7 October 2022
Indian content creator company Shemaroo introduces ‘Shemaroo Theatre’ in the Decentraland Metaverse. It will be accessible on one of the world’s most sought-after Metaverse platforms, Decentraland, in partnership with Filmrare, a leading Metaverse Consulting & Development Company. The partnership will mark a new beginning for the global entertainment industry as well as metaverse users as it will open the window to a huge collection of Bollywood entertainment content to the world.
Virtual visitors in Shemaroo Theatre will have an all-new exciting screening experience along with a host of other movie experiences such as a plush lobby, box office counter, virtual trailer zones, along with popcorn and drinks counters for an immersive storytelling feel. It will show a Bollywood movie every Friday, starting 7th October 2022, which initially will be free for the users.
Hiren Gada, CEO of Shemaroo Entertainment commented, “Shemaroo has been the pioneers in the entertainment industry by constantly evolving and by being relevant to the consumers through its diverse content offering. As a brand, Shemaroo has always fostered the culture of innovation and technology and with the augment of Shemaroo Theatre on Decentraland Metaverse, we will be spearheading a parallel ecosystem for Bollywood movies to be experienced on a big screen, now from the comfort of one’s home.’’
Shemaroo Entertainment is taking Web 3.0 expansions, a notch higher, and is ready to lead the transformation for the entire media and entertainment industry. With this initiative in Metaverse, Shemaroo aims to further popularize Bollywood on a global stage and present hits across eras with iconic movies like Golmaal – Fun Unlimited, Amar Akbar Anthony, Jab We Met, and Disco Dancer, amongst others from Shemaroo’s large repository of powerful content.
Disclaimer: The author’s thoughts and comments are solely for educational reasons and informative purposes only. They do not represent financial, investment, or other advice


Smack bang in a sun-baked corner of the Algerian desert, the Sahara International Film Festival is quite probably the world’s most remote and remarkable film festival.
All images © Stefan Simanowitz
Now in its ninth year, the festival was the brainchild of Peruvian documentary filmmaker Javier Corcuera. It’s largely organised and funded by donors from Spain, the former colonial land lord of the Western Sahara, and it’s attracted support from world-famous latino celebrities like Penelope Cruz and Pedro Almodovar. But don’t expect anything like the glitz and red-carpet glamour of Cannes Film Festival, FiSahara takes place in a dusty refugee camp miles away from anything else.
The Festival was created with the sole purpose of sparking awareness about the plight of the 30,000 Saharawi refugees, exiled by Morocco for over 35 years from their native Western Sahara. Each year in May, hundreds of foreign actors, travellers and film makers descend on the desolate town of Dakhla for a gala of makeshift screenings and concerts. The squat, aid-funded land is transformed as a colourful tented village springs up and a multiplex screen rolls down the side of an articulated lorry.
Film screenings might seem like an extraordinary luxury for a community that relies on foreign hand-outs to survive. But the event gives the Dakhla refugees a rare window of insight onto the outside world, a chance to go to the movies. The festival organisers believe that culture is an important part of humanitarian aid. Educational initiatives have also been borne off the back of the event, including audio-visual training workshops and the recent inauguration of a camp-based film school enabling the refugees to document and promote their own stories and culture.
This year’s festival will be held from the 1st to the 6th of May 2012. Visitors generally fly from Madrid or London to Tindouf in Algeria where they are driven to the camp and stay with the refugee families.
For more information contact Stefan Simanowitz – e-mail: firstname.lastname@example.org.


The 2020 Arena di Verona Opera Festival
Lyrical drama in 4 acts by Giuseppe Verdi
Directed by Arnaud Bernard
Unforgettable arias and rousing choruses
ACT I – Jerusalem
Nabucco, King of Babylon, has laid siege to the city of Jerusalem. Zaccariah, the High Priest, encourages the Hebrew people to take refuge in Salomon’s temple and assures them that it is still possible to negotiate for peace since the enemy’s daughter, Fenena, has been captured. Zaccariah assigns her to Ismael, nephew of Jerusalem’s king.
What the High Priest does not know, however, is that Fenena and Ismael have known each other for some time and are in love. Ismael had been Ambassador to Babylon and Fenena had saved him. In the same way, now, the young man is trying to free his beloved, but she is blocked by a group of Babylonian warriors dressed up as Hebrews and led by Abigail, Nabucco’s other daughter, a woman set on deception and with a lust for power. She, too, loves Ismael, but love for her is, above all, a political question, something to be used in exchange for her love. She accuses the young man of betrayal and reminds him that she has already offered him the kingdom of Babylon in exchange for his love. Notwithstanding, she is willing to renounce her revenge if Ismael leaves Fenena. He refuses saying he does not fear death but asks only for mercy on his people.
In the meantime, there is mayhem outside. Other Hebrews have taken refuge in the temple and when Nabucco raids it, Zaccariah makes an extreme attempt to save his people: he threatens to kill Fenena but Ismael blocks him and hands the young girl over to her father. At this, Nabucco gives orders to destroy the temple.
ACT II – A Cruel Fate
Inside the Palace at Babylon, Abigail finds the document which reveals that she is not Nabucco’s daughter, but an adopted slave. The High Priest of Belo tells Abigail that Fenena, who has been nominated her guardian by her father, is freeing the Hebrew prisoners and explains this is why the Babylonians are in revolt. He adds that he has worked out a plan: he has sent out rumours that Nabucco has died in battle so that the people acclaim her, Abigail, queen. In her obsession for power, Abigail is willing to do anything in order to take possession of the throne.
Zaccariah, having been taken prisoner by the Assyrians, enters another room of the palace followed by a Levite who bears the tablets of the Law. The priest prays. The Levites curse Ismael because he has betrayed them, but Anna, Zaccariah’s sister, defends him saying that, since Fenena has converted to the God of Israel, he has saved a Hebrew. The situation now becomes critical: Abigail enters and expects to take possession of the crown.
ACT III – The Prophecy
In the hanging gardens of the Palace of Babylon, Abigail lets the people worship her and she receives all the honours of the authorities of the kingdom. The High Priest tells her that the moment to eliminate all the Hebrews has arrived, starting with Fenena who has abjured the Belo cult.
Nabucco arrives, clearly confused. Abigail seizes this opportunity to intimidate him and make him sign the death warrant for the Hebrews. In a moment of lucidity, though, the King remembers that even Fenena has chosen to be a Hebrew. At this, Abigail rejoices perfidly. Nabucco now regains his memory and orders the woman to prostrate herself before him, after all, she is only the daughter of slaves. This is exactly where Abigail has wanted to lead him: she produces the document which proves her low origins and rips it up, enjoying every moment of her triumph. Then she has Nabucco arrested. At this point, Nabucco pleads with her to save, at least, Fenena, thereby recuperating through paternal love, the loftiness of spirit he had lost when he had compared himself to God. Abigail is delighted to see her adopted father humiliated and defeated.
In the meantime, on the shores of the Euphrates the Hebrews, chained and forced to work hard, think nostalgically about their lost homeland. Once more, Zaccariah consoles his people, urging them to have faith and prophesying their liberation. Babylon will fall, he says.
ACT IV – The Fallen Idol
Nabucco wakes up from a nightmare. Cries from outside are heard: the crowd weeps as Fenena is taken to the scaffold. He is powerless to do anything, he is a prisoner. He kneels down and asks for pardon for his arrogance from the God of the Hebrews and promises to convert. Divine grace restores his mental faculties. Having regained lucidity and the strength to react, he asks for a sword, grips it and orders the warriors who have remained faithful to him to follow him. The moment for the liberation of the Assyrian people has come and with it, Fenena’s salvation.
We hear a funeral march coming from the hanging gardens and the Hebrews condemned to death, are brought in. Zaccariah comforts Fenena. When Nabucco bursts onto the scene, the statue of the god Belo falls and the prisoners are freed. Nabucco urges them to build a new temple on top of the ruins of the temple he destroyed in Jerusalem. Abigail, on seeing her plan disintegrate, poisons herself and in her death-throes, asks Fenena and Jehovah to forgive her.ness from Fenena. Zaccariah blesses the King, redeemed by his new faith.
The 2020 Arena di Verona Opera Festival
Melodrama in 4 acts by Giuseppe Verdi
Directed by Franco Zeffirelli
A timeless story of love and betrayal!
There is wind of war in Memphis. Ramfis, the High Priest and secret power of the State, informs Radames, captain of the guards, that the Ethiopians are about to invade Egypt. The idea of a war stimulates Radames, a man of ambition and courage. He hopes the god Isis will appoint him supreme commander of the army. He dreams of glory, and everything seems possible. War, for him, is also an occasion to appear valiant before the eyes of the woman he secretly loves: Aida, an Ethiopian slave in the service of Amneris, the Pharaoh’s daughter.
The Egyptian princess is also in love with Radames. Intuitive by nature, though, she immediately suspects she has a rival in this slave but prefers to conceal her jealousy with double cunning. Meanwhile, Aida’s heart is heavy with anxiety: her country is at war, yet at the same time, a love links her to a new world.
A fanfare sounds and a majestic choral scene overrides individual conflicts and aspirations. The leaders of the State meet to plan a war strategy. The King and Ramfis stand out as personalities who have no individual identity, personifying a power which crushes anyone who stands in their way.
After a messenger arrives to confirm that the Ethiopians have invaded under the leadership of King Amonasro, the Pharaoh announces that the Oracle has chosen Radames to be commander-in-chief.
Everyone is thrilled and urges him to return home victorious. Aida, in private, grieves: she hopes Radames will be victorious but at the same time, wants her father, Amonasro to destroy the Egyptian troops. Desperate, full of repressed anxiety, she prays to the gods for mercy.
The rite of investiture as commander-in-chief takes place in the Temple of Vulcan. Against a background of singing and dancing, a silver veil is placed on Radames’s head while Ramfis hands him the consecrated sword. The commander-in-chief has received a blessing, hence it is a just war albeit set on destruction.
Amneris is in her apartment preparing for Radames’s triumphant return. Her double-cross with Aida proceeds astutely. She is friendly to her but leads their conversation to the issue most dear to her, putting the slave’s feelings to the test: Radames, she informs her with studied indifference, has been killed in battle. Aida’s desperation at hearing this news now confirms Amneris’s suspicions. She reveals the deception and admits the truth: Radames is alive, but she, too, is in love with him. Furious, the Pharaoh’s daughter threatens revenge.
In Scene 2 private fates are forgotten as marches, dances, hymns and fanfares welcome the victorious army at Thebes. Radames enters at the end of the triumphal procession. The King promises to grant all Radames’s wishes. The Ethiopian prisoners file past, too and Aida recognizes one of them, her father Amonasro dressed as a simple officer who speaks on behalf of all the hostages, asking for clemency. Ramfis invites the King to show no pity while Radames requests that the prisoners be granted life and freedom. The King reaches a compromise: Aida and Amonasro will remain hostages in Egypt as guarantors of peace, all the others will be released. The marriage of Amneris to the triumphant Radames is announced. In an atmosphere of general repudiation, Amonasro meditates revenge. Aida and Radames are desperate. With private sentiments and great collective emotions manipulated and organized according to a fanatical ritual, any kind of conciliation is impossible.
At night, on the banks of the Nile, Amneris goes into the temple of Isis to pray. It is the eve of her wedding. Aida also arrives, secretly: she has an appointment with Radames. Filled with anxiety and nostalgia, Aida evokes the wide open spaces of her homeland, sings her love for her lost country, symbol of a promised happiness that has vanished.
Amonasro appears unexpectedly, and organizes an ambush against the Egyptian army. He has realised that Aida and Radames are linked and he takes advantage of his daughter’s feelings to work out a strategy. With deceptive sweetness, he promises her return home, glory and love but he poses a condition: her loved one must divulge the route of the Egyptian troops. Aida tries to oppose this but her father’s curse and her sense of guilt should her people be massacred lead her to giving in. Plagiarised, Aida faces the meeting with her loved one, explaining the reasons for which the only solution possible is her escape. She manages to convince him, using seduction and sensuality. Radames reveals the military plans she wants but Amonasro, inopportunely, appears and reveals his identity, frustrating everyone.
The situation worsens. Amneris, who has overheard the conversation, comes out of the temple, crying of betrayal. Amonasro hurls himself at her to kill her, but Radames blocks him, hands over his sword to Ramfis and has himself arrested. Aida flees with her father. Her dream of love is now shattered forever, on the banks of the Nile.
In a room of the King’s palace, Amneris is now in despair. Her pride hurt, she is torn between anger and love, between her wish to save Radames or to ruin him. In the end she decides to save him. She has him brought before her and begs him to prove his innocence: she will ask the King for mercy.
Radames refuses, claiming he has betrayed unintentionally and, having lost Aida, says he would prefer to die. He resists Amneris’s flattery, even when she reveals that Aida is still alive and she promises to save him if he renounces his love for the slave girl.
Radames is taken back to prison. The priests come to give their verdict. Ramfis’s accusations can be heard in the distance, in contrast with the silence of the accused followed by the diatribe of the holy ministers. The sentence arrives quickly: Radames is guilty and will be buried alive. Amneris seeks to save him, but her intervention is of no use in the light of the cruelty of the priests, the real bearers of power. Not even the Pharaoh’s daughter can oppose the repressive apparatus of the State, the implacable mechanisms of military and religious organisation.
In the Temple of Vulcan, the priests bury Radames under a tombstone. Aida, however, is already hiding there, having entered the crypt secretly, to die alongside her beloved. He is desperate; she sees the angel of death approaching and with it, eternal joy. The temple is now invaded by light and a defeated Amneris prays for peace. A single, sinister note sounds repeatedly. In the obscure underground where they are buried, Aida and Radames are immersed in a sea of musical light, heralding another world beyond this where they will enjoy the happiness that has been denied them on Earth.
The 2020 Arena di Verona Opera Festival
2 operas in one show by Pietro Mascagni and Ruggero Leoncavallo-Modern yet Timeless!
Pietro Mascagni’s Cavalleria rusticana (Rustic Chivalry) and Ruggero Leoncavallo’s Pagliacci (The Players) are becoming Italian opera’s most famous double act, but they were written independently. Cavalleria rusticana came first, its hugely successful premiere in 1890 doubtless an influence on Leoncavallo. His Pagliacci in 1892 was another triumph. The two works, each undeniable masterpieces of the verismo tradition of realism, share dramatic concision, melodic richness and an obsession with violent jealousy.
The 2020 Arena di Verona Opera Festival
Lyrical Drama in 3 acts by Giacomo Puccini-Puccini’s final and most musically adventurous opera!
Directed by Franco Zeffirelli
Turandot is the beautiful, yet cruel, daughter of the Emperor Altoum.
It is dusk in Peking. From the top of a wall of the Imperial Palace a mandarin announces Turandot’s edict to the people. She says she will marry whichever suitor of blue blood manages to solve the three riddles she devises. Those who fail will be decapitated. Like the others who have preceded him, the Prince of Persia has also failed the test and will be executed when the moon rises.
Among the crowd outside the palace, there is an old man who is accompanied by his loyal slave, Liù. He is Timur, ex- king of the Tartars, now in exile and practically blind. In the turmoil he falls to the ground. Liù pleads for help and a young man rushes over to them, pushing his way through the crowd. Lo and behold, it is Prince Calaf, Timur’s son. He, too, has escaped from their homeland and is travelling incognito so as not to arouse suspicion. The two men are overcome at meeting up again after so long. Timur recounts how Liù has helped him during his exile. The prince acknowledges his gratitude and asks her why she has been so dedicated to his father. She replies with disarming sweetness that one day a long time ago, his father had smiled at her and ever since then, she has secretly loved him.
Meanwhile, the crowd sadistically incite the executioner’s men, waiting with growing impatience for the moon to light up the sky, but when the Prince of Persia is finally brought to the scaffold, on seeing how young and handsome he is, their ferocity gives way to pity and they demand he be pardoned. Calaf curses Turandot for her cruelty but his shout quickly dies on his lips as he sees the princess appear on the balcony for a brief moment, time enough to confirm with an imperious gesture the death sentence. Struck by her beauty, he resolves to win her over and sets to work on solving the riddles.
Timur and Liù seek to dissuade him, and even the three Imperial Ministers, Ping, Pang and Pong try everything in their power to make him change his mind. But Calaf is determined. He urges Liù, who desperately tries one last time to convince him to give up, to take good care of his father. Then he spontaneously invokes Turandot’s name three times, striking the gong three times as he does so, thereby announcing his wish to be put to the test.
In a pavilion next to the Imperial Palace, Ping, Pang and Pong go over both the marriage and funeral protocols while they wait for the challenge of this unknown prince. Tired of Turandot’s cruelty and of the countless deaths her riddles have caused, the ministers relax and nostalgically recount memories of a happy life in the past and express the desire to return to their homes in the country. The buzz of preparation at the palace quickly brings them back to reality: the ceremony of the riddles, which will probably conclude with the umpteenth death penalty, is about to begin.
In the big courtyard of the palace, the old Emperor is sitting on the throne at the top of a monumental staircase surrounded by his whole court. Three times, in a feeble voice, he asks the unknown prince to renounce the challenge; three times Calaf stubbornly refuses. But then Turandot appears. Beautiful, unperturbed, she explains why she is so fierce and why she hates men. Thousands of years ago, one of her forebears was raped and killed by a foreign king and now, to atone for that crime of long ago, she puts her suitors to this cruel test, certain that none of them will ever have her. One last time she invites the young man to give up, but yet again he refuses and the test goes ahead.
The unknown prince solves the three riddles one after the other, giving the right answers: hope, blood, Turandot. The crowd cheers, acclaiming him the winner. Humiliated, the princess implores her father to save her from the arms of a foreigner whose name she does not even know, but the Emperor reminds her of the sacredness of the edict. At this point it is Calaf who frees her of this constraint on the condition that she also resolve a riddle: before dawn she must find out his name and where he comes from. If she manages, he is prepared to die.
It is night. In the palace gardens the voices of the heralds announcing Turandot’s decree can be heard: no one in the city must sleep until the name of the unknown prince has been discovered. Calaf waits fearlessly for dawn to break, sure that his love will win, in the end. The three ministers burst onto the scene and first with promises, but then with threats try to wrench the secret out of him. After his umpteenth refusal, a group of guards bring in Timur and Liù, beaten and bleeding; having seen them in the prince’s company, they suspect they know his name. Before Turandot, Liù declares that she is the only one who knows his name but out of love, she will not divulge it. The princess has her tortured but the slave does not give in. In admiration Turandot asks her where she finds so much strength. Liù replies that it comes from love and adds that soon, she – Turandot – too, will burn with the same flame. Then, afraid of betraying her secret under torture, she takes a dagger and stabs herself. Liù’s death shakes everyone deeply.
Calaf and Turandot remain alone together. Driven by the force of love, he approaches her resolutely. She tries to repel him but he manages to kiss her on her mouth and in so doing, it is as if a spell is broken: Turandot experiences an emotion hitherto unknown to her, a feeling capable of melting her heart of stone. She realizes she has loved him right from the moment she first set eyes on him. Only now does the prince reveal his real name: Calaf, son of Timur, and adds that, if she wishes, she can still send him to his death.
Shortly afterwards, before the Emperor, dignitaries and all the people, Turandot declares that she finally knows the name of the foreigner: his name is Love.
The 2020 Arena di Verona Opera Festival
Melodrama in 3 acts by Giuseppe Verdi-The original ‘Pretty Woman’
Violetta Valéry is giving a reception at her luxurious flat in Paris. She is a high-class kept woman,
protected by Baron Duphol. Not only is she beautiful, but her sensitivity and fragility add to her charm. In the midst of the dancing, she is presented to an admirer, Alfred Germont a young man of excellent family. He dedicates a toast to her and invites her to dance but Violetta is suddenly taken ill and cannot even reach the ballroom. She is already in the early stages of consumption and, apart from her illness, she is also suffering from moral unease, a feeling inside which distances her from the superficiality of the party. Alfred senses her mood. He confesses that he has loved her for a year, secretly. Violetta is touched by this, but warns him against loving her in any other way than as a friend. First, she rejects him, then she gives him a flower, inviting him to re-present himself the following day.
Once alone, Violetta reflects on her feelings. She is perturbed: a real love responsibly accepted could change her life. Then she rebels: the idea of change is sheer madness. She cannot give up her unscrupulous independence. Yet, her anxiety for freedom, counterbalanced by Alfred’s loving attention, tempts her to free herself from a knot which is forcing her to lie to herself.
Six months later, Violetta and Alfred are living together in a house in the country outside Paris. One day, Annina, a servant, tells Alfred that Violetta has sold all her possessions to finance their new life. His pride hurt, he leaves for Paris in search of more money.
No sooner has he left than George Germont, Alfred’s father, arrives. He begs Violetta, to give up his son, speaking insolently, accusing her of ruining him. She defends herself well, showing him the receipts of sales of her possessions, adding that she has never asked Alfred for money. The man instantly changes tone. However, he pleads with her to leave Alfred because the engagement of his daughter risks being compromised by the scandal of this relationship, unacceptable in the bourgeois mentality. The verbal abuse becomes more subtle. Germont senses that Violetta feels a sense of guilt and takes advantage of her weakness. He knows which points to touch, he knows what to say and how to say it. And he keeps on going: not having contracted marriage, her prospects in old age are uncertain, he says. Violetta admits her error. She has asked forgiveness, it’s true; maybe God will forgive her, but man certainly won’t. At the end, she decides to sacrifice her personal happiness in order to restore happiness to Alfred’s family. She has only one request: that when she is dead, Alfred know of her sacrifice. Geront is profoundly moved by this and he promises to grant her wish.
Violetta writes Alfred a letter of farewell, telling him she no longer loves him. She is distraught, she
cries and before leaving, lets out a scream of love. Alfred suddenly returns so she rushes out of the room, pretending to go into the garden. He is informed of his father’s visit during his absence and this worries him. Shortly afterwards, he reads the letter and learns that his love is returning to her past life in Paris. He is filled with jealousy and bitterness. His father consoles him and takes advantage of the situation, convincing him to return home. Alfred is beside himself; maybe he
has a rival in love. He hastens to find Violetta to get revenge.
The same evening, Flora Bervoix has a party at her home. The din of the masked dances starkly contrasts with the protagonists’ feelings of solitude and anxiety. Alfred enters and immediately starts gambling, and winning. Violetta arrives, accompanied by Douphol. Alfred challenges the Baron at cards and repeatedly wins, at the same time provoking him by making allusions that hurt. Dinner is announced and everyone leaves the room.
Violetta comes back immediately. She has given Alfred a nod and he understands that she wants to
talk. He comes in and listens, but it seems that dialogue is impossible: they are unable to communicate. They have hit a wall and she is forced to lie so as not to reveal the truth. She says she loves Douphol. On hearing this, Alfred loses control: in a fury of rage, he calls all the guests into the room and throws all his winnings at Violetta’s feet, asking the company to witness that in so doing, he has paid back the money she spent on him. Everyone is astounded by his lack of social aplomb. Violetta faints and Alfred is upbraided by his father for his heartless conduct. Alfred, contrite, is escorted out by his father, but only after he has been challenged in a duel by Douphol.
A month later, Violetta is ill in bed. She has little time left to live, Dr. Grenville informs Annina. Violetta is extremely weak: all she can do is drink some water, give instructions that what little money she has left be given to the poor, reread her letters. There is one letter in particular, from George Germont, telling her of Alfred’s return. Having wounded the Baron in the duel, he fled abroad but is now returning to Paris to see her and to ask forgiveness, having learnt of the sacrifice she made for him. But it is too late. Violetta looks at herself in the mirror and sees what a ghost of her former self she is. All she can do is say goodbye to her past dreams of happiness. Outside it is Carnival and life goes on as normal.
Momentarily, a ray of hope returns. Alfred rushes in and the two lovers exchange words of love and forgiveness. He promises to take her away from Paris where they’ll be able to live happily together, but Violetta is already too ill. The arrival of George Germont , now ready to accept Violetta as a daughter, and Alfred’s promise never to leave her again are too much. Violetta makes one final gesture of love: she gives Alfred a portrait of herself when she was young and beautiful, saying that is how she wants him to remember her.
For a fleeting moment she shows signs of recovery, only to fall back and expire.


Jonah Hill’s strange and poignant documentary about his therapist unfolds like a cross between “The Rehearsal” and a self-help tape.
I am a writer. When my father died, I seized on a eulogy as my best chance of coming to terms with his loss – potentially messy and selfish as it was, I could either make a spectacular display of my grief or risk it still worse eating into me than it was always going. Jonah Hill is a filmmaker (among other things), and when his older brother Jordan suffered a fatal stroke in December 2017, I suspect Hill felt a similar instinct to express himself the best way he knew how .
Likewise, I suspect that he faced a version of the same dilemma that confronts anyone who can only access their most private feelings by airing them publicly: He could only wrestle with the deeply personal devastation of his brother’s death by making a movie about it, but making a movie about it would require him to stream that devastation for the whole world to see (or at least for the disproportionately large percentage of it that subscribes to Netflix ).
And so Hill understandably tried to find a solution—a way to make a movie about his brother’s death without making a movie about his brother’s death. “Stutz” is that solution, but in a way it’s also a documentary about that solution and the tools needed to build it (the details are best left unspoiled, so let’s just say that Hill indulges in ‘ a meta element that places his film somewhere between a self-help tape and an episode of “The Rehearsal”).
Ostensibly a lo-fi profile of the funny, foul-mouthed psychiatrist Hill began seeing long before Jordan passed, “Stutz” presents itself as a film about Phil Stutz and his methods, both of which Hill loves with the kind passion someone retains for the people and things that saved their life; whatever this movie becomes, it always remains one celebrity’s heartfelt tribute to his favorite shrink. Hill sets the scene by sitting across from Stutz in his LA office and explains that he wants to film one of their sessions to share the doctor’s strategies with as many people as possible, but the process of doing so turns out to be more complicated than any of them. could think of them.
One of the first things Hill says here is that he struggles with vulnerability and opening up—that, in keeping with the Judd Apatow bromances that launched his career, he instinctively shies away from discussing his most honest feelings. He even insists that he won’t talk about his brother on camera, which at first comes off as an improper strategy to resolve the seemingly inevitable scene in which he talks about his brother. I mean, it seems a little far-fetched that a grieving director would make a documentary about his therapist — who once lost a brother himself — not knowing that his own trauma would become part of the story. And yet “Stutz” turns out to be much more honest with itself than it first appears. The movie is barely 15 minutes old before Hill asks Stutz, “Was it a fucking horrible idea for a patient to make a movie about his therapist?”
A few moments later, the director breaks the fourth wall to answer that question himself – or perhaps it would be more accurate to say that he collapses the walls in on themselves in an act of controlled demolition. Any way you slice it, Hill’s artifice turns out to be interesting, even if it insists on itself in ways that distract from Stutz’s lessons (which sound great but quickly fade into a blurred terminology that means almost nothing without that he is there to help us apply it to our own lives. ).
And yet, by the time it’s over, his film makes poignant sense of why he had to rely on that setup in the first place. Both formally and explicitly, “Stutz” starts with the assumption that you have to be vulnerable to make a movie about vulnerability. At a certain point, though, it comes into focus that Hill had to turn that idea around to get anything out of it—that he had to make a movie about being vulnerable in order to become vulnerable himself. And “Stutz,” more than anything else, is a movie about the need to be vulnerable, no matter what it takes to get there.
Courtesy of Netflix
In other words, Hill’s film is more for him than it is for us, even if it seems to contradict the stated purpose of spreading his therapist’s light. Stutz begins all of Hill’s sessions by asking him (jokingly) to “entertain me,” and Hill’s doctor is too gifted with that requisite New York sense of humor to risk taking Stutz’s command at face value. That’s not to say that “Stutz” is boring — his teachings may not translate, but the man himself has tremendous screen presence, and the doctor-patient dynamic he shares with Hill is too rich and honest for us to ever feel like we’re just watching someone else do their homework — only to say that the viewer never feels like Hill’s first priority. He seems to realize this himself in real time over the course of the film, eventually admitting to Stutz, “It doesn’t matter what people think about the movie; it only matters that we finished it together.”
It’s clear that Hill and Stutz have been through a lot of other things together, too, and anyone who’s struggled to find the right therapist is likely to envy their mutual connection. Hill may be focusing on Stutz to distract from himself, but his interest in getting to know the 74-year-old man sitting across from him feels entirely genuine. The same goes for his interest in help Stutz, to the point that I wonder if that palpable sense of two-way growth — of doctor and patient being in the shit together — is as crucial to Stutz’s method as “Part X,” “The Maze,” or any of the other tools which were given their own code names. Hill’s film is too rooted in the here-and-now to be full biodoc, but it tells us all about Stutz’s past, with archival footage illustrating stories about the psychiatrist’s childhood, his love life, his Parkinson’s disease, and so on. Hill openly frets about the difficulty of inserting Stutz’s personal story into a film that also accommodates his professional ideas (most of which refute the neutrality of traditional psychiatric care), but he does a good job of it.
I just wish he had allowed Stutz to exercise his voice better and explore how he feels about this project. Is the doctor just going along with it because it’s a good advertisement for his brand? I doubt it very much. Stutz’s participation appears to be motivated by his very real love for Hill, but does he think making this movie will be an effective form of therapy? Is he just happy to see a patient “activate their life force?” and work their way through the maze?
It’s impossible for viewers to know; Stutz doesn’t tell us, and Hill doesn’t ask. I think, to some extent, it’s because Hill has spent enough time with the Doctor to be able to answer those questions on his own. Just like he ends up not needing to bring up his brother here because he and Stutz sure discussed him at length off camera. This movie isn’t really for us, but to the extent that it is, an invitation to rubberneck at Hill’s grief won’t be to anyone’s benefit. “Stutz” doesn’t need to convince us that Hill has found a way to make himself vulnerable, and while the director may be wrong to assume that his film is an effective tool for the psychiatrist’s specific aids, it is difficult to find a better advertisement for the overall effect they had on him.
“Stutz” will be available to stream on Netflix starting Monday, November 14.


Torino Outlet Village is sponsor of “Dario Argento – The Exhibit” at the National Cinema Museum of Turin. This is the first major exhibition dedicated entirely to the famous visionary and undisputed master of horror, Dario Argento, and it runs until January 16, 2023.
Torino Outlet Village pays homage to the genius of thriller movies with a preview of the exhibition “Dario Argento – The Exhibit” at the Info Point: an unsettling journey amidst the costumes, props, sketches and scripts of the filmmaker’s internationally acclaimed masterpieces of horror.
Torino Outlet Village VIP Club members are entitled to discounted entrance tickets to the exhibition “Dario Argento – The Exhibit” at the National Cinema Museum. Click here to join the VIP Club and access all the benefits.
Instead, if you visit the Village and present your entrance ticket to the exhibition and to the National Cinema Museum of Turin, upon joining the VIP Club, you’ll receive an extra 10% off outlet prices and a complimentary welcome drink to enjoy in one of the Village restaurants or cafés.
Don’t miss out!


Directed by Josh Boone. Staring Shailene Woodley, Ansel Elgort, and Nat Wolff.
Based on the #1 bestselling novel by John Green “The Fault in Our Stars”
Movie Description: Hazel and Gus are two teenagers who share an acerbic wit, a disdain for the conventional, and a love that sweeps them on a journey. Their relationship is all the more miraculous given that Hazel’s other constant companion is an oxygen tank, Gus jokes about his prosthetic leg, and they met and fell in love at a cancer support group.
Thoughts: I just came home from the theater after watching the movie adaption for the Fault in Our Stars and now am attempting to write this review. This was the one movie I was incredibly excited to see this year, not only because I loved the original book but because I was so happy for the author. It’s not everyday the book you write gets turned into a motion picture. Many people were scared that this film wouldn’t do the story justice, that it wasn’t going to be like the book. It wasn’t. It’s not suppose to be exact though.
I can say however that this adaption does stay very faithful to the novel. The acting presented by all the cast was spot on and beautifully done. I felt that even if you hadn’t read the book you could still enjoy what the movie had to offer. It wasn’t hard to fall in love with the characters all over again. I think that’s a good testament to the writers of the film, director, author, and cast that really cared about this project. You could tell that a lot of work was put into this film.
I don’t want to make this review super long because I’d be typing forever, but I did truly enjoy this movie. If you have a chance to see it, you absolutely should. At the end of the day this film captures the struggles of disease and disability, while also encapsulating the beauty of first love. This film managed to balance seriousness with humor, and I really appreciate that. The Fault in Our Stars is already a wonderful novel, but now it has a faithful adaption to accompany it. Can’t wait for the DVD Blue-ray Release.
Check out the movie trailer.


OMG!!!! I am extremely shocked by how great Disney flower in a world full of grandmas be a Nana shirt. This time they really outdid themselves!!! And you know Angelina is the perfect character for the movie and as usual, she doesn’t disappoint. Great job, I can’t wait to see it! Looks amazing but why would you show that last scene? That would’ve been an awesome surprise. Amazing looking film and I am looking forward to watching it, although I did just all of the film in that trailer. I still don’t forgive you for what you did to the original story and Maleficent from the last movie. I wish I could threaten you, you multi-billion dollar conglomeration. But I can’t. I just want you to know that I, one of your TOP FANS, will be VERY UPSET if Maleficent doesn’t go scorched Earth and by that I mean she needs to turn into a dragon.
I am extremely shocked by how great Disney flower in a world full of grandmas be a Nana shirt. This time they
disappoint. Great job, I can’t wait to see it! Looks amazing but why would you show that last scene?
This looks so good! But I’m confused. Disney flower in a world full of grandmas be a Nana shirt end of the first. She seems grumpy from the start of this one. Still can’t wait. A woman love is no joke To hear another call the child you have loved since birth her own in that setting is hard. And yes she loved Aurora since birth) all who met her will love her was enchanted into her curse not excluding unbeknownst to maleficent Herself lol. Can’t wait for it to come to theaters looks awesome. This was the first Disney reboot movie and the only best reboot of all the Disney movies. The script is original and amazing. So y’all are gonna complain that Mulan completely changed the storyline from the original but say nothing when it comes to Maleficent. Bunch of Disney hypocrites.


Tribeca Film Festival and AT&T gave one young filmmaker a million and one reasons to rejoice at the “Untold Stories” third annual competition.
After a nerve-wracking 10-minute long pitch in front of over 850,000 live stream audience members and a panel consisting of celebrities and industry leaders, filmmaker Kate Tsang was awarded $1 million on Monday to bring her script to life on the big screen. But, the awarded budget was not the only thing that was magical for the “Marvelous and the Black Hole” creator.
Reflecting on her winning project that she describes as being “for Asians, women and for anyone who has ever felt invisible” she told Variety, “It’s indescribable. I have had this dream for so long and to be able to actually do it is unfathomable. I am so excited to make this film. With Tribeca giving me this chance I feel like I am going to be able to make stories about other people like me.”
For full story, click here.


Theatre and Performance Studies
Learn More About Theatre and Performance Studies
If you are interested in becoming a theatre and performance studies major, please fill out the application. Auditions are not required for acceptance into the program. Students interested in applying to this program must meet the following program requirements:
- A high school GPA requirement of 3.0 or higher is required for first-year freshmen applying to be theatre and performance studies majors.
- A college GPA requirement of 3.0 or higher is required for entering transfers and currently-enrolled KSU students seeking a change in major
Double Owl Pathways
- Theatre and Performance Studies, B.A./American Studies, B.A.
- Theatre and Performance Studies, B.A./Business Administration, M.B.A.
- Theatre and Performance Studies, B.A./Professional Writing, M.A.
- Theatre and Performance Studies, B.A./Public Administration, M.P.A. (Coming soon)
TPS 3200: The Actor’s Voice
This course is designed to help performers develop a healthy, expressive and flexible vocal technique equal to the demands of dramatic performance. Students learn to free their natural voices through physical exercises and by mastering the vocabulary of vocal mechanics. Breathing, posture, relaxation, and articulation are examined as key elements of voice and speech production.
TPS 3703: Musical Theatre History and Literature
This course is an introduction to musical theatre which surveys the major shows in musical theatre literature, through the study of the plots, scores, characters, and songs of the shows. Students explore the genre’s place and function in theatre history as both an art form and popular entertainment and its influence on culture in general.
TPS 3823: Design Skills
Basic design skills including drafting, sketching and rendering. Offered in versions oriented specifically toward set design or costume design in alternating years.
TPS 4323: Directing Styles
Students will learn the fundamentals of directing for the stage. Emphasis is on non-realistic period and genre styles. Theoretical studies will be combined with the direction of selected scenes and observation of working directors.


Unfunny collection of short stories by the “international rainbow-haired rock-’n’-roll cartoonist” Ippongi Bang. An extremely light parody of the horror genre, the tales involve ironic punishments for various social ills (a girl makes a devil’s bargain to lose weight; a guy who cuts in line on the subway suffers an awful fate; a girl who wants to be a “material girl” turns into a sex doll). Chaotic sword god
Based on a collection of short stories by author Koji Suzuki (The Ring), MEIMU’s Dark Water manga offers a quartet of horror tales, all of which revolve around disquieting bodies of liquid. The title story, “Dark Water,” is about a recently divorced mother who begins to suspect that something sinister is going on in her run-down apartment building (the tale also served as the inspiration for a Dark Water live-action film in Japan, later remade in Hollywood). The second story, “Island Cruise,” preys on the fear of what may lie beneath the waves during a boat trip. “Adrift” is also set during a sea journey, and posits a theory behind ghost ship legends. The final (and best) story, “Forest Beneath the Waves,” contains no overt supernatural elements but is still a journey into the dark side as a man suffering from a midlife crisis seeks the ultimate getaway during a sea dive. Reading like a manga collection of Stephen King stories, Dark Water is a slight but enjoyable collection. As the top adapter of J-horror tales, MEIMU’s art and storytelling are more than up to the task of conveying physical terror and psychological dread.
Kei, a girlish boy who hangs with the tough kids on the school roof, discovers that he’s a medical hermaphrodite, and (slightly against his will) undergoes the transition to become female. The first chapter is promising—a transgender manga about an actual sex change—but things become conventional when Kei shows up at school as “Megumi,” and the manga turns into a typical “girl who feels like a boy inside” story. Meanwhile, her four best friends from when she was a guy all ask her out. Like Hiroyuki Nishimori’s A Cheeky Angel, the story parodies teenage male machismo, but Tsuda’s heroine is weaker, the plot is slow, and the page compositions are dull. Disappointing.


My name is Sophia and I’m a graduate film student at NYU. I’m currently making a 7 minute film about a teenage loner with a trampling fetish and I’m looking for clips of trampling to use in my film! I’m posting looking for people who are interested in having their own trampling videos in my short film. I’d use just a few seconds of a video, either for an opening montage or in a scene where the main character's videos are found on her computer.
The film follows Grace, a 16 year old girl who’s ashamed of her fetish. She goes out one night in search of a boy to bring home and prove to her sister that she’s a normal girl with normal friends. When the boy she brings home finds the trampling videos on her computer, he accepts her and Grace learns that her fetish might not be as weird as she thinks.
My hope for this film is that people with shame around their fetishes and sexuality can see themselves on screen, and maybe not feel like such an anomaly. Topics of fetish are not something I see in the m@instre@m very often, and I hope to do it justice. I’m just a student filmmaker, so I can’t offer any compensation, but I could credit the clips if you want!
Let me know if you have any questions, or if you want to read the script.


"Released in 1964, A Hard Day's Night captures the Beatles just after their first triumphant tour of America. Now, A Hard Day's Night is completely digitized for playback on your computer. The CD_ROM features: all 90 minutes of the original movie, great Beatles songs, the original script, essay by critic Bruce Eder on the Beatles, the theatrical trailer, the 1982 movie re-release prologue, clips from Richard Lester's early work and Expanded Book features." -- From Voyager
1 COPY IN THE NEXT
Published in 1993 by the creator.
This copy was given to the Electronic Literature Lab by Bob Stein in Summer 2019. Copy media format: CD-ROM.


MGM has actually authorized Channing Tatum, Reid Carolin, and Peter Kiernan’s label, Free affiliation, to a first-look movie production bargain. The information follows MGM has bought North American civil liberties to distribute Canine, the directorial launching from Tatum as well as Carolin to hit movie theaters at some point this year.
” We leaped at the possibility to work with the men on their directorial launching Pet dog as well as can not wait for audiences to peer it,” mentioned Michael De Luca, MGM’s flick team Chairman as well as Pamela Abdy, MGM’s film neighborhood President in a joint observation. “Seeing them at the workplace in the back of the digital video camera directly triggered our need to protect the partnership going. We’re very joyous Channing, Reid as well as Peter has actually made MGM their house, and are excited to function along with them as they embarking on extra into their filmmaking occupations.”
” Mike and Pam have supported us when you think about that the very beginning of all our occupations. It felt like divine intervention that we guided our initial movie for them,” Free association principals included. “We deeply appreciate their design, and also basically could not be extra excited through their imaginative as well as prescient for the studio. We’re still pinching ourselves that we get to name MGM residential, and we can’t wait to collaborate with the whole team there for many years ahead back.”
Free association’s drawing close slate consists of the Kevin Hart-led dramatization, Fatherhood, the Netflix film, Spaceman Of Bohemia, HBO’s Gorilla And The chook, and manhattan Will eat You Alive with STXFilm as well as Tencent photographs.
Free association is repped with CAA as well as Hanson, Jacobson, Teller, Hoberman.
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After watching this trailer for the new Oz film I was beyond excited when I went to see it on my Birthday - it looked so exciting, colourful and completely rammed full of magic and adventure! However, it was not at all what I expected.
I went into the cinema with such high hopes and was fully ready to be blown away by the story and visuals to come, but when the movie started I found it to be painfully slow and badly acted. As the beginning of the movie is made to look like an old fashioned film I thought that perhaps the bad acting and slowness was also intentional - to further mirror the old films it was based on - so I remained positive that things would improve once we travelled to the wonderful land of Oz. However, again I was sadly disappointed.
Yes, some of the visuals in the movie are quite nice, but its nothing we haven't seen before. In fact, the landscape of Oz reminded me so much of Tim Burtons 'Alice In Wonderland' that it completely pulled me out of the film. Many of the scenes in 'Oz' are so obviously green/blue-screened that it makes the whole movie look cheap and laughable - the scene where Oz and Glinda are travelling inside bubbles is one very good example of this. I'm hoping that the effects look better on a smaller screen, but on the big cinema screen things just looked far too fake for me. I never truly felt like Oz was a real place in which these characters were adventuring and therefore, couldn't fully immerse myself in the story.
Sadly, the acting remained very wooden throughout the movie and I didn't really care about what happened to any of the characters, with the exception of the china doll (who really was the best part of the whole movie). The character of Oz himself was extremely sleazy and grating, and I certainly didn't grow to like him more as the story progressed, which I guess should have been the case.
I wanted so badly to like this movie, and it had so much wonderful potential, but unfortunately I just couldn't see past its many, many flaws. It seems that film-makers seem to have such trouble with converting fairy tales into films and I'm crossing my fingers so hard that the upcoming Jack The Giant Slayer movie is one that does it right! I'll keep you posted.
(These are my own views and opinions, please don't let them put you off going to see this movie. Who knows, you may absolutely love it and completely disagree with me. Let me know if/what you did like about it - I'd love to have my eyes opened to some good in it.)


Bethany Price received her theatrical training at California State University, Long Beach, where she was a founding member of California Repertory Company. She has stage managed, directed and/or produced more than 50 productions, and performed on stage herself for more than 15 years in musicals, operas and plays. She is the mother of three children, ages 14, 22 &30, and has more than 30 years experience casting, coaching, and directing school-age kids in stage productions. She is an in-demand director, audition coach, and private instructor in the Long Beach/Orange County region. Her teaching focuses on helping actors make strong, intentional choices rooted in emotional honesty to create compelling, interesting, and unique characters on stage and on film.
Special Guest instructor
With a BFA in acting from USIU in San Diego, Shauna is proud to say she’s has been a working professional actress (Stage, Radio & TV/Film) for the past 23 years. She’s been on Broadway and has traveled the world doing National Tours, working side by side with such stars as Mickey Rooney, Eartha Kitt, and Cathy Rigby. She’s starred in over 70 National & Regional commercials, including DISNEY, XFINITY, SOUTHWEST, WOW CABLE and KMART spots. You regularly hear her on your radio and TV voiceovers. You may also recognize her from DESPERATE HOUSEWIVES or PARKS AND RECREATION. She has directed and choreographed main stage shows at Musical Theatre West, 3-D Theatricals, Cabrillo Musical Theatre, and the Starlight Bowl…just to name a few. She is the owner/operator of The Star You Already Are, based in Los Angeles, offering coaching and instruction for professional and soon-to-be-professional performers from all over the nation.


The nation's first Latinx/BIPOC coalition
Teatros Unidos is an emerging and growing collective of Teatros and BIPOC Theatre organizations that uplift and give voice to their historically silenced communities by producing plays, multicultural and multigenerational community programs.
The coronavirus pandemic has shed light on prevailing inequities in all facets of American life. Facing uncertainty and loss of earned income, Milagro reached out to Latinx theatres from across the country to come together to share their experiences and challenges and promote each other’s work. Through this initiative, Teatros Unidos was born.
The group includes 14 Latinx theatre ensembles who share resources, information, and creative work. Since May 2020, Teatros Unidos has been meeting bi-weekly and is committed to expanding the circle through and beyond the immediate aftermath of the pandemic. Although there are resources for individual Latinx artists to come together, this is the only Natio nal Teatro collaboration that exists.
The group includes Baktun12 (Salinas, CA), Borderlands Theater (Tucson, AZ), Cara Mía Theatre Company (Dallas, TX), In The Margin Theatre (Sacramento, CA), Milagro (Portland, OR), Teatro Alebrijes (San Jose, CA), Teatro Bravo (Phoenix, AZ), Teatro Luna West (Los Angeles, CA), Teatro Nagual (Sacramento, CA), Teatro Visión (San Jose, CA), Teatro Vivo (Austin, TX), TuYo Theatre (San Diego, CA), and UrbanTheater Company (Chicago, IL)


Here is the list of highest paid actors in 2015. Most of them you may already know because of they are the most popular worldwide actors in the movies. All these actors can make a lot of money within a year that we are almost make in a lifetime. Full Image Credit via list25.com
1 – Chow Yun-fat, $18 million
Donald Chow Yun-fat and mostly known as Chow Yun-fat is a popular Hong Kong actor. In 2014, he was the second-highest paid actor in Hong Kong. We normally see him acting in the fighting movies such gambling and gun play as well. Beside his earning and dramatic film he also won as the best actor from Hong Kong Film Awards and two Golden Horse Awards in Taiwan.
2 – Hugh Jackman, $23 million
Hugh Jackman is an Australian actor and producer, he was born in 1968. I trust that everyone will remember him well in the X-Men films, he is very active and flexible guy. Jackman earning $23 million last year.
3 – Will Smith, $26 million
Will Smith is the best known actor with Men in Black series and his legendary roles of Bad Boys. He was called as the most powerful Hollywood actor by Newsweek in 2007 while Forbes ranked him as the most bankable star.
4 – Daniel Craig, $27 million
Daniel Craig is an English based actor. He was selected as the sixth actor to play the role of James Bond 007 in the official film series and got the international fame since then.
5 – Chris Hemsworth, $27 million
Chris Hemsworth is another Australian actor who best known for his roles in the Australian TV series. And he also appeared in the Star Trek. Another interesting thing about him is he earned $27 million last year.
6 – Channing Tatum, $29 million
Channing Tatum is not only an American actor; he also the dancer, model and film producer. The films that made him became one of the most popular Hollywood actors are The Vow, Magic Mike and The Rise of Cobra so on.
7 – Dwayne Johnson, $31.5 million
Dwayne Johnson that most people called him as The Rock via wrestler is an American and Canadian actor, producer and professional wrestler. He gained his fame in the World Wrestling Federation sin 1996 and three later he started to begin in acting career. In 2002, the first leading role in The Scorpion King is become the first famous starring role as well.
8 – Tom Cruise, $40 million
Tom Cruise is an American actor and filmmaker. Cruise has starred in many films such as Rain Man, War of the Worlds, Top Gun, Mission Impossible and others more. Cruise has won three Golden Globe Awards. He has earned $40 million in the past year.
9 – Vin Diesel, $47 million
Vin Diesel is an American actor, producer, director and screenwriter. Dominic Toretto is another name of Vin in the Fast and Furious film series. All of you will remember and love his starring as a powerful guy in all the Fast and Furious movies. From June 2014 to June 2015, Vin Diesel earned $47 million which made him to be the third highest paid actor of the year.
10 – Jackie Chan, $50 million
Jackie Chan is a Hong Kong based actor. Beyond actor career he was also a martial artist, film director, producer, stuntman and singer. Chan was notable for his acrobatic fighting and original stunts within more than 150 films. In the past 12 months Chan has made $50 million.


The Australian professional premiere of First Date - a musical about the craziness that a couple experience during a first (blind) date. From the director's notes:
Whilst the original production of First Date is set in New York, our creative team has chosen to update the setting of this production to Fitzroy in Melbourne ... we've chosen to present you with locations and characters that can be encountered on any given day on the streets of Melbourne.The set for this production was modelled on a real nearby coffee shop, and included a working coffee machine which served coffee to the audience pre-show!
© 2017 Ben Fon - Melbourne theatre and performing arts photographer. All rights reserved.


Romeo and juliet essay love
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Romeo and juliet essay love
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So yesterday, we were finally taught how to process our own black and white film. More like, the professor told us what to do (take the film out of your canister, place it in the reel, follow the guide for the chemicals) and left. But she has this assistant Manong Danny who is so nice and helpful, he opened my canisters for me. Thanks so much Manong Danny. 😦
Can I just share, my film photography prof is kinda a terror prof from what I’ve been hearing. But yesterday I was late for class and I went to our classroom, not knowing I should proceed to the darkroom/photo lab. After asking the college secretary if she has any idea on where my class is, I was led to the darkroom. Some film upperclassmen students were outside hanging out, and because I’m actually an Econ major I didn’t know anyone to ask but I just asked anyway. It went on like this.
Me: Excuse me, can I just ask if there’s a class going on inside?
Person 1: Yes, it’s Film 110 with Prof. Anne.
Person 2: (eyes wide) Lagot ka, late ka na… (You’re doomed… You’re already late…)
Person 3: Mumurahin ka nun… (She’s going to curse at you.)
Person 1: Pero sige fight mo lang, pasok ka sa gilid wag ka magpahalata. (But go ahead, enter the side and don’t get noticed.)
Person 2: Kung di ka pansinin go ka lang, bilisan mo. (If she doesn’t pay attention to you, just go and hurry up.)
Person 3: But it’s okay, she’s just gonna hate your forever. Good luck!
I got really scared. But I don’t know why but she actually just ignored me completely. Last time someone was late she didn’t let it go.
Moving on, I developed two rolls of film. I feel bad ’cause I’m pretty sure the photos would otherwise look nice if I didn’t fail with the processing part. But I have to learn, right? I just wish I didn’t put so much effort in shooting those photos. It took me forever to properly load the film into the reel, and my first roll had parts sticking together. The second roll, I accidentally opened the tank cover instead of the little cap at the top for pouring chemicals, so I ended up exposing them.
I don’t have a dedicated film scanner at home so I used my flatbed scanner and used the iPhone for backlight. Here are the results:
Read the rest of this entry »


(1891-1967) Portrait taken by Thomas Staedeli. Image held at the Swiss silent film collector’s website: http://www.cyranos.ch/spward-e.htm
Biography from Wikipedia, the free encyclopedia, and Internet Movie Database
Warwick Ward was an English actor and film producer. He appeared in 64 films between 1903 and 1933. He also produced 19 films between 1931 and 1958. Ward appeared not only in English films, but American, German as well as French productions including: The Yellow Mask (1930), Stamboul (1931), Deadlock (1931), Ariane (1931) and the English version of the German film F.P.1 (1933). After that he retired completely from the film business and began a second career as a producer working up until the 1950s.
His early silent movies include: Wuthering Heights (1920), The Manchester Man (1920), The Diamond Necklace (1921), Petticoat Loose (1922), The Lady Owner (1923), Bulldog Drummond (1923) and Madame Sans-Gêne (1925). His German silent films include: Variete (1925) and Die wunderbare Lüge der Nina Petrowna (1929). In the sound era, he produced: The Last Chance (1937), French Leave (1937), Night Alone (1938), Me and My Pal (1939), Dead Men Are Dangerous (1939) Man from Morocco (1946), Quiet Weekend (1947) and Isn’t Life Wonderful! (1953).
Films with Charles Ashton
William Corder in Maria Marten (1928


Has anyone heard of the new anime movie Hal?? Oh my glob, it literally looks so good! And such a good romance!(wow, don't hear that from me often) for those of you who don't know, it's a movie about an android who is modelled to look like a recently deceased guy, and he is trying to "connect" with the guys lover, who has gone into a deep depression. The set up is really interesting, and the movie is out, so if you find it, then watch it! I'm trying to find a copy myself! Good luck guys! I'll try to find a link to the trailer
note: it's not the movie "shallow Hal"


Philip is a photographer based in Perth, Western Australia. With two decades working as a professional, he’s shot for some the world’s premier publications, and has been commissioned by leading corporations to create imagery for branding. Specialising in portraiture and lifestyle photography, he works extensively in Australia and Asia.
In addition to photography, he writes for publications including Asahi Weekly (Japan), Asia Literary Review and SCMP. Recently he’s written, produced and directed a couple of short films and is in development with a documentary film project.


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US fashion designer Tom Ford has created exquisite pieces for some of the most prolific fashion houses' in the world including Gucci as well directing the costumes for award-winning period drama 'A Single Man'.
Therefore it should come as no surprise that Tom Ford pours the same passion and attention to detail into his exclusive and refined eyewear collection. These Tom Ford FT0379 01A 60 Sergio Sunglasses in Shiny Black are an elegant set of shades inspired by the vintage style Aviator. Crafted in versatile polished black acetate with delicate gold rim detail, these Tom Ford Sergio sunglasses utilise the signature T-logo at the temples and 60mm grey lenses to create a set of frames worthy of your wardrobe.
- Frame Colour -Shiny Black
- Lens Colour -Grey
- Lens Size -60
- Filter Category - 3
- Total UV Protection


HERITAGE: Wild River
It is not uncommon these days to see film crews throughout the state of Tennessee. The Green Mile, Walk the Line and The Firm were all filmed in our home state. In 1959, however, the filming of a major Hollywood motion picture was a big deal. Wild River was the first major motion picture filmed entirely in Tennessee and was mostly filmed in Charleston and Cleveland and on Coon Denton Island in the Hiwassee River. More than 40 local residents were chosen for speaking roles in the movie and more than 100 served as extras. Director Elia Kazan brought a well-known cast including actors Montgomery Clift and Lee Remick to Bradley County to make Wild River.
Paul Osborn adapted the film from two novels — Borden Deal’s Dunbar’s Cove and William Bradford Huie’s Mud on the Stars. The film dramatizes the story of a battle of wills between the Tennessee Valley Authority and generations-old landowners who lost their home and farms to the Federal government.
The film was released to the public May 26, 1960. Locals could catch the movie and a glimpse of hometown stars at the Star Vue Drive-in. Since then, the movie has been shown several times at the Museum Center at 5ive Points, but is not available on video or DVD.
The Tennessee State Library and Archives website has more information about the people who lost their land to the lakes created by the TVA dams.
The Library of Congress selected Wild River for preservation in the U.S. National Film Registry in 2002. See more.
Allison Inman directed a documentary, “Mud on the Stars: Stories from Elia Kazan’s Wild River“ (2011) about how the making of “Wild River” affected people in Bradley County. View a trailer for the documentary here.
These notes from the Turner Classic Movie website are informative.
Wild River Movie Tour
Acclaimed director Elia Kazan chose the banks of the Hiwassee River, the small town of Charleston and other nearby locations because of the beauty and realism of the area. A local researcher offers tours of the movie locations by appointment. Call or email today and schedule your Wild River Hollywood adventure.


Remember the post where I talked about the awesome roadtrip we took a few weeks ago? A friend of my husband Grant, drove out from Idaho to film some shots in California for his stock videography portfolio. Grant + I piled in an old Dodge van with several of our friends to film some amazing roadtrip shots. Over the course of 3 days we filmed in Joshua Tree, Malibu, and locally in Orange County. We fondly nicknamed this trip “Project Roadtrip”.
Well the video is finally finished!!! Check it out here!!


Jan 15, 2018
A trip back to Nov 25, 2013 with a bit of audio magic to make it all a wee bit more listenable.
Until 3:15 Bryn's mic is misplaced and his voice is quiet - sorry.
Robot Voice is discussed and observed.
Laura Scruggs is generally a delight but also plays the piano while singing a potential theme...
Jan 1, 2018
Happy New Year, loyal listeners. On this Jan 1st 2018, we take a trip back to our very first episode released Nov 17, 2013. Full disclosure: I poured myself a stiff drink before the start of the show and the start was delayed. I made the mistake of continuing to drink while waiting what turned out to be enough time to...
Dec 25, 2017
00:45 - Presenting: Dolores Diaz, Wendy Schmidt, Lisa Scott and
Laura Scruggs, playwrights of Three Cat's Holiday Radio Show. All
female playwrights, actors and even stage manager. http://threecatproductions.com/201718-three-cat-season/the-holiday-radio-show
02:05 - Main concept of each short play.
09:32 - When was A...
Dec 18, 2017
0:00-7:05 The perils of wireless in a city where the signals never sleep
09:10 - Laura arrives and we discuss the new song
15:16 - The interruptions of a scrambling actor
19:16 - Dealing with powerlessness
22:20 A discussion of being "Equity," AKA in the Actors Union, vs. Non-Equity.
30:14 - USPS interrupts the podcast...


I can see why this movie got a lot of press coverage when it first came out. I thought at first, "Oh, it's not going to be that good. It's just the topic that everyone loves or is intrigued by, because it's new. Like that gay shepherd movie..." (They're not actually 'cow'-boys...) But I felt like it was a movie I should see because it did get such good reviews, and I loved it. Felicity Huffman is incredible. She plays a man on the verge, just before his final trans-gender operation. Because there are so many psychological issues with anyone who would want to change genders, this movie deals with that as well. Plus, it pops up that the man had a fling as a college student or something and has a son. Since the mother is dead, Bree is dealing with this son, who has no idea who she/he is, and there's a lot going on with him as well.
A movie that may be a little hard to explain, but it's very family, very beautiful in its way.


I am a wardrobe stylist and costume designer based in Toronto, Canada. I have been working in costuming for over 15 years and have worked on projects ranging from commercials and print campaigns, to music videos, feature films and theatre productions. Over the years, I have also worked in all capacities within wardrobe departments including dresser, set supervisor, buyer, assistant costume designer and costume designer.
I am a graduate of Ryerson University’s Fashion Marketing program. After my studies, I worked in Toronto as a wardrobe stylist for music videos and commercials, as well as working on several feature films. In 2005, I moved to London where I worked as a wardrobe stylist for commercials/ print and as a dresser/ wardrobe assistant in West End theatre. I have also worked extensively in the U.S., Czech Republic, Spain and South Africa. I returned to Toronto in 2012, where I am now based.
My professional experience includes both contemporary and period piece productions. Whilst in London, my period piece work included costume designing a Noel Coward play, “You Can’t Take It With You”, working as a dresser/ wardrobe assistant on “Phantom of the Opera” and “The Dutchess of Malfi”, a collaborative piece between acclaimed theatre group Punchdrunk and The English National Opera. Recently, I was the costume designer for two Canada Heritage Minutes, highlighting the careers of Prime Ministers Sir John A. MacDonald and George Etienne Cartier. My work includes numerous print and commercial shoots, working with award-winning commercial directors including Tim Godsall and Ivan Zaccherius.
Fashion and costume design continue to be my passion and I enjoy the entire process of creating costumes from concept development, to research, to design/ illustration, and construction.
I hold Canadian, U.S. and British Passports.


My favorite part of being an author is creating characters with secrets and hidden pasts. No matter how minor or major their role is I can't seem to help myself from including some mystery during their development. During many interviews I've been asked the question, "Who would your dream cast of actors be if your book were made into a movie." My first answer is, "A producer with a large budget!" You'll see why when your read the list below.
Lukas Bucklin - Clint Eastwood. Lukas is a multi-billionaire who takes matters in his own hands. He also has secrets. Big secrets! Clint could consolidate some roles in the movie and cut costs. He could act in the role I created, produce, and direct the movie.
Caitlin Martel - Sandra Bullock. Caitlin is an accomplished scientist and executive but at times is a bit quirky and too trusting, even when she begins receiving threats and cryptic messages.
Tomas Medina - Josh Duhamel. Tomas is a Senior Special Agent with the FBI. He's thrust into the investigation of threats Caitlin has received and plays an intregal role in the plot. However, he has some comedy scenes as well.
Jack Spencer - Nick Nolte. Jack is a former District Attorney. He's pretty much a straightlaced and play it by the book kind of guy. However, when he revealed to his daughter that he was adopted, he didn't tell her everything.
Scott Martel - Nicholas Cage. Scott is Caitlin's husband and Tomas's boss. He's a very serious character and trusts no one. However, he holds a piece of the puzzle which Tomas find's in Scott's FBI background check.
Barry Solerno - Tom Hanks. I wrote the character of Barry when I reached an impasse and realized I needed someone or something to catapult the past into the present. Barry ended up being my favorite character. He has his own demons he must deal with and plays a very complex role in the plot with his loyalties shifting from one moment to the next.
I've had the opportunity to bring some of these characters to life in ficticious interviews.


Dec 22, 2018
Dr. Seuss’ How the Grinch Stole Christmas! is a Christmas classic and I’ll brook no argument on the subject. I’m referring, of course, to the original 1966 television special (I haven’t seen the new film currently in theatres, and I’ll save my opinions on the Jim Carrey version). When I...
Care, Caregiving, Christmas, Dr Seuss, Empathy, Family, Health, Holiday Season, Holidays, How The Grinch Stole Christmas, Mental Health, The Grinch


Well, hello there!
If you came here that means you want to know about me, so let’s go...
I am a motion designer, video editor and a VR developer with a focus on storytelling in digital media.
As an artist, I always look to explore new ways and formats to convey my messege and give life to the ideas and stories I hold inside my head.
Now for the facts:
B.A. in film and TV Sutdies from Tel Aviv University.
Graduate of Ironi Alef High School of arts, Tel Aviv - Major in Cinema and Social Studies.
- Born and raised in Tel Aviv.
- Sometimes an actress and a comedian


I came to a halt till it was dark… what a nocturnal creature I am turning into watching movies all night and sleeping all day. I watched the movies in my room on the tv by myself because I was feeling antisocial. I don’t like watching movies in the morning for the reason that the sun is extremely bright and this much light doesn't reflect on the tv screen. I ended up watching movies because I was so tired of sleeping. My favorite movie out of all was the wolf of wall street.
The next day I was forcing myself to go to bed. I woke up and quickly had a shower and got changed. I got my phone and wallet and just saw my sister text me saying “hurry up”. As soon as I got into the lounge I saw my sister waiting for me. I rushed outside to the car waiting my dad to drop me off to sylvia park. My dad dropped off at sylvia park, me and my sisters went off and we walked patiently to the movies hoping that there was not a big queue by the counters. I thought the movie “ The maze runner” was a great movie and it was definitely a 10/10. We then walked to the sylvia park train station.


As for the awards, I could not have been any happier about who won! Ben Affleck winning the Best Director Award for his film Argo took the cake for me, especially since he did not receive an Oscar nomination for it. I loved Jennifer Lawrence's speech after she won Best Actress for Silver Linings Playbook (which I still need to go see!). I think Adele looked absolutely stunning, and she definitely deserved to win for her song, "Skyfall". Jodi Foster's speech started out strong, but took an awkward turn for me at the end when she talked about coming out, her ex-partner, and her mother. I wasn't exactly sure where she was going with it to me honest! Regardless, I think she was a great choice for the award. Jessica Chastain also gave an emotional speech after winning for Zero Dark Thirty.
And of course, Tina Fey and Amy Poehler were genius.
Bossypants, right now, so I appreciated her even more! All in all, I really enjoyed watching the Golden Globes this year.
What were your thoughts on the awards last night? Who wore your favorite gown on the red carpet? Comment and share!


Humble Pie tells the story of Tracy Orbison, a lonely dude who’s just trying to make something of himself. He’s got a lot going against him though: he’s morbidly obese, still lives with his ball-busting mother, works a go-nowhere job at a second-rate grocery store, and doesn’t even have his drivers license. Despite all of this, Tracy dreams of one day becoming an actor, but his pursuit for fame and recognition only seems to cause more trouble for himself.
It all starts at a local play, where Tracy is mesmerized by the acting chops of Truman Hope (played by Billy Baldwin). Tracy starts taking an acting class and begins to gain some self confidence. He starts mentoring some mislead youth, and forms a bond with his new teacher and idol, Truman Hope. But he soon discovers that teenagers should never be trusted, actors are fucking assholes and, if you’re a sweet fat dude, people will walk all over you. What unfolds next is a series of bad decisions and worse consequences, all of which force Tracy to confront the dilemmas of being born into mediocrity.
Humble Pie is a lot like Eagle vs Shark or Napoleon Dynamite. It’s a story about a social misfit; an antihero. It’s even shot in a similar aesthetic: lots of washed out earthtones, unknown actors, and retro styles. But where Napoleon and Jarrod (of Eagle vs Shark) were annoying and over-exaggerated, Tracy is believable and totally likable. Thanks to some pretty brilliant acting by Hubbel Palmer, I was completely invested in Tracy. Also, it’s refreshing to see a fat guy get a lead role for once. I think the last time that happened was when Chris Farley was cast in Almost Heroes.
As for the rest of the acting, it’s all pretty terrific. Casting Billy Baldwin to play the cheesy, over-the-top actor was pure genius, and with Mary Lynn Rajskub playing Tracy’s sister, Peggy, it’s almost impossible not to like this movie. When all is said and done, Humble pie is a great movie with high replay value (I’ve watched it twice in three days). It’s no work of art, and it’s not going to leave you with a deeper understanding of your own existence, but it will most definitely entertain, and isn’t that what movies are supposed to do?
Admit it, you’ve seen Napoleon Dynamite (probably more than once) so there’s no reason for you not to see Humble Pie. It’s just sitting inside your computer, waiting for you.
I give Humble Pie: A passing grade.


Never-ending List of Favorite Stage Performances - Zachary Quinto as “Louis Ironson” in Angels in America (Millennium Approaches and Perestroika)
Angels in America has long been my favorite play. I had seen the miniseries and read the script about a dozen times a piece. I knew all of Harper’s monologues by heart. And through it all, I never liked Louis. I could never sympathize with him, both due to his actions and his demeanor. I just assumed that we were all supposed to hate Louis. Zachary Quinto single-handedly changed my impression of the character. For the first time, I saw the humanity in Louis. I saw how terrified and superior he was. His actions made sense, and I felt for him. I wanted him to go back to Prior or do well with Joe. I wanted him to be happy, even if he was always a little shit (Quinto couldn’t exactly change that). I was blown away by Quinto’s stage presence. I felt, almost, like the story was about Louis. I kept wanting him back on stage. Most importantly, his intensity during the “Have you no decency?” scene left me breathless. It is my fondest, most vivid memory of my favorite play.
this scene was my favorite too. I´m so sad this wasn’t taped for eternity to watch it over and over again.
zachary quinto on aging
Is vanity an asset to an actor, and when you look in the mirror do you see a good-looking guy?
ZQ: Certainly not, no, I didn’t always see that. You know, I will be 37 in June, and I feel like the idea of aging is now just framing itself in a completely different way for me. It’s incomprehensible to me the number of people, celebrities, actors who have storied and varied and rich careers, who will manipulate their faces and undergo painful and extreme surgeries to maintain this connection to youth. I don’t understand it — especially men, but anybody.
But yet, now as I see my face changing, I guess I can understand it or have a little bit of a different relationship to it. I feel like my goal — even when I was younger but especially now — is to embrace age and to embrace the experience that comes with it and to trust that even though it may not be as polished or shiny or familiar even to see yourself as you age, it’s all earned. I don’t want to erase the lines on my face — I earned them.
i’m so glad he said this. so much respect! and love.
okay so i’m watching glee and i swear to god that’s zachary quinto going through this random shot of a new york crowd.
I agree that he looks A LOT like ZQ, but Lea tweeted that it’s her dad. Plus, if you watch the actual clip, he doesn’t really move like ZQ. But I was fooled at first too :)
I googled for lea’s father pics. for me, the guy marked with the red circle is zach, maybe lea’s father is the man behind wearing the beret.
okay. here are my thoughts. i watched the video and took screencaps. the guy is waaay too short to be zach. most of the woman in the shot are taller than him. also he´s crossing the street for no reason other than get attention (so you can see him in the crowd.) and lea michele said the man in front of the pic, so she means this guy.
not to mention that we never saw zach wearing a northface jacket or this grey beanie in any of the hundred fanpics from this winter (when they shot this.)
lea and her dad!!! it’s him. ;)
zachary quinto and christina hendricks 2007


Hello all. With New Moon madness now upon us here in North America, I thought the best way to put an end to my recent hiatus would be a fresh attack against the Stephenie Meyer-penned, dreamy teen boyhunk vampires 'n' werewolves phenomenon, hitting it with a double-shot of alternatives for the jaded, sick and tired vampire fans of the world. Of course, avoiding vampires altogether is an effective option that many have probably taken at this point - and I don't blame you. But reconsider giving up the fanged figures completely if only to give these interesting works a chance. Without further ado...
Director: Park Chan-wook
Country: South Korea
I'm a huge admirer of Park Chan-wook's work. He is one of those filmmakers who truly knows how to use and develop his own cinematic style, resulting in films that are visually splendid, thematically fascinating and quite often downright brilliant. Ever since Cut, his segment of the Asian horror omnibus film Three...Extremes which opens with a film crew shooting a vampire film, fans have been teased with hints and rumors of his full-length, fully-fledged horror film. Now we have Thirst, which just recently came out on DVD (in Region 1) and tells the tale of a priest (Park regular Song Kang-ho) who volunteers for a medical experiment and ends up receiving blood from a transfusion that turns him into a vampire. As he adapts to his new "condition," he meets the sexually provocative Tae-joo (Kim Ok-vin), with whom he forms a complex and dangerous relationship while grappling with feelings of guilt from the evil deeds he is driven to do.
I have yet to see Park's eccentric comedy I'm a Cyborg, But That's Okay, so this was essentially the first new film of his I was seeing since the excellent Lady Vengeance - and boy was it good to come back to his world. All of his recognizable visual trademarks are there - creative transitions and camerawork, vivid colors, beautifully grotesque displays of violence. However, the mood of the film was something that occasionally threw me. There are, of course, moments of real dramatic weight and horror, but every so often, Park takes a swerve into comedy, the most obvious (and disappointing) example being Tae-joo's husband who, after being drowned by the vampire-priest, haunts the couple by appearing on their bed, sopping wet, grinning a huge, dopey grin. It's hard to believe this is from the same Park who used another drowned ghost - that of a little girl - to such chilling effect in Sympathy for Mr. Vengeance, a film so stark and hard-hitting that one wouldn't imagine there being any room for visiting spirits. Thirst also sports some of the dark, deadpan humor that Park used so well in certain moments of his Vengeance trilogy, but it ultimately lacks the driving focus that anchored his previous explorations of the dark side of the soul, instead going from intriguing to sexy to funny and back again.
While not one of Park's best, Thirst still has plenty to good stuff to sink your teeth into (pun not intended), including sumptuous visuals (the film is a blue- and white-hued wonderland), an excellent performance by Kim Ok-vin and a quite satisfying conclusion.
Director: Carl Theodor Dreyer
I'm now jumping from 2009 all the way back to the last days of silent cinema for one of the very first vampire films ever made - and still one of the finest. For what better filmmaker is there to combat the wave of inept filmmaking that the Twilight film series is producing so far (I'm hoping David Slade doesn't hit strike three with Eclipse, if only because I like Hard Candy so much) than Carl Theodor Dreyer, the Danish master who gave us The Passion of Joan of Arc? For Vampyr, he applied his unique style to the horror genre for the first time - are you detecting a pattern here? But unlike Chan-wook Park, Dreyer just about pulls it off flawlessly, producing a truly eerie atmosphere of misty fields, isolated houses and shifting shadows.
The narrative follows a young student of the occult named Allan Grey (Baron Nicolas de Gunzburg AKA Julian West, who also helped finance the film) who becomes enmeshed in sinister goings-on surrounding an old man and his two daughters Gisèle and Léone who are tormented by a vampire named Marguerite Chopin and her servant. Yet the plot is only secondary (and in fact leaves a number of things unexplained) compared to the mesmerizing realm into which Dreyer draws his audience. Just in the opening moments, with Grey's arrival at his strange inn and the sight of an old ferry rider carrying a scythe, the film begins casting a spell through its imagery alone. The cinematography by Rudolph Maté seems to carve the shapes and figures out of pure ebony, and Dreyer, with a barrage of wallpaper patterns, silhouettes that move on their own and painting-inspired compositions, fashions a purely Gothic visual scheme (helped along by Rena Mandel's black dress-clad, heavily eyeshadowed Gisèle). The film's events are brilliantly accentuated by Wolfgang Zeller's ominous score.
While containing certain elements that anyone familiar with vampire movies should recognize, Vampyr certainly belongs in a class of its own, not a film so much as a strange, surreal fever dream bound to linger in viewers' minds.