private couple, neither the actress nor the actor have actually confirmed this amazing news, which has the entire Internet buzzing.
However, pictures obtained by the Daily Mail clearly depict Leighton rocking a baby bump during a family stroll in Los Angeles.
This pregnancy comes just as the beloved couple is celebrating their sixth wedding anniversary, having exchanged vows secret ceremony in early 2014.
Meester and Brody are parents to a four-year old daughter named Arlo.
Rarely one to grant interviews, the Single Parents star did talk to Us Weekly about motherhood in September.
«People started telling me before [I had] a kid, ‘You’re going to really love them. Then you’re like, ‘Yeah, obviously, I’ll love them,’» she said at the time.
Meester then elaborating on how one can’t truly understand this feeling until one actually becomes a parent.
«And then you do [have them] and you’re like, ‘Oh. OK. I don’t love anyone else. I just love them. And I don’t even love myself as much as I love them! Not even close,» she continued back then.
«I don’t know, would I kill somebody or die for them? Sure. I would.»
Meester, of course, will forever be remembered for her role as Blair Waldorf on The CW’s Gossip Girl.
Brody, meanwhile, portrayed Seth Cohen on The Fox’s The OC.
The stars met while filming the 2011 movie The Oranges and got engaged two years later.
Meester previously dated actor Aaron Himelstein, while Brody was romantically linked to actress Lorene Scafaria and fellow The OC alum Rachel Bilson.
Last summer, Brody talked to GQ about his wife and their relationship.
«She’s more inherently private than I am,» he said of Meester. «I don’t seek publicity but if I’m sitting next to you on the subway, I’ll tell you everything about me.»
In this same interview, Brody also addressed social media’s obsession with his character ending up with Meester’s Gossip Girl character in real life.
«It’s not bizarre. To be perfectly honest, it was a little embarrassing,» Brody said. «I guess love knows no bounds?»
Sure! We’ll drink to that!
Congrats to the expecting parents!


Universiti Brunei Darussalam (UBD) and Progresif Media announced the winners of the 5th PRISM UBD Short Film Festival 2022 in a Closing Ceremony took that place in Pro Chancellor Arts Centre on Tuesday, 6th December, 2022.
For the first time ever, the 5th edition PRISM became one of the events under the umbrella of ASEAN University Network on Culture and the Arts (ANC-CA). As a result, a record total of 26 shortlisted student short films from UBD, University Islam Sultan Sharif Ali (UNISSA), Politeknik Brunei, National University of Singapore (NUS), and De La Salle University Manila were screened in the opening screening on Tuesday, 15th November, followed by a three-week (16th November to 5th December) online streaming hosted on Progresif Media – the biggest local content streaming platform in Brunei.
During the Closing Ceremony, each winning short film in the four competition categories received a certificate of achievement and a cash prize of BND500, offered by the organiser of PRISM UBD Short Film Festival – the Faculty of Arts and Social Sciences (FASS) at UBD. The award-winning short films of the 5th Edition PRISM are:
Lingering (directed by Suryane Zaine of National University of Singapore) won the Best Fiction Short Film Award
Menanti (directed by Nur Jazmeen Farzana Amirnuddin of Universiti Brunei Darussalam) won the Best Smartphone-Made Short Film Award
Paws Up (directed by Mohamad Arif Zakwan Mohamad Amiruddin of Politeknik Brunei) won the Best Documentary Short Film Award
The Origin of Gold River Village (directed by Muhammad Amar Mubasyir Junaidi of Universiti Brunei Darussalam) won the Best Animation Short Film Award
An additional award category this year was the People’s Choice Awards sponsored by Progresif Media. The winner was chosen based on the most popular votes gained throughout the online streaming period on Progresif Media’s website between 17th November to 5th December. The Head of Digital Innovation at Progresif, Haziq Sahrip, presented the BND300 cash prize and a certificate of achievement to this year’s People’s Choice Award winner – 25th Anniversary with LSDC – Street: Excellence Explained (directed by Mycs Villoso, De La Salle University Manila, Republic of Philippines). According to Progresif’s Media Team Head Olivia Ong: “This year’s 5th PRISM Short Film Festival received a total of 1,337 votes for the 26 short film entries, comparatively from last year’s 337 votes. The winner garnered 23 percent of the total votes.”
Corresponding to the 5th PRISM elevating to a regional student short film festival in competitions, this year’s PRISM appreciated the dedication and fair judging work from an international jury panel chaired by Dr Kathrina Haji Mohd Daud, the Dean of FASS at UBD, and comprised of two Bruneian judges, Rosnani Haji Md Yussof from the Authority for Info-communications Technology Industry of Brunei Darussalam (AITI) and A’aqiil Ahmad from Filterworks Productions, as well as two international judges Mary Loh from National University of Singapore (NUS) and Glorife Samodio from De La Salle University Manila.
The uniqueness of the 5th PRISM UBD Short Film Festival Closing Ceremony was the two panel discussions following the award presentation. The first panel was the traditional jury commenting session moderated by jury chair Dr Kathrina Haji Mohd Daud and joined by jury judge A’aqiil Ahmad. They introduced to the audience how the judges came to the final decision of the winners in the four competition categories. The second panel was organised by Progresif Media titled “Creators’ panel: The Realities of a Budding Filmmaker in Brunei”, which was joined by four invited speakers, all young filmmakers in Brunei which included Natasya Jazmeena, Azeez Danial, Akmal Marhain and moderated by Iskandar Karim. Both panel discussions were extremely beneficial and inspiring for the attending student filmmakers from UBD and other higher education institutions in Brunei.
Following the Closing Ceremony, a rerun of the 5th PRISM Opening Screening of all the short film finalists were shown on FASS UBD Official YouTube Channel on the same day for those interested in watching again the 26 selected titles in the 5th PRISM UBD Short Film Festival. A few student filmmakers will have an opportunity to discuss with Progresif Media on how to commercialise their short film works based on a SVOD revenue-sharing agreement signed between the students and Progresif Media.


Steve Korte, 20,
powers through a tackle by a USF
player on at the FL 7 on 7 series in Gainesville, Fla. This was Korte’s
10th day ever playing Rugby.
Local actor Rhonda Wilson gathers wardrobe for a scene change during a rehearsal of The Color Purple at Actors Warehouse on Thursday, July 11, 2013. The show will premiere at the P.K. Yonge Performing Arts Center on July 19 at 7:30 p.m.


In order to develop our plays, we conduct interviews. These interviews last several hours, sometimes several days.
Then we shape these statements into monologues.
The important thing is that we don’t invent anything. We just shorten and shorten, condense and condense the interviews. And we keep the linguistic expression of the interviewees.
This form of theater is also called “literal theater” or “literal theater”.
Actors then stand on the stage and tell the stories.
The result is raw and straightforward: It is as if the actors address the audience directly, shakes hands with them and pulls them into a world that from now on will not leave them indifferent:
Intertwined, connected and networked with the protagonists, the audience eagerly follows the paths of the stories told.
If the actors whisper, remain silent, carefully throw a word into the room, get louder, raise their voices in a demanding or angry manner, even almost scream at one point, then the sounds do not reach the audience in an abstract way: The audience is hit and touched directly by what is said.


1 hour ago
Tuesday, 6 October 2015
With exterior shots filmed mainly on the Isle of Skye, it's all lowering, threatening clouds and heavy mists, beginning and ending with bloody battles - with plenty of gore in between too, including, of course, at least two key murders.
Visually raw in tooth and claw, it shifts texts around - or at least what's left of it after a severe pruning of what is already Shakespeare's second-shortest play - and liberties are taken with the action and motivations, which is fair enough, though I personally found at least one change quite jaw-dropping. But if one doesn't know the play then it will hardly matter.
Australian director Justin Kurzel has created an 'entertainment' which uses the original text as little more than a pretext to film an 'interesting', action-packed story. As a vehicle with which to get to know the original play there are major shortcomings, not least of which is the lack of clear enunciation. I felt let down, If it wasn't for Michael Fassbender's central performance I'd be rating it significantly lower than....................4.
Monday, 5 October 2015
Based on the loss of his own mother during the making of his previous film 'Habemus Papem', this one, with Margarita Buy in the central role (Moretti himself playing her brother) chronicles the decline of their mother, alternately in hospital or at home, suffering from a terminal respiratory condition.
Buy is a film director currently working on a project showing an industrial dispute, she trying to hold herself and the project together amid frequent visits to her mother who's also given to mental wanderings, and in one case, an impetuous 'escape'. Buy is not helped in her film project by importing a famous American actor (John Turturro - speaking both Italian and English) who's so full of himself and exaggerated fame, yet when it comes to work he can't seem to remember his lines. His scenes provide welcome light relief to the sombre mood prevailing on the visits to the mother by son (Moretti, in a very downplayed, but sensitive role), herself as daughter, and the latter's own teenage, Latin-learning, daughter. To complicate matters even further she has just moved out from living with her partner, much to his disappointment. So she has a lot on her plate, trying to juggle conflicting emotions demanding her attention while she fights on trying to get the film progressed. Meanwhile Turturro's character, as the new factory boss, is distrusted by his workforce suspecting imminent lay-offs, while he himself, amid fluffed or forgotten lines at which he frequently loses his cool, tries vainly to reassure the employees.
It's a perfectly balanced film - moving, yet not over-sentimental, when it could so easily have fallen into that trap. There's no doubt that the film's focus is Margarita Buy's marvellous performance, a lot of her emotions written on her features rather than verbally expressed - she trying to supervise her film project yet being the victim of family and personal circumstances, inconvenient to say the least. Moretti's story and screenplay is perceptive, realistic and totally believable.
I liked this film so much that I can forgive it for including one of my pet detestations, a couple of songs (in English) on the soundtrack. Nevertheless, a most satisfying experience..................7.5.
Wednesday, 30 September 2015
One doesn't readily associate Robert Redford with non-serious films, and here he's given as his foil a bumbling, grizzled, overweight, out-of-condition character in the old friend shape of Nick Nolte, as they together hike the over 2,000 miles of the Appalachian Trail. They strike sparks off each other, alternately grumbling and bickering, only having come together because the Redford character's (travel writer, Bill Bryson) wife, played by Emma Thompson - seen only in the opening scenes (with brief glimpse also at very end) - didn't want Bryson to go off alone on this madcap idea. Homely Bryson leaves his wife and three children to go on this personal expedition.
I've always liked Nick Nolte though haven't seen him on screen for some years. Although I knew that he'd be the main supporting star here, he's so bulked up (just for this film or in real life?) that had I not known I might not have recognised him.
It's an episodic film, the pair having to deal with events thrown up by the oddball, sometimes dotty, characters they meet on the way - including, briefly, Mary Steenburgen as a flighty hostel owner. Many of the episodes seem to fizzle out without any resolution with a strange cumulative effect, which is much the same as life, I suppose.
Director Ken Kwapin deals with the thin material capably enough, giving us the ravishing, breathtaking scenic shots we expected.
I've read a few Bill Bryson books, though it did take me a little time to get onto his wavelength. I am a fan, most recently getting through his eminently readable 'A Short History of Nearly Everything' - an astonishingly comprehensive expose of sciences for lay people like me - and next is his 1994 'Made in America' in my pile of books yet to read.
The film wiled away a couple of hours pleasantly enough. Nothing to go overboard for, but certainly agreeable......................6.
Despite a cast almost to die for - Drew Barrymore, Toni Collette, Paddy Considine (for whom I've developed rather a crush) as well as that hottie, Dominic Cooper - all additional to a strong script (well. for the most part), when stripped down I found this essentially formulaic stuff.
I'm sure I wasn't alone on immediately thinking of 'Beaches' when I heard that the basic story involved two women, best friends since children, their relationship fractured following an almighty row after which they stop seeing each other, only for the impending death of one to bring them together in climactic scenes of forgiveness and reconciliation.
The Barrymore character at the start is an American child coming to London where, at her new school, she and Collette immediately become best buddies, a solid friendship which lasts through adolescence and on into their respective marriages - Collette to wild, anarchic Cooper, whom marriage soon tames into reliable domesticity, and Barrymore to oil-rig worker Considine, periodically absent from their houseboat on the River Thames, the two of them trying hard to have children with no success, while Collette has two little brats, cheeky and making pronouncements and responses beyond their scant years (ugh! again!). The main human drama is Collette's incipient breast cancer, (not a 'spoiler' as it's revealed near the film's start) and which, after failed chemotherapy (involving, of course, dramatic hair loss/removal) soon requires a double mastectomy. It's Barrymore who tries to provide a brave anchor for Collette's understandable mood swings, though it's not always successful.
Acting throughout is very strong, with Collette carrying the honours for a role which requires a wide gamut of emotions in her behaviour, much of it heart-breaking, though one episode being dismayingly callous. However, the other three members of the central quartet are terrific too.
Apart from the two little kids mentioned already, I was also turned off by the frequent intrusion of 'mood-setting' songs on the soundtrack (why can't they just let the story speak for itself?), though most of them aren't much more than snippets. However, one can forgive the inclusion of REM's 'Losing My Religion' at any time.
Director Catherine Hardwicke and writer Morweena Banks keep events moving forward at a fair lick, though I have to say that there really weren't that many surprises, even though the emotions of the story did pull even me in.
Overall I felt a bit let down. Full marks for top-class acting all round, but some of my blog followers will already know of my strong antipathy against displaying overloaded sentiment in the way of 'entertainment', a school to which I don't subscribe. Others will love this film, I'm sure. But for me it gets the distinctly average................5.
Thursday, 24 September 2015
Playing fast and loose with the facts (with which I have no problem) we see the 30-year old Will S. (Michael Baynton as the 'Bill' of the title) leaving Stratford-on-Avon (where he was a member of lute group 'Mortal Coil') for London, where he's taken under the wing of Christopher Marlowe, who encourages the others writing talent. But in order to make ends meet in the short term both are reduced to dressing up as vegetables, giving out leaflets encouraging members of the public to eat their 'Daily Two'. (Yes, I know that the 'tomato' pictured above is, technically, a fruit.).
The year is 1593, five years following the repulsion of the Spanish Armada by the already ageing Queen Elizabeth's forces. But here the dastardly Catholic King Philip of Spain has sneaked himself into England with a small gang in order to blow up the Queen in a Gunpowder Plot (a decade before the actual failed Catholic plot against King James). Simultaneously, the Queen has commissioned a new play and everyone wants to use the talents of the then unknown Shakespeare, while putting it forward as his own creation.
The only name in the film's cast which I recognised was Damian Lewis.
So, not exactly a barrel of laughs, but it could have worked. If I'd been familiar with the TV series or even the Terry Deary books on which the 'Horrible Histories' is based I almost certainly might have appreciated the film more. But, as it was, for me it was a complete snooze-fest.
Director Richard Bracewell does his best with an unsubtle script, aimed more in an adult direction than towards children, though the one thing that the film definitely does have going for it is that it is very handsomely mounted and photographed by perfect camerawork.
There clearly is an audience for 'Bill' but I am not part of it. So, to be brutally frank in rating it, and in terms of the amount of 'enjoyment' I experienced, all I can give is a measly.......................2/10.
Wednesday, 23 September 2015
Based on a true story of a climbing expedition in 1996 it's not giving much away to say that deaths of some of the participants was involved (though I don't recall the news item myself). Some big or biggish names feature in the cast - Brolin, Gyllenhall (J), Worthington, Knightley - as well as Emily Watson whom, on screen, it is never less than a pleasure to see.
I was a bit surprised to find that the summit was reached just before half-way into the film - though it's the descent that is far and away more eventful and emotionally involving, featuring, as it does, a terrifying storm.
Icelandic director Baltasar Kormakur obviously knows his stuff and how to capture it visually.
I'm one of those people who, when at the top of a high building, gets a nervous tickle on the soles of my feet (and another part of the anatomy), coupled with an almost compelling urge to throw myself off. I don't know how common this is, though a niece of mine gets the same sensation. During this film several times I felt emotions akin to this which, I'd imagine, wouldn't have been nearly as acute had I seen it in 2D.
It's a film that's a bit different from the usual entertainment. Although not one for those prone to vertigo, it's definitely a visual stunner..............................6.
Thursday, 17 September 2015
Joaquin Phoenix (in an unusually withdrawn and reflective role for him) is a university theology professor newly arrived on campus, wasting little time in getting involved, or at least attempting, an adulterous affair. (with Parker Posey - known best to me as being a cast regular in Christopher Guest's excellent mockumentary series, including 'Best in Show', 'Mighty Wind' and 'For Your Consideration').
His life is wearisome, turgid and aimless - as well as impotent - he frequently reaching for his hip flask to take a slug of scotch. One of his students, Emma Stone (who was also in Allen's above-mentioned 'Magic by Moonlight') becomes fascinated and then infatuated with him despite her having her own keen boyfriend - though she insists to Phoenix that she hasn't committed herself yet. They start seeing a lot of each other and, eventually, begin a parallel affair.
Before that happens, one day they are both in a diner when they overhear a woman at an adjacent table tearfully telling her friends how her life is being ruined by a certain judge who keeps frustrating her attempts to get a separation, and the longer the tussle goes on the more and more it's costing her. Her tragic plight moves both Phoenix and Stone (as pictured above). When alone, Phoenix dwells on this woman's situation and then gets the outlandish notion that if he murders this judge (for purely philanthropic reasons!) then he'll not only have helped this woman but done the world a service in getting rid of this obnoxious character - and, having no connection with his intended victim he wouldn't be traced. So he does the deed, and surprises himself to find that he's now got a 'zing' back into his life, giving it a purpose. (He's rediscovered his 'mojo'!) It is from this point that he embarks on his affair with the much younger Stone, his former impotence now not an issue. But, as you might guess, his attempt at the perfect murder gradually unravels, right up to its very dramatic conclusion.
For the first twenty minutes or so I found this film meandering a bit too much. It didn't seem to settle down and had no strong focus. But all that changes with the diner scene, and from there on it's sure-footed all the way.
One critic complained that Woody Allen's presence as director was hardly noticeable, that he must have been 'sleep-walking' through this. I didn't find it so, and saw quite a number of his trademark touches. His script is occasionally quite sharp and I never cease to love the expressive hand-waving conversations his actors always seem to give. It's a relatively small cast at the core - just a quartet, if one includes the cuckolded boyfriend. But it's never less than interesting.
Casting, particularly of the two main women, Stone and Posey, is first-rate.
At first I felt cagey at the thought of giving this the same rating as I did for my previous post, 'Legend'. However, I can't get away from the fact that I liked this just about equally but in a completely different way. So I shall........................7.


Stanley Kubrick Exhibition
We recently visited the Stanley Kubrick exhibition at the Design Museum.
You will definitely be familiar with Kubrick’s work. From creating The Shining, Eyes Wide Shut, A Clockwork Orange, 2001: A Space Odyssey and more, the exhibition itself shows the many small details that go into film making that you would never be aware of, to the bigger and more technical side of creating film.
You'll see step by step how Kubrick created genre-busting worlds for his films and relive iconic scenes. The sheer perfection in his work brought some actors to never work with him again after having such a tough experience. Shelley Duvall who played Wendy in the classic horror The Shining was said to have handed Kubrick over clumps of her hair, after having to film the famous baseball bat scene 127 times!
Stanley Kubrick was born in the Bronx NY. in 1928 but spent the majority of his career in England, particularly London. He had a special relationship with here and it became his primary source of inspiration.


Stepping Stone Community Theater is an inclusive theater company where individuals with varying physical, emotional and learning abilities have the experience of performing in a full-scale theatrical production, while partnering alongside actors from the local theater community, The Part Time Players, and other individuals from the community interested in theater arts.
Stepping Stone was founded in 1996 and has continued to grow in numbers of both actors and community partners. We now have over 50 actors engaged, and with support staff and volunteers, we have successfully performed to a total audience of over 600 people.
The experience of being involved in Stepping Stone is more than acting;
We build friendships, have opportunities to develop social skills, learn various aspects about theater, understand how to get along with diverse groups, gain confidence and pride in who we are...and have fun!
This is an exciting and challenging time for Stepping Stone Community Theater! We are at a point where we need to further develop our board so that we can meet the needs of the Stepping Stone Community Theater. We invite you to consider taking a place on the Stepping Stone Board. Please give some thought to joining our board and share any specific areas of expertise/experience you have so that we can grow and complete our board in a most complete and full way.
We are looking for individuals who have expertise in general and especially in specific areas of finance/accounting, legal, tech, theater, leadership and fun!
If you are interested in joining the board, please contact Judy Freedman judy [at] steppingstonetheater.org to come to our Virtual meeting on Tuesday, February 8th at 7:00pm.
The Stepping Stone Community Theater Board
Board Members: Judy Freedman, Paula Collins, Mary Pantano, Amanda Fantucchio, Vicki Freilich, Christopher Hernandez, Elaine Willey


Outer Banks? New on Netflix Now
Let’s be honest. There’s a ton of Netflix being watched right now. If you’re anything like my husband and I, you’ve watched your fair share during all of this social distancing. You might have noticed a new show that hit the Netflix scene yesterday called Outer Banks.
Before noon yesterday I had several messages about the show. Most of them with an LOL or an OMG attached asking me what I thought about the show. One message said, “this totally wasn’t filmed on the Outer Banks. Palm trees?”
Jason and I spent some time last night watching the new show and we had a lot of opinions! The first one was that the beginning of episode one seemed really familiar. Years ago our son was cast in a short film written by Tyler Nilson called “The Moped Diaries.” The film was a well done depiction of what the Outer Banks feels like. It was just 15 minutes long and was shopped around at film festivals. The first 15 minutes of Outer Banks was strangely similar to The Moped Diaries, both the story and the voice over. Of course, since The Moped Diaries stars my son (when he was 8 years old) I greatly prefer it to this Netflix take. I'm not saying that they jacked the idea for this series from The Moped Diaries. I'm just saying that it is strangely similar.
North Carolina filming regulations make it pretty tough to film here on the Outer Banks so I do understand that the scenery doesn’t look much like our beautiful Outer Banks but I do wish that they would have made it feel a little more authentic given the title of the series. Keeping in mind that I’ve only made it through two episodes but I’m really not crazy about the “bone yard” where everyone hangs out as uprooted trees on the beach are more authentic to South Carolina and Georgia beaches. Additionally, the houses are right off of Charleston's low country and far from the Outer Banks classic homes that everyone loves.
My final con is that they use the word “touron” to describe tourists which has always greatly bothered me. While some small minded people here do refer to tourists that come to the Outer Banks as “tourons,” I have always hated that word. I think anyone with a basic understanding of economics would refrain from using this word which is a mixture of the words tourist and moron. But, as an Outer Banks resident who works in the tourism industry, I rely on tourists to put food on my table so this derogatory word is one that I’d love to bury.
What did I like?
Well, I love that the Outer Banks is getting a little bit of attention. I can see how this series might shine a light on the Outer Banks and folks who have never heard about it might be interested in vacationing here but as of episode two, I don’t really see how it creates an appeal for vacations.
I was pleasantly surprised by the acting. With a cast of actors who are all new to my television screen, I thought they did a good job with their roles.
I will also mention that the way the community is working to clean up after the hurricane feels like the most authentic part of the story line so far! That's the true Outer Banks, an amazing community with grit!
That being said, the intro to the show talks about how people on the Outer Banks either have two jobs or two houses. This concept is a large part of the show and while that may be true for some people here, I have lots of friends who work two jobs and I have friends who own two houses. Some of my friends who own two houses also work two jobs. There's a real hustle mentality here on the beach. It's a pretty decent story line so far and it makes for some good quarantine binge watching so I'm not mad about it! In fact, I might even enjoy the show more if it wasn't called Outer Banks and went by another name simply because the true Outer Banks doesn't shine in this series. That being said, it's not a documentary so I'll cut these guys some slack and say it's worth watching.
To answer the “omg what do you think about this” question that overflowed my direct messages yesterday… I don’t think it’s an accurate depiction of the Outer Banks that you and I know and love. While they could keep the ruse that it takes place on the Outer Banks, they probably should have titled it anything but.


The Adjustment Bureau (2011)
overview : A man glimpses the future Fate has planned for him – and chooses to fight for his own destiny. Battling the powerful Adjustment Bureau across, under and through the streets of New York, he risks his destined greatness to be with the only woman he's ever loved.
Release Date : Mar 03, 2011
Runtime : 1h 46m
Companies : Universal Pictures, MRC, Gambit Pictures
Countries : United States of America
Keywords : hotel, dancer, hat, senator, future, honesty, plan, kiss, speech, marriage, politician, alone, fate, foot chase, covert agency, courthouse, political campaign, destiny, based on short story


The average height for men in the United States is 5-feet-9-inches tall. But many of Hollywood’s leading men are shorter than that.
Humphrey Bogart was known to wear lifts in his shoes, but he was actually 5-foot-8. Alan Ladd was considered so short that in filming “Shane” the villain had to stand in a hole so as to not loom over the hero. And Charlie Chaplin, a giant on the silver screen, but only 5-foot-4 in his stocking feet.
Looking at more recent movie stars, here is our Top 10 list of the shortest big actors in Hollywood.
10) Martin Freeman – 5-feet-6½-inches. No wonder he was cast as the Hobbit named Bilbo Baggins.
9) Elijah Wood – 5-feet-6-inches. Same here, Elijah was a Hobbit named Frodo in “Lord of the Rings.”
8) Dustin Hoffman – 5-feet-6-inches. He describes himself as a “short, funny-looking Jewish guy.”
7) Richard Dreyfuss – 5-feet-5-inches. He made the Great White Shark in “Jaws” look bigger.
6) Daniel Radcliffe – 5-feet-5-inches. Harry Potter magically remained a teenage wizard thanks to the actor’s diminutive size.
5) Woody Allen – 5-feet-5-inches. The woodman made his undersized nebbish character into a successful schtick.
4) Kevin Hart – 5-feet-4½-inches. Every fraction of an inch counts. The short comedian says, “I’m 5-foot-4½. A lot of people think it’s just 5-4. It’s not. Five-foot-four-and-a-half!”
3) Joe Pesci – 5-feet-4-inches – As he said in “Goodfellas,” “I’m funny how? I mean funny like I’m a clown?” … but nobody dares laugh about his bantam-size height.
2) Danny DeVito – 4-feet-10-inches. The squat actor suffers from Fairbank’s disease, a genetic disorder that impacts bone growth. He says he has always tried to compensate for his short height with a big personality.
1) Peter Dinklage – 4-feet-4-inches. Technically a dwarf (achondroplasia), he filled the TV screen in “Game of Thrones.”
Other short Hollywood stars? At 5-feet-7-inches, Tom Cruise hardly measures up to the Jack Reacher character he sometimes plays, a 6-feet-5-inch tough guy. By comparison, Al Pacino and James McAvoy are also 5-feet-7-inches tall but look bigger on screen.
Or as that short documentary about 5-feet-5-inch Mel Brooks was titled, “I Thought I Was Taller.”


Whipped and beaten and killed
Posted by appolus on March 12, 2013
I watched a movie one time. In the movie there was a man who had been falsely accused of a crime and, bayed on by the angry townsfolk, three men stepped forward and took this man and stripped him and began to whip him. The crowd cheered as the man was punished and the men ferociously whipped him. At first he screamed and tried to get away, and the crowd cheered as he was pulled back and the whipping continued. Then he fell silent but the three men were in a frenzy. Now the crowd grows silent as the men continue to whip their victim, even although all resistance is gone and he lies face down motionless. One by one the crowd disappears and the man is whipped to death, unrecognizable. His tormentors are unrepentant as they finish their work, feeling nothing as they eventually kill the man.This is a graphic illustration of what Satan and his workers do to their victims. They whip their victims with the cords of un-forgiveness, bitterness , anger, hatred and murder in the heart and they will flog their victims until there is nothing left and all is lost in their soul. I talked to a woman one time. She was caught up in a storm of bitterness, anger and un-forgiveness for her husband on what seemed like a small and reasonably insignificant incident. What I saw in the Spirit was a woman enslaved to fear and insecurity and past hurts. Each of these elements fueled the other ones. The original master’s name was “past hurts.” He went out and had insecurity and fear join him as they mercilessly whipped this woman. If today, brothers and sisters, you have even the slightest of these feelings, or perhaps you are caught up in a violent storm of hatred and bitterness and un-forgiveness, you must look to the anchor of your soul. He has gone ahead of you and just beyond your temper, just beyond your un-forgiveness, just beyond your despair, lies the safe harbor of peace. The entrance to the harbor is forgiveness. We can find this entrance to peace in Jesus. He has come to set the captives free.


The COLCOA French Film Festival, considered the most important event dedicated to French Cinema in the world, will take place in Los Angeles at the Directors Guild of America (DGA). From September 23rd – 28th the festival will showcase French Cinema and TV programmes. COLCOA, founded in 1997 by the Franco-American Cultural Fund, is committed to promoting cultural exchange between France and the United States and to showcasing the vitality and diversity of French cinema and TV.
The newly renovated DGA theatre, equipped with state of the art Dolby Vision and Dolby Atmos technology, will provide “the most powerful and impactful screening experience possible”, stated COLCOA Executive Producer and Artistic Director Francois Truffart.
The festival kicks off with the United States Premiere of Ladj Ly’s “Les Misérables”, a major debut of the Cannes Jury Prize winner this year. Over 25 films will premiere and compete for the COLCOA Cinema Awards. The film selections, streamlined to 59 titles (less than last year’s 84), will provide a greater focus on each film, stated Mr. Truffart. There will be three competitive sections (reduced from five), including Cinema, Television and Shorts.
Other exciting programmes will be offered throughout the festival: 10 series, COLCOA Classics, COLCOA Documentaries, world Cinema produced by France, French NeWave 2.0, and the Happy Hour Talks (free to the general public), a series of panels presented in association with Variety.
All programmes are presented with English subtitles or in English. For information and tickets (now available for advance purchase online), visit www.colcoa.org.
See you at the Festival!
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2018 Launchpad feature competition"Becoming Jennifer Lawrence" Top 50
Top 100 screenplays of the year
2016 Depth of Field InternationalSecond Place Drama: "Glitches"
Awarded prívate access to Polaris Pictures
"Glitches" review from Blacklist
This is a wonderfully written script on many levels. It wouldn't take a big budget to pull it off and at the very least the project should prove to be a strong writing sample in its current state. There's sharp dark humor within the action, dialogue and scenarios that Penny gets into, and this is amongst heavy and dramatic themes as well. It's a heart-wrenching story with a triumphant ending after the audience sees some very tragic scenarios play out. The dialogue is fantastic and realistic. The relationship between Penny and Tab is unique and carries the second half of the script very well. At the end of the day, this script definitely deserves attention from industry readers and could be related to WHAT'S EATING GILBERT GRAPE meets AMERICAN BEAUTY.
"Glitches" Fresh Voices Grand prize winner
Fresh Voices has awarded Kelly Beck-Byrnes’ dramatic-comedy “Glitches’, the Grand Prize Winner of the 2016-17 Fresh Voices Screenplay Competition from over 1,200 entries received.
Kelly’s script has garnered rave reviews across the industry recently advancing in several big screenplay contests including Page and Austin, before ultimately taking home the Grand Prize Award of the Fresh Voices Screenplay Competition this week. Growing up in a small town outside Milwaukee, Wisconsin, Kelly moved to Los Angeles 20 years ago to work in advertising. Kelly is a self-taught screenwriter now finishing her third screenplay.
Glitches, her second script, is best described as What’s Eating Gilbert Grape meets Juno. It is a coming-of-age story about a young girl named Penny who moves with her father from California to the cornfields of the Midwest after the loss of her mother and their home. Unable to fit in with her new surroundings, Penny rebels by beginning a relationship with her autistic cousin and clashing with her new classmates and family.
“Kelly’s delightfully engaging voice is present on every page adding color, authenticity and layer upon layer of emotion to all the characters and their choices”
Chairman of the Fresh Voices Screenplay Competition, Joel Mendoza, commented on the win, “Glitches is a heartfelt story that leaves you wanting more. Kelly explores a world rich in relatable themes, memorable characters, and emotionally complex scenarios. It had a deft mix of pathos and humor stitched into every scene. Above all however, Kelly’s delightfully bold and engaging voice is present on every page adding color, authenticity and layer upon layer of emotion to all the characters and their choices.”
In winning, Kelly takes home the $3,000 Cash Award as well prizes from various industry sponsors.
Fresh Voices is a Hollywood literary Consultancy and Annual Screenplay Competition. Since 2009, Fresh Voices has been discovering, nurturing and promoting exciting new voices in screenwriting, and advancing the careers of emerging filmmakers. The Fresh Voices Annual Screenplay Competition offers winning screenwriters the tools, guidance and opportunity to develop great screenplays and pursue a successful career. Now in its 8th year, the competition has become one of the most highly anticipated screenwriting contests of the year by writers and the industry alike.
"Glitches" review from Austin Film Festival:
Glitches is a superbly crafted narrative. It is an endearing and authentic coming of age story. When Penny and her father Marvin suddenly find themselves without a home, they seek shelter with born again Aunt Clara and autistic cousin Tab. This already peculiar set of circumstances unfolds into a bittersweet and humorous tale of maturing amidst adversity and an outlandish series of events and people. Penny stumbles and blunders her way throughout with equal measures of naiveté, charm and crass. And thus, she manages to eventually find herself, a sense of family and ultimately love. The writer has created a compelling and vivid world. The situations that Penny finds herself in, while outlandish, feel authentic and fit the narrative well. It sits comfortably in the vein of movies like Gas, Food Lodging and The Diary of a Teenage Girl. Overall, Glitches is an engrossing narrative. The characterization of Tab is superb: it avoids the clichés usually associated with autism while affording us a captivating insight into his persona. Penny is a wonderfully complex character; her acerbic wit and delightful crass were a pleasure to read. Thank you for writing such an original story!
"GIRLS" spec review from 2016 Fresh Voices
The script was well structured and did a great job of matching the pace of the script to the pace of GIRLS. The writer did an especially good job of building Sylvie and Celestes' characters. They were both beautifully rich and I loved the tension between the two of them. I was also a fan of Roberta and Abe's characters during the diner scene. One of the strongest attributes of the script was the dialogue. It was smart, witty, and riddled with pop culture, art, and literary references that fit into the GIRLS world. I especially enjoyed Hannah's banter with Adam. Overall, this is a well written script that closely matches the tone of GIRLS.
"Glitches" review from Judy Kellem, writer:
This is an intense, original, deeply rendered character drama from an exceptional new writer. The world we are invited into is vivid and disturbingly real, populated by moody, broken, unglamorous people struggling to get from one day to the next in their shared dystopia. Our heroine is a lovable, restless creature who’s as funny and tragic, salty and tender as any smart, sultry misfit you’d find in the rave clubs of a big city. The love story she shares with her autistic cousin is beautifully developed, set against the backdrop of his oppressive, controlling mother and the heroine’s emotionally checked-out dad. We enter a bleak reality with Penny, but as she discovers Tab, in all his unbridled honesty and purity of heart, we see the silver-lining found in ordinary life: passion, self-expression, art, nature and faith in others. The writer has given us the familiar universe of the disenfranchised throngs living in quiet desperation and shown us how much magic, power and meaning can be found through the sheer pain of showing up for life. This film is pulsing in its meditations on morality and the quest for identity - especially for young women. It is a gem of a script from a diamond of a screenwriter.
Kelly discovered her passion for screenwriting in early 2016 and has since written three features, a TV pilot, and a spec episode for the HBO comedy, GIRLS. After entering the scripts into top screenwriting contests around the globe, the results show a positive response. In fact, her drama, "Glitches," made top-10 in the Page Awards, of which there were over 8,000 feature script entries. The contest is considered one of the top 3 screenwriting contests in the world.
Kelly's also an advertising writer/art director by day and an animal rights activist by night. Follow her on Twitter @stellasmission and help change animals' lives for the better. Or better yet, don't eat them.
"The greatness of a nation can be judged by the way its animals are
- Mahatma Gandhi


There was a very long time being a black person in the United States wasn’t easy at all. And we are not referring only to the period of slavery, which from this point of view is taken for granted. Even until a few years ago – and to a lesser extent still today – African Americans were discriminated against in society, at work, in civil rights.
You have certainly read about the recent problems between the police and that community (which are not new anyway) but just go with your memory to the 1992 Los Angeles uprising, which took place at a time when it was thought that integration was now a reality. , to realize how problematic it can be to have a skin of a different color.
In a small way, even in Hollywood black actors have experienced various forms of discrimination. But the world of cinema, like that of TV, has had and continues to have undoubted merit with respect to the outside world: it has been working and has been doing so for years, to overcome these discriminations.
1. Morgan Freeman
Speaking of Academy Awards, one of those who managed to win it is Morgan Freeman, even if the milestone was reached later than expected and for a supporting role.
It was in fact 2006 and Freeman was almost 68 when he took the award stage to collect the statuette for Clint Eastwood’s Million Dollar Baby, crowning his fourth nomination (a fifth would arrive a few years later for Invictus ).
Born in Memphis in 1937, he was the son of a barber and a cleaning lady. After some experience in school theater groups, his humble beginnings prompted him to start working as a mechanic. Around the age of thirty, however, he managed to make the leap from the amateur theater – which he had continued to attend – to the world of professionals, making his debut on Broadway.
From there came the first engagements, especially on television: he began to make himself known in fact by joining the cast of the soap Destini and the educational program The Electric Company.
2. Samuel L. Jackson
Another black actor who has had a late success is Samuel L. Jackson. Born in Washington in 1948, he was soon abandoned by his father and then raised by his mother and grandparents in Tennessee. He approached acting because they recommended it as a good way to overcome a mild stutter.
In the late 1970s and early 1980s, he thus began to find some part in New York, also working in the same theater company as Morgan Freeman. In addition, he participated in the making of the serial I Robinson, but never appeared in a video.
3. Denzel Washington
As we have seen, in recent years the Academy Award has no longer been a taboo for actors – and actresses – of color.
The most loved professional by the Academy, however, is undoubtedly Denzel Washington, who can boast two Academy Awards in his career (for Glory and Training Day ) but also four other nominations, as well as three Golden Globes (again for Glory, for Hurricane, and for career ) and two Silver Bears in Berlin (for Malcolm X and again for Hurricane ).
Denzel Washington in The Taste of Victory, one of the best American football movies
Born in 1954, he became passionate about acting at school, making his debut in the entertainment world in the late 70s and early 80s. The fame grew from 1982 when he landed the part of a doctor in the TV series Open Heart, in which he appeared for six seasons.
Thus began to arrive engagements for increasingly busy parts: in 1987 he starred in Richard Attenborough’s Cry of Freedom, while in 1990 he received excellent reviews for his work in Glory.
4. Laurence Fishburne
Perhaps less well-known than the others in our five, Laurence Fishburne is however an excellent actor, not surprisingly awarded in various circumstances. An actor whose career is fairly evenly divided between film and television, often with major productions.
Born in Augusta, Georgia, in 1961, he grew up and studied in New York. His debut in the world of acting took place very early since at just 14, lying about his age, he managed to get caught for a part in Apocalypse Now by Francis Ford Coppola, which was then released, after a very long process, a few years later.
That part did not go unnoticed and helped bring him his first engagements. In the early 1980s, he starred in box films such as Nightmare 2 and Nightmare 3, but also in major productions such as Steven Spielberg’s The Color Purple and a number of other Coppola films ( Rusty the Wild, Cotton Club, and Gardens of stone ).
He then began to work on a long series of films often met with excellent reviews, but with little success with the general public. Among these, it is worth noting Tina – What’s Love Got to Do with it, which earned him an Oscar nomination.
5. Will Smith
We conclude with the youngest of the five, Will Smith. Born in Philadelphia in 1968, he has had a successful and highly original career, which has seen him range from music to TV, from mega-productions to more committed films.
The debut took place shortly after the mid-80s, when, together with his friend Jeffrey Townes and Clarence Holmes, he gave birth, in his native Philadelphia, to a rap trio called DJ Jazzy Jeff & the Fresh Prince.


The animated treatment of the (mostly) missing Second Doctor serial The Faceless Ones now has a release date!
According to this article, it will be released on plain DVD, Blu-Ray and SteelBook on the 16th of March. That’s the Region 2 version, of course. No word on Region 1, and Amazon.com hasn’t updated their listing of it so I assume it’ll be delayed until at least November or December like The Macra Terror was.
Nevertheless, the article mentions the serial is being presented in color (not sure if they’ll offer an alternate black-and-white version as they did with Macra) and will include extras such as a telesnap recon of the missing episodes along with the surviving two, audio commentaries, etc.
There’s also a link in the article to preorder the DVD on Amazon.co.uk.
EDIT: According to the listing on Amazon.co.uk, it seems there will also be a black-and-white version of the story in addition to the color one.
I recently got my copy of The Macra Terror on DVD and sat down to watch it. I decided to write up a little review. Note that I just have the plain old DVD set, not the Blu-Ray one. I don’t think there’s too much of a difference in extras, though.
I’m not going to do a review of the actual story as lots of fans before me have already posted their thoughts. The animation itself was very well done. The likenesses of the Doctor and his companions are quite good and their movements (as well as that of the other people) seem very natural. I know fans have complained that their movements looked quite stiff and unnatural in previous animations, especially in The Power of the Daleks and The Ice Warriors. I’ve noticed that myself and I think they’ve improved it quite a bit in this one.
The intro starts off at the end of The Moonbase, and this is in black and white on both the black-and-white and color versions of the animation (more on that later). Interestingly, they’ve got Polly with her cropped haircut here instead of where it shows up the first time after her “shampoo” early in Episode 1. I assume they did it for simplicity’s sake though, and to save a bit of time. Such was the case for the omission of the scene where the Doctor gets his “makeover” and then gets his old look back, as well as Ben and Jamie getting their “treatments.” Fortunately, we can still see this scene in the original episode reconstructions that are provided as an Extra on the set. I also noticed that Jamie is wearing his light-colored turtleneck shirt which he started with in the beginning of the episode instead of changing into that odd uniform like Ben. Again I assume it was done to save time and for simplicity, and perhaps for emphasis on Ben being brainwashed by the Macra.
As an aside, one thing I hate about the story being missing is that we didn’t get to see Jamie doing his “Highland Fling.” They did recreate this for the animation, though, and part of me wonders how close it is to the original. 😉
As for the extras, there is a good selection of them on this set. First, I like the fact that you can choose to watch in color or the original black and white. The audio commentary is quite good, too, featuring Frazer Hines (Jamie), Terrence Lodge (Medok), Maureen Lane (one of the majorettes in the dance scenes), Anthony Gardner (Alvis) and the director John Davies. Frazer reveals that his and Michael Craze’s uniforms were actually orange and not blueish (as they were here), with tight Bermuda shorts. He also did a quite funny impersonation of Patrick Troughton during a scene or two featuring the Doctor and Polly. Terrence Lodge shared some interesting info on the motivation for his portrayal of Medok, namely that he’d done some pretty high-brow theater earlier on and so made Medok overly dramatic at times.
There are two photo galleries: One with set photos and photos of the guest cast taken during production of the serial; and the other an animation gallery showing character sketches and pictures of various scenes from start to finish. There’s a little film called Animatics, basically showing how the animation came together. The “behind the scenes” film is a little “Follow that Dalek” type silent production made circa 1967 that’s basically a tour of various props from different Doctor Who stories, including the Macra, with some more recent narration. The surviving footage which had been previously included on the “Lost in Time” DVD set is included here as well, featuring cuts that had been made for Australian TV broadcasts from Episodes 2 and 3 (of note, Ben and Polly grappling with the Macra, and Jamie encountering the Macra down in the mines).
Finally, there’s the “mini episode” from The Wheel in Space. It’s basically about 11 minute’s worth of Episode 1 of this story, featuring the Doctor and Jamie. I thought this was very well done, although the animation (especially the look of the characters) is a bit rough and rudimentary compared with that of The Macra Terror. I’m assuming they fine-tuned it a bit for the latter. If something similar were to come of this if they ever decide to animate the missing episodes of The Wheel in Space, I’m all for it.
All in all, it’s a good set. I found it very interesting how they tried to recreate this missing story from just the soundtrack, production photos, short deleted scenes and the telesnaps. I think they did a very good job. Now we’ve got The Faceless Ones and Fury from the Deep to look forward to. Hopefully the treatment they receive will be just as good as this one.
First, apologies for having gone so long without updating this blog. Work has had me insanely busy, plus the fact that the Tumblr folks haven’t been giving me grief and marking my posts as adult content has given me less motivation for importing more of my posts here. Finally, I was waiting until I finished “The Wheel of Ice”, the book I’m currently reading before writing a review … I’m almost at that point, so it should be forthcoming.
Now to get to the main point of this post: There is news of another Doctor Who serial to be animated! The Second Doctor story “The Faceless Ones,” of which only two episodes out of six exist, is going to be animated and released on DVD next year. Go here for more news and a video teaser.
From what I’ve seen it seems that it’s going to be similar to “The Macra Terror” which was just recently released. I still don’t have my copy as it’s not going to be released in Region 1 until October (*sigh*), but I have seen it and would like to write a little “review” of what I’ve seen. I’ll try to do that as soon as possible.
In December at the “Missing Believed Wiped” event, there is going to be a presentation of a 10 minute, animated Doctor Who “mini episode” based on the missing first episode of The Wheel In Space.
From the BFI press release:
“… we are thrilled to announce the premiere of a brand new 10 minute animated Doctor Who mini-episode based on the now lost first part of the 1968 Doctor Who story, ‘The Wheel in Space’, starring Patrick Troughton as the Doctor and Frazer Hines as Jamie. This newly announced mini-episode, produced by Charles Norton and directed by Anne Marie Walsh who will introduce the BFI Southbank screening, will be included on a future BBC DVD release next year.”


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|Vancouver, November 2010|
|Written by Josh Madryga|
|Monday, 20 December 2010 18:38|
My trip to Vancouver to build my contacts went really well. Throughout the week I was there I met a few new stunt coordinators, went to the set of "Hanger 14", went to the set of "Smallville"(season 10) and went to an incredible, super high class Stunts Canada film party. It was a very good Vancouver experience and hope to be back there in the new year.