Lynne Kendrick, Ph.D.
Visiting Fellow, CAS Research Group "The Sound of Theatre"
University of London
New Theatre Practices
Lynne Kendrick is a Reader in New Theatre Practices at the University of London.
She is specialising in ways of making contemporary theatre and performance, with a particular focus on forms that draw on sound and noise, listening and radical forms of audience. In 1994 she co-founded Camden People’s Theatre (CPT) with a core group of diverse actors, directors, producers and makers, generating new performance practice, sharing skills and establishing a venue which, over the years, has launched the careers of a number of successful and influential theatre artists and companies.
Lynne Kendrick is a Visiting Fellow at CAS in January 2023 at the invitation of Prof. Dr. David Roesner. She will join the CAS Research Group on "The Sound of Theatre".


The story happens in the critical stage of the war against Japanese aggression when Wang Jingwei puppet regime betrays the country and surrenders to Japan. The President of Shanghai Ming’s Company Ming Jing secretly gives financial assistance to the Communist Party, but her younger brother Ming Lou is working for Military Statistics Bureau (MSB) of KMT. On his way to Hong Kong, their youngest brother Ming Tai is abducted by senior official of MSB. Ming Tai is forced to hide his identity and receive secret training, after which he becomes a secret agent in Shanghai Station of MSB. In the following missions, Ming Tai develops trust and romance with Cheng Jinyun, a member of Communist Party action team. Under the circumstances in constant changes, two young people will face challenges posed by fate.


We've all experienced periods in our life of thinking we have sinned too much for God to forgive. In this weekend's message, Jason Baugh teaches on the unrelenting mercy and grace God pours out on all those willing to turn to Him and repent. We can never out-sin the grace of God! ... See MoreSee Less
Creative Hangout is tonight! We are watching the movie The Jungle Book - if you serve on one of our teams, you'd like to, or want to just come and hang out with us - the movie starts at 6:30 PM! ... See MoreSee Less
MOVIE NIGHT!!!! We will be watching the new movie THE JUNGLE BOOK, Feb. 21 @ 6:30 PM. If you are currently serving on the Creative Team, might be interesting in serving with us, or if you just want to come hangout, come join us as we host this free movie night event. The movie starts at 6:30PM, and food/beverages will be provided for all who attend. We encourage you to arrive around 6PM to get food and so that we can all hangout before the movie. Feel free to bring any friends, family, children, boyfriends/girlfriends, ect. to attend with you! And please list the names of whomever you are bringing so we can get a general headcount. We will be watching The Jungle Book (2016). Childcare will not be provided, but we have chosen a family friendly movie so feel free to bring your children with you to come watch! We look forward to seeing you all there!!! :) Sign up and let us know you are coming!


Click below for a taste of what to expect from Finding Your Voice, as heard in the upcoming audio book of Finding The Bunny!
Let's Get Started!
Would you like to dip your toe?
Or would you rather dive right in?
The Beginning Seminar – the foundation for everything that follows at Voicetrax!
THE BEGINNING SEMINAR is where the journey of your lifetime starts…
Launch into a weekend packed full of information, performance exercises and FUN! You’ll explore basic voice acting fundamentals including detailed acting choices, script interpretation, microphone technique, monologues, dialogues, improv and video game characters – including playback and feedback of recorded performances, making this class a unique experience in online training choices.
Get ready to jump in from the very beginning experimenting with partner improv exercises and audience participation guessing games that revolve around making specific acting choices. By the end of the weekend, you’ll have a solid understanding of the voice acting craft, and an awareness of the particular skills and techniques you’ll need to succeed in the current marketplace, and perhaps even a different perspective of who you are and what stories and characters you can create!
You can also see our full line of classes here.


This article contains a list of the 25 greatest movies of all time (in no particular order) that you need to watch:
- Leon: the professional (1994)
An action-packed, story-rich movie directed by Luc Besson and stars Jean Reno as an assassin, who helps a young girl with her revenge.
- Parasite (2019)
Directed by Bong Joon-ho, Parasite is essentially a thought-provoking thriller that features the dramatic drift in the life of a lower-class Korean family.
- Spirited away (2001)
This movie’s incredible story, animation and art direction have made it one of the best titles from the house of Studio Ghilbi.
- Interstellar (2014)
Tune in to the epic experience of science-fiction and drama that is directed by Christopher Nolan and stars Matthew McConaughey.
- The truman show (1998)
See how Truman Burbank (played by Jim Carrey) finds a way out of a reality show that encompasses his own life in this iconic psychological satire.
- Silence of the lambs (1991)
Directed by Jonathan Demme, this movie captures the story of how a young FBI agent seeks help from a serial killer in order to capture a new killer.
- The matrix (1999)
Featuring Keanu Reeves, this science fiction movie has embraced the hearts of millions across the globe.
- The dark knight (2008)
This iconic Batman movie has all the ingredients for greatness, including an immersive plot and the geniuses of Christopher Nolan, Christian Bale and Heath Ledger.
- Inception (2010)
This Christopher Nolan movie, featuring Leonardo DiCaprio, will make you question dreams and reality.
- Forrest Gump (1994)
Follow the journey of Forrest, played by Tom Hanks, and his encounter with a series of situations that keeps putting him in the limelight.
- The texas chain saw massacre (1974)
If you are into the genres of horror and thriller, then this slasher movie directed by Tobe Hooper will complete your watchlist.
- City lights (1931)
Tune in to the misadventures of “a tramp” and “a blind girl” in this silent rom-com, which stars Charlie Chaplin and Virginia Cherrill.
- Eternal sunshine of the spotless mind (2004)
This romantic, sci-fi film, starring Kate Winslet and Jim Carrey, captures a heart-wrenching tale of a broken-up couple after a “memory-erasing procedure.”
- Pulp fiction (1994)
Quentin Tarantino’s Pulp Fiction is one of the best American crime films and is globally praised for its screenwriting.
- Goodfellas (1990)
This biographical crime drama directed by Martin Scorsese, tells the tale of Henry Hill and his life in the dangerous mob business.
- Cast away (2000)
Starring Tom Hanks, this movie takes you on the journey of what it means to be disconnected and stranded deep on a remote island.
- Fight club (1999)
Directed by David Fincher, this movie covers the genres of action, drama, and thriller and features stars like Brad Pitt and Edward Norton.
- Schindler’s list (1993)
This historical drama showcases how a German businessman saved the life of thousands of Polish-Jewish refugees during the Holocaust.
- Psycho (1960)
A thrilling physiological horror directed by Alfred Hitchcock that is based on Robert Bloch’s novel “Psycho.”
- Pather panchali (1955)
This Indian (Bengali) film directed by Satyajit Roy has won the hearts of countless movie bugs through several generations.
- The Godfather (1972)
Directed by Francis Ford Coppola, “The Godfather” is an era-defining film based on the mafia genre.
- The shawshank redemption (1994)
Starring Tim Robbins and Morgan Freeman, this movie covers the bonding of two inmates through the years and an epic prison break.
- Titanic (1997)
This romantic drama, directed by James Cameron, merges a historical event with fiction to create one of the most celebrated love stories in cinema history.
- Into the wild (2007)
Based on “Into the Wild” by Jon Krakauer, the movie iteration shows the journey of a young man and his adventures in the Alaskan wilderness.
- Django unchained (2012)
This western-drama-action movie showcases a slave’s journey to rescue his lost wife from the captivity of a plantation owner.
These are the 25 titles that you don’t want to miss out on while creating your “all-time greatest movies” watchlist.


“Metamorphoses” takes place on a stage of water and will be performed in the round at Arena Stage.
Just in time for Valentine’s Day, Mary Zimmerman’s “Metamorphoses,” a lush, sensual adaptation of classic myths by Ovid, opens Thursday night at Arena Stage.
Many of the cast originated their parts in the 1998 Lookingglass Theatre Company production in Chicago. And after nearly 15 years of intermittent productions performed over a stage made of water, Arena’s round theater is making it feel, well, new again.
“It changes a lot,” said Doug Hara who plays Eros, the god of love, among other characters.
Up until now, it was the water, the dominant feature in this show, that could be relied on to transform each night. It is telling, however, that the cast points to performing in the “round,” not in the uniquely malleable water, as the real challenge.
Origins of a Myth
It all started nearly two decades ago with a student play called “Six Myths” that Zimmerman staged at Northwestern University. Years later, she worked with several of the actors appearing in this current revival to create “Metamorphoses,” which debuted in 1998 in the Windy City.
From there it flew east, arriving in New York in August 2001. The next month, on the last day in their rehearsal space, the events of Sept. 11 hit and changed everything, including the show. Suddenly, the audience and the performers processed the events in the real world through the myths relayed on stage.
“There is a story, the second story of the piece, which is the longest one,” said the actor who originated King Midas, Raymond Fox. “It is essentially about a couple, and the husband goes to work that morning, as he does every day. He goes to sea, and the wife has a bad feeling, and she says, ‘Don’t go, don’t go, don’t go.’”
But the husband doesn’t listen and dies at sea.
“All [the wife] wants is to get his body back,” Fox said. “That’s all she wants.”
“There were times, when we were off-Broadway, when we would hear people just weeping in the house,” he recalled.
After the show’s Broadway run, it crisscrossed the country. Now, after eight years of being dark, the watery stage has been revived.
Myth and Love
The first night “Metamorphoses” opened for its Chicago revival last fall, Zimmerman gathered her actors, slightly older and more deeply connected than they were when they first played the roles in Chicago in the 1990s.


An only child, Idris Elba was born and raised in Hackney, London, England. His father, Winston, is from Sierra Leone and worked at a Ford motor factory. His mother, Eve, is from Ghana and had a clerical duty. Idris went to school in Canning Town, where he first became involved in acting. He gained a place in the National Youth Music Theatre – thanks to a £1,500 Prince’s Trust grant.
He worked as a disc jockey in nightclubs under the nickname DJ Big Driis at age 19. However, he began auditioning for television roles in his early twenties. He has starred in both British and American productions. One of his first acting roles was on the British soap opera Family Affairs (1997). His breakthrough role came when he landed a starring role on the American television series The Wire (2002). He later starred in the films Prom Night (2008), RocknRolla (2008), The Unborn (2009) and Obsessed (2009). He also appeared in the films American Gangster (2007), Takers (2010), Thor (2011), Prometheus (2012), Pacific Rim (2013) and Thor: The Dark World (2013).


Seriously, who knew I was missing this much television?
I canceled my cable MONTHS ago, when I discovered I could get a TiVo and watch Netflix streaming. Now, I have discovered a whole new world of television that I was not getting via basic cable. Just a few of the things I’m watching right now:
Dexter: I LOVE this show. Seasons 1 and 2 were good, but in Season 3 the show REALLY hits its stride, and I am on the edge of my seat waiting for the DVDs to Season 4. But first, I must finish Season 2 of
Damages: This has to be the most complicated show on television. Honestly, just when I think I have it all figured out someone comes along and throws a monkey wrench in the whole thing. It’s one of those shows you have to sit and pay attention to, or ten minutes later you’re going to be saying to yourself, “Wait, wasn’t that the OTHER guy???” Yeah, it’s intense.
Lost: Netflix was kind enough to put the first five seasons on streaming. I’m about a third of the way through Season 1 and I can’t. stop. watching. I just hope it keeps going at this pace – it’s HIGHLY addictive.
Buffy: Again, Netflix put ALL of Buffy on instant play. Keith and I have been watching this and I must say, this is one gem in the Whedonverse I really missed out on. Quirky, funny and some of the best one-liners out there.
And, let’s not forget all the movies you can get. Netflix streaming has tons of them, plus damn near anything you could want on DVD. The nice thing is that they carry a lot of indie films and documentaries, which are things you don’t typically get in movie theaters.
I’m having mixed feelings about my upcoming unemployment, because I think I may turn into a couch potato.
Buffy. :wub: One of the Best Shows on Television, ever. IMHO.
Oh. my. word!!!
I had no idea you’d become a Lost convert! How did I not know this?!! Brilliant 😀
And yeah, what Pam said 😉


“Little Shop of Horrors” brings Farce and Fun to Audience with Horrific Appetite!
Every now and then the shy, clumsy and unimpressive individual has hidden depths that are astounding although we rarely get a glimpse into the recesses of the mind of such an individual, we would be surprised to find that it certainly isn’t boring. It may even be horrific! A mild-mannered and somewhat inhibited florist assistant is such a fellow with very interesting depths that are revealed in his story as seen in “Little Shop of Horrors” currently being shown at the Pollard Theatre in Guthrie, OK. His name is Seymour Krelbourne and he is the downtrodden employee of Mr. Mushnik, the miserly florist with a shop on skid row. Apparently Mr. Mushnik wasn’t listening when the real estate agent said ‘location, location, LOCATION!’ as the little shop is certainly not prospering.
Krelbourne brings in a plant that he grew from mysterious Chinese seeds that is not doing well at all and he hopes that his boss has the expertise to help him revive the unusual and sad looking foliage. It doesn’t pay off, but Seymour soon discovers that a drop of blood does revive his little plant. He has named the plant Audrey Jr. after the beautiful young lady who also works in the shop. It appears that Seymour has a crush on Audrey. And Audrey is touched by her namesake.
The vampire plant prospers, and seems to have an insatiable appetite. The appetite for human blood, and flesh must be fed, and Audrey Jr. develops the ability to speak as he grows larger and larger. But no one seems to mind, and Mr. Mushnik is very pleased to discover that he has many new customers among the gawkers that have come to see the unusual looking plant. Seymour never grows a back bone but he does become more confident enabling him to approach the lovely Audrey and these two become an item. The play often moves forward with the assistant of the chorus, consisting of three young ladies who sing in harmony as the plant creates a singular disharmony. Audrey Jr. is happy to be helpful–consuming Dr. Farb, the evil dentist and other undesirables that visit the shop, In addition to Dr. Farb, Orin Scrivello and many other characters become dinner as Audrey Jr. grows larger and more demanding.
“Little Shop of Horrors” is a musical and became a cult classic shortly after release of the 1986 film of the same name directed by Frank Oz. The book and lyrics are by Howard Ashman, music by Alan Menken and screenplay by Charles Griffith. This production is directed by the talented Matthew Alvin Brown and displays a quirkiness that Brown exploits with expertise and crafty humor. Larz Justice assists the director and Ren Trowbridge contributes as stage manager. Jason Hunt is music director. The set comes out of the imagination of Jared Blount, Michael Long and Larz Justice and the costumes are by Michael James. The Properties are thanks to the combined talents of Timothy Stewart and Jessa Schinske. The technical aspects of the production are very well done.
The excellent performances from the seven actors, one voice actor and the Puppeteer move “Little Shop of Horrors” into a production that is delightfully campy, wonderfully horrific in conception and incredibly entertaining. Jared Blount stars as the hapless Seymour Krelbourne with Ellie Valdez as the sweetly seductive Audrey. The irascible Mr. Mushnik is Timothy Stewart. Orin Scrivello et al is Joshua Thompson, changing personality along with his hat. The chorus consists of three talented singers, De’Vin Lewis as Crystal, Terjuana Brooks as Ronnette and Erin Thompson as Chiffon make the show memorable. Kendon Lacy does the voice of Audrey Jr. and Larz Justice is the Puppeteer for the evil plant
“Little Shop of Horrors” plays at the Pollard Theatre June 9, 2023 through July 1, 2023 in downtown Guthrie, 120 W. Harrison Avenue. For tickets and information visit www.thepollard.org or email the box office at email@example.com. Curtain is 8:00 pm Friday and Saturday and the Sunday matinee is 2:00 pm. “Little Shop of Horrors” is a show for anyone with an appetite for farce insatiable or otherwise!


Planning is already under way for 'Puppet Shakespeare' with the great bard himself introducing excerpts from some of his many works including The Tempest, Macbeth, Romeo and Juliet, King Lear, Hamlet and A Midsummer's Night Dream. The great bard also explains aspects of the theatre of his time. It promises to be a most unique and enjoyable experience full of tragedy, comedy and of course, great literature.
It depends on your needs and budget.
Hi David, I absolutely love your stage set ups, themes and puppets. I wanted to see if I could get your advice on the best place or way to obtain a portable puppet theatre. Thanks
Hi David, I am interested in becoming involved in puppetry and wondering how much and when workshops will be held. Thanks, Deb
It is always a sheer joy to look at the incredible work you are doing and the shows you are producing with your beautiful, colorful costumed puppets. You are a treasure to the puppet world.


15 december the most modern cinema of the Netherlands will open in Eindhoven, The Netherlands. With the newest gadgets like 3D Experience and Dolby Atmos. They take care of a great sound and visual experience. This new cinema will bring a whole new experience to Eindhoven with 4D effects – tangible effects such as wind and vibration in your seat. This cinema counts 8 halls with almost 1600 seats.
For a large part of the country, myself included, going to the movies is a favorite activity. There’s nothing quite like watching a story unfold on the big screen. Whether it’s a high-octane action thriller like or an intimate and dramatic character study like Flight, a trip to the movies transports the moviegoer to another world — a world of excitement and wonder.
So why do we go to the movies? Sure, the desire to see the newest movie featuring your favorite actor is a driving force of our media culture. What drives people to keep coming back to the movies week after week?
I think part of the equation is the nostalgic feeling that movies possess. In the late 1940s and early 1950s, audiences of all ages packed theaters in droves. In today’s age, a trip to the movies is a common way for teenagers and college students to pass the time. As popular as movies are among our nation’s youth, older moviegoers still regularly catch a film in theaters. The allure of going to the movies never really dies.
While nostalgia is a big part of moviegoing, perhaps the biggest reason to go to the movies is to make an escape. As I noted earlier, a trip to the movies is the perfect way to cast annoyances and troubles to the side. In a distinct way, movies possess a healing power and capability to relieve bad moods in the blink of an eye. To fulfill this constant need and to keep up with technology improvements, we create a more modern way to watch movies like 3D and 4D.
In recent years, nostalgia and escapism have even become part of the movies themselves. Movies are very often a reflection of our society in an exaggerated shape. We can learn a lot from movies, they make a statement or make us conscious from situations such as; politics, planet earth, world health, technological developments, the future etc.


A surprise screening of ‘Last Christmas’ was organized a day before its official release in India
by Prashant Kapadia/NHN
Mumbai, 8th November 2019: Cinépolis, India’s 1st international and the world’s 2nd largest movie theatre circuit, yesterday hosted a special movie screening of Last Christmas, a day prior to its official release in India. The critically acclaimed movie was hosted as a surprise screening ‘blind date’ for the patrons, an initiative that is in line with the brand’s core objective of consumer engagement.
Influencers and patrons were in for a pleasant surprise as the they got a chance to be the first few to attend the exclusive preview of much awaited Hollywood film, Last Christmas. The attendees got a chance to experience the romantic comedy that is set during the time of Christmas. The movie depicts the true meaning of Christmas through the story of the protagonists, Kate and Tom. Being globally acclaimed to deliver a magical fusion of awe-inspiring images and heart pounding audio, Cinépolis’ embarks itself on a mission to offer the ultimate immersive experience for the movie connoisseur and enthrall them with the fun quotient of the movie, bringing in the spirit of early Christmas for all the movie watchers.
Cinépolis India has created a strong footprint across 61 Indian cities with strong presence in major metros: Delhi, Mumbai, Kolkata, and Bengaluru. Cinépolis extends a contemporary approach which seamlessly weaves the entire range of cherry-picked cinema formats from across the world under one roof offering an unmatched experience to all movie patrons.
About Cinépolis India: Cinépolis India is a wholly owned subsidiary of Cinépolis and is the 1st international exhibitor in India. The company currently operates 386 screens under the brand names of Cinépolis, Cinépolis VIP, and Fun Cinemas. Cinépolis operates India’s biggest Megaplex – 15 Screen Multiplex in Pune and has brought innovative concepts to exhibition Industry in India. Cinépolis also offers multi-benefit loyalty program- ‘Club Cinépolis’, to enhance customer experience and increase loyalty. Club Cinépolis offers free registration, earning and burning of points, invite to pre-screening of movies and star visits. Cinépolis India has been awarded with “Most Admired Retail Launch” in 2010, “Most Admired Retailer – Innovation” in 2011, “Fastest Growing Multiplex Chain” in 2015, “IMAGES Most Admired Retailer – Entertainment” in 2015, “DLP CineAsia Marketing Achievement Award” in 2015, ‘Best Marketing Campaign of the Year’ award at the Making of Developed India awards 2017. In 2018 Cinépolis has been awarded with ‘Best Multiplex – West’, ‘Best Multiplex – South’ and ‘Fastest Growing Chain’ at the Global awards for Retail Excellence. In 2018, Cinépolis India has been awarded with “Most Trusted Brand of the Year” at Big Cine Expo 2018 and Images Most Admired Retailer – Entertainment at Indian Retail Forum 2018. In 2019, Cinépolis India was awarded the ‘Most Admired Omnichannel Retailer of the Year’ at the MAPIC India Retail Tech Awards.
About Cinépolis: Cinépolis was founded in Mexico in the city of Morelia, Michoacán in 1971. Today it has positioned itself as the world’s 2nd largest movie theater circuit in attendance, operating 884 cinema complexes, 6593 screens and over 1.2M seats across 18 countries worldwide. It was the first cinema exhibitor in the world to pioneer the concept of luxury movie theatres, establishing the first luxury theatre experience in 1999 in Mexico City. Cinépolis aspires to provide its guests with the best overall experience in film entertainment and employs a global workforce of more than 39,370 people to support its mission. Cinépolis plans to continue to revolutionize the industry for years to come.


Silvio Muraglia is a respected international producer and television executive who possesses extensive knowledge of both the European and the American entertainment industries and film markets. He is President of the Paradox Studios worldwide.
Muraglia was Vice President at RAI, Italian Television Network and President of Quinta Communications USA, a Silvio Berlusconi/Credit Agricole company and a producer under a three year exclusive deal with USA Network. He previously held a producer's deal with Bavariapool, a company owned by Telepool and the Bavaria Film Studios, to develop a co-production slate of projects. Muraglia has served as President of Paradox Studios since 2015. In total, Silvio Muraglia's entertainment industry career spans more than two decades as a television and motion picture executive. Muraglia produced more than 20 feature films and has been involved in producorial capacities in numerous tv projects.
Andrea Zoso has extensive International business development and finance experience in the film industry. In his career he raised more than 300 million Euros for both TV drama and features. Andrea has brokered co-productions across the US and Europe.
He is recognized as an authority on film finance and international tax law, with expertise in structuring investments for international partners. He is a qualified CPA in the UK and Italy and holds MBAs from Columbia University and the London Business School.
Marco Zordan is a certified engineer with extensive experience in IT for IP distribution companies.


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The Lead Shoes (1949) is an experimental or surrealist film directed by Sidney Peterson at Workshop 20 at the San Francisco Art Institute. The film was made using distorting lenses.
On December 30, 2009, it was selected for the National Film Registry by the Library of Congress for being “culturally, historically or aesthetically” significant and will be preserved for all time.
"In the Lead Shoes, we can neither thrust in our eyes nor our ears to help us understand how time flows or how space is. Therefore, Peterson forces us to take both space and time as relative experiences. The consistent disorientation in the film and our consistent inability to perceive them in absolute terms become the main subject of the film. Peterson makes us aware that space and time are more complicated than we think they are and they should be experienced in a more open-minded way." - http://waysofseeing.org/shoes.html


The liberals still can’t accept the fact that Donald Trump is the President, although the presidential elections were held 6 months ago. They are attacking him with every chance they can get. Their latest attack on Trump can be easily perceived as a death threat similar to Kathy Griffin’s video where she was holding his bloody head. There is a production of the William Shakespeare’s play called “Julius Caesar” in which Caesar gets killed. This version of the play is modern and Caesar’s clothing resembles Trump. In the play, Caesar is described as a historical tyrant and killing him is the only way to deal with him.
It may not be a beheading like Kathy Griffin pulled off, but a new production of Shakespeare’s “Julius Caesar” has the titular character who dresses and acts in a manner akin to President Donald Trump.
According to Mediaite, the production is part of the annual Shakespeare in the Park festival, held annually in New York City’s Central Park.
Now, spoiler alert for those of you who either haven’t managed to catch the play in the 418 years since it first opened at the Globe Theater in London or turned on the news in the 2,061 years since Caesar’s death: in the play (and real life), ol’ JC ends up kicking it after he gets stabbed in the back, very literally, by some opportunistic office-seekers.
The version being put on this summer in NYC features the characters dressed up in modern garb, including a Caesar coiffed and attired much like our president. On the website of the Public Theater — which puts on the play — it’s made implicitly clear that this isn’t an accident.
Caesar himself is described as “magnetic, populist, irreverent,” and “bent on absolute power.” Oskar Eustis, head of the Public Theater, is quoted as saying, “Julius Caesar is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all.”
In an interview with Backstage in May, Gregg Henry — who plays Caesar — acknowledged that “I have great costumes and wigs that show you that this could be Trump.”
“But I’m also trying to bring in the larger knowledge of tyrants,” he added. “It’s sort of a ‘tyrant’s’ greatest hits’ in (the way I play) the speeches and in the nature of the ego and belief that one man is more important, is above the law, is the law. Those tyrannical beliefs in terms of how to deal with power. Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”
One person who saw the play who was quoted by Mediaite also noted that Caesar’s wife Calpurnia had “a Slavic accent,” much like Melania.
Now, leaving alone the oft-repeated misconception that the election of Trump by the rules of American democracy was somehow undemocratic, there’s also the slight problem of the fact that Julius Caesar gets assassinated in the play. While Shakespeare takes a rather dim view of Brutus and Cassius (the two main conspirators, for those of you with a Common Core education), that still means we’re watching the current president of the United States undergo an effigial assassination on stage.
While not exactly up there with Griffin’s stunt, it’s clearly inappropriate, particularly given the bilious atmosphere of the left at present. Casting Trump as a historical tyrant in a play that suggests that assassination is one way to deal with tyrants isn’t exactly helping or providing any sort of societal or political insight, the vague objectives stated by Messrs. Eustis and Henry notwithstanding.
This is nothing more than a publicity stunt, and it’s a publicity stunt with dangerous undertones. On the plus side, though, I can think of one recently out-of-work redheaded comedienne who could try out for the Brutus role. Et tu, Kathy?
First, it was Kathy Griffin’s disgusting video, then this play in which Trump gets killed. Why the liberals can’t accept the fact that he’s our President now and they can’t do anything for that? Instead, they are making this ridiculous videos, images, and plays which can be perceived as death threats against Trump. This must stop!


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We are approved for the Activate Auckland Boosted program: that means for every $1 you donate, we get $1 matched, too! Campaigns like this ensure Navi can make our shows as amazing as possible: costuming, venues, marketing - it adds up! Please consider supporting local professional artists and theatre.
Collaborating. Telling Stories. Supporting Artists.
Navi Collaborative was founded in late 2014 out of a desire for artistic action and opportunity. We began making work in 2015 and we haven’t looked back since. At Navi we love a good story. We aim to exhilarate, excite and expand thought through the performing arts with a focus on creating original theatre and film.
WE ARE MAKERS
At Navi we holds firm to the belief that creativity begets creativity. We are a collaborative of professional artist working together to not only realise one another's projects, but to also create opportunities and hold space for other Auckland based creatives. We seek to produce original content for theatre and film and well as premiere international works that speak to us.
In the seven years that we have been producing work we have brought to life four original theatre pieces, two short films, and have premiered two existing international plays to Auckland audiences . We have also partnered with multiple Auckland based charities to bring awareness to and raise money for their causes as well as held free devising workshops for both school aged and adult creatives.
DAWN GLOVER - HERNANDEZ
Dawn Glover is a founding member of Navi Collaborative and the acting Artistic Director. Dawn is an actor (represented by Trio Arts), singer (The Dead Travellers), writer (The Dummy, (on) WHATIPU), director (Balls, The Cheshire Cat's Smile), acting coach (Kacie Stetson Studios & Chocolate Lantern Theatre company), runner, and obsessed greyhound mum.
Dawn has a Master of Fine Arts in performance from Purdue University; she was one of seven students chosen to attend the well regarded graduate programme from 2007-2010. Dawn worked in both professional theatre and film across the US before relocating to Auckland in 2013. Since moving to Auckland Dawn has continued to grow both her acting and directing career and has begun to explore her passion for bringing the performing arts to students and adults with intellectual disabilities. This year she will be working with Oaklynn Special School to bring a show to the InterAct Festival. In 2021 she joined Equity New Zealand's Inclusivity Committee to advocate as an ally for artists with disabilities as well as for other immigrant actors living in Aotearoa.
I am a passionate storyteller, whether it’s through bringing my own stories to life, or helping others to realise it. As an actor, director and writer I have always loved performing arts in the collaboration and connection that is made with both fellow artists and the audience.
I have been a writer most of my life, but have recently rediscovered it through scripts for both screen and stage. The first season of (on) Whatipu was my first big project as a writer, and have since written a couple of short films, and have another in development.
In recent years I have started to develop my craft as a director, assistant directing on a number of projects, directing a short play as part of Short + Sweet, a web series and Navi’s film Waters Fall (both of which are in post-production).
This year I embarked on a new adventure when I gave birth to my son, so I am wearing a Producer hat for our upcoming Navi projects, so that I can juggle a baby in one hand and a computer in the other. I am really enjoying supporting Navi’s creative babies to life, backing our amazing creative team for The Potential for Rain, and seeing us make theatre magic once again after the covid hiatus we have had.
What's on Next
Watch this space for more informaiton on a brand new show that we have in development for Auckland Fringe 2022.


Choose one of the two clips from Alexander Payne’s film Sideways (2004) posted on Blackboard. Write a short analytical essay in which you will comment on the use of editing techniques in putting together the scenes, explaining how the techniques work in making the scenes clear and how they add dramatic meaning.
Sideways concerns two middle-aged men, best friends from college: Miles (Paul Giamatti), an eight-grade English teacher and aspiring writer, prone to depression, and a wine connoisseur, and Jack (Thomas Hayden-Church), an actor past his prime, with a very carefree outlook on life. Jack is getting married, and Miles takes him for a week-long tour of California wine country before his wedding. Miles wants Jack to have a good, time, but Jack has his own carnal agenda. While having dinner, they meet Maya (Virginia Madsen), an acquaintance of Miles’, with which they have an after-hours conversation.
In writing your essay, follow the following instructions:
• Describe the actions in the clip, what is going on between the characters. From the brief synopsis, try to figure out the dramatic message the clip is expressing.
• Describe the editing techniques used in joining the shots in each of the scenes in the clip: shot-reverse shot, eye line match, match on action, montage, long take, sequence-shot. As you point out the technique, analyze the dramatic motivation of it: how does it make the scene expressive? Would you have chosen another technique, and why?
• Describe the transition techniques used between the scenes: straight cut, lap dissolve, wipe. Are the transitions well used?
• Point out the moments when the 180° line is broken (it happens in two scenes, which you will identify on your own), and explain the line violation effect, if any; does the scene suffer from the breaking of the line, or is it not a problem?


2016-2017 Arts Season
Our 2016-2017 Back-à-Dos Theater season will include the fall play, Charles Mee's Big Love with a guest director, the student-directed one act play festival in the winter, a spring musical (Dave Malloy's Ghost Quartet) and a faculty-directed May project. In addition to theater performances, there will be several concerts and musical events featuring student bands, solo pianists, spoken word & poetry, singer-songwriters, and more.
May Theater Project
A small team of students will take on a short play or original, devised theater project under the direction of the artistic director of Back à Dos, Michelle Haner. We will share this project with our school community in May and also take it to a local theater festival.


Kenny Leu is a Los Angeles-based actor. Although he was once an accomplished engineer, graduating from UC Berkeley & successfully selling a startup he co-founded, he is now known on screen as the charming action hero. A talented martial artist, he represented the United States in Wushu from 2010-2012 and won hearts & medals from all over the world. His many acting credits include NCIS, The Player, Scandal, Scream, Zoo, and Independence Day: Resurgence. He currently stars in Robot Underdog's "DBZ: Light of Hope" (27 million views). A native Chinese speaker, Kenny will have a major supporting role in his first big budget Chinese movie "Rift" or "空间裂缝", set to premiere December 2017.


Nambour Christian College has developed a distinguished reputation amongst schools on the Sunshine Coast in the area of performing arts. The NCC Creative and Performing Arts (CAPA) department provides a diverse range of opportunities for students to express and develop their creative talent in co-curricular activities.
CAPA Department includes:
- Speech and Drama facility, with extensive costume wardrobe, make-up areas and stage props
- Film and Television Studio with four associated editing booths
- Two fully equipped Music Classrooms
- Eight Music Rehearsal Rooms with recording studio capability
- Art Studio with integrated kiln and open-air ‘wet’ area
- Dance Studio in the Health & Fitness Centre
- Lecture Theatre and Outdoor Amphitheatre for drama and musical performances
- Six specialised Instrumental Music Studios and two Orchestra & Ensemble rehearsal areas for the College Instrumental Music Program in the Abbenbroek building
- Visual Arts Studio and Music & Drama Centre in the Junior School
With our combination of facilities, offerings and talented teachers, students can discover the joy that comes from creative pursuits, discipline, practise and collaboration. Some even discover their calling in life.
Our CAPA program also includes some major group collaboration and performances which the entire school community, as well as the extended Nambour / Sunshine Coast community, can enjoy.
Staged every two years by the Secondary School this is a showcase of the talent within the College community and a major school event with up to 10 percent of the school involved.
Recent performances include “Godspell”, “Calamity Jane”, “Seussical the Musical”, “The Sound of Music”, ”Beauty and the Beast”, “Thoroughly Modern Millie”, “Bye Bye Birdie” and “Annie”.
Inside Out Theatre Company
Based at NCC and involving a number of our teachers, this theatre company provides the opportunity for both Junior and Secondary students to be involved in drama productions both at the College and in local Sunshine Coast theatres. Recent performances include “The Big Friendly Giant” (Secondary),“The Worst Kids in the World” (Junior). and Roald Dahl’s “James and the Giant Peach”.
Illuminations Arts Showcase
The Illuminations Arts Showcase Evening is a wonderful display of extraordinary work by our creative and performing arts students. Held annually, our audience is taken on an evening tour, rotating through live theatre performances, a concert of beautiful music, student films, and an art gallery of work from Prep to 12 (complete with live music and nibblies). The audience is encouraged to come in costume according to the theme, and the trees, gardens and pathways are lit with fairy lights to create a beautiful wonderland. We are proud of our exceptionally talented CAPA students, and look forward each year to showcasing their efforts.


I’ve been keeping an admiring eye on Channing Tatum since I first saw She’s the Man. He’s come a long way since then, and done some fascinating work. If it weren’t for his appearance in White House Down I probably would not have watched it. I am not a huge fan of action movies, especially ones with an American patriotic theme.
But I am so glad that I have watched this movie. The action was relatively believable and it wasn’t JUST two hours of explosions - there was a story here as well that stood up on its own merit, not just to fuel more CGI theatrics. There was a great deal of humour in this movie, and despite the seriousness of the story it felt right. The President, played by Jamie Foxx, was personable and engaging. Apart from West Wing, I’ve not found a TV/Movie President that was someone I could really like and it was hard to summon the American sense of patriotism and total dedication to their leader. However with <i>White House Down</i>, I found myself really admiring him, especially because he was fighting for himself and doing it with the Jamie Foxx cool.
But aside from the two leading men, I greatly admired them for making one of the main heroes a heroine – a 13 year old heroine - who fought back not with guns or violence, but with courage and calm thinking. They also had a female head secret service agent who is very dedicated to her job.
I think what struck me most with this movie is that the terrorists weren’t outsiders. So often these movies represent the current political turmoil – all the Bond movies featured Russian or Korean spies and enemies reflecting the Cold War and anti-Communist politics. Then there was a turn and all the terrorists and enemies of state were Muslims from the Middle East, or drug traffickers from South America. Yet this is the first movie I can recall, and granted I haven’t seen a lot, where the enemy came from within America and were white American men, fighting against mostly white American men.
I enjoyed this movie a lot more than I ever thought I would and I think it will appeal to most people wanting a fun night in alone or with friends.


Graduate Hala El Kouch wins in the International Documentary Film Festival in Amsterdam
The International Documentary Film Festival Amsterdam (IDFA 2022) has chosen graduate director Hala El Kouch on 3 May 2022 to be part of its “Project Space” program aimed at supporting artistic talents in the world of cinema.
Out of 260 projects, it was decided to support only sixteen films within Project Space 2022, and Hala will participate in her movie “The Place Where I Belong”.
The movie describes the situation after the Beirut port explosion and conveys the pain of the Lebanese people in a different and innovative way.
It is noteworthy that Hala participated in +20 international film festivals, and won the "Best Narrative Short Film" award in international festivals such as: European Film Festival, Beirut Greek Film Festival, Lebanese Film Festival in Canada and others.
Hala movie “The Perfect Picture” participated in about twenty festivals and won six awards, the last of which was within “Women voices now” in Los Angeles. In 2021, Hala received an award in the photography competition, winning the title of Canon's “Woman with Vision” in the Middle East.
Hala holds a BA in Film & Television and a Master in Film Directing from the Faculty of Fine Arts & Architecture.
About her experience at the Lebanese University, she says: “The journey of five years of my life at the Lebanese University, which I will never forget in my life. In this university, our character is refined. The professors gave us the keys and directed us to the doors of success, but this success is conditional on perseverance and passion. The Lebanese University builds a person ready for the labor market, loaded with the necessary tools and equipment, and the evidence is that the most successful people today in the world of acting and directing are its graduates. The Lebanese University should not be left aside, and I wish there was more financial support for this university.”


***I am out of review copies of this title. Please see below for currently posted reviews/coverage.***
ADMIT ONE: My Life in Film By Emmett James
Fizzypop Productions, LLC, February 2010
US $19.95, 216 pages, Hardcover
''Hilarious, honest, touching, and poignant. The stories transported me back to my childhood, seemingly the very place from which I escaped years ago!''
--Phillip Rhys, actor, 24, Nip/Tuck
''Funny and moving, capturing vividly the most important moments of youth. A very personal story to which everyone can relate.''
--Bob Read, The Tonight Show with Jay Leno, Last Comic Standing
First set in Croydon, South London, in the 1980s, ADMIT ONE, details how Emmett James escaped the pains of adolescence by going to the cinema. With wry, self-deprecating humor and observation, the author reflects on, obsesses over, and rages about film and its correlation to our pasts. Life soon imitates art, and the narrator finds that his true calling is in transiting one side of the screen to the other. He decides to leave England for the only place where he can realize his dream of becoming an actor ––America.
We then follow the narrator on his numerous Hollywood adventures as he struggles to survive, crashes an Academy Awards party, and chases his dream. At every turn, the films that inspired James as a child resurface, and they serve to contextualize his humorous collection of stories. He provides unique insights into the fascinating world of film, and eventually stumbles into acting in the highest-grossing movie of all time, Titanic.
Emmett James spent his childhood in Croydon, South London and finished his schooling in Cambridge, England. Studying acting at Strasberg Actors Studio in London he began working in theater, eventually moving to Los Angeles in the early nineties to pursue his acting career in film. For over a decade he has worked extensively as a professional actor, winning a prestigious ADA as well as appearing in Emmy, Golden Globe, SAG, and Academy Award winning work. In addition to acting, he has produced, taught, and directed film, stage and television productions in Hollywood. From a family of authors including J.B. Priestley, he continues to live and work in Hollywood.
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I’ve blogged in the past about captions for movies, and how disappointing it is when the captions are not available, or not covering the entire movie (i.e. when music is ignored). But what about movies shown in the theater?
Some theaters use open captions, and it’s usually a specific, limited showing where the captions are offered, often in off peak hours that can be difficult for those of us with regular 9-5 jobs. These captions are shown on the screen, just like watching captions at home.
But there’s another option—at least in my area—a personal captioning device. Simply put, this is a device that displays the captions on a small box only the person requesting it can see. When I first started using these devices they reflected a scrolling marque in the back of the theater. Now it’s an internal device, with the captions pre-programmed.
I’ve only used them a handful of times, because I don’t go to the theater often. And that’s due to these devices having a pretty bad track record: I tend to get free tickets when my captioning doesn’t work—because what’s more disappointing than not being able to see a movie once you’re already watching the start of the film, only there’s no captioning—and I’ve had about a 50-50 success rate.
The above picture is from this weekend’s attempt to watch a movie. First time I was able to bring my son to the theater and had captioning for myself. My husband and I had free tickets since, surprise surprise, the last movie we saw (Deadpool) had a captioning issue and I missed half the film. And if you think Deadpool is an easy character to lipread, as nice as Ryan Reynolds’ voice is…
So, there I am, in the theater, wayyy up close, with my captions set up and my fingers crossed.
And the best thing happened: even though previews are usually not captioned, three of ours were! Not only was it awesome to get the full impact of the previews, but this also told me ahead of time that everything was going to be okay. I was not going to have to leave my son and husband behind to get my captions fixed as the movie began (as I’ve done far too often). I was not going to have to sit outside while they watched, or watch something I couldn’t fully understand. This was going to work!
Then, the movie started. I held my breath. And you know what the very first thing I saw was? Music being captioned!
So this is how I watch movies in the theater. Now, my hearing means that sometimes I can hear enough. But it’s really a hit or miss: I have no way of knowing ahead of time how the acoustics will work. It does take some adjusting, since the captions are right up close, and the screen is far away. When it works, it’s a great experience.


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Come Join a Free Showing of "A Place at the Table"
The Foodbank Network of Somerset County will host a free showing of the award-winning documentary "A Place at the Table" at 7:30 p.m. April 25 at the Liberty Corner Presbyterian Church.
The shows details how 38 million Americans face the challenge of hunger, from insufficient funds to a lack of healthy food choices. The show was nominated as Best Documentary at the Sundance Film Festival, and won the prestigious Pere Lorentz Award at the 2013 International Documentary Association Festival.
The LA Times said, "The Sundance Film Festival is chock full of documentaries this year about the troubles besetting America... but 'A Place at the Table' may rank among the most moving in that it tackles a seemingly straightforward, solvable problem: hunger in the United States."
Discussions about the ongoing hunger crisis will follow the show.


Described by Edward Albee as “…the greatest American play ever written,” the story follows the small town of Grover’s Corners through three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity.” Narrated by a stage manager and performed with minimal props and sets, audiences follow the Webb and Gibbs families as their children fall in love, marry, and eventually—in one of the most famous scenes in American theatre—die. Join cytp May 6 & 7, 2016 for this very special production honoring Our Town, our community.
“While all of Wilder’s work is intelligent, non-synthetic and often moving, as well as funny, it isOur Town that makes the difference. It is probably the finest play ever written by an American.” —Edward Albee
“Beautiful and remarkable one of the sagest, warmest and most deeply human scripts to have come out of our theatre…A spiritual experience.” —The New York Post
“No American play describes more powerfully how we imagine ourselves.”- The New York Daily News
“No play ever moved me so deeply.” —Alexander Woolcott, The New Yorker
Our Town’s Timeless Qualities: 75 Years in the Making


The Sea Trials of an Unfortunate Sailor by Kurt Brindley
The Sea Trials of an Unfortunate Sailor
Boot Camp didn’t join the navy to die, he joined to become a sailor, a real sailor, and to do all those things that real sailors are known to do.
But after reporting to his first duty station, a laid-up warship filled with a disgruntled crew who welcomes him aboard with a brutal hazing and violent displays of intolerance and harassment, Boot Camp learns the hard way that to be a real sailor, you sometimes have to put yourself into harm’s way to defend what you believe in.
However, after his only true shipmate---an eccentric nonconformist who, himself, had to overcome intolerance and harassment---is discharged from the navy, Boot Camp is left on his own to face the discrimination and dangers that await him.
Alone, he has to find the courage and strength to stand up for his own self and fight for what he believes in, even if it kills him.
THE SEA TRIALS OF AN UNFORTUNATE SAILOR, a psychological drama set on a U.S. warship in the port city of Yokosuka, Japan, is a story about the harsh realities of navy life during the Don't Ask Don't Tell era. But it's more than that. It is also a story about each of us and how we perceive the world around us. Written with a narrative starkness, it leaves us with only our own prejudices and stereotypes to draw from and forces us to make assumptions about character and identity, and, in the end, determine not just who did it but if it was even done at all.


In 1998. in "Enemy of The State" movie, "Babe" was cat acting there.
"Bettleheim" was name of cat from 1998. "Dr. Doolittle" movie.
In "Men In Black" , cat actor was Orion.
There was cat appearence in "Mars Attacks", too. That was Muffy.
In Babe movie from 1995. cat was Dutchess.
Even in horror films cats have roles. In Children of The Corn II, cat Elmyra appered.
Miss Kitty was cat in 1992. well knowned film Batman Returns.
Alice In Wonderland, movie from 1988. have cat, too. That was The Cheshire Cat.
Do you remember The Fly, 1986? Dandilo was the cat there.
Figaro acted in Pinocchio, 1984.
Ridley Scott directed famous Alien in 1979. And cat Jones was there.


- Before becoming one of the most influential film critics in Indonesia you started you career as a screenwriter, working on the script of Brownies and then with a project as film director, the short 4 SISI. Can you tell us something about these two experiences?
Sure. Like everybody else in the country during those days, 2003 to be precise, I wanted to be a filmmaker. That was everybody’s dream. I started to make friend to some people who active in filmmaking, and they, like myself, were relatively begun their involvement in film industry. It was the three of us at that moment. When one of us got a project to write/ direct a feature-length film for commercial cinema, he involved us.
The three of us, Hanung Bramantyo, Salman Aristo and myself worked together on Brownies. It was a wonderful experience. I realized that composing a film script is like working on Lego – where you must consider the structure carefully – on one side but at the same time you must also let things flow. Looking at this experience retrospectively, I feel that working on film script has given me an insight of how a filmmaker think about the inside world of the characters in their films.
The experience on directing 4 Sisi was even greater in term of giving me sense of the entire universe that a filmmaker would construct. What I love about 4 Sisi was the film was screened at Shortshort Film Festival in Tokyo 2005 and I went to Tokyo with my film. In that festival I must answer questions from audience whose cultural background was totally different than myself. Then I have to explain about basic concept that we think ‘everybody understand’, I realize there is no such thing as ‘everybody understand’ when you talk about culture. That is a great experience, especially in explaining basic concepts in our culture.
- After this, you decided to work as full-time film critic. How was this passage from the “active” cinema to film critic?
When I watched my film again, I was aware that as a filmmaker, I am not a talented one. I feel that it is so difficult for me to make a project such as filmmaking materialized. On the other hand, I have been writing film review in many websites and blogs until one moment I sent one of my reviews to a contest and it won the first award. That was 2005, the moment when I thought maybe I’d be better as a film critic rather than a filmmaker. Then I won two other awards in 2006 and 2007.
- You are the founder and one of the editors of “Rumafilm.org”. How was this project born?
A friend of mine started the project. He received grant to have one-year residency in Japan and Thailand. Then after came back to Jakarta in 2007, he initiated the project by gathering five of us, who have already known as reputable film critics in the country. We are long-time friends back from our university era, where we actively involved in some informal study circles. To be together as a team in RumahFilm.Org, is some kind of extension from our interests in those study circles.
- Talking now a little bit about Indonesian cinema. Indonesian cinema has a long history, but it has some difficulties to reach an international audience, compared to other Asian filmography, such as the Korean or the Hong Kong ones. What is the reason for that, in your opinion?
Yes it has a long history but the Indonesian filmmakers prefer to cater local audience rather than to produce them for international appeal. As I mentioned earlier about the cultural notions that appear in the film, most of Indonesian films are full with un-explainable cultural images and idioms, which could be ‘lost in translation’. This becomes the biggest obstacle for Indonesian cinema to open a wider international market.
- How has Indonesian cinema changed from the Suharno regime to the reformasi?
Hypothetically, it supposed to be changed a lot since there is no control in filmmaking and people are free in expressing their views. The freedom can be seen in the process of making film. During Soeharto era, there was an entry barrier for aspiring filmmakers to enter then industry from the old filmmaker. They put restriction whose objective is to have a great influence towards the young filmmakers. Such restriction is no longer effective. That is one change.
But on the other hand considering the existence of censorship bureau (or Lembaga Sensor Film, LSF), I can say that the control in content remains. The LSF has been working based on the censor criteria developed during Soeharto regime. The main objective of the criteria is to control the film content. By controlling the film content, the filmmakers were not dare to criticize the government. By saying this, I can say that in one aspect, Indonesian cinema has not changed.
On the other hand, I don’t really feel any major change in film in term of its political stance vis-à-vis the authority. The number of films that have strong political view toward the societal and political condition is still a few until now. Maybe the situation is a little bit different in 2010 and 2011, but before, there were only few political statement and social commentary in the films, which I think it’s even fewer compared to films during Soeharto era. I reckon this as a cultural change in the filmmakers’ viewpoints toward the society. Rather than conveying political views, most of the filmmakers tend to amuse audience with shallow entertainment. For the ones who make “socially-relevant” films, usually go into inspirational films, where the audience is presented an inspiring messages in order for them to “learn from other people’s life” for their own benefit. It seems that Indonesian filmmakers perceived that problems of Indonesian lies in their psychological / cultural issue rather than societal or political.
- Which one is in your opinion the key point in the recent Indonesian cinema?
To mention one, I believe the key point for recent Indonesian cinema is the lack of support in cinema industry. Filmmakers have been struggling to keep on business without any proper support from the government. Most of the filmmakers operate in a, say, small-scale industry and they managed to attract funding from commercial entities as well as foreign endowment agency. This has made them believe that government’s support to film industry now should be limited since most of the government intervention to the industry tends to put barricade in production.
On the other hand, this situation has made the filmmakers depend very much to the audience in term of getting the revenue for their production. This has made the popular approach on Indonesian cinema becomes the most tangible element. The filmmakers with big money tend to produce and reproduce films based on known and recognized popular formulas. As for the filmmakers who try to do innovation to their films must be very considerate to the mass-market approach, as they must take into account the ‘return-of-investment’ thinking that was encouraged by their commercial backers. It can be said that, recent Indonesian cinema is weak in term of aesthetic breakthrough.
- You have experience also as member in film board and committee in Indonesia and abroad, such as Hong Kong. What are the perspectives for Indonesian cinema at the moment? Which ones are the most interesting authors from Indonesia for an international audience?
Indonesian films are mostly produced for domestic market and considered weak in delivering material and storytelling that suitable for international market. Most of the Indonesian films are considered slow-pacing films with beautiful pictures but the stories are too much localized and made the international film programmers and buyers lost the story context. This has made the marketing efforts for Indonesian cinema must be done in extraordinary way. Some of the international film programmers are quite open to new possibilities and they travel to Indonesia to understand more about the product. They have brought some films to their festival regardless very few went into commercial release.
So far, it is Garin Nugroho who speaks the most daring words for international audience, especially to the film programmers around the world. His films have been screened in so many festivals around the world and made some significant achievements. However, Garin’s films are not so popular for Indonesian audience.
Another notable filmmaker is Edwin. He made one film, Blind Pig Who Wants to Fly. This film also has a strong appeal for international audience, especially for festival programmers.
Another name that I think will also attract international audience in Joko Anwar. He made films with popular approach and universal theme. His films mostly composed in fast-pace rhythm and strong storytelling. Joko did not put too much effort in contextualizing his films to local knowledge. Indonesian audience still has mixed feeling about his film. I believe with his skills in filmmaking, Joko Anwar will be a name that the world will take into account in the near future.


Houston, Come Have a SPOOKY Time at Rooftop Cinema Club!
It’s spooky season Houston! What a great time to enjoy pumpkin spice and everything nice, along with Halloween everything! From ghosts, pumpkins, ghouls, and candy, one of the best parts of Halloween, is the MOVIES! That’s right, what’s better than a scary movie during a spooky season?
Rooftop Cinema Club In Houston has you covered to bring all the popcorn and chills to your night with their new October program! Rooftop Cinema Club will have some of our favorite Halloween classics screening through November 1st. Films such as Hocus Pocus, Coraline, Halloweentown, and many more for everyone to enjoy!
Rooftop Cinema Club has become a staple in Houston. Offering great service and an incredible movie schedule. Whether it’s with friends, alone, or with a significant other rooftop cinema offers it all. With the beautiful views of the Houston sky and the cozy ambiance, this place is nothing short of amazing. After seeing the reviews on the food, wine, views, and bottomless popcorn this place takes dinner and a movie to a whole new level.
If you want to enjoy a scary movie at Rooftop Cinema Club In Houston, don’t forget to book your ticket online! So whether you want to enjoy a spooktacular night out with your boo or ghoul friends, Rooftop Cinema Club is the perfect place to be! Ticket reservations are selling out fast, get yours today!
Rooftop Cinema Club Uptown
1700 Post Oak Blvd, Houston, TX 77056


My journey in drama started as a class but quickly transformed into a captivating exploration of self-expression and artistic discovery. Drama became more than a subject – it became a passion that now defines my identity. Join me as I reflect on the highlights of this transformative journey through the world of drama in my theatre chronicles.
How I first came across the theatre
Embarking on the thrilling journey through the realm of drama has been nothing short of a transformative odyssey for me. My love for the stage sprouted within the walls of my school, where drama class became more than just a subject—it became a sanctuary. Amidst the academic rigours, it provided a welcomed escape, a space where I could authentically express my personality and revel in the sheer enjoyment of the subject. A significant catalyst in this theatrical adventure was undeniably my drama teacher, who, not to brag, is simply THE BEST.
In the early years, we delved into essential topics like bullying, drugs, and relationships, but it was the transition into Year 9/10 that marked a pivotal moment. Here, we delved into the intricacies of dramatic techniques, script reading, and devising our pieces, casting a spell on me that fueled my imagination with the enchantment of dramatic performances.
Opting for drama as one of my GCSE subjects opened a new chapter, and one that posed challenges. I found myself in a class where everyone seemed to already have their established groups, and the prospect of copious written work loomed large. Despite these hurdles, I soon discovered that these difficulties were a small price to pay for the immense rewards the subject brought into my life, such as new friends and brilliant experiences.
Now in my second year of GCSEs, approaching the impending exams, I reflect on the journey that has unfolded. One significant milestone involved our group’s endeavour to devise and perform a piece for part of our grade. This proved to be a formidable challenge, as disagreements within the group hindered our progress, revealing the complexities of collaboration and the importance of overcoming obstacles in the creative process. Even with these challenges we were able to complete the piece (not to the standard we wished) and got part of the grade we needed.
Theatre outside school
Beyond the classroom, the stage beckoned me to explore the vibrant universe of musical theatre. My Saturdays are now dedicated to KYT (Kindred), a youth theatre group that has become my creative haven. In this spirited community, the harmonies of musicals and the nuanced emotions of dramatic storytelling resonate through each rehearsal. Over the past year and a half, I’ve had the privilege of participating in two pantomimes and two public drama performances.
These experiences have been instrumental in fostering my confidence, encouraging me to open up and embrace the boundless possibilities within the art of performance. The expedition into the world of drama, with its ups and downs, has not only become an integral part of my academic journey but a heartfelt passion that continues to shape and enrich my life in ways I never anticipated, I am so happy and thankful for the people who have come into my life due to theatre.
In the final act of my drama journey, from school sanctuary to KYT stages, I embrace resilience, collaboration, and a passion beyond the classroom. The theatre chronicles promise new acts and adventures, echoing the transformative power of performance in my life. Thank you for reading and I hope you enjoyed it.


I just saw the movie Labyrinth with my friend Brooke in downtown Boston. I realized so much about myself in that screening. Even though I know the movie like the back of my hand I felt like I was seeing it for the first time.
I love the way movies make me feel. Labyrinth is one of those movies that I watch over and over for the experience. However this time as I watched I had a different experience. Lately I watch things and problem solve as I move from scene to scene. I finally feel like I actually can solve these problems now. I watch things and finally understand how it was done. I even think of alternate ways to set up scenes and special effects.
I really love Jim Henson’s concepts. I really have been considering working on things based for children lately. I realize that all of my favorite things are focused towards children. I think this could be a good fit for me. I’m going to start playing with this idea as soon as I am able to start a new project.
I have a lot of ideas recently that aren’t for assignments. I just wish I had more time to do outside class work. I am so ready for reviews this semester. I am really looking forward to them. I want a lot of feedback so I get better. I’m ready for big changes.
I have always loved movies and wanted to work in film. Now I am finally doing it! I am so excited for everything. Last week I went to the Ottawa Animation Festival in Canada and with every screening I watched I felt so encouraged and excited about my career. Everything in my life just seems to be confirming what I want to do.


Transformers Studio Series 30 Crankcase is Deluxe Class and stands approximately 4.5-inches tall in robot mode. 30 Crankcase transforms from Sport Utility Vehicle to robot and back and is screen accurate to the Transformers: Dark Of The Moon live action movie. Each Studio Series figure jumps out of the big screen and into your collection with a high attention to detail and accurate color schemes reflecting their appearance in the Transformers live action movie.
Studio Series Transformers are the perfect gift or collection starter for the casual fan. Available in Deluxe, Voyager, and Leader Classes with traditional colors, they’re the perfect blending of movie specs and designs with classic coloring and will look good in any collection.
Manufactured to the highest quality standards by Hasbro, each Studio Series Transformer is a high quality representation of the characters we’ve all come to know and love. They’re easy to transform, feature a few awesome accessories per character and are scaled to reflect their actual film size. With awesome articulation, customization and solid construction, Studio Series Transformers are sure to last for a long time whether you display or decide to take them out of their packaging and stage a movie-themed Transformers battle of your own.


I mentioned a while back that, while looking for something else on Google, I had stumbled upon a copy of the script of The Manchurian Candidate. Well, I have now got around to reading said script, and a rare treat it is too.
At which point I was going to write you a lengthy and no doubt learned essay about the book, by Richard Condon (1959), and the movie (1962) directed by John Frankenheimer and starring Frank Sinatra, Laurence Harvey, Janet Leigh, and Angela Lansbury. But I find I don’t need to, because the bulk of the job has been done by one Louis Menand, and you can read all about it in the New Yorker.
So, just a few comments. The book is still in print, after all these years. It was a bestseller, but according to Menand it was widely regarded by the serious critics of the day as pulpy crap. Well, you and I should be lucky and talented enough to write such pulpy crap, is all I can say. And if I could find a book to read even once a month which was half as good, I wouldn’t complain. As far as I’m concerned, Condon was one hell of a writer, though his vision was uncomfortably dark at times.
The script of the film, which you can see here, was by George Axelrod. The film is available on DVD, and the DVD apparently also carries interviews with Axelrod, Frankenheimer, and Sinatra.
Page 1 of the script describes the central character, Raymond Shaw, as young, handsome, wooden, and priggish. Well, you can see straight away how Laurence Harvey got the part, can’t you?
The script reads very well. The novel has been described by the film historian David Thomson as ‘a book written so that an idiot could film it,’ and some say that Condon wrote it with the film version ever in mind. He had, after all, worked in Hollywood for years. But I don’t think it was that simple myself. For my money Axelrod and Frankenheimer did exceptional jobs.
According to Menand, ‘Most people know John Frankenheimer’s movie’, but I rather doubt that myself. Clever chaps who write for the New Yorker may well know of it. And boring elderly farts like the author of this blog ditto. But the average guy and gal in the street? I don’t think so. Still, soon they will have an opportunity to learn more, because Jonathan Demme has allegedly filmed a remake, which is scheduled for re-issue in July this year.
The plot of the book/film features a conspiracy to assassinate a candidate for the American presidency, and, since the film came out in 1962, one year before Kennedy was shot, there has been some debate about whether it influenced Harvey Oswald. Whether it did or it didn’t, the film disappeared from view in 1964. Menand says that Sinatra bought the rights in 1972, and removed the film from circulation entirely until 1987. For what it is worth, I once heard Sinatra tell Larry King that he hadn’t realised that he owned the rights, and he rather implied that he had had control from the beginning. But in any event, you can now read the book and see the movie. I recommend both. Whether the remake will be worth a pitcher of warm spit remains to be seen.


About Brians life!
Boisterous British actor Brian Blessed is known for his hearty, king-sized portrayals on film and television. A giant of a man accompanied by an eloquent wit and booming, operatic voice, Brian was born in 1936 and grew up in the mining village of Goldthorpe in South Yorkshire. His father was a miner who wanted a better life for his son; Brian lost three uncles in the pit. At a young age, he displayed an acute talent for acting in school productions, but also had a penchant for boxing, a direction that would be short-lived.


Studio: Evil Empire
Director: Justin Slayer
Cast: Cherokee D’ass, Roxy Reynolds, Nat Turner, Beauty Dior, Melrose Foxxx, Millian Blue, Joyce, Chyanne Jacobs, Eva Monroe, Luanna, Justin Slayer, Greedy
Genres:: Plot, Big Butts, Black, Blowjobs, Brazilian, Group Sex, Masturbation, Straight, Toys
Reviewer: C. Mellides
Reviewed by C. Mellides
With Merc, actor and director Justin Slayer attempts to meld hardcore sex with a storyline that pays homage to the artificial world created and glorified in the hip hop culture of the past and present. Slayer’s film epitomizes gangster life, guns and pussy, but whether or not his vision exemplifies a true reality is debatable. However, this reviewer would be lying if he was to call Merc uninteresting or even boring, and for what it’s worth the sex isn’t half bad either.
The film’s opening scene is heavy with narration and the whole thing coincides with a street chase involving a few hoods who rough up some guy in an unsightly back alley. The narrator [who is later revealed as being a hustler named Sick (Justin Slayer)], talks about how people like him are faced with death every day and that it’s ultimately their own inaction and cowardice that does them in at the end.
It turns out that Sick works for a thug named Greedy who seems to be drunk on power and severely limited by his decadent ways. His major flaw (as hinted by our main character) is his lustful desire for women and it’s this weakness that Sick intends on exploiting in order to take over his boss’s entire operation.
At some point Greedy becomes obsessed with Roxy (Roxy Reynolds) and she manipulates him through the course of the film before eventually robbing him blind. In an effort to sniff out the thief, Greedy calls upon Sick who’s instructed to investigate the theft with the help of his friend Rico (Nat Turner). Greedy tells them that he wants the thief dead and his money recovered. Meanwhile, Sick and Nat know that the true sticker-fingered crook is none other than the stunning Roxy. Yet, they play it dumb, because the two of them had fucked her on two separate occasions and didn’t want the truth to get out.
To make a long story short, Sick employs a character named Tawanda (Melrose Foxxx) to persuade Roxy into revealing the details of the theft so that he could get a better handle on the situation. Before long Roxy skips town and Sick seizes the opportunity to take over Greedy’s crooked business affairs by, well, killing him of course. To accomplish this he arranges to have Rico present during his attempt at taking Greedy’s life. Unfortunately for Sick, his buddy needs some hefty convincing before he agrees to go through with the plan; so to win him over Sick reminds Rico of their amazing trip to Brazil. Naturally, this portion of the film comes complete with flashback segments where the two of them are seen doing the nasty with some attractive Brazilian babes.
In the end, Sick and Rico seek out Greedy who foils their murder attempt and prompts the two to chase after him in their Range Rover. Following this scene the words: “To Be Continued” are displayed on the screen and the end credits roll.
While the story dialogue and the general plot of Merc proved to be exciting, the major drawback of the film was the shooting. Much of it was filmed by Sick on a camcorder during his many sexual conquests. So, right there the filming was of a poor quality. The portions where Sick wasn’t filming himself involved the work of a cameraman whose equipment drifted in and out of focus constantly and this only hurt the overall quality of the film.
Apart from those drawbacks, Merc was most enjoyable. The sex was hot, the plot was well structured and the acting was oddly convincing.
this review to a friend


Liburnija Film Festival
The Open Air Summer Stage, Opatija
Liburnia Film Festival (LFF) is the first documentary film festival in Croatia and the only festival screening only the latest in Croatian documentaries. It takes place in open air in late August. This year LFF will be held, for the 14th time, from August 22 to August 26 2016 at The Open Air Theatre in Opatija. LFF is organized by Association Liburnia Film Festival from Rijeka, in cooperation with Restart from Zagreb, and in partnership with Filmaktiv and Festivals Opatija. In 2014, Institute of documentary film (IDF) from Prague and Balkan Documentary Centre also became partners of the festival.
During five days of the festival, numerous audience enjoys between 15 and 20 documentaries every year, selected for the main and regional cimpetition. Special program consists of the films made by Restart label production. Films are selected by Oliver Sertić since 2007, and the awards are decided by a jury and the audience.
Festival has a competition character since the beginning (jury awards, audience awards and special mentions), while in 2013 industry awards were introduced for the first time in Croatia - for best director, best cinematographer, best editor and sound editing, in the attempt to point out the value of individual members of documentary film crews.
Liburnia Film Festival’s program so far included documentaries from almost all major Croatian documentary productions: Fade In, Factum, Hulahop, Hrvatski filmski savez, Nukleus Film, Maxima Film, Pulska filmska tvornica, Olimp, 4film and HRT... Each year several interesting amateur achievements also find their place in the program. Competition is open to documentaries made in minor Croatian coproduction, if Croatia is at least the second country in the production.
Read MoreAdded: 19.07.2016 17:17
Last Modified: 12.08.2016 16:16


At the moment the 53rd British Film Institute London Film Festival is on…
Particularly interesting to Londoners, Londonographers, Londonophiles, Londonists and Londonologists is ‘London Moves Me’:
Under the watchful gaze of Horatio Nelson, the London Film Festival’s annual free screening of short films from the BFI National Archive and London’s Screen Archives once again takes place in Trafalgar Square.
Almost all Londoners enjoy – or endure – a daily commute, and even the earliest filmmakers liked to record our trips across the city. London Moves Me is a celebration of transport in London – a whistle-stop tour from 1896 to 2009 with more than 20 films. With live piano accompaniment by Neil Brand, we invite you to cross the capital by the usual trains, buses and bicycles, but for the more adventurous we offer the odd skateboard, airship and canoe.
Victorian ladies skilfully negotiate the art of cycling in long skirts in Hyde Park Cycling Scene (1896) while Edwardian Ealing is revealed in Panorama of Ealing from a Moving Tram (1901). Tower Bridge Boats on Thames (1905) shows the river as a place of work rather than pleasure, but the younger generation is allowed a spot of aquatic fun on Clapham Common in Paddle Your Own Canoe (1922). In Barging Through London (1924) a horse-towed barge makes its journey along the Regent’s Canal – from Limehouse, under Mile End Road, through Hackney to Kings Cross, Kentish Town, Camden and on to Paddington Basin.
Unimpeded by concerns for the environment, the early colour film pioneer Claude Friese-Greene filmed the sights of London from his sporty Vauxhall D-type as seen in The Open Road (1925). Scenes at Piccadilly Circus and Hyde Park Corner Underground Stations (1931) is captivating amateur footage – possibly shot by a London Underground worker – that captures the almost ethereal beauty of the tube in the early Thirties. Our journey comes right up to date with Project One (Yohan Forbes, 2009), following a young skateboarder’s odyssey from the Thames Barrier to the South Bank.
Total running time c90min
Continuing our theme of transport in London, this year’s Archive Gala screening is Anthony Asquith’s classic, Underground (1928), a tale of love, treachery and murder on the tube.
Screenings commence at 18:30 and are free and open to all.
Another interesting BFI film about London is ‘London in the Raw’, which is an amazing portrait of London in the early sixties:
‘The World’s greatest city laid bare! Thrill to its gay excitement, its bright lights, but be shocked by the sin in its shadows!’ Following on from his Take Off Your Clothes and Live, and influenced by the world-wide success of Italian ‘Mondo’ movies, which combined documentary footage with staged sequences of salacious effect, legendary British low budget movie mogul Arnold Miller concocted this fascinating exploitation-style documentary. Peering voyeuristically behind the grimy net-curtains of London life into seedy bars and clubs for beatnik ‘art lovers’, and burrowing beneath the glittering facade of the capital’s glamorous cocktail lounges and casinos, London in the Raw provides a cynical, sometimes startling vision of life on and off the rain-spattered streets of 1960s London.