17.11.1942, Queens / New York (City), USA
That Knocking at My Door (Who's That Knocking at My Door ?, 1965/68-USA)
Drama mit Harvey Keitel
Palme für Taxi Driver [Filmfestspiele Cannes
Scorsese: Mes plaisirs de cinéphile: textes, entretiens,
filmographie complète. Paris: Cahiers du cinéma, 1998
|Jim Sangster: Scorsese. London: Virgin Books, 2002
Scorsese is one of the most widely respected film directors of the last thirty years. GoodFellas, Raging Bull and The Last Temptation of Christ are titles familiar to us all. This extensive analysis discusses his influences, the controversy surrounding his films and includes exhaustive music lists and details of his long-time collaborators. Completely up to date, with details of Scorsese's new film, Gangs of New York, which stars Cameron Diaz and Leonardo DiCaprio. Illustrated, with eight pages of color film stills. > 296 p.;  plates. bibliog. index
|Georg Seeßlen: Martin Scorsese. Berlin: Bertz + Fischer, 2003 [Reihe film > Band 6]
Martin Scorsese ist der bedeutendste Regisseur des heutigen amerikanischen Films. Seit nunmehr dreißig Jahren dreht er sowohl künstlerisch wie kommerziell erfolgreiche Filme – darunter Meisterwerke wie TAXI DRIVER, WIE EIN WILDER STIER, GOODFELLAS, KAP DER ANGST, ZEIT DER UNSCHULD und zuletzt GANGS OF NEW YORK. Jetzt liegt endlich eine umfassende Würdigung seines Werks vor: Georg Seeßlen, einer der angesehensten deutschsprachigen Filmpublizisten, analysiert Scorseses Werk Film für Film. Dabei fahndet er nach wiederkehrenden Motiven, charakterisiert »den« Scorsese-Helden, verfolgt die Spur der oft blutigen Gewalttätigkeit und arbeitet doch immer die Eigenarten des jeweiligen Films – sei es CASINO oder KUNDUN – präzise heraus. In einem großen, werkübergreifenden Essay beschreibt er Scorseses einzigartige Filmsprache und versucht, seinen Platz in der Filmgeschichte zu bestimmen. Die insgesamt 1.063 Fotos und Bildsequenzen aus den Filmen ergänzen diesen fundierten Text auf anschauliche Weise. > 576 Seiten / 16 Seiten in Farbe, Hardcover
|Ian Christie, David Thompson [Hg.]: Scorsese on Scorsese. London: Faber & Faber, 2003
Now fully updated, Scorsese on Scorsese is the definitive study of America’s foremost film director, including new chapters on Kundun, Bringing Out the Dead, the documentary My Voyage to Italy, and the epic Gangs of New York. True to its title, this book offers Martin Scorsese in his own words: through a career-length interview in which he recalls his upbringing in New York’s Little Italy, and explains the inspiration and creation of his many great movies. The result is an incomparable insight into a body of work that is the most personal achievement in modern American cinema. Scorsese proves himself to be a terrifically articulate artist, whether recounting the many battles to get his movies made, his supreme passion for the medium of film itself, or the roots of his long-time creative partnership with actor Robert De Niro. Scorsese on Scorsese also contains a complete filmography, and a wealth of behind-the-scenes stills and sketches from Scorsese's own collection. > Paperback, 352 pages
|Ben Nyce: Scorsese Up Close: A Study of the Films. Lanham/Oxford: Scarecrow Press, 2004
Unlike other books on Martin Scorsese that favor the discussion of broad themes and plot summaries, Scorsese Up Close: A Study of the Films also looks at the cinematic text of the great director's films. With a scrutiny comparable to the detail Scorsese brings to the shooting and editing process, author Ben Nyce examines particular shots or sequences of shots in many of the director's works. By focusing on these key components, Nyce explains how the visual and aural elements of such scenes dramatize Scorsese's singular vision. Nyce first discusses several of the early works that established Scorsese as a filmmaker, beginning with a short student film, What's a Nice Girl Like You Doing in a Place Like This? Subsequent chapters focus on individual films in the Scorsese canon, including Mean Streets, The Last Temptation of Christ, The Age of Innocence, Bringing out the Dead, Taxi Driver, and Raging Bull. Nyce's close attention to the details within each of these films will satisfy fans and students alike, especially those who share a passion for Scorsese's artistry and an appreciation for the craft of his filmmaking. Illustrated with photos. > xvi, 176 p.; illus. notes. bibliog. index. * Filmmakers series (no.105)
|Maria T. Miliora: The Scorsese Psyche on Screen: Roots of Themes and Characters in the Films. Jefferson/London: McFarland, 2004
This study examines the life and work of acclaimed film director Martin Scorsese, showing that his films reflect his experiences growing up in a Sicilian-American-Catholic family in the tough neighborhood of New York’s Little Italy. The study links the personal Scorsese, his roots, and his ethical and religious attitudes. The work examines many films from Boxcar Bertha (1972) to Bringing out the Dead (1999), with special attention given to Gangs of New York (2002) as a vehicle for Scorsese’s return to his roots. The Last Temptation of Christ (1988) is analyzed as a template for the Scorsese opus. The study begins with a biography of Scorsese, and then describes his films from 1963 to 2002, providing plot summaries, themes, and characters. The body of the work analyzes films in terms of male sexuality, narcissism, violence, and the place of women in the director’s personal and cinematic world. In addition to showing how the themes of Scorsese’s films derive from his roots, the study offers psychological analyses of his focal characters. It provides a psychological basis for understanding the dialogue and actions of the characters in the context of their respective film stories. The study shows that Scorsese’s films express the values that define his worldview, which include his attitudes about masculinity, aggression, and violence. > ix, 211 p.; illus. filmog. notes. bibliog. index.
|Mary Pat Kelly: Martin Scorsese: A Journey. [?]: Da Capo Press, 2004 > 3rd Edition
Scorsese's life and work are presented through interviews with the director as well as more than twenty major celebrity figures, providing a rare look at the process and inspiration behind the films of America's premier director. Martin Scorsese: A Journey features exclusive movie stills and on-location photographs and interviews with more than twenty major film stars, including forewords by Steven Spielberg and Michael Powell. The author provides the reader with insights into Scorsese's imagination and influences, and his relationships with his family and colleagues. This updated edition also explores such directorial works as Kundun, Bringing Out the Dead, and the much-talked-about Gangs of New York. An updated chronology, filmography, and index are included. > 322 pages
|Paul Duncan: Martin Scorsese. Harpenden: Pocket Essentials, 2004 > Pocket Essential series
Scorsese examines what men do when they are in conflict with themselves. Taxi Driver Travis Bickle is disgusted by the mean streets and wants to wash them clean. After all, what was the point of him going to Vietnam if it wasn't to make things better? Self-destructive Jake La Motta unleashes the Raging Bull within him both inside and outside the boxing ring. Wiseguy Henry Hill thinks that he can be one of the GoodFellas, but he eventually realises that there is nothing good or wise about a life of organised crime. There is more to Scorsese's work than crime and violence. His characters are trying to attain some kind of spiritual peace with society, their family and themselves. In the end they try to make a decision they can live with. In Kundun, the Dalai Lama leaves Tibet. In The Last Temptation Of Christ, Jesus forgoes a normal family life to fulfil his destiny. In The Age Of Innocence, Newland Archer decides to be a hypocrite within society rather than truthful outside of it. In Mean Streets, Charlie must choose whether to keep his volatile friend Johnny Boy and his epileptic lover, or to propel himself up the ladder of success. Hailed as America's greatest living film director, Martin Scorsese is an innovative storyteller at the height of his intellectual and emotional powers. This Pocket Essential examines his life and work. > 156 p.; bibliog.
|Paul A. Woods [Hg.]: Scorsese: A Journey through the American Psyche. London: Plexus, 2005 > Ultrascreen Series
Martin Scorsese: A Journey Through The American Psyche collects the best articles, interviews and reviews in one unique anthology to reveal Scorsese as an unrivalled storyteller and visual stylist, who has consistently tackled controversial material, exploring alienation, crime and the war-path of the urban male ego. First stunning audiences with Mean Streets, starring Robert de Niro, their further collaborations produced classics including Taxi Driver, Raging Bull, Goodfellas, and Casino. While best known for these, Scorsese has made a huge variety of films, and this anthology covers every single one, providing a thorough assessment of one of modern cinema’s masters. ‘Ultrascreen’ film series. > 288 p.; illus. filmog.
|Robert Casillo: Gangster Priest: The Italian American Cinema of Martin Scorsese. Toronto/Buffalo/London: University of Toronto Press, 2006
Widely acclaimed as America's greatest living film director, Martin Scorsese is also, some argue, the pre-eminent Italian American artist. Although he has treated various subjects in over three decades, his most sustained filmmaking and the core of his achievement consists of five films on Italian American subjects - Who's That Knocking at My Door?, Mean Streets, Raging Bull, GoodFellas, and Casino - as well as the documentary Italianamerican. In Gangster Priest Robert Casillo examines these films in the context of the society, religion, culture, and history of Southern Italy, from which the majority of Italian Americans, including Scorsese, derive. Casillo argues that these films cannot be fully appreciated either thematically or formally without understanding the various facets of Italian American ethnicity, as well as the nature of Italian American cinema and the difficulties facing assimilating third-generation artists. Forming a unified whole, Scorsese's Italian American films offer what Casillo views as a prolonged meditation on the immigrant experience, the relationship between Italian America and Southern Italy, the conflicts between the ethnic generations, and the formation and development of Italian American ethnicity (and thus identity) on American soil through the generations. Raised as a Catholic and deeply imbued with Catholic values, Scorsese also deals with certain forms of Southern Italian vernacular religion, which have left their imprint not only on Scorsese himself but also on the spiritually tormented characters of his Italian American films. Casillo also shows how Scorsese interrogates the Southern Italian code of masculine honour in his exploration of the Italian American underworld or Mafia, and through his implicitly Catholic optic, discloses its thoroughgoing and longstanding opposition to Christianity. Bringing a wealth of scholarship and insight into Scorsese's work, Casillo's study will captivate readers interested in the director's magisterial artistry, the rich social history of Southern Italy, Italian American ethnicity, and the sociology and history of the Mafia in both Sicily and the United States. > 590 pages
|Mark T. Conard [Hg.]: The Philosophy of Martin Scorsese. Lexington: The University Press of Kentucky, 2007
In The Philosophy of Martin Scorsese, an impressive cast of contributors explores the complex themes and philosophical underpinnings of Martin Scorsese's films. One of the most significant filmmakers in the history of American cinema, Scorsese is the creative force behind films such as GoodFellas, Taxi Driver, The Last Temptation of Christ, The Aviator, and The Age of Innocence. The contributing authors use Scorsese's films as vehicles for exploration of philosophical concepts such as friendship and egoism, vigilantism, libertarianism, Buddhist ethics, desire and self-restraint, madness, the criminal mind, beatitude and unhappiness, and the absurd. > 256 p.; notes. index.
|Roberto Lasagna: Martin Scorsese. Roma: Gremese Editore, 2007
Analizzando tutta la produzione del regista statunitense (dai primi cortometraggi a Taxi Driver, da Toro scatenato al più recente trionfo con Gangs of New York), il volume ne evidenzia l’intima coerenza di fondo e i temi ricorrenti da oltre trent’anni. Per ogni pellicola, vengono proposti accurati approfondimenti critici e appropriati contributi fotografici. Grazie anche al supporto di una dettagliata filmografia e di puntuali riferimenti bibliografici, il libro rappresenta la più completa escursione nell’opera di un grande protagonista del “New American Cinema”. L’Autore è saggista e critico cinematografico (per riviste specializzate quali «Panoramiche» e «Duel») e ha pubblicato studi e monografie per diverse case editrici > 144 pagine con 100 foto in b/n
|Serafino Murri: Martin Scorsese. Milano: Il Castoro, 2007
Nasce a Flushing, N.Y., nel 1942. Un occhio al cinema europeo e l'altro alla produzione indipendente americana. Tra i suoi capolavori: Taxi driver (1976), Toro scatenato (1980), Quei bravi ragazzi (1990), L'età dell'innocenza (1993), The Departed - Il bene e il male (2006) > 200 pagine
|Roger Ebert: Scorsese by Ebert. Chicago/London: University of Chicago Press, 2008
Roger Ebert wrote the first film review that director Martin Scorsese ever received — for 1967’s I Call First, later renamed Who’s That Knocking at My Door — creating a lasting bond that made him one of Scorsese’s most appreciative and perceptive commentators. Scorsese by Ebert offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director, chronicling every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary Shine a Light. In the course of eleven interviews done over almost forty years, the book also includes Scorsese’s own insights on both his accomplishments and disappointments. Ebert has also written and included six new reconsiderations of the director’s less commented upon films, as well as a substantial introduction that provides a framework for understanding both Scorsese and his profound impact on American cinema. > xvi, 299 p.; index.
|Vincent LoBrutto: Martin Scorsese: A Biography. Westport: Praeger Publishers, 2008
Martin Scorsese's current position in the international film community is unrivaled, and his name has become synonymous with the highest standards of filmmaking excellence. He is widely considered America's best living film director, and his Taxi Driver and Raging Bull appear frequently on worldwide surveys of the best films of all time. Here, in the first biographical account of this artist's life, Vincent LoBrutto traces Scorsese's Italian-American heritage, his strict Catholic upbringing, the continuing role of religion in his life and art, his obsessive love of cinema history, and the powerful impact that the streets of New York City had on his personal life and his professional career. Meanwhile, the filmmaker's humble, soft-spoken public persona tells only part of the story, and LoBrutto will delve into the other side of a complex and often tortured personality. Scorsese's intense passion, his private relationships, his stormy marriages, and his battles with drugs and depression are all chronicled here, and, in many cases, for the first time. In addition, the book includes an interview with the director, as well as filmographies cataloging his work as a director, producer, actor, and presenter. As his Best Director award at the 2007 Oscars clearly demonstrated, Scorsese has become something like Hollywood royalty in recent years, finally enjoying the insider status and favor that eluded him for most of his career. But these recent developments aside, Scorsese is also notable as a distinctly American type of artist, one whose work-created in a medium largely controlled by commercialism and marketing-has always been unmistakably his own, and who thus remains a touchstone of artistic integrity in American cinema. In Martin Scorsese: A Biography, readers can examine not only the work of one of the form's genuine artists, but also the forces that have propelled the man behind it. > 464 pages
|Ellis Cashmore: Martin Scorsese's America. Cambridge/Malden, MA.: Polity Press, 2009
For over four decades, Martin Scorsese has been the chronicler of an obsessive society, where material possessions and physical comfort are valued, where the pursuit of individual improvement is rewarded and where male prerogative is respected and preserved. Scorsese has often described his films as sociology and he has a point: his storytelling condenses complex information into comprehensible narratives about society. In this sense, he has been a guide through a dark world of nineteenth century crypto-fascism to a fetishistic twentieth century in which goods, fame, money and power are held to have magical power. Author of Tyson: Nurture of the Beast and Beckham, Ellis Cashmore turns his attention to arguably the most influential living film-maker to explore how Scorsese envisions America. Greed, manhood, the city and romantic love feature on Scorsese's landscape of secular materialism. They are among the themes Cashmore argues have driven and inform Scorsese's work. This is America, as seen through the eyes of Martin Scorsese and it is a deeply unpleasant place. Cashmore's book discloses how, collectively, Scorsese's films present an image of America. It's an image assembled from the perspectives of obsessive people, whether burned-out paramedics, compulsive entrepreneurs, tortured lovers, or celebrity-fixated comedians. It's collected from pool halls, taxicabs, boxing rings and jazz clubs. It's an image that's specific, yet ubiquitous. It is Martin Scorsese's America. > 304 p.; illus. filmog. bibliog. index.
|Annette Wernblad: The Passion of Martin Scorsese: A Critical Study of the Films. Jefferson, NC/London: McFarland, 2011
From his earliest shorts to his recent feature ﬁlms The Departed and Shutter Island, this book offers an in-depth analysis of the deepest archetypal themes, symbols, and structures in Martin Scorsese’s entire body of work. It examines each of Scorsese’s ﬁlms as a mythological journey through which the main character is offered an opportunity for psychological and spiritual enlightenment, focusing especially on how each character is led to recognize, accept, and embrace his or her ﬂawed traits. The book also explores the ways in which Scorsese’s ﬁlms incite extreme reactions and strike deep chords within his viewers, particularly by speaking the language of the unconscious and forcing readers to examine their own hidden ﬂaws. > x, 257 p.; illus. filmog. notes. bibliog. index.
|Richard Schickel: Conversations with Scorsese. New York: Alfred A. Knopf, 2011
Mean Streets, Taxi Driver, Raging Bull, The Last Temptation of Christ, Kundun, The Departed, The Aviator, Shutter Island: these are just a few of the critically acclaimed films, startling experimental works, and spectacular commercial blockbusters with which Martin Scorsese has forever enriched American cinema. Here is a rare and wonderfully insightful chance to experience all of these films, and the history and process of moviemaking in general, through the words and wit of the master director. Richard Schickel’s canny and intelligent interviews guide us through Scorsese’s life and work, from the child who escaped the realities of Little Italy in the 1950s through movies to the man whose increasingly encyclopedic knowledge of film shaped his ambitions and art. Scorsese reveals which films are most autobiographical and which have been forays into unknown territory in content or aesthetics. He talks about his lesser-known movies, those already considered classics, his documentaries, and his influences. He explains his personal style, the close attention he pays to detail, and his attraction to genre films. And he discusses what being a lifelong student of film has taught him about acting, directing, music, and camerawork, among many other topics. The result is a vivid, immensely enlightening history of modern Hollywood seen through the eyes of one intrepid filmmaker. We see audiences’ expectations tested by what Scorsese was willing to put on the screen in explorations of prostitution, institutionalized violence, and religion. We see the unavoidable frustrations and exhilarating rewards of filming live concerts for The Band and at Woodstock. And we see many of the rewarding artistic and personal relationships of Scorsese’s career, including collaborations with Robert De Niro, Harvey Keitel, Jack Nicholson, and Leonardo DiCaprio. An invaluable appreciation of one of our most admired film directors. > xiv, 423 p.; illus. filmog. index.
|home © midas 12/2022


Fable has spent four long years on a trading island; dredging the treacherous waters and plotting her escape. Since her father abandoned her the night after her mother’s tragic death, Fable has thought of little besides how she plans to get back to him. He made her a promise and she plans to hold him to it. When offered a chance at passage off the island, Fable joins a rag-tag crew of traders by concealing her relation to one of the most powerful men on The Narrows. But this crew has secrets of their own. And when faced with an opportunity that could change all their lives, Fable must decide of her loyalties lie with her newly found family on the sea, or the man that once promised her the world.


Ferber wrote short stories, plays and novels which were adapting into sizzling, popular movies. “Giant” was adapted as a blockbuster Hollywood movie in 1956 starred Elizabeth Taylor, Rock Hudson, and James Dean. “So Big” earned her a Pulitzer Prize and was a movie in 1932 starring Barbara Stanwyck, George Brent and Bette Davis. Ferber never married, had children, or revealed any romantic relationships. As one of her characters states in her early novel ‘Dawn O’Hara’: “Being an old maid was a great deal like death by drowning — a really delightful sensation when you ceased struggling.” Enjoy!


|Productions||Ensemble||Back Stage||About Us||Support Us||Education||Blog||Contact Us|
Our dedication to excellence on stage extends beyond our productions. In 2008 we created The Company Theatre Award of Excellence and presented it to Gordon Pinsent celebrating his dedication to taking risks throughout his career. We welcomed over 150 leaders in the business, entertainment, and arts communities to our inaugural event. Co-hosts Seamus O’Reagan (Correspondant, CTV National News) and Allan Hawco (Co-Artistic Director, The Company Theatre) led the celebration of Mr. Pinsent’s accomplishments, in grand style, at the Windsor Arms Hotel. Now the award lives on in his name.
Past Award Winners:
2008 Gordon Pinsent
2009 Eric Peterson
2010 Jayne Eastwood
|The National Post|
"He's Really Acting!"
As Eric Peterson receives an award named for Gordon Pincent, the two thespians discuss getting older, getting better, and their mutual admiration.
Jayne Eastwood got her start in performing after being cast in the cult Canadian film Going Down the Road. Jayne continued to make a name for herself in the theatre scene in Toronto, and became one of the founding members of The Second City Toronto. Jayne stayed in Toronto, got married and continued to work steadily while raising three children. She appeared on King of Kensington, Funny Farm, and Bizarre.
In 1997 Jayne joined the ensemble cast of Riverdale on CBC. Throughout the same period she filmed two seasons of Noddy and Friends (PBS/TVO) playing the larger than life Aunt Agatha for which she won a Gemini Award. Jayne was last seen in the feature films Chicago, Hairspray and My Big Fat Greek Wedding. As well she has been in many movies of the week on ABC, CBS, and NBC with stars like Paul Newman, Bette Midler and Tim Allen. Recently, she was a regular on the hit series This Is Wonderland.


Ellison won the Prometheus Hall of Fame Award in 2015 for his short story, “‘Repent, Harlequin!’ Said the Ticktockman.” He made a gracious video to thank us.
Robert Downey Jr., who portrays Tony Stark/Iron Man, at San Diego Comic Con International in 2014. (Creative Commons photo by Gage Skidmore).
By William H. Stoddard
The films that make up the Marvel Cinematic Universe are an unusual, and possibly unique artistic project: a cinematic series set in a shared fictional universe, one that develops from film to film, with later films referring to earlier. Of course there have been trilogies and other series of films, but this design not only is at a greater length, but has multiple branches following different groups of characters. There’s a main storyline that began with The Avengers and progressed through Captain America: The Winter Soldier, The Avengers: Age of Ultron, Captain America: Civil War, and The Black Panther, but other films have told different types of stories: a mock epic in Guardians of the Galaxy, a caper film in Ant-Man, and a story of supernatural initiation in Doctor Strange, for example.
The latest film, The Avengers: The Infinity War, attempts to bring these all together into a climactic story—or at least, the first half of one; it ends with a cliffhanger. I went into the theater not sure this film would be worth seeing, and I can see some flaws in it, largely reflecting the vast differences in tone among the earlier films; but the overall result was impressive and moving. And I think this largely reflects the central role of theme in the script.
Continue reading Review: Avengers: Infinity War
J. Neil Schulman
By Eric Raymond
The Fractal Man (written by J.Neil Schulman, now available on Amazon) is a very, very funny book – if you share enough subcultural history with the author to get the in-jokes.
If you don’t – and in particular if you never met Samuel Edward Konkin – the man known as known as “SEKIII” to a generation of libertarians and SF fans before his tragically early death in 2004 – it will still be a whirligig of a cross-timeline edisonade, but some bits might leave you wondering how the author invented such improbabilities. But I knew SEKIII, and if there was ever a man who could make light of having a 50MT nuclear warhead stashed for safekeeping in his apartment, it was him.
Continue reading Review: The Fractal Man by J. Neil Schulman


The documentary film “Positive Women: Exposing Injustice” will be screened at our 2012 Annual General Meeting and a panel discussion will follow.
Panellists include a woman who appeared in the film and one of the film’s producers (www.positivewomenthemovie.org).
Everyone is welcome! Our Annual General Meeting and film screening will take place on Thursday September 27, 2012, in the Main Floor Meeting Room, 490 Sherbourne Street, Toronto (just north of Wellesley Street East). Light refreshments will be served at 6:30 p.m. and the meeting will start at 7:00 p.m
For more information, please see our Annual General Meeting notice: www.halco.org/wp-content/uploads/2012/08/HALCO-2012-Annual_General_Meeting-2012Sept27.pdf


Korean Drama Sypnosis: Jang Ok Jung, Living by Love
Drama series follows the turbulent life of Jang Ok Jung, who is also known as Lady Jang Hui-Bin one of the most famous royal concubines in the Joseon Dynasty. She began her career as a court lady who stitched clothing as a fashion designer of her time.
- “Jang Ok Jung, Live for Love” takes over the SBS Monday & Tuesday 21:55 time slot previously occupied by “King of Ambition” and will be replaced by “Golden Empire” July, 2013.
- Based on the novel “Jang Ok Jung, Live for Love” by Choi Jung-Mi (published December 5, 2008 by Eureka M&B).
- Filming began in early March, 2013 at the Hwaseong Haenggung Palace in Suwon, South Korea. First scene filmed involved actor Chae Sang-Woo as King Sookjong, jumping over a wall and out of the royal palace.
|Kim Tae-Hee||Yoo Ah-In||Hong Soo-Hyun||Jae Hee||Lee Sang-Yeob|
|Jang Ok-Jung||King Sookjong||Queen Inhyun||Hyun Chi-Soo||Prince Dongpyung|
|Han Seung-Yeon||Sung Dong-Il||Kim Sun-Kyung||Lee Hyo-Chun||Lee Dong-Shin|
|Sookbin Choi||Jang Hyun||Queen Myungsung||Queen Jo||Kim Man-Ki|
|Bae Jin-Sub||Ah Young|
|Hyun Moo||Princess Myungan|
Additional Cast Members:
- Lee Hyo-Jeong - Min Yoo-Joong
- Kim Seo-Ra - Ok-Jung’s mother
- Ko Young-Bin - Jang Hee-Jae
- Kim Ha-Eun - Queen Inkyung
- Yun Yu-Seon - Madam Kang
- Jang Yeong-Nam - Court Lady Cheon
- Ji Yoo - Ja-Kyung
- Choi Sang-Hun - Jo Sa-Seok
- Lee Hyeong-Cheol - Prince Boksun
- Lee Gun-Joo - Eunuch Yang
- Kim Ga-Eun - Hyang-Yi
- Chae Sang-Woo - King Sookjong (teen)
- Kang Min-Ah - Jang Ok-Jung (teen)
(Credit to AsianWiki.com)


Never underestimate Millie Bobby Brown or Enola Holmes. The Enola Holmes star reprises her feminist role as the younger sister of famed detective Sherlock Holmes (Henry Cavill) and the daughter of Eudoria (Helena Bonham Carter) in the upcoming sequel Enola Holmes 2. Millie was on hand during Netflix’s TUDUM event to reveal the very first trailer, which is full of fun, mystery, and more.
In the way of background, Enola Holmes, (which marked Millie’s debut as a lead in a feature film) hit streaming giant Netflix in the very middle of the worldwide COVID-19 pandemic on September 23, 2020. Within days, it raced to the top of Netflix’s most popularly streamed titles. Thus, a sequel was quickly ordered.
In between filming Stranger Things seasons, Millie went to work on Enola Holmes 2. From the cast to the first teaser to the release date, HollywoodLife has all the latest updates on the Enola Holmes sequel.
Enola Holmes 2 Release Date
Luckily, fans of the original adaption won’t have to wait long to see Millie in the career making-role again. Enola Holmes 2 will debut on November 4, 2022, just ahead of the holiday season (and the weekend, for those who like to snuggle in for a good movie after a hard work week.)
Enola Holmes 2 First Trailer
The first trailer was released on September 24, 2022, during Netflix’s TUDUM event. The footage revealed that Enola has started her own detective agency, but she’s having trouble getting clients. When a young girl needs help looking for her missing sister, Enola quickly hops on the case.
Enola springs into action as she looks for clues. She goes to great lengths to get the answers she needs. “You can’t control Enola Holmes. She’s a force of nature,” Edith says. After a bit of a tussle, Enola and Sherlock realize they’re both working the same case.
Returning Cast & Crew
Fans of another Netflix favorite, The Witcher, will be pleased to hear that Henry Cavill is back as the fledgling detective’s brother, and Helena Bonham-Carter will return as Enola’s mother. Also confirmed to return is Louis Partridge as Tewkesbury. Other cast members include Sharon Duncan-Brewster, David Thewlis, Susan Wokoma, Adeel Akhtar, and more. Harry Bradbeer will return as the director.
One notable cast member who will not be returning is Sam Claflin. Sam played Enola’s other older brother, Mycroft. There were likely scheduling issues with Sam and Enola Holmes 2 since Sam was cast as the lead in Prime Video’s Daisy Jones and the Six series.
“We set the film in the hustle and bustle of London, which is something that we didn’t really get to see as much in the first one,” Millie said of the film, per EW. “We got to really see what this young girl is doing in this crazy city that surrounds her night and day, and we get to explore these places in great detail.”
“I wanted this story to be a grittier one,” Harry added. “I wanted to introduce her to working-class girls in a working-class world. I wanted it to be a completely new world for Enola, so she was more out of her depth.”
The film was written by screenwriter Jack Thorne, who also wrote the first Enola Holmes, so while the elements are fresh (and more gritty,) fans can expect a streamlined tone and, of course, visual appeal.
Enola Holmes 2 Plot
While the fastidious, and incredibly intelligent, then-16-year-old went on an epic search for her mother in the first film (an adaption of the first book in the series by Nancy Springer,) the second film has the maturing young woman branching out into a professional capacity.
The official synopsis for Enola Holmes 2 is: “Fresh off the triumph of solving her first case, Enola Holmes follows in the footsteps of her famous brother, Sherlock (Henry Cavill), and opens her own agency — only to find that life as a female detective-for-hire isn’t as easy as it seems. Resigned to accepting the cold realities of adulthood, she is about to close shop when a penniless matchstick girl offers Enola her first official job: to find her missing sister. But this case proves to be far more puzzling than expected, as Enola is thrown into a dangerous new world — from London’s sinister factories and colorful music halls, to the highest echelons of society and 221B Baker Street itself. As the sparks of a deadly conspiracy ignite, Enola must call upon the help of friends — and Sherlock himself — to unravel her mystery. The game, it seems, has found its feet again!”
Millie Bobby Brown’s Performance
In the title role, Millie has already proven to be the perfect pick for the precious character. And director Harry says the solitary character (Enola is “alone” spelled backward) is evolving along with the actress. “She understands an adult story, but she also understands the instincts of a younger person, so all those things are vital,” Bradbeer said, according to EW. “She’s very trusting of us as we put the story together, and she gives input as each draft comes along. That’s the most important thing: She has a tremendous instinct for who Enola is.”


“Philadelphia” takes Abbi and Ilana out of their usual New York City environment as they go on a nostalgic adventure in Pennsylvania. While visiting Abbi’s dad (played by an endearing Tony Danza), the duo must confront physical and emotional memories and see how well they fit in back in Abbi’s hometown. Needless to say, things get awkward pretty quickly.
Given New York City’s notoriously high rent, it makes sense to wonder how Abbi and Ilana even manage to afford their apartments in Broad City. “Rat Pack,” the fourth episode of Season 3, plays with the contrast between the women’s love of nice things (food, men, homes) and their readiness to sink or rise to extremes given the reality of their less-than-ideal circumstances. They respond to questionable circumstances with clever logic that, though it leads to an entertaining evening of cat and mouse, doesn’t exactly improve those circumstances.
New and old, YouTube and MTV collide in “Game Over,” the third episode of Broad City’s third season. The episode looks at overlaps between Abbi and Ilana’s personal and professional talents and troubles. As Ilana faces new responsibilities and the threat of termination from her job at Deals Deals Deals, Abbi fears a team-building day at Soulstice where her aggression is bound to take over. The characters here consider how to figure out where to draw the line and to recognize once you’ve crossed it.
Broad City continues its take on the New York 20-something life with “Co-Op,” an episode that explores concepts of maturity and identity in relation to food and sex. With Ilana off to an important doctor’s appointment, Abbi agrees to stand in for her at the food co-op where she owes six hours of service by the end of the day. At the start of the episode, Abbi seems to be on surer footing than Ilana, who has slacked off instead of doing her co-op shifts and whose outrageous clothing, language, and overall persona seem like a fun impersonation challenge for Abbi. By the episode’s end, however, it’s clear that playing Ilana, and then choosing to taking advantage of a romantic opportunity the experience provides, allows Abbi to fall into a trap of dishonesty. She’s hardly in the clear on the morality scale here. That becomes a theme throughout the plot: both women try to do their best to do what seemsright, and in doing so they miss the mark—the mess multiplies.
Broad City is nothing if not self-aware, often at the expense of its hilariously oblivious main characters. The third season starts off on a strong note by playing up the contrast between Abbi and Ilana, the 20-something best friends whose adventures in NYC make up the plot of the show, and Abbi Jacobson and Ilana Glazer, the dynamic duo of writers, creators, and stars who also serve as executive producers alongside comedy veteran Amy Poehler. Jacobson and Glazer demonstrate in this premiere their by-now-familiar mastery of comedic timing, topical dialogue, and the relationship between the irreverent and the relevant. After a long hiatus, the wit and wonder with which the writers imbue their characters comes as a welcome breath of stinky New York air—and it should bring just as much comfort and laughter as hoped to an audience of millennials stuck in a proverbial rut.
In The Big Short, everyone is sold short. No one wins and there’s no real protagonist, as we’re reminded to root more for an entire populace than any individual character. Based on Michael Lewis’ book The Big Short: Inside the Doomsday Machine, the movie shows that, when it comes to the housing bubble that burst in 2008, we all lost. Adam McKay’s comedy-drama focuses on what it meant to see the crisis coming. What it meant, that is, for an audience already aware that the crisis wasn’t averted.
Peggy Guggenheim comes across, in Lisa Immordino Vreeland’s new documentary Peggy Guggenheim: Art Addict, more as an art enthusiast than an art expert. This is, in fact, one of the most appealing aspects of the film – the sense of discovery that we enjoy along with the subject, even though it also ensures that the content stays largely above the surface of Peggy’s historical context. Peggy initially embraced modern art due to her own curiosity in the community it involved. No artist, she inserted herself into the art world partially as a way to latch onto and then sell what she chose as her ideas and values. She became a collector because she could and wanted to; the privilege of being born a Guggenheim allowed her to entrench herself fully in her chosen hobby-turned-career, even as she struggled with a sense of alienation within the family after her promiscuous father’s death on the Titanic.
Finders Keepers balances the rollicking humor of its subject matter with a surprising level of compassion. The documentary stems from a viral news story that seems like fodder for a horror movie or niche reality TV show, and directors Bryan Carberry and J. Clay Tweel don’t shy away from the weirdness as they lay out the basic plot. As we see in the film, Shannon Whisnant, an experienced bargain hunter, purchases a grill at an auction in 2007 and later discovers an amputated human foot inside. The foot’s original owner, John Wood, wants the embalmed limb back. The ensuing battle is as sad as it is bizarre, with commentary from the two men along with their families providing enough emotional context to ground the documentary in reality.
Although Homme Less functions as a documentary, the experience of watching the film feels more like tuning in to a voyeuristic reality TV special about a has-been star. Mark Reay’s nomadic, exciting way of living lends itself well to Thomas Wirthensohn’s cinematic exploration of what it means for a creatively inclined, staunchly independent person to call New York home. Deeply entertaining and frank, the film never compels viewers to pity Reay, who revels in offering us a tour of his scrappy, persistent existence. Reay’s sense of pride pervades the film in a way that underscores the difference between the actual content of the film and what its title might suggest. This film definitely isn’t Homeless, and what forms the core of the film is Reay’s self-confidence, rather than any social or political commentary on homelessness in New York.
Episode 11 creates opportunities for escape and confrontation. From Angie (Julie Lake) capitalizing on a clerical error to Healy (Michael J. Harney) ousting Berdie (Marsha Stephanie Blake) from her stint as a counselor, we see both inmates and officers toiling with the paths they’re on and, in many cases, turning in a new direction. Caputo (Nick Sandow) features prominently in flashbacks that detail how he ended up in his not-so-glamorous role at Litchfield. He wrestles with the idea that he may relate more to the guards’ push for unionization than to MCC’s hands-off, profit-based approach to prison management, and how standing up for the guards might mean becoming a more confrontational person.
When we first met Leanne (Emma Myles) in Season 1, she was a follower of Pennsatucky (Taryn Manning)—and a follower in general. Her willingness to subscribe to a belief system and to admire a leader isn’t new. In Episode 9 of Season 3, our exploration of Leanne’s back story delves deeper into the life of a familiar character, one whose behavior related to the dogma surrounding Norma (Annie Golden) might otherwise seem less justifiably bad.
Taylor Schilling plays Emily in Patrick Brice’s film The Overnight, also featuring Adam Scott, Jason Schwartzman, and Judith Godrèche. Last week, Cut Print Film had the chance to speak with Taylor about the accessibility and immediacy of the movie, Piper’s embrace of power in Season 3 of Orange Is the New Black, and what it means to believe in yourself.
Sometimes the people who say the least hold the most power. In Season 3, Episode 7, we’re blessed with an increased understanding of what it means to believe in something—and how a believer can become someone revered. Norma (Annie Golden) is featured heavily here, and it’s a welcome exploration of another character we, and the other inmates, always see but seldom (and never literally) hear.
The fifth episode of Season 3 provides a compelling reminder of the relative, transient nature of home. While Flaca (Jackie Cruz) jumps at the chance to leave her comfortable position in Gloria’s (Selenis Mendoza) kitchen, Red (Kate Mulgrew) yearns for a return there at any cost. Red needs a sense of the familiar in order to feel powerful and to find a purpose now that she’s estranged from her husband and sons. Flaca, on the other hand, needs more than the comfort of her kitchen family and believes her ambition sets her apart from her friends. Even in prison, the idea of sticking to a situation just because things are “gelling” seems awfully simpleminded. She’s determined to find something better, to stave off the assumption that she should just go with the flow. “When I wear that apron in the kitchen,” she explains to Maritza (Diane Guerrero), “I’m really wearing it ironically.”
Since Season 1 of OITNB, Nicky Nichols (Natasha Lyonne) has been an intriguingly hardened yet sympathetic character. Using sarcasm as a constant defense mechanism, she puts up so many barriers that it might be easy to dismiss the character as a drug-dealing trope off of whom other characters bounce their troubles. What makes Nicky a more sustainable character than that is her honesty. She tells everything like it is, at least concerning others. She’s fiercely loyal to mother figure Red (Kate Mulgrew) and provides a serious level of support for Lorna (Yael Stone).
Patrick Brice’s The Overnight better resembles a journey than a romp—evidence of the director’s respect for the story he tells. Instead of simply catering to our curiosities as the predictably unpredictable night unfolds, the film compels the audience to take a step back and look through a few different lenses, avoiding the oversimplification of its hyped-up storyline. Brice’s evident ambitions remain humble, and the film never suggests it’s trying to comment too broadly on anything aside from the characters and plots it features. The story is extremely well paced as a result of being deliberately contained to this one shared experience, without excess exposition to drag things out.
The premiere of Orange Is the New Black’s third season doesn’t waste any time with exposition. The show assumes you’ve already spent over twenty hours in rapt attention and, as such, caters to those already interested in its ensemble of characters. Even if you don’t remember what happened at the end of Season 2, you’ll appreciate this introduction best if you have some stake in the major relationships and storylines at play. That’s partially because the players shaking things up in last year’s main climax—like Vee (Lorraine Toussaint) and Rosa (Barbara Rosenblat)—have left behind a group of familiar faces in the regulars who have no way out.
Orange Is the New Black’s highly-anticipated third season launches on Netflix on June 12. I’ll be reviewing the entire season here at CutPrintFilm in the coming weeks, and I’m lucky enough to have seen the first six episodes already. You are in for a ride, as these episodes contain the stark humanity, dry humor, and bits of the bizarre we’ve come to expect from the show, many seeming even more tightly woven by theme and emotional content.


A graduate of the Curtis Institute of Music and New England Conservatory, his teachers have included Orlando Cole, Peter Wiley, Paul Katz, and Madeleine Golz at Manhattan School of Music Precollege. He was a member of the Bowers Program (formerly CMS Two) and has also been in residence at Carnegie Hall as a member of Ensemble Connect.
Filmmaking and acting are special interests of Mr. Canellakis. He has produced, directed, and starred in several short films and music videos, including his popular comedy web series “Conversations with Nick Canellakis.” His latest film, “Thin Walls,” has been nominated for awards at many prominent film festivals. His films and videos can be found on his website at nicholascanellakis.com.


License Concept - Resident Evil : Retribution - Exclusive HD Theatrical Trailer
License concepts are exclusively edited HD trailers exemplifying the use of our music in context for marketing and promotional purposes.
Exclusive theatrical trailer for the 2012 action-horror feature Resident Evil: Retribution, directed by Paul W. S. Anderson and starring Milla Jovovich, Sienna Guillory, Michelle Rodriguez, Oded Fehr, and Boris Kodjoe. In Resident Evil: Retribution, Alice fights alongside a resistance movement in an epic struggle against the insidious Umbrella Corporation, and the legion of zombies their experiments have unleashed upon the world.
Music for this exclusive trailer has been specially composed by for marketing and promotional purposes. 'Final Retribution' and other music cues are now available for non-exclusive licensing now. Please visit the contact page for more information.


Jan 16, 2016 4:51 pm● Last Update: Jan 16, 2016 4:51 pm●3 minutes to read
A trailer has been released for a Harry Potter fan film that follows the adventures of Harry’s parents before he was born.
Following a successful Kickstarter campaign, Broad Strokes have launched a teaser trailer for their film Severus Snape and The Marauders.
The synopsis will excite Harry Potter fans all over:
Set in 1978 just after Harry Potter’s father James graduates from Hogwarts, he and his friends Sirius Black, Remus Lupin and Peter Pettigrew celebrate at a bar, contemplating their place in a war they are to soon become a part of. When Severus Snape enters the same bar, James Potter decides to do something about Snape once and for all.
The film stars Mick Ignis, Dani Jae, Garrett Schweighauser, Kevin Allen, Paul Stanko, and Zachary David and was directed by Justin Zagri, Keep your eye on their YouTube page for more.


PULL - SHORT FILM
WAWWA - 1+1 AD CAMPAIGN
I recently had the pleasure of creating the music and sound for WAWWA's 1+1 ad campaign. To date, WAWWA Clothing have donated over 4000 hats to the homeless via their 1+1 range.
BLOW BY BLOW - SHORT FILM
DYSTOPIA FALLS - THEATRE PRODUCTION
A theatre production that explores female sexuality and how diverse it can be with a look into women of all forms and why you can't define or pigeon hole femininity. A story of a woman in search of her truth, kicking down societal norms, the expectations of women and facing her demons of self-image and exploring the body as a sexual and non-sexual temple. A dark and sensual piece of dance and circus theatre that tells a compelling story about women and how other worldly we truly are.
THE WAR INSIDE - SHORT FILM
"The War Inside" - A WW2 short focusing on one soldier as he gets separated from his squad and is forced to reevaluate his stance on war.
KNOWN VOICES - SHORT FILM
Known Voices follows the story of Katie as she struggles to come to terms with her mothers death...but is everything as it seems...
"If only our parents warned us, it's not only the bogeyman that hides in the dark..."
ACHERON - SHORT FILM
The Acheron Club, an underground fighting tournament with a brutal reputation. It is seen as the last chance for many, but before a young fighter can make his way to the top he must discover what brought him there in the first place.
GUIN AND THE DRAGON - TV SHORT FILM
Guin has just moved to a new council estate, but because she doesn't have a bike, she has yet to be accepted into the local gang of children. Instead she spends her time reading about King Arthur and the legends of the Round Table, imagining wonderful worlds of bold knights, heroic deeds and mysterious castles. However, when the gang leader Arthur is apparently kidnapped by a local resident the children call the Dragon Lady, Guin is the only one brave enough to answer the call.
She embarks on an epic adventure to rescue him and along the way faces her greatest fears both real and imaginary. But can she escape the clutches of the ogre-like caretaker? What has happened to Arthur? And who is the terrifying Dragon Lady?


Wild Bill bezeichnet: Wild Bill (Film), US-amerikanischer Western von Walter Hill aus dem Jahr ; Wild Bill (Fernsehserie), britische Kriminal-Dramedy, The film beginning at the end shows the mourners at James Butler's (Wild Bill Hickock) (played by Jeff Bridges) funeral. There friend and fellow-lover of a good. Wild Bill ein Film von Walter Hill mit Jeff Bridges, John Hurt. Inhaltsangabe: Bill Hickok (Jeff Bridges) ist eine der lebenden Legenden des amerikanischen.
Wild Bill Film Navigationsmenü
Ein Mann namens Jack McCall will sich mit dem berüchtigten Revolverhelden Wild Bill Hickok duellieren. Dieser soll vor Jahren McCalls Mutter verlassen haben. Der opium- und alkoholkranke Hickok kann der Schießerei ausweichen, indem er seinen. Wild Bill ist ein US-amerikanischer Western von Walter Hill aus dem Jahr Der Film zeigt das Leben von James Butler („Wild Bill“) Hickok. Die Erzählung. Wild Bill bezeichnet: Wild Bill (Film), US-amerikanischer Western von Walter Hill aus dem Jahr ; Wild Bill (Fernsehserie), britische Kriminal-Dramedy, Genauere Angaben zum Inhalt des Films spare ich mir an dieser Stelle, da die kurze Beschreibung von Amazon reicht. Der Film beginnt mit der Beerdigung von. Ich hatte den Film im Zuge des kostenlosen Amazon-Prime-Video-Angebotes geguckt. Genauere Angaben zum Inhalt des Films spare ich mir an dieser Stelle, da. Wild Bill ein Film von Walter Hill mit Jeff Bridges, John Hurt. Inhaltsangabe: Bill Hickok (Jeff Bridges) ist eine der lebenden Legenden des amerikanischen. Wild Bill: Western von Richard D. Zanuck/Lili Fini Zanuck mit John Hurt/Jeff Bridges/Bruce Dern. Auf DVD und Blu-Ray.
Im Städtchen Deadwood in South Dakota trifft Wild Bill auf seinen erbittertsten Feind. Ein geheimnisvoller Fremder kündigt an, dass er die Stadt erst verlassen. Der berüchtigte Revolverheld Wild Bill Hickok hat kein einfaches Leben. Er wird von den Geistern seiner Vergangenheit verfolgt. Auch die Liebe von Calamity. Ein Mann namens Jack McCall will sich mit dem berüchtigten Revolverhelden Wild Bill Hickok duellieren. Dieser soll vor Jahren McCalls Mutter verlassen haben. Der opium- und alkoholkranke Hickok kann der Schießerei ausweichen, indem er seinen.
Wild Bill Film Navigation menu VideoWild Bill Official Trailer #1 - John Hurt Movie (1995) HD
Upon waking up, Dean makes it clear he doesn't want any involvement with Bill and he's to have left the house by the time he returns home from work.
Bill goes to visit his parole officer Kelly Olivia Williams , who, upon hearing that Dean and Jimmy were living by themselves, sends social services to the flat.
Bill comes home and Dean forces him to stay, requisitioning his drugs and putting Bill's plans to move to Scotland and work with his friend on hold.
Bill walks Jimmy to school and meets the principal, who suspects Jimmy ditched school and broke all the school's windows. Bill lies that Jimmy went to visit his dying grandmother and the principal believes him.
They let Jimmy smoke pot and send him home with drugs informing him that they wish to use him as a mule to sell their supply. Jimmy naively agrees.
Meanwhile, Dean attempts to start a relationship with Steph Charlotte Spencer , a single mum and Pill's ex-girlfriend, who lives with her unemployed dad Marc Warren.
Bill meets Terry again and begins a friendship with his girlfriend Roxy Liz White. Bill begins working as a sign holder and is mocked by Terry and Dickie who continually warn him that he needs to be leaving the estate as his presence is causing problems amongst the local faces and is affecting business.
Using the money earned from his new job, Bill is able to buy food for him and his sons. He begins to clean the flat and slowly bonds with his younger son, Jimmy.
They fly paper aeroplanes out of their high-rise flat and play with remote control cars and Dean begins to see that his dad is trying to make amends for not being there when they needed him.
On Dean's 16th birthday, Bill goes to make a cake for him. He meets Roxy, who tells him a cake won't be a good present and offers an idea.
Dean comes home from work and Bill offers to show him a surprise. He leads Dean to his bedroom, where Roxy is lying on his bed.
He demands that Bill kick her out and they argue, until social services arrives to visit. Before they can check Dean's room, they decide to leave.
The next day, Terry and Dickie begin cooking crack cocaine, whilst Roxy observes. Jimmy and Boz visit Terry, who gives them several bags of crack to sell.
As they walk back to the estate, a police car stops and an officer talks to Boz. Panicking, Jimmy dumps the crack into the sewer and leaves without Boz.
Dean asks Steph out and she invites him to her house the next night. They are hilariously interrupted by her drunk father and they both agree to see each other again.
Jimmy breaks into the house unbeknownst to Steph and Dean and steals a tin of Steph's money in a feeble attempt to coerce Terry into taking pity on him for losing his drugs.
Jimmy is caught by Terry, who attempts to break his hand as Roxy begs them to stop. She threatens to leave and Dickie hits her.
They let Jimmy go, but threaten him and demand he will have to work off what he owes. The next day, Roxy comes to the flat and asks Bill if she can hide with them.
As Dean heads to work, he is confronted by Steph, who demands the money. He denies taking it, but she slaps him and leaves.
Roxy tells Bill that Jimmy is selling drugs for Terry and his men. Bill confronts Pill and another drug dealer.
As he attacks them, he sees Jimmy running away. He chases Jimmy to the top of a building, where Bill used to hide as a child, and begs him not to work for Terry.
Jimmy decides to stop and goes home with Bill. Bill offers to sort out Jimmy's problems and warns him about the dangers of drug dealing and the likelihood he will end up in prison just as he did.
They return the money to Steph who asks Bill if Dean hates her. He responds jokingly; "With a passion.
Social services visit and make Bill sign a document that will put him in charge of his sons, until Dean turns Roxy and Jimmy go into the shop, while Bill waits outside.
One of Terry's men watches in a car and a young boy approaches Bill. He tells Bill that Terry wants to meet with Bill at the pub the next morning, but doesn't tell Bill that they plan to kill him.
Bill agrees to visit having promised Jimmy he will sort out his problems. Bill spends the night with Roxy, Steph and his sons.
Despite Charley trying to apologize for Bill and the mob harassing him, Jack does not relent. That night, some men approach Jack and offer to help him kill Bill.
He agrees to employ them but admits he has no plan yet. Bill goes back to the den and reminisces about the night he met Suzanne.
It is revealed that he left town for 6 months and she married another man, who took his pocket watch. The man draws on Bill and Bill kills him; Suzanne is distraught and a young Jack witnesses the killing.
While incapacitated by the opium, Jack sneaks up on Bill to shoot him, but the den owner attacks Jack and takes him away. Jack and his posse agree on a new plan as Bill recuperates in the opium den, bemoaning his bad luck.
That night, he returns to the saloon, which is empty because a gold vein was discovered nearby and everyone left.
He and Jane reminisce on their affair and begin having sex. Jack and his posse enter the saloon and apprehend Jane, Bill, Joe and Charley.
Jack delays killing Bill because he isn't sure how he wants to do it. Bill has one final remembrance of visiting Suzanne in a mental hospital who, despite his apologies, refuses his help.
Jack offers to let Bill kill himself and hands him a loaded gun; he tricks Bill and hands him an empty gun knowing that Bill will try to kill him.
Regardless, Jack claims he has already killed Bill "in his heart," and the posse leave. Jane goes upstairs to retrieve Bill's guns; Bill catches the posse in a barn readying their horses and kills everyone but Jack.
He tells Jack he is sparing him out of respect for his mother. Jack asks if he can have one last drink before leaving town, and they return to the saloon.
In the bar, Joe resumes telling stories of Bill's antics. Jack pulls a hidden gun from his sleeve, gathers his nerve and shoots Bill in the back of the head.
Back at his funeral, Charley says the whole town attended the funeral, and he was honored to be Bill's friend. The script was based on several sources.
One of them was the play Fathers and Sons which had been on Broadway in , directed by Joseph Papp. It was written by Thomas Babe, and focused on Hickok's last days in Deadwood, placing the action in the saloon where he was killed.
Babe says he entirely made up the nature of Jack McCall , whom he turned into Hickok's illegitimate son. Meanwhile, the team of Richard and Lili Zanuck had optioned a novel about Hickok called Deadwood.
They had hired the author to write the script for the movie Rush. The Zanucks said they were interested in the project because it explored the nature of celebrity in a Western context.
Hill wrote a script based on the play, the novel, and Ned Wynn's screenplay. Hill says he took details of the town from the novel but the relationship between McCall and Hickok was mostly from the play.
Hill took material from Dexter's novel for the atmosphere of the town and relied on Babe's play heavily for the third act, the last hours of Hickok.
Hill said the script was based on "character rather than incident. Because I think it's not so much the fights, it's his personality, his sense of humor about himself.
He seemed to understand his own legend. He both fueled it and was a prisoner of it, that it was his raison d'etre, and at the same time he felt himself very constrained by it.
Jeff Bridges and Ellen Barkin signed to star. Westerns revived in popularity in the early 90s with Dances with Wolves and Unforgiven. However, some other Westerns had been box office disappointments including Wyatt Earp and Hill's own Geronimo.
Producer Richard Zanuck said, "If you make a good picture and have a compelling story to tell, it's going to work.
I don't believe that any genre dies. It just has to be fed with good product. Hill said that Jeff Bridges was "an actor I greatly love My focus is very intense, but when it gets to be you just doing it again and again I lose it and I find an awful lot of performers go stale.
He would always have an idea he thought he could make something better. He recognized the film's ambition, aiming for "elegy" and "poetry" in its final act, but ultimately described it as flawed, writing, "We can see where it's headed, although it doesn't get there.
Wild Bill bombed at the box office. Hill was unhappy with the way the film was released.Wild Bill - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | bnns.eu Im Städtchen Deadwood in South Dakota trifft Wild Bill auf seinen erbittertsten Feind. Ein geheimnisvoller Fremder kündigt an, dass er die Stadt erst verlassen. The film beginning at the end shows the mourners at James Butler's (Wild Bill Hickock) (played by Jeff Bridges) funeral. There friend and fellow-lover of a good. Der berüchtigte Revolverheld Wild Bill Hickok hat kein einfaches Leben. Er wird von den Geistern seiner Vergangenheit verfolgt. Auch die Liebe von Calamity. I don't believe that any genre dies. Films directed by Walter Hill. They let Jimmy go, but threaten him and demand he will have to work off what he owes. Zanuck Lili Fini Zanuck. Jack and his posse agree on a new Taboo Darsteller as Bill Erased Serien Stream in the opium den, bemoaning his bad luck.


Another way to do summer on the cheap is with the $1.00 movie theatres and matinees.
We have a theatre not too far away that is $3.00 for any, and we do the early shows whenever we can. Where we are, matinees are $6.50 and of course, we bring our own snacks. When we can't do a cheap movie (no appropriate movies for Mason), we use our Entertainment book and go to a theatre that has a BOGO free coupon. One way or another, we're getting a deal on a movie!
Check out your area and see where you can do something special and save a little money. You'll be surprised!


I am big—It’s the pictures that got small! Broadway vet Jenifer Lewis and Tony nominee Debbie Allen are joining forces for a Sunset Boulevard campy takeoff entitled Ventura Boulevard, according to IndieWire. Written by Mark Alton Brown and Dee LaDuke, Ventura Boulevard will be directed by Allen, executive produced by Lewis and feature a score by Tony winner Marc Shaiman. Ventura Boulevard will be a darkly comedic tribute to the 1950 film Sunset Boulevard, starring Lewis as a self-deluded queen of 1970’s blaxpoitation movies who uses her guile, money and sex to manipulate a young white scriptwriter into creating her comeback part. “I am taking things into my own hands by producing Ventura Boulevard,” said Lewis. “The Hollywood establishment isn’t going to finance a movie about a middle-aged African-American diva who deceives and beds a young white man.” She last appeared on Broadway in Hairspray as Motormouth Maybelle. Her other Broadway credits include include Comin’ Uptown, Eubie! and Rock ‘n’ Roll: The First 5,000 Years. Notable film and TV credits include Jackie’s Back (written by Brown and LaDuke), Meet the Browns, The Princess and the Frog, The Fresh Prince of Bel-Air and Sister Act. View Comments Allen is best known for playing Lydia Grant on TV’s Fame, a role which earner her three Emmy nominations and a Golden Globe. She most recently directed Cat on a Hot Tin Roof on Broadway in 2008. As a Broadway performer, Allen has received two Tony nominations for Sweet Charity and West Side Story. Her other Broadway credits include Ain’t Misbehavin’, Raisin, Purlie and Truckload. She also choreographed the legendary flop musical version of Carrie. Need some inspiration to get excited about this film? Check out this trailer for Lewis’ cult mockumentary Jackie’s Back from the same screenwriting team, about a 60’s diva making a comeback. The brilliant comedy features a bevy of celebrities including Whoopi Goldberg, Tim Curry, Loretta Devine, David Hyde Pierce, Dolly Parton, Bette Midler, Liza Minnelli, Diahann Carroll, Rosie O’Donnell and more!


Svec Media is a professional production agency based in NYC with experience in TV commercials, movie trailers, documentaries, corporate and music videos since 2008.
We provide video production services worldwide. Most of our clients are based in the United States and United Kingdom.
Our work has taken us all over the world capturing videos for some of the world's biggest brands and artists including Heineken, Warner Bros., The Batman, DoubleTree by Hilton, Samsung, NHS, Police, and more.
We offer specialized services including concept creation and scriptwriting, production and filming, video editing, visual effects, motion graphics, color grading, and sound design.
+1 (914) 330-2283 (USA)
+420 602 730 502 (EUROPE)
Video Production &
Post Production Services
EU VAT ID: CZ9308065965


Introduction: Welcome to the intriguing world of IMDb, where the acronym hides a treasure trove of information. In this article, we will unravel the mystery behind “what does IMDb stand for,” exploring its origins, evolution, and the role it plays in the entertainment industry. Get ready for an insightful journey that combines expertise with a touch of curiosity.
What Does IMDb Stand For?
Imdb, short for Internet Movie Database, serves as a comprehensive online database for movies, television shows, and video games. Founded in 1990 by Col Needham, IMDb quickly became a go-to resource for film enthusiasts worldwide. Its extensive collection of information includes details about cast, crew, plot summaries, and user-generated reviews.
The Origins of IMDb:
IMDb’s Humble Beginnings
The story of IMDb’s inception traces back to a moment of passion for movies. Col Needham, a film fan with a vision, founded the platform in the early days of the internet. The acronym IMDb originally stood for “Internet Movie Database,” reflecting its primary focus on cataloging films.
Evolution of the Acronym
As IMDb expanded its scope beyond movies to include television shows and video games, the acronym’s meaning subtly evolved. While the original “Internet Movie Database” still holds its significance, IMDb now represents a broader spectrum of entertainment media.
The Significance of IMDb:
A Hub for Film Enthusiasts
IMDb has transformed into a virtual haven for movie buffs, providing a centralized platform for information, reviews, and discussions. It goes beyond a mere database, fostering a community of passionate individuals who share their love for cinema.
The acronym IMDb is not just a name; it’s a symbol of authority and reliability in the entertainment industry. Filmmakers, actors, and industry professionals recognize the influence IMDb wields in shaping public perception and contributing to the success of cinematic endeavors.
IMDb’s Influence on Pop Culture:
In the digital age, IMDb has played a pivotal role in shaping the concept of stardom. A high rating or positive review on the platform can propel a relatively unknown actor or director into the limelight, showcasing the platform’s impact on the dynamics of fame.
IMDb Ratings as Cultural Barometers
IMDb’s rating system has become a cultural barometer, influencing viewers’ choices and shaping discussions around the water cooler. The power of a high IMDb rating can elevate a movie or series to iconic status, making it a reference point in popular culture.
The User Experience on IMDb:
Navigating the IMDb Universe
Understanding what IMDb stands for goes hand in hand with exploring its user interface. IMDb provides a seamless experience, allowing users to effortlessly search for information, discover new content, and engage with a community that shares their passion.
IMDb’s strength lies in its community-driven content. User-generated reviews and ratings contribute to the platform’s dynamic nature, reflecting diverse perspectives and opinions. It’s not just a database; it’s a collective voice of movie enthusiasts worldwide.
FAQs About IMDb:
Is IMDb only for Movies?
IMDb’s initial focus was on movies, but it has expanded to include television shows and video games. The acronym, while rooted in its original meaning, now represents a broader spectrum of entertainment media.
How Accurate Are IMDb Ratings?
IMDb ratings are based on user reviews and opinions. While they provide a general sense of public perception, individual preferences may vary. It’s advisable to explore diverse sources before forming an opinion.
Can Anyone Contribute to IMDb?
Yes, IMDb encourages user contributions. Anyone can submit information, reviews, and corrections, fostering a collaborative environment that enriches the platform’s content.
What Sets IMDb Apart from Other Platforms?
IMDb’s comprehensive database, user-generated content, and industry recognition set it apart. Its influence on the entertainment industry and role in shaping cultural perceptions distinguish it from other platforms.
Is IMDb a Reliable Source for Industry Professionals?
IMDb is widely recognized and utilized by industry professionals for its accuracy and extensive database. It serves as a valuable resource for casting decisions, industry trends, and professional networking.
How Has IMDb Adapted to Technological Changes?
IMDb has evolved with technology, embracing online streaming, mobile apps, and interactive features. The platform continues to innovate, ensuring its relevance in the ever-changing landscape of the entertainment industry.
In conclusion, IMDb stands as more than just an acronym; it’s a symbol of the ever-evolving landscape of the entertainment industry. From its humble beginnings as the Internet Movie Database to its current status as a cultural influencer, IMDb has carved its niche in the hearts of movie enthusiasts. So, the next time you ponder “what does IMDb stand for,” remember it embodies the passion, community, and magic of cinema. Explore the IMDb universe, where every click tells a story, and every rating shapes the narrative of entertainment.


The Baddest Man Alive – Rza featuring the Black Keys – New Video
Published on October 23rd, 2012 | by stephen Biketi0
For movies lovers, something great is coming your way soon. In a few week’s time, one of the most anticipated movies will make a debut. “The Man With The Iron Fists” is an incredible action packed movie set to rock the entire entertainment industry.
Quite a number of videos have been released to briefly showcase what movie lovers should expect. Just last week, the industry was treated to a new hot track “Built Like This”. The track was a well laid out joint project between Method Man and Freddie Gibbs, the track exclusively featured movie scenes from The movie, The Man With The Iron Fists.
For the second time in less than a week, a new hot video “The Baddest Man Alive” hits the market and guess who’s behind the production? Movie director and Grammy Award winner Rza himself doing his thing in conjunction with Black Keys, an American rock duo based in Ohio.
Movie Director – Rza
Black Keys is a successful popular duo of Dan Auerbach and Patrick Carney who have at one time bagged a Grammy award for the Best Alternative Music Album.
Black Keys – American Rock Duo
The video is well done, Rza definitely deserves kudos for successfully executing this one. Together with Black Keys, the video exclusively shows scenes from The Man With The Iron Fists. A restaurant is the point of focus where Rza and Black Keys settle down to have some fun. The whole room then erupts into a fierce battle ground with Rza acting out as the tough untouchable guy as he ruthlessly deals with the enemies one after another.
Check out the video below
The video repeatedly mentions the chorus, Am The Baddest Man Alive, here we witness action packed scenes expected to feature prominently in the movie.
It’s all a funny ending when an old Chinese restaurant owner throws out the trio for causing mayhem in his restaurant.


TEMPESTA IS COMING!
Teaser trailer of the Rossolini Tempesta short animated movie made in Blender 2.90.
Let me introduce the Rossolini Tempesta GT! An upgraded racing variant of the Tempesta. The body is a mixture of the Ferrari F430, Ferrari 360 Modena, and Lamborghini Gallardo. The exhaust vents appear to be heavily inspired by those seen on the Ferrari FXX. “Tempesta” is the Italian word for “Storm”.


The Bear Theatre came to our school on March 16th for two shows.
Here are some photos and the reactions of the pupils to this unusual experience.
« Last Friday, we saw a show with English actors. Pupils participated in the show, it was funny.
With this show, we revised English grammar, it was a good idea, but it was easy » Olivia
« We had to find the correct verbs in the preterit. If it was correct, the grammar dog stayed quiet, if it was wrong, he bit. At the end, three girls and three boys were chosen to play a theatre scene. It was very funny! » Camille
« The show was interesting when the actors involved the students but the grammar was a little repetitive. » Eva
« The actors were nice. » Mathilde
« The show was good and funny but I did not like the grammar. » Samantha
» The actors were very good and smiling but I didn’t like the show because the grammar was easy and boring » Ilana
» The show was nice even if I did not understand everything because they spoke fast. » Sébastien
« We saw the theatre in English on Friday 16th at eleven o’clock. It was about a comic love story. The actors mixed the story and the exercises so it was easy to learn the past in English. I found the theatre funny and interesting. The actors taught us the past very well and it was easy to understand » Natacha
« Three persons showed us little sketches in English. We had to complete sentences with verbs in the preterit. There were also volunteer pupils who had to change their clothes and read the text of the actors » Océane
» At the end, seven pupils had to play a little funny show. They were very good actors » Angélique
» The theatre was funny and original. I liked it a lot because the actors were nice and the stories funny » Delos
» I didn’t like the beginning of the show but the end was good. I found that amusing to play the grandmother of the bad boys ». Charlotte
« I liked the moments when the pupils were playing in the show, it was fun. I loved it too when we did the grammar and when we found the answers. » Iman
» The mixture between grammar and the story was very good and fun » Agathe
» I didn’t really like this show because I don’t like grammar » Morgane
» The show was good even if I didn’t understand all. » Marine
» I enjoyed the show because it was interesting, instructive and very funny. I understood well what the actors said. It was useful to revise irregular verbs. » Alexandre
» There was a good atmosphere. It was amazing » Laura


Having observed Mariette open her private safe and memorized the combination , Gaston persuades her that she should keep a large sum there, including half of her next dividend installment. Mariette begins to flirt with Gaston, and he begins to have feelings for her. Unfortunately for the thieves, Mariette has two suitors: Fearing imminent discovery, Gaston and Lily decide to flee that night with what is in the safe, and not wait for the dividend installment.
Mariette is invited to a dinner party given by the Major. She cannot decide whether to go or to spend the night in bed with Gaston. Eventually she goes, but not before Lily catches on that Gaston has fallen for her rival, and wants to back out of the plan. Lily robs the safe after confronting her partner. Mariette returns home and suggestively probes Gaston, who admits that the safe has been cleaned out, but claims that he took the cash.
He also tells her that Monsieur Giron has stolen millions from the firm over the years. Lily then confronts Mariette and Gaston, admitting that it was she who stole the money from the safe. An argument ensues, and eventually, Mariette allows the two thieves to leave together.
trouble in paradise
As a parting shot, Gaston steals a necklace from Mariette that Lily had her eye on, and in turn, Lily steals it from him, displaying it to him as the taxi takes them away, hugging each other. Made before effective enforcement of the Production Code , the film is an example of pre-code cinema containing adult themes and sexual innuendo that was not permitted under the Code.
In , when the Production Code was being enforced, the film was not approved for reissue  and was not seen again until Trouble in Paradise was the film that first had people talking about "the Lubitsch touch," and it was, in fact, one of the director's favorites.
In , Roger Ebert added it to his Great Movies collection. Trouble in Paradise was named by the National Board of Review as one of the top 10 films of From Wikipedia, the free encyclopedia. Trouble in Paradise theatrical release poster. Franke Harling music Leo Robin lyrics.
Trouble in Paradise () - IMDb
A trio of classy card sharks targets the socially awkward heir to brewery millions for his money, until one of them falls in love with him. A scatterbrained socialite hires a vagrant as a family butler High class European thief Gaston Monescu meets his soul mate Lily, a pickpocket masquerading as a countess. The two join forces and come under the employ of Mme. Colet, the beautiful owner of the Colet perfume company.
Gaston works as Mme. Colet's personal secretary under the alias Monsieur La Valle.
Rumors start to fly as 'M. La Valle' steals Mme. Colet away from her other suitors. When the secret of his true identity catches up to him, Gaston is caught between the two beautiful women. Ernst Lubitsch had a tendency towards pushing the boundaries, whether it was the boundaries of the Production Code or the boundaries of one's stomach, as it's splitting from laughing at his films.
This film has got to be the greatest film comedy of the 's toss up between this and "Bringing Up Baby" The situations, the dialogue, the characterizations, the rich sexual undercoating Enjoy a night in with these popular movies available to stream now with Prime Video. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
Enjoy unlimited streaming on Prime Video.
There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. Keep track of everything you watch; tell your friends. Full Cast and Crew.
Trouble in Paradise
A gentleman thief and a lady pickpocket join forces to con a beautiful perfume company owner. Romantic entanglements and jealousies confuse the scheme. Jack Black on Jack Black. The 50 best movies of s. Share this Rating Title: Trouble in Paradise 8. Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Learn more More Like This. Design for Living To Be or Not to Be The Shop Around the Corner I Am a Fugitive from a Chain Gang Passed Crime Drama Film-Noir.


how much do islands cost i want one
Less than a college education
what the fuck
IT SHOCKS NO ONE THAT AN ISLAND COSTS LESS THAN A COLLEGE EDUCATION IN AMERICA
"I want an anime with strong female characters"
"i want an anime about the power of teamwork"
"i want an anime with masculine characters who aren’t afraid to express emotional pain"
"i want an anime with intense fight scenes"
"i want an anime with great animation"
"i want an anime with well-written, believable villains"
"i want an anime with—"
"i want an anime—"
so apparently two slightly different versions of let it go were made for the movie this is the version they decided not to use [x]
I WAS EXPECTING A RICK ROL LAND I T HINK I JSUT HAD A HEART ATTACK
I CAN’ BREAT HE HELP ME
this is a pov video of me approaching you when youre sitting at the clubs bar by yourself thinking about going home and eating some oreo caus all your friends are dancing with people they just met. but then you spot me looking at you its my birthday but my boys can see im distracted.. truly lost this evening..
An asexual and pansexual become room-mates and have wacky adventures
The show is called ‘All or Nothing’
Plot twist: the asexual is really super outgoing and is a huge flirt while the pansexual is extremely socially awkward and has trouble ordering coffee let alone getting a date.
my hand slipped
Posting art online
"i need a movie where there are kickass female characters"
"i need a movie where the main characters aren’t attractive"
"i need a movie with annoying talking animals"
"i need a movie where the main character lives in a swamp"
"i need a movie that has all star by smash mouth on the soundtrack"


Mon, 29 Jul
The character of Apple empire
I’ve read 『アップル帝国の正体』 (“The character of Apple empire”) today. It’s an interesting book which describes “how Apple manages manufactures, retails, carriers in Japan”.
Ruby Sparks and Ted
I watched “Ruby Sparks” and “Ted” in Thursday. Both movies have a nerdly main character but they are different kind of nerds. In “Ruby Sparks”, Calvin is a young introverted novelist and his nerdness seems clean and romantic. In “Ted”, John is much more hopeless, but he is a fun guy and he isn’t introverted. Anyway both are good movies.


Well, it's all over – more's the pity. Had an amazing time in Edinburgh – I saw some truly brilliant shows,
met some new people, got to know some people much better, did a lot of work, and got ill; as ever in
Edinburgh time seems to compress itself so that the whole month can feel like a lifetime;
I'm quite glad I was only there for a week!
I guess I should continue the show reviews; it's been a long time now, but I'll try to remember them in order!
The Lion, the Witch and the WardrobeDespite living in their flat, I'll try to be impartial, but it's hard to criticise this amazingly well produced show – There were concerns about the integrity of the script, but after it had been cut I didn't feel it was a problem at all. The children's characters were very appealing; Rob Frimston as Edmund really managed to pull off his sulky character well, and Emily Hardy was a beautifully enthusiastic Lucy. I had some reservations about Megan Prosser's costume as the white witch (it looked amazing, just didn't somehow work for me) – I think though that this was due to preconceptions of the role rather than anything concrete.
The Absinthe MonologuesIn a phrase – Delightfully random. At times a little crude, but not so much so that it stopped me wanting to watch (and given the title and setting, crudeness is to be expected). The show was a very pessimistic but quite amusing view of life. Each part slid fairly seamlessly from one to the other, and the recurrence of characters / sketches through the show kept a nice familiarity throughout. Oh, and the free absinthe was a bonus…
Eurobeat – Almost EurovisionAmazingly camp, brilliantly inventive, and true to form. My only gripe was that the show was too long. In order to be realistic, the show chose to go through the entire round-up of 'countries' 'voted' for. This was a mistake in my opinion, as the jokes / characters over the 'videophone' were overplayed and frankly irritating. On the other hand, the acts themselves were brilliant; caricatures, and yet believable to anyone who had seen the real Eurovision (may we all be pitied) – not too offensive to supporters of the countries concerned, yet clearly tongue-in-cheek the acts, the choreography and the music combined to produce an incredibly enjoyable show. The whole thing was a little commercial; with flags and clappers being sold for extortionate amounts outside the venue, but this added to the effect of the show being closer to 'the real thing'.
Adam Hills – JoymongerNew, gritty and delightfully current, Adam again surpasses himself with a brilliant bit of stand-up. His down-to-earth character as ever immediately serves to put the audience at ease, and by the end of the show we all felt like we could talk to each other, stand up and dance; he can pretty much get an audience doing anything he wants. Thoroughly recommended!
Mikelangelo - The Nightingale of the AdriaticImmaculately dressed is an understatement for this guy, and not many people could pull off a vocal number about the merits of pomade; somehow he does it. He sung a number of tunes from previous shows as Mikelangelo and the Black Sea Gentlemen, which the entire audience knew and loved, and also added some of his own solo numbers as well. His immense stage presence and amazing voice, combined with the various talents of the pianist, accompanying singer (who's name I embarrassingly can't remember), and the comedy folk musician who came on and played a saw a few times. Brilliant!
Tony Blair, the MusicalI've worked with James Lark a couple of times, and have always respected his writing skills. This time he's surpassed himself – the timing, the music and the direction all combine to give a thoroughly enjoyable and amusing show from beginning to end. Interestingly this wasn't the only Blair-based show at the fringe; Tony – The Blair Musical (which unfortunately I didn't see) also had good reviews; it seems though that as the shows covered different subject matter neither was competing too much with the other. I hope James is able, to move the show into a London space as I think the show would benefit from a longer running time – giving James more chance to add to the characterisation and plot that shows much promise in this unfortunately short setting.
Two mad Germans playing music, with a car. The description sounds insane, and the show basically was… Their comedic talents notwithstanding, these guys are incredibly inventive musicians who clearly can make music out of anything – Inspired, amusing and great fun from beginning to end.
I've never seen a show as physically exhausting as this – part dance club, part physical theatre, it engaged the audience so brilliantly. We were made to stand in a dark, cavernous auditorium, while music played and the set pieces were dragged on – parting the audience. The cast were full of energy – energy which made its way to the audience, who by the end were all (myself included) jumping up and down and dancing. The biggest set piece was the massive overhead swimming pool, which held enough water to sag downwards (rather alarmingly) over the audience while the cast members dived, splashed, and spun their way through it. At one point, the pool (and the actors on it) was close enough to touch with our hands above our heads. All in all, Fuerzabrata was an amazing showcase for what can be done with no limit to the imagination – combining so many brilliant elements of acting, dance, design and technical toys to create a breathtaking experience.
The reason I haven't blogged for a while is partially laziness, partially life running away with me, and partially being in Cornwall for HMS Pinafore in the Minack theatre. I haven't been to the Minack for three years now – it was lovely to be back there and help out. I had a nominal production role as 'Executive Sound Designer' which meant I could at least pretend to be on the production team… However, I didn't really feel I was necessary, Andrew J and his team of glamorous assistants (Hazel and Tamsin) did an amazing job – one of the best organised designs I've seen for a long time, and the design patience paid off – producing an amazingly rounded, well balanced sound with minimal problems. All in all this year's cast and crew were one of the nicest groups of people I've ever worked with on a show. It was a great fun trip – despite having to juggle long noiseboy hours, a busy working week, and having fun.
I wrote a small bit of this on a train on the way back from a lovely dinner with Gemma at 'Le Garrick' in Covent Garden last week, which comes highly recommended. I haven't seen Gemma for a while, and it was lovely to catch up with her – despite us being more than a little sleepy it was a really nice evening.


The Academy Awards are back again for their 92nd year and once more going without a host. On February 9, America and the world’s biggest names will gather for the most premier movie awards ceremony. This year, the number of nominations for Best Actress and Best Actor has remained at five, while the number of nominations for Best Picture has risen to nine films. The three awards are considered the main categories at the Oscars, and the most heavily speculated.
Up for Best Actress this year are Scarlett Johansson for Marriage Story, Renée Zellweger for Judy, Cynthia Erivo for Harriet, Charlize Theron for Bombshell, and Saoirse Ronan for Little Women. Johansson, in addition to being nominated for Best Actress, is also nominated for Best Supporting Actress for Jojo Rabbit. The award is anyone’s to win, but most critics indicate the Oscar is Zellweger’s for the taking for her performance as Judy Garland.
The Best Actor category includes Antonio Banderas for Pain and Glory, Jonathan Pryce for The Two Popes, Adam Driver for Marriage Story, Joaquin Phoenix for Joker, and Leonardo DiCaprio for Once Upon a Time in Hollywood. This is the second time an actor has been nominated for playing the Joker in a film, with the first being Heath Ledger for The Dark Knight. Phoenix is listed as the most likely to win by Rolling Stones Magazine, and should he do so will also be the second actor to win an Oscar for portraying the Joker.
Best Picture nominees are Ford v Ferrari, 1917, Once Upon a Time in Hollywood, Little Women, Marriage Story, Jojo Rabbit, Parasite, The Irishman, and Joker. 1917 has been on a roll since its release, winning Best Motion Picture – Drama at the Golden Globes and Best Film at the British Academy Film Awards, making it a strong contender for the Oscar.
This year’s Academy Awards has seen an unusual nod to comic films, with Joker cinching the most nominations at eleven. Normally comic films are looked past in favor of more arthouse indie films produced by smaller studios. In 2019 Black Panther was the first-ever comic movie nominated for Best Picture. However, Joker’s take on mental illness seems to have compelled the Academy to look past their bias in nominees. If Joker wins a majority of its nominations, the likelihood of comic films receiving more nominations seems likely.


NEW YORK, NY – Color Of Change, the nation’s largest online racial justice organization, issued the following statement in response to the announcement of the nominees for the 90th Academy Awards.
Rashad Robinson, Executive Director of Color Of Change:
“Black people are the creative forces behind some of Hollywood’s most original films. It’s promising to see the Academy begin to recognize our community by nominating brilliant Black creators like Jordan Peele, Mary J. Blige, Yance Ford, Common and Dee Reese today—but it’s only a start. For too long, Hollywood has excluded Black people from award nominations and shut us out from opportunities to shape the stories the industry tells about Black communities, which reach millions of viewers each year. Our systemic exclusion from the industry is why the stories Hollywood tells about Black people too often advance harmful stereotypes and create a more hostile world for Black people in real life. But, when we are given the opportunities and resources to tell our own stories through films like Get Out and Mudbound, it has the power to reshape public perceptions and cultural norms in our country.
“The fight for inclusion in Hollywood is not just about getting awards, but also about getting opportunities to tell our stories. We need more Black voices in studios, networks, agencies, guilds, and on production sets. We need more leading roles for Black actors and more opportunities for Black directors, cinematographers, and writers—especially for Black women, who face even greater levels of exclusion in the industry. This means real inclusion of Black people in Hollywood will require more than just Oscar nominations. Getting to the root of Hollywood’s racial exclusion problem will take real investments from decision makers across the industry to create new incentive systems for greater inclusion and representation of Black people. But this shift is long overdue, and the incredible success of Black writers, directors, and performers at the box office this year is undeniable proof that audiences want more stories by and about Black people.”
Color Of Change is the nation’s largest online racial justice organization. We help people respond effectively to injustice in the world around us. As a national online force driven by over one million members, we move decision-makers in corporations and government to create a more human and less hostile world for Black people in America. Visit www.colorofchange.org/.


We're movie lovers. We wont settle until every frame is as perfect as it can be. Until every character is cast with the ideal talent. Until every nuance in post and visual effects is polished to a shine. Partnering with us on your movie feels like coming home to a house full of like-minded creative people who care as much about your film as you do.
way, which includes (but is not limited to) reuse of pictures, designs or layout is prohibited without the written consent of ACP.


The Dish and more: fun at the Zamia Theatre
On 19 May, 7.30pm TM Universe and the Film Club organise at the Zamia Theatre a special evening, screening one of Australia’s most iconic movies, The Dish, as well as and a French hand coloured movie from 1902 about a trip to the moon. Don’t worry about the language though…. it is a silent movie, which is, by the way, still considered ‘a classic’ in global film history and in France always makes it into the top 100 best movies ever. The evening starts 7pm for a 7.30 start; entrance fee $ 10. No bookings required.The evening starts 7pm for 7.30; entrance fee $ 10. No bookings required.
After costs the proceeds go to TM Universe, thanks to the generosity of the TM Little Theatre Group, the Film Club and Jennifer McConaghy.
Coffee and tea will be for sale at the counter, a raffle will be held and between the two movies you will be informed about the progress of the rebuilding of the former TM Observatory.
As we will be seated at tables you are invited to take food and drinks if you wish so.
More details about the project on Facebook (https://www.facebook.com/groups/TMUniverse/) and on this website. We are also looking for a few volunteers for that night…. volunteering saves you the entrance fee (volunteers call 55454398)


I recently finished the sequel to In 9 Days. Originally, I planned for it to be a short story and nothing more. But I had so many fans request a sequel that I delved into what would happen when Luke and Tesse met years later.
What flowed out was a beautiful love story that did justice to the couple. I added the element of a love triangle and allowed Tesse's involvement in the musical The Phantom of the Opera to play out in her real life.
After waiting three
years for Luke Sanders to return, Tesse decides to move on with her life
& into the arms of a new lover. Fate, however, has different plans
when Luke returns the week before Tesse’s big début as the lead in The
Phantom of the Opera. Her life seems to mimic the musical when she is
forced to choose the handsome new boyfriend or her devoted scarred lover
once known as The Freak.
9 Days and Counting is the touching
sequel to the coming-of-age story, In 9 Days. This novelette delves into
the emotional reunion between Tesse and Luke.
much has changed since Luke left Tesse behind. She is in college now,
starring as Christine in the musical, The Phantom of the Opera. Jerrod,
who has loved Tesse for several years, finally gets the green light to
court her. However, Luke’s return puts their new relationship in
jeopardy. The love Tesse and Luke share has not diminished over time,
but their lives have taken opposite paths. Three hearts are on the line
and one will be sacrificed. Does the Phantom finally get the girl or
will her handsome new beau win Tesse’s heart?
Adult Reading Material (18+)