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Don't let them lie to you.Gina Carbone
Don't let them lie to you.
"Shutter Island" is not a thriller, despite what you've probably seen in the trailers that have been running a blue streak since the film was pushed from October to February.
"Shutter Island" is also not a horror film, despite the punishing music in the first half that insists Something Is About To Happen. "Cape Fear" is farther away than they think.
"Shutter Island" is also not Oscar caliber, despite the Capital A acting from an impressive list of names and the presence of legend Martin Scorsese as director.
Paramount may claim the film was moved from Oscar bait October to February because of the economic downturn — and further claim it's a good thing because this is close to the release date of "The Silence of the Lambs" back in 1991 — but February is traditionally where mediocre films go to live briefly in shame before a gentle passing.
And "Shutter Island" is no "Silence of the Lambs."
No, "Shutter Island" is a classic psychological drama, with an emphasis on drama. Occasionally juicy, sometimes leaden, visually ambitious and more emotionally dark and disturbing than previews suggest. (One word: Holocaust.)
It wants to mess with your mind, but it wants much more to mess with its characters' minds. We get to watch them — and by them I mostly mean Leonardo DiCaprio as Teddy Daniels — suffer one deep emotional torment after another.
The stellar ensemble is led by Scorsese's (and only Scorsese's) muse, DiCaprio, offering another Boston accent to anyone who didn't get enough with "The Departed."
Actually, I loved "The Departed" — there's a smart adaptation — and I appreciated DiCaprio's strong performances in "What's Eating Gilbert Grape" and "Catch Me If You Can." But I cannot overstate my frustration with this eternal baby-faced Jack as Scorsese's attempt at Robert De Niro 2.0. It's time for an intervention.
Sharing screen space are Sir Ben Kingsley; my boy Max von Sydow; Mark Ruffalo; Emily Mortimer; the great Jackie Earle Haley; Ted Levine of "The Silence of the Lambs" — the only legit connection to "Lambs," and he's fantastic — Patricia Clarkson; Elias Koteas; and Michelle Williams, using an even more, uh, "creative" accent.
I have not read Dennis Lehane's ("Mystic River," "Gone, Baby, Gone") novel "Shutter Island" but from what I understand the film is faithful to the story — about two U.S. marshals investigating the disappearance of a patient from a mental hospital for the criminally insane on an island in Boston Harbor.
(Fun fact for locals: Scenes were shot all over the area, including Ipswich, Taunton, Hull, Sharon, Dedham, the Medfield State Hospital in Medfield, Mass.; and even Bar Harbor, Maine.)
Based on the narrative, I can see how big names would be drawn to it — so many juicy character roles for the actors, so many ways for a director known for his love of film history to try his hand at a mesh of Hitchcock thrills and B-movie horror.
But there are many dangers to an adaptation — not only can you lose things in translation, you can pick up detritus along the way.
"Shutter Island" the movie tips its hand too early and too often, and without trying to enter spoiler country (it's tough to talk about this without spoiling something), it's not hard to see where the story might be going. It's also not hard to wish it would find another way.
And simply because it's Scorsese and DiCaprio behind the wheel, the audience is automatically set up with expectations. Like them or not, these are the guys who brought us such Oscar heavy hitters as "Gangs of New York," "The Aviator" and "The Departed."
Even Scorsese's attempt at campy horror — his remake of "Cape Fear" — had such Marty style and charisma, thanks in no small part to De Niro, it came off as a great director doing some natural stretching.
"Shutter Island" just comes off as a stretch.
Maybe if it had a little bit more of the gritty old-school flavor of Scorsese's older films, "Taxi Driver" and "Mean Streets," the film wouldn't seem so much like an indie character piece in blockbuster clothing.
Or maybe if David Fincher ("Seven," "Fight Club") had directed the film, as he was meant to at one point, the expectations would be different. (Then again, we'd probably get Brad Pitt in the lead role instead of DiCaprio. Better or worse? Discuss.)
But the maybe game, like resistance to The Borg, is futile.
Films like "Shutter Island" are fascinating because you get such strong polar reactions. People LOVE it. People HATE it. Your response probably depends on your willingness to just go with the film whether you already see where it's going or not.
They say it's the journey, not the destination, and while I wasn't floored by where Lehane, Scorsese and screenwriter Laeta Kalogridis decided to take us, I appreciated the ambition of the journey.
I didn't love it. I didn't hate it. But the more I think about it, the more I want to see it again ...; if only to dissect it more.
Gina Carbone still believes strongly that Max von Sydow should've been cast as Professor Dumbledore after Richard Harris passed away. She can be reached at email@example.com.
Shutter Island is a 2010 American neo-noirpsychological thriller film directed by Martin Scorsese and written by Laeta Kalogridis, based on Dennis Lehane's 2003 novel of the same name. Leonardo DiCaprio stars as U.S. Marshal Edward "Teddy" Daniels who is investigating a psychiatric facility on Shutter Island after one of the patients goes missing. Mark Ruffalo plays his partner officer, Ben Kingsley is the facility's lead psychiatrist, and Michelle Williams is Daniels' wife. The film received generally favorable reviews from critics and grossed over $294 million at the box office.
In 1954, U.S. Marshals Edward "Teddy" Daniels and his new partner Chuck Aule travel to the Ashecliffe Hospital for the criminally insane on Shutter Island in Boston Harbor. They are investigating the disappearance of patient Rachel Solando, who was incarcerated for drowning her three children. Their only clue is a cryptic note found hidden in Solando's room: "The law of 4; who is 67?" They arrive just before a storm hits, preventing their return to the mainland for a few days.
Daniels and Aule find the staff confrontational. Dr. John Cawley, the lead psychiatrist, refuses to turn over records, and they learn that Solando's doctor Lester Sheehan left the island on vacation immediately after Solando disappeared. They are given access to the hospital, but they are told that Ward C is off limits and that the lighthouse has already been searched. While being interviewed, one patient secretly writes the word "RUN" in Daniels' notepad. Daniels starts to have migraine headaches from the hospital's atmosphere and experiences waking visions of his involvement in the Dachau liberation reprisals. He has disturbing dreams of his wife Dolores Chanal, who was killed in a fire set by a local arsonist named Andrew Laeddis. In one instance, she tells him that Solando is still on the island somewhere—as is Laeddis, who everyone claims was never there to begin with. Daniels later explains to Aule that locating Laeddis was an ulterior personal motive for taking the case.
During their investigation, Daniels and Aule find that Solando has abruptly resurfaced with no explanation as to her former whereabouts or how she escaped. This prompts Daniels to break into the restricted Ward C. There he encounters George Noyce, a patient in solitary confinement. Noyce warns him that the doctors are performing questionable experiments on the patients, some of whom are taken to the lighthouse to be lobotomized. Noyce warns Daniels that everyone else on the island is playing an elaborate game specifically designed for Daniels—including his partner Aule.
Daniels regroups with Aule and is determined to investigate the lighthouse. They become separated while climbing the cliffs toward it, and Daniels later sees what he believes to be Aule's body on the rocks below. By the time he climbs down, however, the body has disappeared, but he finds a cave where he discovers a woman in hiding who claims to be the real Rachel Solando. She states that she is a former psychiatrist at the hospital who discovered the experiments with psychotropic medication and trans-orbital lobotomy in an attempt to develop mind control techniques. Before she could report her findings to the authorities, however, she was forcibly committed to Ashecliffe as a patient. Daniels returns to the hospital, but finds no evidence of Aule ever being there.
Daniels is convinced that Aule was taken to the lighthouse; he breaks into it only to discover Cawley calmly waiting there for him. Cawley explains that Daniels is actually Andrew Laeddis, their "most dangerous patient" incarcerated in Ward C for murdering his manic depressive wife Dolores Chanal after she drowned their children. Edward Daniels and Rachel Solando are anagrams of Andrew Laeddis and Dolores Chanal; furthermore, the little girl from Laeddis' recurring dreams is his daughter Rachel.
According to Cawley, the events of the past several days have been designed to break Laeddis' conspiracy-laden insanity by allowing him to play out the role of Daniels. The hospital staff were part of the test, including Dr. Sheehan posing as Aule and a nurse posing as Rachel Solando. The migraines that Laeddis suffered were withdrawal symptoms from his medication, as were the hallucinations of the "real Rachel Solando". Overwhelmed, Laeddis faints.
Laeddis awakens in the hospital under watch of Cawley and Sheehan. When questioned, he tells the truth in a coherent manner, which satisfies the doctors as a sign of progression. Nevertheless, Cawley notes that they had achieved this state nine months before but Laeddis had quickly regressed, and further warns that this will be his last chance to redeem himself.
Some time later, Laeddis relaxes on the hospital grounds with Dr. Sheehan, but he calls him "Chuck" and says that they need to leave the island. Sheehan shakes his head to an observing Cawley, who gestures to the orderlies towards Laeddis. Laeddis asks Dr. Sheehan if it is worse to live as a monster or die as a good man, and is then led away by the orderlies.
The rights to Dennis Lehane's novel Shutter Island were first optioned to Columbia Pictures in 2003. Columbia did not act on the option and it lapsed back to Lehane who sold it to Phoenix Pictures. Phoenix hired Laeta Kalogridis and together they developed the film for a year. Director Martin Scorsese and actor Leonardo DiCaprio were both attracted to the project. Production began on March 6, 2008.
Lehane's inspiration for the hospital and island setting was Long Island in Boston Harbor, which he had visited during the Blizzard of 1978 as a child with his uncle and family.
Shutter Island was mainly filmed in Massachusetts, with Taunton being the location for the World War II flashback scenes. Old industrial buildings in Taunton's Whittenton Mills Complex replicated the Dachau concentration camp. The old Medfield State Hospital in Medfield, Massachusetts was another key location. Cawley's office scenes were the second floor of the chapel during the late evening. Lights were shone through the windows to make it look like it was daytime. The crew painted the hospital's brick walls to look like plywood. This served the dual purpose of acting as scenery and blocking the set from view of a local road. The crew wanted to film at the old Worcester State Hospital, but demolition of surrounding buildings made it impossible. Borderland State Park in Easton, Massachusetts was used for the cabin scene. The film used Peddocks Island as a setting for the story's island. East Point, in Nahant, Massachusetts was the location for the lighthouse scenes. Filming ended on July 2, 2008.
Shutter Island was originally slated to be released on October 2, 2009, but Paramount Pictures delayed it until February 19, 2010.
Shutter Island: Music from the Motion Picture was released on February 2, 2010, by Rhino Records. The film does not have an original score. Instead, Scorsese's longtime collaborator Robbie Robertson created an ensemble of previously recorded material to use in the film.
According to a statement on Paramount's website: "The collection of modern classical music [on the soundtrack album] was hand-selected by Robertson, who is proud of its scope and sound. 'This may be the most outrageous and beautiful soundtrack I've ever heard.' [Robertson stated]."
A full track-listing of the album can be seen below. All the musical works are featured in the final film.
- Disc 1
- "Fog Tropes" (Ingram Marshall) – (Orchestra of St. Lukes & John Adams)
- "Symphony No. 3: Passacaglia – Allegro Moderato" (Krzysztof Penderecki) – (National Polish Radio Symphony & Antoni Wit)
- "Music for Marcel Duchamp" (John Cage) – (Philipp Vandré)
- "Hommage à John Cage" – (Nam June Paik)
- "Lontano" (György Ligeti) – (Wiener Philharmoniker & Claudio Abbado)
- "Rothko Chapel 2" (Morton Feldman) – (UC Berkeley Chamber Chorus)
- "Cry" – (Johnnie Ray)
- "On the Nature of Daylight" – (Max Richter)
- "Uaxuctum: The Legend of the Mayan City Which They Themselves Destroyed for Religious Reasons – 3rd Movement" (Giacinto Scelsi) – (Vienna Radio Symphony Orchestra)
- "Quartet for Strings and Piano in A Minor" (Gustav Mahler) – (Prazak Quartet)
- Disc 2
- "Christian Zeal and Activity" (John Adams) – (The San Francisco Symphony & Edo de Waart)
- "Suite for Symphonic Strings: Nocturne" (Lou Harrison) – (The New Professionals Orchestra & Rebecca Miller)
- "Lizard Point" – (Brian Eno)
- "Four Hymns: II for Cello and Double Bass" (Alfred Schnittke) – (Torleif Thedéen & Entcho Radoukanov)
- "Root of an Unfocus" (John Cage) – (Boris Berman)
- "Prelude – The Bay" – (Ingram Marshall)
- "Wheel of Fortune" – (Kay Starr)
- "Tomorrow Night" – (Lonnie Johnson)
- "This Bitter Earth"/"On the Nature of Daylight" – (Dinah Washington & Max Richter; Arrangement by Robbie Robertson)
Shutter Island is a period piece with nods to different films in the film noir and horror genres, paying particular homage to Alfred Hitchcock's works. Scorsese stated in an interview that the main reference to Teddy Daniels was Dana Andrews' character in Laura, and that he was also influenced by several very low-budget 1940s zombie movies made by Val Lewton. The main frame of the plot resembles that of William Peter Blatty's The Ninth Configuration, as well as The Cabinet of Dr. Caligari.La Croix noted that Shutter Island was a "complex and puzzling" work which borrowed from genres as diverse as detective, fantasy, and the psychological thriller.
There have been differing opinions over the ending of the film in which Laeddis asks Dr. Sheehan, "[W]hich would be worse – to live as a monster, or to die as a good man?", a line that does not appear in the book. Professor James Gilligan of New York University was Scorsese's psychiatric adviser, and he said that Laeddis' last words mean: "I feel too guilty to go on living. I'm not going to actually commit suicide, but I'm going to vicariously commit suicide by handing myself over to these people who're going to lobotomize me." Dennis Lehane however said, "Personally, I think he has a momentary flash.… It's just one moment of sanity mixed in the midst of all the other delusions."
The film was scheduled to be released by Paramount Pictures in the United States and Canada on October 2, 2009. Paramount later announced it was going to push back the release date to February 19, 2010. Reports attribute the pushback to Paramount not having "the financing in 2009 to spend the $50 to $60 million necessary to market a big awards pic like this", to DiCaprio's unavailability to promote the film internationally, and to Paramount's hope that the economy might rebound enough by February 2010 that a film geared toward adult audiences would be more viable financially.
The film premiered at the 60th Berlin International Film Festival as part of the competition screening on February 13, 2010. Spanish distributor Manga Films distributed the film in Spain after winning a bidding war that reportedly reached the $6 million to $8 million range.
Rotten Tomatoes gives the film an approval rating of 68% based on 241 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "It may not rank with Scorsese's best work, but Shutter Island's gleefully unapologetic genre thrills represent the director at his most unrestrained." On Metacritic, the film received a weighted average score of 63 out of 100, based on 37 critics, indicating "generally favorable reviews". Audiences surveyed by CinemaScore gave the film an average "C+" grade, on an A+ to F scale.
Lawrence Toppman of The Charlotte Observer gave the film 4/4 stars claiming "After four decades, Martin Scorsese has earned the right to deliver a simple treatment of a simple theme with flair." Writing for The Wall Street Journal, John Anderson highly praised the film, suggesting it "requires multiple viewings to be fully realized as a work of art. Its process is more important than its story, its structure more important than the almost perfunctory plot twists it perpetrates. It's a thriller, a crime story and a tortured psychological parable about collective guilt." Awarding the film 3 1⁄2 stars out of 4, Roger Ebert of the Chicago Sun-Times wrote "the movie is about: atmosphere, ominous portents, the erosion of Teddy's confidence and even his identity. It's all done with flawless directorial command. Scorsese has fear to evoke, and he does it with many notes."
The Orlando Sentinel's Roger Moore, who gave the film 2 1⁄2 stars out of 4, wrote, "It's not bad, but as Scorsese, America's greatest living filmmaker and film history buff should know, even Hitchcock came up short on occasion. See for yourself."Dana Stevens of Slate described the film "an aesthetically and at times intellectually exciting puzzle, but it's never emotionally involving".The Washington Post film critic Ann Hornaday negatively described the film as being "weird".A. O. Scott of The New York Times wrote in his review that "Something TERRIBLE is afoot. Sadly, that something turns out to be the movie itself."
The film opened #1 at the US box office with $41 million, according to studio estimates. The movie gave Scorsese his best box office opening yet. The film remained #1 in its second weekend with $22.2 million. Eventually, the film grossed worldwide $294,803,014 and became Scorsese's second highest-grossing film worldwide.
Shutter Island was released on DVD and Blu-ray on June 8, 2010, in the US, and on August 2, 2010 in the UK. The UK release featured two editions—a standard edition and a limited steel-case edition.
- ^"Films | Shutter Island". DarkHorizons.com. Retrieved February 18, 2010.
- ^ abc"Shutter Island (2010)". Box Office Mojo. Amazon.com. Retrieved December 26, 2010.
- ^Fleming, Michael (October 22, 2007). "Scorsese, DiCaprio team for 'Island'". Variety. Retrieved January 8, 2008.
- ^Mayberry, Carly (February 26, 2008). "Trio of stars in for 'Shutter'". The Hollywood Reporter. Retrieved February 27, 2008.
- ^Symkus, Ed, "Real local flavor on display in 'Shutter Island'", The Patriot Ledger, February 19, 2010
- ^Alspach, Kyle (March 8, 2008). "Raynham native plays Nazi soldier executed in Scorsese film". The Patriot Ledger. Archived from the original on May 29, 2012. Retrieved May 21, 2008.
- ^Downing, Vicki-Ann (March 8, 2008). "Film adaptation of Lehane's novel a boon to the region". EnterpriseNews.com. Archived from the original on July 30, 2012. Retrieved May 21, 2008.
- ^Riglian, Adam (April 14, 2008). "DiCaprio, Scorsese filming on Peddocks Island". The Patriot Ledger. Archived from the original on October 27, 2008. Retrieved May 21, 2008.
- ^Fee, Gayle; Laura Raposa (July 3, 2008). "DiCaprio, crew cap 'Ashecliffe' shoot". Boston Herald. Retrieved July 17, 2008.
- ^Finke, Nikki (August 21, 2009). "SHOCKER! Paramount Moves Scorsese's 'Shutter Island' To February 19, 2010". DeadlineHollywoodDaily.com. Retrieved February 18, 2010.
- ^"The Music of Menace From Shutter Island". Paramount.com. January 13, 2010. Archived from the original on January 30, 2010. Retrieved February 18, 2010.
- ^Saba, Michael (February 19, 2010). "Shutter Island Review". Paste Magazine. Retrieved October 12, 2010.
- ^Brown, Mick (March 7, 2010). "Martin Scorsese interview for Shutter Island". The Daily Telegraph. Retrieved October 13, 2010.
- ^Daniels, Derek (December 1, 2010). "The Ninth Configuration (Twinkle, Twinkle, Killer Kane)". Rotten Tomatoes. Flixter. Retrieved September 8, 2011.
- ^"'Shutter Island' shows the power of isolation". Los Angeles Times. February 21, 2010. Retrieved September 8, 2011.
- ^ abPacker, Sharon (September 5, 2012). Cinema's Sinister Psychiatrists: from Caligari to Hannibal. New York, NY: McFarland. p. 197. ISBN 9780786463909. Retrieved April 4, 2014.
- ^Raw, Kaurence & Ersin Tutan, Defne (2012). The Adaptation of History: Essays on Ways of Telling the Past. McFarland and Company. p. 51. ISBN 9780786472543.
- ^Gregoriou, Christiana (2012). Constructing Crime: Discourse and Cultural Representations of Crime and 'Deviance'. Palgrave Macmillan. p. 79. ISBN 9780230392083.
- ^Schwartz, Arnaud "'Shutter Island' : Martin Scorsese face au dérèglement de l'esprit". La Croix, February 23, 2010. Retrieved January 3, 2012 (in French).
- ^ abCox, David (July 29, 2010). "Shutter Island's ending explained". The Guardian. Retrieved May 21, 2012.
- ^McClintock, Pamela (February 13, 2008). "'Star Trek' pushed back to 2009". Variety. Retrieved February 13, 2008.
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- ^Ebert, Roger (February 17, 2010). "Shutter Island Review". Chicago Sun-Times. Retrieved October 12, 2013.
- ^Moore, Roger (February 17, 2010). "Movie Review: Shutter Island". Orlando Sentinel.
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Phim KONG 2017: SKULL ISLAND ✔ Official Final Trailer Ultra HD ⚫ Rise of the King✔
Kong: Skull Island – 8 maart in de bioscoop
Directed by Jordan Vogt-Roberts and starring Tom Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman and John C. Reilly.
Kong: Skull Island reimagines the origin of the mythic Kong in a compelling, original adventure from director Jordan Vogt-Roberts. In the film, a diverse team of explorers is brought together to venture deep into an uncharted island in the Pacific—as beautiful as it is treacherous—unaware that they’re crossing into the domain of the mythic Kong.


The Toolbox Murders (Donnelly, 1978)
The Toolbox Murders (Donnelly, 1978)
A gut-wrenching experience in horror. This movie is completely screwed up. Now that I’ve gotten those atrocious puns out of the way, how good is The Toolbox Murders? Not very, but it’s more ambitious than I expected and contains some pretty effective moments. Oddly enough, some of what makes it effective actually ends up undermining the more adventurous sections.
The movie starts off like an ordinary slasher picture, and works pretty well in these sections. There are a few touches that distinguish it. First, aside from some cryptic flashbacks to a girl dying in a car accident and the ranting of an angry (seemingly deranged) preacher, we are plunged out of the blue into the murders. While the level of identification with the killer could be problematic, this lack of context or characterization for the victims makes the murders feel more senseless. Combined with the way the camera will linger on auxiliary details rather than the gore (which is deployed liberally), the film’s seeming indifference to these kills comes off as more unsettling than if it had played them up. The first half hour plays quite strongly as a result, and it isn’t until later when the film starts introducing more story, with the family of one of the victims and a cop investigating the case coming into the plot.
The movie isn’t really directed stylishly, but there are some flourishes I appreciated. The film will occasionally pull out some interesting shot compositions, such as the way the camera will hone in on objects adjacent to the action (like in the murder sequences I discussed earlier). The use of music during the murders attempts to evoke poignancy rather than just terror. There is also some editing that comes off as awkward in its execution but at least goes for more interesting effects – the cuts to the flashbacks are strikingly handled, and there’s an orgasmic series of edits during a bath scene that’s inspired if a little goofy. The moment that stood out the most to me was a sequence a few seconds long where the mother of one of the victims is working in a bar and her face is lit up by a flashing Miller High Life sign, accentuating her sadness.
Unfortunately, these are mostly in the first (and better) half. The film’s second half goes into stranger territory, transforming from a slasher to a perverse take on wholesome family values. This turn is genuinely unexpected, but it’s not pulled off successfully. The lack of character development that made the first half so effective undoes the second half, which is much more dependent on that sort of thing – it’s a lot harder to buy these characters as crazy or interesting when the movie spent so little time on setting them up. The direction is also a lot more pedestrian in the second half, with little of the visual invention of the first half showing up again, and it never captures the luridness necessary for the material to work. The movie also forgets about the cop and the mother (who I personally found to be the most interesting character), and throws in a lame last-minute attempt to make us care because it was a “true story”. It feels as if the movie thought that the twist would be strong enough on its own and put no effort into executing it properly. And this fumbling of the latter sections is especially unfortunate because the earlier sections and the nature of the twist showed some real promise.
Dead & Buried (Sherman, 1981)
Dead & Buried (Sherman, 1981)
Dead & Buried (Sherman, 1981)
Picture us driving through the country, soaking in the scenery. Sounds awful pleasant. In keeping with the project title, why don’t take a relaxed detour through a cozy little town right up on the coast. Say, Potter’s Bluff? Nice little name for a nice little town. Seems like the perfect place to kill a few days in the middle of this trip. A beautiful view of the sea, and the people seem real friendly too. Why, it’s Robert Englund! What could possibly go wrong?
A lot, according to this movie. Dead & Buried opens with a very surprising murder and makes no effort to hide the identity of the culprits, but even with this reveal, it manages to pull some real surprises. It starts off as a fairly standard, old school horror story and escalates it into more pervasive paranoia and in its final stretches, poignancy, only to end on a hell of a kicker. It has similarities with The Wicker Man, with their untoward happenings in a small town, but it has its own unique flavour and it proves to be a compelling horror film in its own right. What Dead & Buried manages to do with tremendous effectiveness is to take a wholesome, welcoming atmosphere and imbue it with an overwhelming sense of dread. Everything here is a little too cozy, from the constant fog to the townspeople who are just a little too friendly, something that is definitely helped by the casting choices (okay, maybe not Robert Englund, although this was before the NOES series). The nights are pitch black, the hum on the soundtrack a little too low, the shadows constantly threatening to take over the screen. Even the grain structure of the film feels oppressive.
An extremely pleasant surprise with this film was the strength of the performances and characterizations. While I wouldn’t say the other films I’ve seen for this project are badly acted, they aren’t character-driven to the same extent. It was nice to get a character to root for all the way through the story, and James Farentino puts in strong work as the lead, a cop who seems just as confused and unsettled as we are. But the best performance here is from Jack Albertson as the coroner and mortician. Best known as Grandpa Joe from Willy Wonka & the Chocolate Factory, he is the smartest casting choice, an actor who seems so harmless that we are genuinely shocked to find that his eccentricities might mask something more disturbing.
As the film progresses, the things we took for granted to be safe prove less and less so, and any feeling of security we’ve had has been thoroughly subverted. And I wonder if this is why the film ended up on the Video Nasty list. Of the films I’ve seen so far, this is by far the most tame, employing little gore outside of a money shot that’s quite an eyeful (this is supposed to inspire a droll laugh). (Stan Winston’s special effects aren’t always convincing, but they are quite creative, especially a sequence which shows the mortician at work.) But the way it renders sinister anything we had deemed to be safe perhaps makes it more unsettling, dangerous even, than the horror that comes from the more obvious (if not necessarily less effective) sources in the previous films. Yes, flesh-eating spiders and mad slashers are dangerous, but what about your friends and family? For if you can’t trust your neighbours, your wife or Robert Englund, who can you trust?
Robert Redford & Sydney Pollack in Cannes
Werner Herzog on the set of Cobra Verde (1987), courtesy of fuckyeahdirectors. The film depicts the life of a fictional slave trader. It was filmed in locations in Brazil, Colombia and Ghana. Klaus Kinski died four years after the release of Cobra Verde, and the film would stand as the last of his collaborations with director Werner Herzog.
It’s totally clear in that film that it’s a real ship and that the ropes are straining. If you look at Lord of the Rings for example, they have people in a chain stretched across mountainsides, and they’re obviously special effects. But in Cobra Verde, your film in Africa, you had a message that was being passed down a line of people for miles and miles, and it was really happening. The people were there in an endless chain on the hillsides. It’s clear that it’s really happening, and it’s extraordinary.
WH: There is a certain quality that you sense when you move a ship over a mountain. It was 360 tons and I knew I would manage it. But I knew that it would create unsightly things that no one would expect. There were many huge steel cables that are five centimeters in diameter, I mean as thick as this table. They would break like a thin thread. When you tap them before they break, when you touch them and tap them, they sound thick, they sound different, and when they break, there’s so much tension, there’s so much pressure, that the cable is red hot inside, it’s glowing inside. That was one thing I didn’t show in the film but I’ve seen it and many of you things that you see in Fitzcarraldo were created by the events themselves. I’ve always been after the deeper truth, the ecstatic truth, and I will always defend that, as long as there’s breath in me. —A conversation with Werner Herzog by Roger Ebert
The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film. Walk on foot, learn languages and a craft or trade that has nothing to do with cinema. Filmmaking — like great literature — must have experience of life at its foundation. Read Conrad or Hemingway and you can tell how much real life is in those books. A lot of what you see in my films isn’t invention; it’s very much life itself, my own life. If you have an image in your head, hold on to it because — as remote as it might seem — at some point you might be able to use it in a film. I have always sought to transform my own experiences and fantasies into cinema. —Werner Herzog’s No-Bullshit Advice to Aspiring Filmmakers and Creative Entrepreneurs
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Taxi Driver (1976),
This review contains major spoilers.
The first two films I selected for this project could be considered objectionable for the explicitness of their violence, but morally speaking they were on pretty safe ground. This one, which has been compared to The Last House on the Left in just about every review I’ve stumbled across (a film I have yet to see, so I will refrain from such comparisons), is centered around a vicious set of rapes and murders. This is a considerably touchier subject than those of the previous films I watched, and I’m generally hesitant to say too much in these cases for fear of saying something ignorant or insensitive. That being said, as I thought up this project, I was at least partially interested in the morality of exploitation films, which is one of the reasons I picked the Video Nasty list in particular. So treading with caution, how do I think the film fares?
Quite respectably, in my opinion. The film is certainly confrontational (as a film with this subject matter probably should be), but it has greater concerns than whatever immediate thrills its scenario might have offered and manages to avoid the sadism it could have become mired in. The film uses a fair amount of stylization, but not in a way that sensationalizes the proceedings. Much of the second act, when the rape and murder of the protagonists occurs, is bathed in steely blue lighting. This has a fairly unsettling effect, but I think Lado manages to keep the empathy with the heroines. By cutting away during the acts to some disorienting camerawork and leaving us with only the anguished voices of the heroines, any possible titillation is drained away and we’re left to ponder the gravity and consequences of these actions.
And this is an appropriate choice, given that Lado genuinely seems concerned with the effects of violence and how it damages everyone it touches. The rape and murder of the heroines is shown to be entirely senseless because there is none of the moralizing that tends to accompany a lot of the violence in horror movies, where characters get punished for “immoral” behaviour. The heroines here shown to be ordinary – one is a virgin, one is not, but this is handled in a precisely nonjudgmental way – so the violence seems especially cruel and tragic. And when the film enters its third act, where the father of one of the girl’s exacts revenge on the perpetrators, the film doesn’t shy away from the explicitness of the violence, but the focus is on the toll that it takes on him and not in providing an easy catharsis from the villains’ deaths. The film achieves a real poignancy in its handling of these events, and it falls in line with the theme that violence begets violence and that it corrupts everyone.
Inferno (Argento, 1980)
Inferno (Argento, 1980)


|Paperback ISBN||: 9789354548826|
Uzair Merchant’s latest sci-fi thriller, Black Rose, is set in a post-pandemic future. Rose, a recently disavowed Interpol agent, has gone rogue before uncovering a cult that threatens her home…..Red City. Left to fend for herself since she was a young teenager, Rose must now step up to rescue her newly found surrogate family from betrayal within “The Agency.” In the process, she learns that deception is the art of war, and most of her precious Red City is blinded by the seduction of technology. How far must Rose go to protect her entire world from collapsing?
Uzair Merchant is the author of Black Rose, a Sci-Fi Show, built from the future. An fully interactive world built with NFT's and a Game that has recently launched its soundtrack, STARDUST. Black Rose is a part of the KREATIV UNIVERSE, produced by The Kreativ Lab by KRi8. The Lab’s single aim is to create an avenue where art and artists can fluently express themselves, collaborate, and never lose their rights to their work. With over 12 years in film business internationally as an ‘ARTIST,’ Uzair has worked on various projects, including Star Trek Beyond, Fast and Furious 7, Skyfall, Deadpool 2, Superman and Lois. Most recently, he has production designed the first ever Hollywood film made in the UAE, ‘The Misfits’ by Renny Harlin (Die Hard 2, Cliffhanger) starring Pierce Brosnan and Jamie Chung. A Kreativ explorer, Uzair takes on roles of a Production designer, writer, director & producer and has also designed for the world’s largest cultural theme parks – Global Village in Dubai for over 6 years, winning the best pavilion award. His last short film “Chasing lines,” (all shot on the iPhone) has won him 14 International awards from Los Angeles Film Award, New York Film Awards and, many more international festivals and currently streams on Amazon Prime and on all Sofy.tv platforms. An alumnus of Nottingham Trent and the New York Film Academy, "Uzi" is a product of the world; with Indian roots, he's lived between Dubai, London, New York and is a resident of Vancouver. But it's not all lights, camera, and action...Music and Martial arts make up the other sides to who he is. He holds a 3rd Degree Black Belt in Shorin Ryu Seibukan Karate and strongly believes in Cosmic Creativity. The inner journey to the outer world.
Fiction : Science Fiction - General
Fiction : Science Fiction - Adventure


Just went back from the cinema and I must say that ‘the end’ of the franchise was epic. However, given the success of the franchise I won’t be surprised if they continue delivering. After all, who kills something that profitable? According to IMDB the budget for this one was mind blowing – $400 000 000. Yup, $400 million.
Given that the current worldwide gross is more than $650 million I am sure they will top the $1 billion very soon. Frankly, I’d be surprised if they don’t make it to top 3 in the highest grossing films of all time.
To be honest, I only spend time at the cinema watching movies like this one. Movies full of high quality CGI. It’s not that I don’t appreciate a good story, but I prefer the mind blowing effects. As someone fascinated by tech I am always curious about how far the industry went in producing these blockbusters. After all, movies like this one are true barometer of the industry’s current level of development.
All in all it’s been 3 hours well spent. If you love high quality CGI and VFX, I suggest you go see it. You won’t be disappointed.


The nominees for the 2019 Golden Globes are being announced on Thursday morning, honoring the best in film and television.
Each year, the Hollywood Foreign Press Association, a guild of just 88 entertainment writers, bestows awards in films in both dramatic and musical/comedy categories, as well as television drama and comedy.
The awards are seen as a strong indicator of which films will go on to Oscar gold.
Terry Crews from Brooklyn Nine-Nine, Danai Gurira from Black Panther, Leslie Mann from Welcome to Marwen, and Christian Slater from Mr Robot will be announcing this year’s nominees.
Fan favorites Stranger Things and Game of Thrones won’t be eligible this year as they didn’t air any new episodes in 2018.
The 76th Golden Globes will air on Sunday, January, and will be co-hosted by Sandra Oh from Killing Eve and Andy Samberg from Brooklyn Nine-Nine.
Watch the nominations get announced here: (Note: the first group of nominees will be announced at 5:15 PT/8:15 ET, with the second group at 5:34 PT/8:34 ET)
Once the ceremony has concluded, this post will be updated with the full list of nominees.


FINALLY FINISHED...FINALLY BEGINNING
I finally finished the score of Iford Art's "Fairy Queen"! This has been a six month process that involved a lot more than just making an edition of Purcell. Fairy Queen is one of Purcell's dramatick operas, meaning it was meant to accompany a spoken play, in this case Shakespeare's "A Midsummer Night's Dream", with separate actors and singers (so a bit like musical theater, but the actors never sing and the singers never speak). That makes for a problem in presenting it today. First of all, that were LONG affairs, a full Fairy Queen clocking in at just around 4.5 hours. Secondly, audiences aren't used to this art form, and though it is less so in Fairy Queen, the musical moment usually have very little to do with the spoken drama. In the case of MSND, thats a pity since it's one of Shakespeare's great masterpieces. Sometimes the Purcell score is presented alone and a plot is invented, but it seems a shame to lose the Shakespeare in the 400th anniversary of his death. At the same time, a full production with separate actors and singers isn't right for Iford, and the challenge became to create a new piece that uses Purcell, uses Shakespeare, fits Iford, and can stand on its own in front of a modern audience. I spent many months over the Summer figuring out how to reorder Shakespeare's play, unweaving the various plots, and distributing the roles between eight singers. Then I took Purcells FQ score, but also his entire body of work, and began fitting the music in so that in the end we would have a piece of musical theater that is all new, and a celebration of both Purcell and Shakespeare. It involved cutting, rearranging music, transpositions, and also deciding how to fit the text over the instrumental music (which is just too good to lose). Finally its done (!!!!) and can be sent out to singers. I couldn't be prouder, and now its time to change the author hat for the director/designer hat, and figure out how to make the piece come alive on a midsummer night this 2016 in Iford!


Art and design has always relied on the basis of pencil to paper. My skill-set varies from the different fields and jobs I've held, however everything begins with a stroke of the pencil. Sometimes in a coffee shop. Sometimes in a meeting with executives. Sometimes with a writer and just his words. It is then my job to take what they give me - be that words, images, thoughts, or just an impression or idea - and create a visual representation. My success as a designer is in the ability to interpret what my clients give me and envision what they see or feel. Then with my art training and the tools at my disposal, create the visuals within their desired budget and medium.
The Artwork I create begins the same way, except I get the freedom to explore what type of story I want to tell through the process. My pencil drawings have relied on the manipulation of form and focus on a surreal kind of story telling. Painting is still relatively new to my line or artwork and I chose to focus on restricting my palette to only a few colors at a time. This then forces me out of my comfort zone while still taking advantage of my experience in utilizing limited colors for T-shirt designs and vector art.
At the heart of my art and design is a firm understanding of composition, graphic design, and color. My Bachelors Degree in computer animation has only strengthened that understanding with the study of movement, video, and lighting. Every project I take on or that is brought to me is an opportunity to learn more and further develop my skills as a graphic artist.
Feature length and short films have always been an interest of mine although I did not fully embark on making them until I moved to Rochester, NY in 2005. The independent film community was growing and I found several peers to learn from and work with in telling their stories. Unlike animation where I had to create everything from scratch, filming allowed for a more organic approach and taught me to recognize real world benefits as well as limitations. My training as an animator became valuable on sets with my understanding of camera angles, color theory, and lighting.
Since I started working on films, I've assisted on over 30 short productions and 7 feature length independent films. Roles have varied including Producer, Director, Assistant Director, Editor, Grip, Gaffer, Visual Effects Artist, Animator, Camera Operator, Location Sound Engineer, Set Photography, Camera Assistant, Production Assistant, and more. I've even played the odd extra or minor character roles when in a pinch. Working with the staff and crew is an amazing experience and it is always wonderful to see a project brought to life before our eyes.
Filming continues to be a big part of my work load as I move ahead on writing new scripts and take on projects with my many colleagues from other films. My filmography can be found here or through a search on IMDB.com. Many of the projects I've worked on have gone on to win awards such as the feature film "Ink and Steel" and the short film "Mirror Lake." I have found no other field that utilizes so many talents together as film.
Born in 1977, Franklin Kielar grew up in upstate NY near Utica. After graduating high school, he attended college at the Art Institute of Fort Lauderdale where he pursued a degree in animation. The use of traditional mediums learned in college was a great advantage in forming the look and feel for animated characters and settings. After college he worked for a small startup company as art director before moving back to NY to further his career in the arts and film.
Franklin has had several works of poetry published and has had many art exhibits in NY. In the past ten years he has been a part of over 30 short films, of which awards have been given to Mirror Lake, Hope, and Brief Vision. Along with the short films, Franklin has worked on many feature independent films including Saberfrog, The Bunker, and the award winning Ink and Steel. He continues to work on feature independent films and short films along with his artwork.


TWINKIE'S HOLLYWOOD MONOLOGUE SLAM
Twinkie's Hollywood Monologue Slam is a competition for actors to showcase their talents in Los Angeles, Ca. Los Angeles is the home of Hollywood. It's also the home of The Oscars, Emmys, Golden Globes and now Twinkie's Hollywood Monologue Slam.
Based in Hollywood, Twinkie's Hollywood Monologue Slam is the brainchild of Producer & Hollywood Casting Director Tracy Twinkie Byrd. “I love Monologues!" says Twinkie. "Monologues are the perfect opportunity to take the viewer on an emotional journey with your Art. Monologues are a major part of every Film and/or Television show so I created a competition."
Twinkie's Hollywood Monologue Slam started 5 years ago at Hollywood Black Film Festival and outgrew it quickly. Our new home, El Portal Theater, is a 265 seat major Theater and we have kicked production up a notch. Twinkie's Hollywood Monologue Slam has attracted talent from around the world ... Vietnam, South Africa and Jamaica to name a few.
Our showcase is judged by notable acting peers such as Aisha Hinds, Michael Ealy, James Pickens Jr., Meagan Good, Omari Hardwick, Jordin Sparks, Naturi Naughton and Directors such as Nzingha Stewart, Bill Duke, Craig Ross just to name a few.
Twinkie's Hollywood Monologue Slam is held annually in October.


32 film and theatre glossaries
Screenwriting, directing, lightning, audio, stage performance and much more. If your interest lies in the fields of film and theatre, these glossaries are for you. Two categories and detailed descriptions – you will definitely find what you are looking for.
IMDB – IMDB is probably one of the most reliable Internet sources of information when it comes to movies. In their glossary, you will be able to find a large number of words used in the movie industry, as well as useful cross-references.
Matthew Sewell – A great glossary of film-related terminology which will provide you with adequate illustrations (from popular films) for each of the terms explained.
Durham University – A glossary of film-related terminology, which focuses on words commonly used in direction and production.
FilmSite – A carefully put together glossary of film terminology. The words are arranged both in alphabetic order and according to their category (genre, history, screenwriting, directing, etc.). Furthermore, each word comes with a thorough explanation and examples (both verbal and illustrated).
Springhurst – This is a very basic glossary of film-related terms. You can find here only the most popular words used in the industry, but their explanations are very easy to understand, even if you are a beginner.
New York Film Academy – Another short but comprehensive glossary of film terminology. You may be able to find here words that were not listed in the previously-mentioned glossaries.
College of DuPage – A film glossary focusing especially on the most technical and most commonly used terms of the industry.
Portland Community College – This glossary of film-related terms is somewhat better organised than the previously mentioned ones. Words are categorized according to their specific field: shots, editing and sequence construction, transitions, photographic and technical particularities. The last section is dedicated to terms that do not belong to any of the categories, but are worth mentioning.
Kodak – This glossary is dedicated especially to the technical part of the filmmaking process. The terms are all related to film/ video terms, such as aspect ratio for instance.
Film Land – A glossary of film, audio and video terminology, with a focus on the production and post-production processes.
Film English – Although this list of film-related terms is not very long, it will provide you with very good explanations, as well as video examples that will help you understand the term better.
BFI Screenonline – This is a very good glossary on cinematography-related terminology. It contains both words strictly related to filmmaking and words related to the art of cinema in general.
Movies Dictionary – Probably one of the most complete sources of information when it comes to film terminology. It includes both terms connected to filmmaking in general and very particular terms encountered in some movies.
Annenberg Learner – A short, but useful glossary when you are searching for terms strictly connected to movie editing.
Salisbury University – This glossary of film terminology focuses especially on the literary part of the filmmaking process (scriptwriting).
Brooklyn College – Although many of the terms in this film glossary may have been encountered in previously-mentioned glossaries, the best thing about this particular one is the fact that some words have pictures that are both funny and make understanding the term much, much easier.
FilmSound – A very short glossary of film audio terminology with easy to understand brief explanations at first and extensive ones upon clicking the term.
All About Film School – A good glossary when looking for rather general terms encountered on film sets.
Screenwriting – A glossary focusing especially on screenwriting terminology.
Theatrecrafts – An excellently organised glossary of theatre technical terms. You can search for your terms in an alphabetical list, you can enter them in a search bar, or you can search them according to their category (beginners’ terms, advanced lightning, and so on).
The British Theatre Guide – A fairly rich resource for those of you looking for generic theatrical terminology.
Wikipedia – A great source of information on theatre/ stage terminology, especially if you like well organised cross-references!
Wiktionary – Another amazing resource when it comes to theatre terms (also providing cross-references). Besides purely technical terms, you can find here terms related to acting techniques as well.
Goodman Theatre – A glossary dedicated to theatre and the terms that are very commonly used in it. Furthermore, the site provides the reader with a link towards a 100% video glossary.
J.R.Clancy – This glossary focuses on the most technical of the theatre terms (such as parts of the stage, equipment, etc.)
Barlow and Associates – A glossary of theatre terms also dealing with ‘technicalities’, including lighting and other ‘special effects’.
McGraw Hill – A glossary dedicated to the literary part of the theatre: drama.
California State Board of Education – A theatre and stage performance arts glossary, which includes types of theatre, production-related terms, as well as acting-related terms.
TechTheatreBSL – An excellent resource on theatrical terminology in the British Sign Language (BSL). The glossary is organized in five parts: scenography, stage movements, lighting, sound and wardrobe. Each of the parts has a video that explains the terms in BSL.
Shakespeare’s Globe – This glossary of theatrical terms contains the most popular words used in theatre, including those related specifically to British theatres.
The Ancient Theatre Archive – A glossary of theatre-related terminology that focuses on ancient theatre. In addition to good explanations, the site comes to your aid with a pronunciation guide as well (which may prove very useful, especially since most of the terms are in Latin and Old Greek).
Plays in Perpetuity – A glossary focused on the most common used words in theatre. You can select the word for which you need explanation from a drop-down menu.


Lon Casler Bixby has been on the cutting edge of American art and music
for more than a decade.
at the University of Texas, Lon directed short films that won him awards
at the Berlin, Hong Kong, Houston and Australian International Film Festivals.
After graduating with a Bachelor of Fine Arts degree, he produced national
commercials and industrial videos for many major companies, while at the
same time managing some of the area's hottest bands.
top of the Dallas indie film and music world, Lon moved to Los Angeles,
where he produced, directed, and wrote movies and television shows that
have been released worldwide. His most recent productions, Tales from the
Dead, and ManBand!, are being distributed in both the United States and
Japan. Manband! features Fantasy's Core, one of Japan's most influential
new rock groups.
Lon is also
a professional photographer who has been published in a wide variety of
magazines and whose work includes commercial photography, fashion, fetish
and erotica, and has gained him a growing reputation in LA's art scene.


The Actor's Instrument [The Actor's Work On Himself]
A weekly workshop focused on the actor’s work on himself to develop his whole creative-expressive instrument: body, voice, emotion, imagination. This is also the place to learn new techniques or master already acquired skills, to explore inner territories and important outside voices and approaches, and to advance in the direction of your highest ambition.
Instrumental work means exercising to develop the actor’s inner and outer capacities. It means work on physical, vocal, and psychological impediments to free and impulsive expression. It means work on attention, imagination, emotional vulnerability and range, and the sense of truth. And it means, also, our consideration of traditional and neuro-scientific approaches to performance excellence and creativity from mindfulness meditation to sports psychology and more.
Experienced actors also work on characterization, monologue and audition preparation, and more, according to their individual needs.
The workshop welcomes actors at all levels of experience. Mature actors with an eagerness to grow are particularly welcome. Because “beginner’s mind” is a virtue. And because, as Michael Chekhov taught, “treating old things as if new” is an essential key to growth.
Advanced Scene Study [The Actor's Work On The Role]
A weekly workshop focused on the application of craft in the context of the actor’s work on the role. We practice a systematic approach for bringing scenes and monologues to life. We intend for the actor to learn to prepare without the support of a director. That's especially important for the film and television actor, who's typically required to bring independently prepared (rehearsed) work to the shoot.
Rehearsal points include: scenic obligations vs. choices, the exploration of place, event and prior event, creating the acting relationship, character, identifying units and objectives, playing action, inner and outer objects, obstacles, blocking, costume, composition and – always – the sense of truth.
Scene work from film, television and stage plays. Genres and styles from contemporary naturalism to Shakespeare, Chekhov, Moliere, Greek; comedic, close-to-type, against type; and etc. Also exercises, as needed, suited to the individual actor’s needs, previous training and experience.
The Forum is a masterclass/meeting point for free artistic exchange with journeyman-level actors. By and for Boston (and local/visiting) pros, the Forum is an open, safe and creative space for experienced working actors and theatre and film professionals to share their artistic questions, concerns and conundrums. Work or watch; discuss, dispute, defend. Come-when-you-can, bring-what-you-want (a monologue, scene, audition piece or simply an idea, thought, or problem.) By invitation only.
"The actors are come hither, my lord. Buzz, buzz..."


An afternoon spent in fantasy during the pandemic is not a bad way to spend a few hours. In fact, it was a great time last weekend when the Hermann High Drama Club presented Disney’s Beauty and the Beast.
The female starring role, Belle, was played by Kaylyn Walker. The poise, confidence and character in which she acted truly had the audience believing she was the poor daughter of an inventor played by Andrew McKinnon. Belle loved reading and ended up living a book-like life. Walker’s grace and beauty on stage had the audience rooting for her in every scene. Well done, MS Walker.
Despite Matt Krull; who played Gaston, insisting Belle marry him, the play paired a beast, played by Kaleb Means, with Belle in a musically fun and fantastic way. Max Krull’s musical talent has been shown off in several Hermann plays. His vocal range is great and the way he interjects his character’s personality in every song he sings, makes you believe he is the rough, egotistical, manipulative part he played. The audience laughed with him, or should I say laughed at him, during his excellent performance.
As in any good fantasy; there must be a teapot with her cute little tea cup son, a candlestick, feather duster, wardrobe and clock that are all animated now but were human before the spell from a nasty witch.
These household items tried to unite Belle and the Beast before time ran out. The audience reveled in the fun of their crazy antics.
Kampbell Hemeyer played Mrs. Potts, the old-fashioned English tea pot that with her son Chip, played by Larissa Hoelmer, showed talent the audience has enjoyed before. Hemeyer puts such personality into her role as she thrills us with her lovely vocal range. Cogsworth, the old English mantel clock, played by Colin Jones tried to keep the entire affair in a straight and dignified manner but had the audience laughing under their breath as the comedy of proper ways always seem to fall apart.
The Beast, played by Kaleb Means, was a surprise to say the least. Means played a believable beast with his bouts of anger and moments of self-doubt. As Beast, he made the audience believe he was in love with Belle and we rooted for him the entire show. At the end when Means rose up to be the prince he once was, magic flew around the auditorium. There in front of us was a handsome, strong prince where a wild animal had been. Means had the air of confidence, royalty and victory of having the woman he loved. It was an astounding performance.
The entire Hermann Drama Club should be proud of the event they put on. Lighting, make-up hair, costume crew, stage crew, choreography and set crew all did an amazing job.
When little children in the audience whisper “Oh, no”, “awe” or gasp as they watch, it proves they did a great job.
One final note on the play. Big kudos goes to a little French candlestick names Lumiere. Played by Tyler Hartman, he was perhaps the favorite of the audience. Courageous and yet goofy in his caricature, Hartman played a believable member of the show. The audience laughed at his expressions and movements. His voice was spot on and his charisma on stage drew everyone deep into the play. Great job, Tyler.
Before closing Melanie Behrens deserves her own applause for teaching this remarkable group of high schoolers. It’s teachers like you that mold students into great adults. Also, one cannot go without recognizing the incredible ability and willingness to give of Patrick Dell who played the entire show from a piano. Your talent is undeniable and your heart is recognizable in everything you do.
Please join the Hermann High Drama Club in early March when they will present “Too Much Light Makes the Baby Go Blind.”


Princess PeppaDVD - 2017
Join Peppa and brother George as their bedtime story turns them into Princess Peppa and Sir George the Brave who together meet a wizard, encounter a scary dragon and attend a huge party. Then Peppa and George both fall asleep waiting for The Tooth Fairy.
Publisher: Los Angeles, California : 20th Century Fox Home Entertainment,
Edition: Widescreen version.
Characteristics: 1 videodisc (60 min.) :,sound, colour ;,12 cm digital, optical, English Dolby digital 2.0, rda. videodisc DVD video file, DVD video, rda.


Welcome back to the second installment of A.T.M. For you first time readers, A.T.M. is your weekly digital source dispensing music, art and film.
This week we share with you Jamie XX’s recently shared video to “Gosh”, Ryan Sullivan’s current exhibit at The Institute of Contemporary Art Miami, and Manos Sucias, a Colombian film directed by Josef Kubota Wladyka.
Jamie XX Shares video for “Gosh”, directed by Erik Wernquist
Jamie XX releases the video to “Gosh”, a track from his forthcoming album In Colour. This video grew on me the more I watched it. I didn’t immediately like the video and the reason being is I don’t love the track itself. But that also is growing on me. The beginning feels a little too repetitive for my taste, then the closing sounds completely alter my opinion. Similarly, both the video and track gradually unfold and end in something much more beautiful.
In the video director Erik Wernquist, takes us on a journey to the surface of a planet from outer space. The video begins with an overview of the planet and progressively gets closer, passing orbiting satellites, traveling through space. Watch the video below and tell me how you feel.
Ryan Sullivan at ICA Miami
The Institute for Contemporary Art Miami presents New York-based artist, Ryan Sullivan. In his first institutional solo exhibit Sullivan displays a collection of large-scale paintings from his past two years. Exploring compositions and mediums, Sullivan produces these paintings that resemble ariel images of a planet from outer space. Sharing a cohesive theme with Jamie’s video to “Gosh”.
Sullivan’s exhibition at ICA is open through August 9, 2015. More info here.
“Manos Sucias” directed by Josef Kubota Wladyka
Manos Sucias is a film about the journey three men take into the Pacific trafficking 100kg of cocaine from Colombia’s most dangerous coastal city, Buenaventura. Watch the trailer below and find more info about the film and screening locations here.


We are very excited to share the news that Northcore are title sponsors of the 12th annual London Surf / Film Shorties short film contest. An ever evolving display of creativity within surfing - with past winners including Seth Hughes, Jimmy Penfield, Bella Bunce, and Chris McClean.
The goal? To showcase and support British and Irish filmmaking talent, with a £500 film fund awarded to the winning short. The Shorties submissions close: 23rd October.
The brief is pretty loose, allowing emerging and established filmmakers to explore varying themes through varied media. Where be it short-form documentary, non-stop shred edit, stop-motion animation, or a complete smorgasbord of styles. All are welcome.
“In this competition, it’s not about whether your waves are big or small, it’s about the way you choose to shoot them, or not. After all there’s more than one way to tell a surf story.”
The only rule being that the film must be no longer than 5 minutes in length.
The Shorties were first launched back in 2011 as a platform to showcase the wealth of talent we have here on home shores. However, it has quickly become one of the most prestigious competitions for surf filmmakers around the globe.
“As always we’ll be seeking out those projects that bring a fresh perspective to our culture, whether that’s through exceptional story telling, surfing, cinematography or creativity.”
To say we’re stoked is an understatement. Here’s a few words from our very own Lauren Garner:
“LS/FF is a joyous celebration of surf culture and a showcase for talent, both in front of the camera and behind it. It’s a fantastic space for new and established filmmakers to express themselves in shorter form – we can’t wait to see what everyone comes up with.”
To hopefully provide a little inspiration, here are a few of the past winners to include Seth Hughes & Izzy Henshall, Jo Guthrie & Lucy Hawes, Jimmy Penfield, Chris Case, Crayfish Films, and heaps more.


Free shipping and returns on all TR Skinny Jeans Brand Jeans at our store. Check out our collection of clothing and accessories for women, men and kids.
Jesus Christ, everyone's going turbo with the fashion documentaries. But this one gets a pass. At the Tribeca Film Festival tomorrow, a short film about Martin Margiela will premiere.? The Artist Is Absent will explore his legacy and, of course, his veil of secrecy, all told by those close to the man behind one of fashion's most recognizable labels. You can watch the trailer above and see how glowingly Margiela's?former boss, Jean Paul Gaultier, speaks of him. Sadly, tickets are sold out unless you just want to show up and walk in like you're Ernest Baker .
Cyber Monday TR Skinny Jeans, The Cut also has an interview with the film's director, Alison Chernick, that gives insight into how the film came about through brand itself. She also spoke to Martin briefly, who only gave her a list of people who would be good to talk to, so don't expect to see the man's rarely seen visage on screen. This is one subject I think we all wish?ended up getting a longer, more fleshed out documentary. I mean, the film is just 12 minutes long! Talk about minimalist brand synergy goddamn. Apparently, Chernick was commissioned to make it in such an abbreviated form by the Maison. I don't think anyone would complain if we ended up with a longer version in the future, but with Margiela's desire to keep their mystery intact, I don't think we'll see one, as unfortunately as that may be.


There is a scene in the Rogers and Hammerstein movie classic The Sound of Musicwhere the widower father of the Von Trapp family, Georg, is driving home with his friend and intended wife to be. They pass a group of children climbing in trees.
“Oh, it’s nothing,” he re-assures his fiancé. “They’re just some local urchins.”
Of course, they turn out to be his own children. Horrified, he berates the teacher-governess who is responsible for their behaviour and threatens to dismiss her. But she fights back and says: “They need to play, to climb trees, to swim in the lake, to get dirty, to wear ‘play’ clothes, not the uniforms that you put them in.”
It is a classic scene of speaking truth to power for the rights of children – where a young, female teacher stands up to a middle-aged, military father. The young woman goes on to…
View original post 1,198 more words


COLLEGE OF LIBERAL ARTS
School of Theatre
Communication, Theatre Concentration (BA)
The Theatre Concentration in Communication is designed for students interested in the performance, design, technical, and management aspects of theatre training within a liberal arts education. Auditions or interviews for placement within the program are required. These occur prior to enrollment or within the first two weeks on campus. Auditions may take place in a variety of formats: prepared performance pieces, portfolio presentation, or interviews. Students may contact the Director of Theatre for additional information.
Communication, Theatre Concentration (MA)
Our two-year program is an immersive hands-on experience offering students advanced study and scholarly research in the Theatre Arts. Students take core courses in all areas of theatre, but choose an area of emphasis from performance, design, arts management, stage management, playwriting, movement(stage combat), directing or technical direction.
- Fight Director
- Costume Designer
- Lighting Designer
- Scenic Designer
- Sound Designer
- Stage Manager
- Theatre Criticism/Scholarship
- Theatre Management


Interested producers are invited to contact me for more information.
CRIME AND PUNISHMENT, a 10-minute play
(1 man, 1 woman). Biblical drama.
(1 man, 1 woman). Drama (monologue/short play).
Coverage: “The setting is richly described and an evocative place to set the story. The father’s experience and the way in which he passes it down to the son is quite poignant. The pacing and tone appear to be carefully planned and executed.”


- Filed Under
Question: I remember a show about 10 years ago called "Roundhouse." It aired on Nickelodeon at 9 p.m. (I think) and it was a sketch comedy show. I think I remember one of the women on the show that looked a lot like Megan Mullally of "Will & Grace." Am I right?
Answer: "Roundhouse" ran on Nick in 1992. Mullally wasn't in the cast - it consisted of young unknowns such as Bryan Anthony, Mark David and Amy Ehrlich, who are now slightly older unknowns.
Q: At least 20 years ago, I saw a movie with Michael Landon playing the part of a grown up long-distance runner. When he was a child, he had a bedwetting problem, ...


Co-productions provide a means to pool financial, creative and technical resources from participating countries for the production of film and television programs.
The idea of a co-production is the hybrid mix of usually a well established Hollywood institution exploring new elements and genres through international collaboration. This, in a Utopian environment would mean the chance for smaller companies to mingle in and eventually have more cast a crew from various backgrounds having input that would boost the circuit of film and create “potential to reflect upon globalization processes, such as the hybridization of cultures and their diversification” (Doris Baltruschat, 2002)
Australia currently has treaties in force with the United Kingdom, Canada, Italy, Ireland, Israel, Germany, Korea, South Africa, Singapore and China, and Memoranda of Understanding with France and New Zealand (Screen Australia, 2016)
The Great Gatsby is one of my all time favourite films and the genre Baz Luhrman seems to work in and the editing style as well as the exaggerated points of the film all draw me into the final piece. I was interested to find out that this film claims to be Australian, and for the most part I understood why, Aussie Director, actors and some locations. But then upon further research, the Novel is by American Author, The main protagonist ‘Gatsby’ is played by American Actor Leonardo DeCaprio as well as various other international cat and crew. So is The Great Gatsby Australian? I think a better way to understand these concepts is that the storyline very much depicts events that followed the great depression in Australia. That’s why it was picked u by Australian media producers, because they believed it could be highly reflectable to some social situations. Much like its success in America, with the events of the “Great American Dream” being showcased and perhaps resonated with throughout, thus: It deals with the dangers of pursuing the American dream and the pitfalls of decadence, vanity and materialism( B, Rosen 2014)
“As in virtually all countries throughout the world, the Australian film distribution and exhibition industries are dominated by American product. To a lesser extent, American influences can now be felt in the production of Australian films as well…recently, Fox Studios has opened its doors in Sydney, NSW. “(French, L 2001) This then brings to light the question whether future claimed to be ‘Australian’ films can be called that. With production of the next Thor and Alien movies will be produced in Australia. It will bring creatives from the U.S yet still feature Australian locations, and even actors such as Chris Hemsworth who stars in the title role of Thor. Perhaps this is exactly what the Australian film industry needs to happen so that creatives can continue to have their expressive element on Hollywood blockbusters.
Arts Minister Mitch Fifield praised Prime Minister Malcolm Turnbull’s efforts in securing the productions.
“The PM has taken a minute-by-minute interest in this venture,” he said.
“He was determined to see that this would be landed, and I think the announcement that we are making today is a concrete example of what the PM means when he talks about the agility of government, the agility of industry, to support innovation and to deliver jobs.”(Borrello, E 2015)
Screen Australia 2016, CO-PRODUCTION PROGRAM, viewed 31st October 2016 < http://www.screenaustralia.gov.au/funding-and-support/co-production-program>
Rosen, B 2014, ‘Is the Great Gatsby really an Australian film?’, Daily Telegraph, 30 January, viewed 31st October, < http://www.dailytelegraph.com.au/news/opinion/is-the-great-gatsby-really-an-australian-film/story-fni0cwl5-1226813252222>
French, L 2001, ‘Patterns of Production and Policy: The Australian Film Industry in the 1990s’, in I. Craven (ed.) Australian Cinema in the 90s, F Cass, London, UK, pp. 15-36, <https://researchbank.rmit.edu.au/view/rmit:3682/f2006003531.pdf>
Borrello, E 2015, ‘Thor, Alien blockbusters to be made in Australia, Julie Bishop announces, ABC, 22 October, viewed 31st October, < http://www.abc.net.au/news/2015-10-22/thor-alien-blockbusters-to-be-made-in-australia/6876604>


Seth Benjamin Green (born Seth Benjamin Gesshel-Green; February 8, 1974) is an American actor, voice artist, comedian, producer, writer and director. Green is the creator, executive producer, writer, director and is the most-frequent voice on Adult Swim's Robot Chicken. Seth Benjamin Gesshel-Green was born in Overbrook Park, Philadelphia, Pennsylvania, the son of Barbara (Gesshel) and Herbert Green. He has two sisters, Kaela and Doreen. Green later legally changed his name to Seth Benjamin Green "to reflect my professional stage name." The actor is of Russian, Scottish, and Polish descent. See all Seth Green's marriages, divorces, hookups, break ups, affairs, and dating relationships plus celebrity photos, latest Seth Green news, gossip, and biography. Seth Green is currently married to Clare Grant. He has been in two celebrity relationships averaging approximately 6.1 years each. His one marriage has lasted 8.6 years so far. Seth Green has starred in numerous films and television series including the Austin Powers trilogy, The Italian Job (2003), Without a Paddle (2004),. Seth Green’s Wife; Who Is She? She was born Clare Camille Johnson on August 23, 1979 in Memphis, Tennessee where she grew up. Hers is a pretty large family as she is the eldest of eight siblings, yes you read right, eight siblings. On 8-2-1974 Seth Green (nickname: Seth) was born in Overbrook Park, Philadelphia, Pennsylvania, United States. He made his 25 million dollar fortune with The Italian Job, The Identical, The Byrds of Paradise. Born Seth Aaron Rogen on 15th April, 1982 in Vancouver, British Columbia, Canada, he is famous for Superbad, Pineapple Express, The Green Hornet, This Is the End, The Interview in a career that spans 1999–present and 1998–present. Actor Seth Green and model Clare Grant married in May of 2010. The wedding took place on George Lucas' Skywalker Ranch in northern California Seth Green Gets Married! By Cynthia Wang Monday May 03, 2010 Seth Green is officially off the market: The actor married model/actress Clare Grant on Saturday, his rep confirms to PEOPLE. The character is portrayed by Seth Green. Green also portrays the character in one episode of the spin-off series Angel. In Buffy, Oz is portrayed as a taciturn, guitar-playing teen who becomes boyfriend to Willow (Alyson Hannigan), one of the show's main characters.


A young man, a bicycle, a rainy night in a seaside city in the north of France, music so gorgeous yet so drenched in regret by Michel Legrand you’re crying before the credits end. Then the young man enters his place of employment—a car repair shop—and begins to sing!
Do you love high-1960s style, with candy-cane colors, striped wallpaper, and an innocent, young Catherine Deneuve with bows in her hair? Can you handle an oh-so-sad yet really-quite-wise love story in which every line of dialogue is sung?
Then don’t miss The Umbrellas of Cherbourg, by director Jacques Demy, part of a 13-film retrospective at the Pacific Film Archive in Berkeley running July 25 through August 31.
Demy (1931-1990), a New Wave director whose sensibility was clearly rooted in a more romantic time, made his first film in 1961, Lola, starring Anouk Aimeé as a prostitute, who shows up in a later film, Model Shop, in, of all places, Los Angeles.
One of the charms of Demy’s films is his joy in shooting on location—Paris, small cities in France, the beaches of LA—while making real places seem like fairytale dreams.
For more on the Jacques Demy retrospective, click here.


I'm taking a walk in Henry Bigg's shoes, and they aren't big at all. As I watch the show more I see how little Henry blossoms into a hero like man with a samurai complex. He really is a hard character to get into, because going from a punk-like, show offy, teen ghost boy to the exact opposite, is almost impossible. I would love to have a Lucy Little to cosplay with. That would make my day.
In the Littles Anime season three when they go aroud the world. They were suppose to go to Japan, England, Peru, Scotland, and Africa but it was never aired or made. I would like to make some comics of if they were to go to those places. I know Henry would learn how to fence, ride a horse, and maybe wear a suit of armor to go rescue Lucy in, and she can be dressed as a princess because she has the same looks of the previous ruler. (Henry was a Pharaoh in "King Tut The Second" )
In Paris, Henry could be struggling on how to tell Lucy how he has feelings for her, in the mean time a french little boy gets friendly with Lucy. This makes Henry, Jealous, Angry, and Scared because he feels he can't compete with someone, Lucy's size. Lucy being naive doesn't get the first few hints, but starts figuring it out, tells the french little she isn't interested in him, and goes to Henry to talk things out about their feelings. Henry makes it clear that he doesn't just love Lucy, and he wants to be Lucy's boyfriend. She smiles wide, and agrees to be his girlfriend. Tom should warn Henry about keeping an eye on him from now on.
In Japan, just have the whole comic based around Japanese culture, and tons of anime.
In China Henry and the littles can learn about Chinese culture, farming, and history.
I don't have anymore ideas for the moment, if you guys have some, let me know and leave me a comment.


Ryan and I LOVE Pixar movies so when we saw previews for "Up" we got really excited. We never really see movies in theaters, and even if we did this movie came out not long after Nathan was born and we were a little busy. So we decided to wait until it came out on DVD and then just buy it as an anniversary gift since it was in theaters around our anniversary. Little did we know we would be waiting 6 months! Well, this week it finally came to DVD so Ryan and I had a much needed date night. We watched "Up" and ate push-ups and fruit roll-ups, of course. It was a fun night and the movie was not a disappointment!


You might not have heard of Dead Dead Demon’s Dedede Destruction just yet, but you should be excited about its recent casting announcement.
For the first time, acclaimed mangaka Inio Asano is getting one of his oddball works adapted into an anime for the first time. The Dead Dead Demon’s anime (I’m not going to write the whole thing out every time, come on) was announced back in March 2022, and back in August it was confirmed that the project would be a two part film. Now, as reported by Anime News Network, the main character’s castings have been confirmed. For main character Kadode Koyama, you might actually recognise her voice, as she’s being portrayed by YOASOBI singer Lilas Ikuta, also known as Ikura.
It’s incredibly likely you’ve heard Ikuta’s voice somewhere in the past couple of years, as YOASOBI has blown up thanks to a number of their tracks being used in some big anime; Beastars season two, Gundam: The Witch from Mercury’s first part, the incredibly cosy Frieren: Beyond Journey’s End, and perhaps most notably of all, Oshi no Ko, an opening that set some wild records earlier this year. This will be Ikuta’s second acting role, her first being in 2021’s Belle. She’s joined by singer ano as co-main character Ouran “Ontan” Nakagawa.
There are a few other notable actors that has been cast too, including Atsumi Tanezaki, who plays the titular character in the aforementioned Frieren, Miyu Irino, best known in the video game world as the voice behind Sora from Kingdom Hearts, and Junichi Suwabe and Kenjiro Tsuda, a pair of iconic voices you’ve probably most recently heard as Sukuna and Nanami respectively in Jujutsu Kaisen.
The first film is set to premiere March 22, 2024 in Japan, with the second to follow shortly after on April 19. Unfortunately there’s no word on a Western release just yet, but they’re likely to make their way over here in some shape or form.


Architecture and film can be looked at from different perspectives.
Architecture in Film
Architecture can be used cinematically in two different ways, according to Vincent Kling3:
- Expressionist films. When the technology was highly expensive and limited to black-and-white and no sound, symbolic movements of characters and canvas drawings of buildings and landscapes were used in order to bring the action, as in Fritz Lang's Metropolis (sample movie).
- Realistic films, both in contemporary architecture that we see in Antonioni's films, and in surrealistic (artificial) films like sci-fi or horror, as in Ridley Scott's Blade Runner.
In either case of the above, the intent is to create an experience derived from film by using the filming techniques in an interplay between architecture and the characters.
Film in Architecture
Film is finding its own seats in the architectural room with the advent and affordability of technology. In the "Architect As A Film Maker,"2 Vincent Kling says that films do not have to be very technologically advanced and sophiticated in order to make a successful presentation. For architects, film is a very powerful medium because it allows them to walk through a virtual model or a small mock-up of the building while the client is watching, and enables them also to demonstrate the design ideas as if the building was explored by the eyes of the visitors. In addition, Film can be used academically to help explore (see) and document the effects of buildings on society, and the urban setting.
If we were to stand away and compare film and architecture, we would find that the design process is the same in each in a way that both require a team of designers collaborating together. It also can be seen in the way that both try to demonstrate certain values to society in order that they can be critiqued by the public. To demonstrate, if one first looks at the basic elements of screenwriting in film, the writer is required to have a clear premise before beginning to write the script, which must be described in one sentence.
What is the premise of King Lair? "Blind trust leads to destruction."
What is the premise of Macbeth? "Ambition leads to its own destruction."
The writer should ask himself what he is trying to say. Is it worth saying? Is it freshly said? Is it a significant statement that an audience will care about? Is it about life, death, love, suicide, or is it simply about a character worrying about getting a date?6
Similarly, architecture takes on a challenge, to create a thesis, in order to introduce a concept for analysis and critique.


A brother and sister leave the city in search of their father and get pulled into a world of opposites where nothing is what it appears to be.
In Bogdan Darev “Harmonia” benefits from a film director who loves his craft and also understands the power of the medium he is working in. Film is entertainment, it is art, it is poetry. It is a celebration of the human spirit. It holds a mirror to society and ourselves. It asks the eternal questions in life, “Who am I? What is life? Why are we here?”
“Harmonia” is a vision quest for a balanced existence. It leaves you breathless with its imagery, while its many layers of storytelling offer a story for everyone.
Director Bogdan Darev and the “Harmonia” crew & cast have filmed 40 minutes of the film. Please consider making a tax-deductible donation or to find out more, view scenes and talk further about helping us finish the film please email Bogdan at email@example.com
$10,000 tax-deductible donation covers the camera package & hard-drives to get us started
$8,000 tax-deductible donation helps us rent lights & grip equipment
$7,000 tax-deductible donation helps pay our cinematographer, sound engineer & steady-cam operator
$5,000 tax-deductible donation helps cover travel costs, fuel & catering
Another $20,000 tax-deductible donation will enable us to pay most of our crew and cast


The Haunted Concert Hall – Spotlight on Tam O’ Shanter
For those of you keen to know more about the Tam O’ Shanter story featured in The Haunted Concert Hall, look no further! Here’s Owen in character during a previous performance (our Tartan Tales concert) to help set the scene:
Tam O’ Shanter, a poem by Robert Burns, describes the story of a farmer, called Tam, who spends a lot of time with his friends in the pub. After one such late-night party, Tam sets off home on his horse, Meg, when a storm starts brewing. On his way, he sees the local haunted church, the Kirk Alloway, lit up with witches and warlocks dancing and the Devil playing the bagpipes. He stops, just at the edge of the light, watching in amazement. The witches are dancing as the music builds and Tam, now scared and confused, shouts at them. Immediately, the lights go out, the music and dancing stops and many of the creatures lunge after Tam, with the witches leading. Tam spurs Meg to turn and flee towards the River Doon in an effort to escape. The creatures make chase and the witches come so close to catching Tam and Meg that they pull Meg’s tail off (poor horse!) just as they reach the Brig o’ Doon and cross to safety.
Quite a night full of mishaps for Tam, but also lots of powerful imagery, perfect for the Halloween theme!
We hope you enjoyed the Royal Scottish National Orchestra’s performance of Malcolm Arnold’s music in the film – did you hear what was happening to poor Tam? Remember you can watch the film back as many times as you like before the end of November.
Thanks for reading!
The CCC Team.


Sunday, April 5, 2009
"From the Bottom" Available on Amazon.com
The documentary I produced and directed entitled, From The Bottom, may now be purchased at Amazon.com.
On the left margin of this page under LINKS, please locate the link for Amazon.com where you will find a description of the movie and production photographs.
I was honored to have the movie screened opening night at the highly-acclaimed Myrtle Beach International Film Festival. There were so many questions for Senator Gooch following the screening, organizers had to extend the alloted time.
Photograph © 2007 Larry F. Levenson. All rights reserved.


According to the Netflix series Lucifer https://images.app.goo.gl/WBZxnbDLAUn2z1M98
Dennis Haysbert is joining the Netflix-Warner Bros. TV drama as God — yes, the God — and will appear throughout the fifth and final season. In other words, the rebellious Lucifer (Tom Ellis) and his angelic brother (and God’s favorite son) Amenadiel (D.B. Woodside) will be spending some quality time with with their father in the farewell season. (Neil Gaiman, whose Sandman comics inspired the series, voiced the character of God in one of season 3’s bonus episodes).
FOX IMAGE COLLECTION VIA GETTY IMAGES; INSET: NOAM GALAI/GETTY IMAGE
“We did like the big crazy list of [possible actors for the part], and he was my top choice,” Lucifer co-showrunner Joe Henderson tells EW. “We were lucky. It was our first and only offer.”
Of course, this isn’t the first time Haysbert and Woodside have played family on TV. They previously starred as brothers (and presidents) David and Wayne Palmer, respectively, on Fox’s 24. In fact, Woodside played a small part in helping Lucifer land Haysbert for this heavenly role.
“D.B. had actually come up to us and said, ‘Have you thought about Dennis?’ We were like, ‘Do you think he’d actually do it?’ And he’s like, ‘Well, I’ve already talked to him and sort of brought it up.’ And so we just went straight on at him,” says Henderson.
Getting to work with Woodside again was one of the reasons Haysbert said yes to the part. “Every time I see D.B., there’s always this fondness and this connection…We worked on a show that was arguably one of the best shows ever produced in television, so you’re going to have a kind of camaraderie,” says Haysbert, before adding with a laugh, “I don’t know how I went from brothers to father. We’re celestial. We can do that.”
Lucifer returns for its bifurcated fifth and final season later this year.


The Video Expert Team
Our production services cover concept to delivery of your video production. This includes storyboarding and scriptwriting, casting and shooting on-location or in our green screen studio, and editing in one of our Adobe editing suites. We have you covered from closed captioning or subtitles in foreign languages, high-quality 4k footage, 3D animation and motion graphics, or even aerial footage. We also offer delivery options from broadcast television to web hosting utilizing SEO so the right people see your production at the right time. Find out how we do it HERE.


This site was created for Disney's Oliver and Company fans to come find out more about the movie, and the merchandise that was produced!
"Oliver & Company is a 1988 American animated film in which a homeless kitten named Oliver joins a gang of dogs to survive on the 1980s New York City streets. The film was produced by Walt Disney Feature Animation and is the 27th animated film released in the Walt Disney Animated Classic series. It was distributed by Walt Disney Pictures and Buena Vista Distribution. It was re-released in the USA, Canada, and the UK on March 29, 1996. It was then released to video later that same year, and again in 2002 and 2009 on DVD. " -Wikipedia
If you see one of your photos here and would like credit or the photo taken down, please go to the contact page and fill out the form to email me.