Murder on the Orient Express
The Orient-Express name is synonymous with both luxury train travel and Agatha Christie’s popular Belgian detective.
The 1974 film, Murder on the Orient Express, told the story of detective Hercule Poirot solving a murder on the train, with a stellar cast including Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery and Vanessa Redgrave.
A fabulous travel experience re-living one of Christie’s favourite ways to journey is the Venice Simplon- Orient-Express. In the opulent cabins you’ll be indulged to the extreme, with a nostalgic twenties ambience and world-class service.
Raiders of the Lost Ark
Surely one the most famed scenes from the Indiana Jones films is that set in Petra, Jordan, during Raiders of the Lost Ark: the Al Khazneh or ‘The Treasury’ at Petra being where Indy searches for The Grail.
The area is a fascinating place to visit for a taste of ancient history in an utterly spectacular locale. Combine a visit with a stay at the Kempinski Hotel Ishtar; located at the lowest point on earth, the Dead Sea, at 400 metres below sea level.
Out of Africa
The 1985 the film Out of Africa starring Meryl Streep and Robert Redford as leads did much to prompt travel to the continent with its dramatic shots of plantations, valleys and savannah.
If a trip to Africa with its wealth of wonders and diversity tempts, take a look at Elsa’s Kopje Hotel in Kenya. Set in the Meru National Park (home to Elsa the lioness and the inspiration for another film based on a true story in Africa, Born Free), you’ll be left intoxicated by the wonders of this remote sanctuary.
The fantastically funny Shirley Valentine prompted a generation to head to the sunny Greek island of Mykonos for a holiday when it first appeared on the big screen in 1989.
Today the island has lost none of its appeal for the British traveller, and a number of recent celebrity sightings there have certainly boosted its attraction. A stay at the Grace Mykonos is a wonderful spot to make the most of the area’s picturesque views out to sea across the turquoise Aegean and inland to the white-washed romantic winding streets of the main town.
When Harry Met Sally…
Set against the backdrop of bustling, vibrant New York City, 1989’s When Harry Met Sally… was the film that sparked a new generation of romcoms. The movie has proved so popular that it still has its own tour, which among other landmarks takes in Katz Delicatessen, where the famed ‘I’ll have what she’s having’ line was filmed!
A stay at the timeless The St. Regis New York Hotel is the ideal place to spot real-life sets from the film and was actually used itself for scenes in The Godfather and The Devil Wears Prada.
Spoiler alert! Remember the scene at the end of 1994 classic Shawshank Redemption when Andy is sanding down his boat on the stunning white sand beach and Red walks towards him? That wasn’t actually Mexico as stated in the movie, but St Croix in the Virgin Islands.
To experience your own unspoilt paradise-like Andy, head to nearby Necker Island in the British Virgin Islands – your own private hideaway for up to 28 guests. It’s certainly one of the most exclusive spots in the world to holiday.
Pirates of the Caribbean
With Johnny Depp leading the cast of Pirates of the Caribbean (2003), the film was destined to be a success, but add in the gorgeous backdrops of St Vincent & The Grenadines and the Dominican Republic and you have the recipe for a blockbuster.
If setting sail in this idyllic locale sounds like paradise, take to the sea on your own yacht with Windward Islands luxury charters. Your itinerary can take in locations of the film including Bequia, all at the gentle pace of life on the ocean waves.
Sex and the City 2
Despite the sassy sequel being set in Abu Dhabi, it was predominantly filmed in Morocco.
If you want to holiday like Sarah Jessica Parker in the 2010 movie and relax in an über-luxurious Moroccan setting head to the Amanjena – an oasis just outside of Marrakech. The resort offers a blend of traditional Moroccan style in a prime location on the southern road to Ouarzazate, the gateway to the Sahara Desert.
A visit to the Amanjena, or ‘peaceful paradise’, spa during your stay is a must.
Stunning a-list actress Angelina Jolie joined forces with Johnny Depp for 2010’s The Tourist, which centred its storyline on the romantic city of Venice.
Scenes were shot with the famous pair in the Hotel Danieli; the original 14th-century palace of Doge Dandolo’s family and a beautifully restored gothic landmark synonymous with the romance and opulence of this magical city.
Inside the hotel is decked out in lavish marble, with glass chandeliers, ornate furnishings and stained glass, and has a superb rooftop restaurant made for movie stars.
If you fancy mixing a luxury holiday with the thrill of Formula One then a Grand Prix hospitality package is a must. The big screen re-telling of the famous Lauder/Hunt rivalry in Rush did much to inspire travel to the world’s most glamorous circuits this year, and of course, ITC Sports Travel will be at all the major racing events. Set in the playground of the rich and famous we’ll be kicking off the season in Monaco, providing road-side tickets in the very finest style with superb hosts and VIP touches.
The Hobbit Trilogy
The Hobbit series feature just as much of its prime set location, New Zealand, as its prequels (or sequels whichever way you look at it). Director Peter Jackson created plenty of tourism to his home country since choosing it as a base for the Tolkien-films, and tours are available to a number of the sets.
For an added luxury stay on the North Island in breathtaking beauty spot Huka Lodge; which is sheltered beneath trees beside the mighty Waikato River and Lake Taupo.
Luxury travel inspired by James Bond
For more than 50 years the James Bond movies have graced the silver screen, telling the story of the British secret agent with a licence to kill.
Jamaica is considered to be the birthplace of the concept when in 1942 naval intelligence officer Ian Fleming visited the island for a summit, loved the place and decided to live there after the war.
In 1945, his house – which he named Goldeneye – was built, and it was here that he wrote many Bond novels. Fleming died in 1964 and the property was later bought by Bob Marley.
Now a part of the Inspiring Travel Company portfolio, you can stay in the very place where Fleming was inspired to pen his famous characters.
Scenes from several Bond films were also shot in Jamaica and the house gave its name to the spy’s 1995 movie starring Pierce Brosnan in the title role.
You can also hunt down the famous spot where Ursula Andress first appeared out of the sea in ‘that’ bikini on Ocho Rios beach on the island or stay at the Half Moon, A RockResort which appeared as Bond’s hotel room in 1973’s Live and Let Die.
In fact, the Caribbean islands were used as a film set for many of the franchise’s most memorable scenes. At the One&Only Ocean Club, Bahamas, you can wander around the setting for the 2006 Daniel Craig epic Casino Royale.
At the Atlantis on Paradise Island you can sip a martini, ‘shaken not stirred’, at the Café Martinique; originally made famous by its appearance in the 1965 classic, Thunderball. The re-imagined restaurant pampers diners with old-world elegance and iconic Bond style.
Venice is another destination to have been graced by several Bond films, the most recent being Casino Royale.
At the Hotel Cipriani, you’ll be reminded of Bond’s final hours with Vesper and the hotel was also where Daniel Craig and Eva Green stayed during filming.
True Bond fans will remember Octopussy’s lair, which was set at the Taj Lake Palace hotel in India, while the famed moment where Bond and Scaramanga ‘duel’ on the beach in 1974’s Man with the Golden Gun was at Thailand’s Phang Nga Bay.
A stay at the Six Senses Yao Noi should add some style to a Bond pilgrimage to the region and the hotel can even arrange a helicopter transfer; giving you a bird’s eye view of Phang Nga’s National Geographic world heritage limestone formations and ‘James Bond Island’.
For details on prices please call one of our Travel Specialists on 01244 355 490.


This weeks episode of Musaigen no Phantom World was split into two halves. In the first half of the episode we are introduced to a character named Minase. Minase is the typical quiet and distant character who I know will end up joining the gang later in the show. Honestly, I was not able to connect with her character at all probably because this was the first time she was introduced in the story, but I do hope we get good character development from this character as the series progresses.One thing that found awfully annoying about this character was the chant she did every time she used her special ability. The redundancy of the chant made me dislike her character just a little bit because unlike the other characters that use chants in this series, her chant was the MOST annoying. Other than that I think I really enjoyed the first half of this episode.
I would also like to mention that I really loved the comedy moments shared between our main male character and the little fairy Ruri. I found myself laughing every time Ichijou tried to silence her.
The latter half of the episode dealt with a whole bunch of fan-service scenes that I didn’t very much enjoy. I mean YAY fan-service to all the people who enjoy fan-service in this anime, but for a female viewer like me I didn’t really enjoy it. Not to mention, the lewd scene that was added into this episode was a bit random. Who knew a phantom eater’s saliva could heal wounds?!? Aside from the fan-service parts of this episode, I’m still trying to figure out how in the world did Minase pop up in the college dorm? That was a really awkward appearance of this character.


Remember the time when we saw Aamir Khan race on a road bike on the Velodrome?
Model house was our bae and Pehla Nasha our favorite song, wasn’t it? Especially, after Aamir Khan aka Sanju won the championship.
The last part of the race is still crystal clear in our mind. The crowd chanting, “Sanju, Sanju, Sanju!” Screaming their lungs out as Sanju and his main rival “Deepak Tijori” took to the final lap.
We were glued to the screen by now, biting our nails and sitting at the edge of the seat. Hoping Sanju would shift to top gear and end the war!
But this moment, took a while and when Sanju finally agreed with the crowd, it was the most beautiful moment ever.
The sheer hard work, the pain and the bullying Sanju and his elder brother (Ratan aka Mamik Singh) went through, we felt it too.
But after this victory, it was all done and dusted. Everyone including us was overwhelmed with happiness.
Today, in spite of the movie being over two decades old, Sanju is still fresh in our minds. If asked, we wouldn’t mind watching it again and again.
But that’s one of the best movies we have seen that gave us a different insight of the Indian cycling world.
Here are a few more cycling documentaries and movies that will blow your mind. The cheating, the drugs, the planning is all worth watching for the love of cycling.
If you’re a cyclist, you’ve got to watch these 13 movies! Enjoy!
1. Premium Rush:
If you ever want to experience the power of fixes, this movie will get your adrenaline pumping. Dodging speeding cars, crazed cabbies, and eight million pedestrians, Wilee, a bike messenger makes it out on a super lightweight, single-gear bikes with no brakes, just to deliver his last envelope of the day.
However, this daily routine turns out into a life and death chase through the streets of Manhattan.
2. American Flyers:
In this movie, sports physician Marcus persuades his unstable brother David to come with him and train for a bicycle race across the Rocky Mountains. But there’s a twist as he doesn’t tell him that he has a cerebral tumor. The race also features stunning views of the Rockies and insight in the tactics of bicycle races.
3. The Program:
One of our personal favorite movies, the program exposes the most sophisticated form of doping every done in the cycling history. The movie takes you through Lance Armstrong’s drama to win 7 titles after surviving cancer.
4. Bicycle Dreams:
A 3,000-mile cross-country bicycle race across America, this race is taken on by only some of the best endurance cyclist in the world. This movie covers the 2015 event which begins tragically with the death of endurance cyclist, great Bob Breedlove. The movie further continues into a marvellous testament to the strength of the human will and spirit making it one of the best cycling movies.
5. Chasing Legends:
Those of you looking to experience the Tour De France from the competitors perspective, then this film is for you. The movie, chasing legends, follows Team Columbia-high road and gives you more insights from the perspective of a participating team in the toughest multi-stage race.
If you’re a Cavendish fan, this movie will make you love him more.
6. The Flying Scotsman:
A touching story based on the life of amateur Scottish cyclists, Graeme Obree as he attempts to take the world one-hour distance record despite suffering from a mental illness and having no sponsors to offer support.
7. Breaking Away:
Another best cycling movie that you need to watch is breaking away. In fact, the movie is so good that it was ranked as one of the top ten American sports films of all time by the American Film Institute.
Need we say more?
If you are looking for some comedy every now and then, this movie does a beautiful job.
8. A Sunday in Hell:
Enough with the Tour De France and RAAM, single day races are not less. Ask Eddy Merck, oh wait! Rather watch his documentary on the Paris Roubaix 1976 edition where he went on to take his biggest rival, Roger De Viaeminck.
If you aren’t familiar with Mercks or Roubaix, watch this movie, right now! It will open your eyes to a completely new world of cycling.
9. Triplets of Belleville:
A French animated cycling movie that has no dialogues but is an all-time hit among cyclists is the Triplets of Belleville. The story follows a young boy who’s determined grandmother trains him to be the next winner of the Tour De France.
Trust us, the movie was so good that it won an Oscar for the best animated film in 2004.
10. Stars and Water Carriers:
This best cycling movie is noticeably one of the original cycling documentaries that were ever made. The documentary is so good that it makes you feel a part of that 1973 Giro D’italia.
The punishing distances, the camaraderie between team-mates makes it worth a watch.
11. Road to Roubaix:
Another unmissable cycling movie that will make you fall in love with the prestigious one-day classic all over again is the “Road to Roubaix”. The nervousness of the riders, their efforts to ride through the cold, the wet and cobbled path is beautifully captured in this movie.
We are not talking about the superhero who has the ability to move at great speeds. We are talking about the movie where the movie Quicksilver showcases the fall from grace of a young floor trader who lost his family fortune on the stock market. Later, he went on to take up a job as a bicycle messenger that showcases the freedom of cycling beautifully.
These are some of the best cycling movies that we would want you to watch.
So which one are you starting with? Comment and let us know.


BendFilm hosts an annual independent film festival which runs October 10-13, 2019 offering four days of inspiring independent cinema, panels and parties. BendFilm also offers year-round film exhibitions and programs and is the new owner of the Tin Pan Theater. The Festival venues for 2019 are The Oxford, McMenamins – Old St. Francis, Regal Cinemas, The Volcanic Theater, Cascades Theatrical Company, and the historic Tower Theatre.
BendFilm heads into this year’s festival celebrating their 16th Anniversary and capturing accolades from MovieMaker Magazine as one of the “Top 25 Coolest Film Festivals In The World”. This honor comes just months after BendFilm was listed as one of the “Top 50 Film Festivals Worth The Entry Fee.” Great job BendFilm and we can’t wait for this year’s event which starts today!
This year’s Festival will present 25 feature films, 70 short films, 30 pre-screening mini concerts and 10 panel discussions. Legendary director Ron Shelton (Bull Durham, Tin Cup) is a confirmed guest. See the full lineup of films, speakers, live music, parties and special events happening at this year’s Festival.
In May 2019, BendFilm bought the Tin Pan Theater, a 30-seat movie house in downtown Bend. The Tin Pan Theater opened in 2012, screening newly released art-house and foreign films. Since 2013 the Tin Pan Theater has served as the only area theater showing independent films year-round. The Tin Pan will continue to screen new indie fare, while also having BendFilm’s considerable festival library at its disposal.
BendFilm has selected Christine Vachon for IndieWomen of the year award highlighting Vachon’s career as a Producer at the 2019 Festival. BendFilm will recognize Vachon for her tireless work to foster diverse voices in independent film and her bold vision to champion stories that steer outside the mainstream by screening three films she helped launch: Carol, First Reformed, and Hedwig and the Angry Inch. Vachon has produced Kimberly Peirce’s Boys Don’t Cry, Richard Glatzer and Wash Westmoreland’s Still Alice and Todd Haynes’ Carol, I’m Not There and Far from Heaven.
One way to support BendFilm is through IndieWomen which celebrates the brave and Inspiring work of women filmmakers at the BendFilm Festival and beyond. IndieWomen was founded by the late Pamela Hulse Andrews as a way to strengthen the bonds of leading women in the arts and business and to support filmmakers at the BendFilm Festival. Each year Andrews enlisted the support of 100 women to donate $100 to support women filmmakers at the BendFilm Festival.
Brooks Resources is a founding sponsor of the Festival and a proud supporter of BendFilm since 2003. BendFilm is made possible by a dedicated crew of hard working staff, volunteers and generous sponsors. For more information, call (541) 388-3378 or visit BendFilm for films, events, membership, sponsorship and donation opportunities.


Like thousands of other people across the UK, in January I made my way to my local cinema to see Tom Hiddlest— er, Coriolanus, broadcast live from the Donmar Warehouse to the silver screen. The Donmar is a small theatre – 251 seats, according to my A4 programme – so it’s not unusual for it to sell out, but it doesn’t usually do so so quickly, and so entirely, as it did for this Shakespearean production. I knew going into the show that people liked Tom Hiddleston, apparently dubbed ‘the sexiest man on the planet’ by MTV (as we were reminded in the interval programming), but I didn’t know quite how much. I was lucky to see him live in 2006 in Cheek by Jowl’s The Changeling, and then again the following year as both Posthumus and Cloten in their Cymbeline, before his star ascended and tickets to his productions turned almost literally into gold dust. He was excellent in both shows, and in particular Cymbeline, where he had more to do and his doubling of the male leads added to the surreal, maze-like quality of that strangely charming play (not to mention that he made Cloten a lot more attractive than is usually the case).
This time around, Hiddleston was undoubtedly the main draw, and again he made a typically taciturn character – Caius Martius, later Coriolanus – into a suppler, more emotionally rich figure than we have perhaps come to expect. For me that interiority was achieved against the grain and even in spite of Shakespeare’s text, the result being that Hiddleston’s supremely watchable and even enthralling performance could never be a definitive Coriolanus for me – not enough sneering violence, not enough sociopathy. He was still great, though, and I’d love to see him as a Brutus, or even a Hamlet, in the years to come.
For someone interested in the relationship between the filmed and stage version of this production, Hiddleston’s involvement provided an interesting test case. His celebrity itself blurs the boundaries of theatre and film, encouraging audiences from one realm to enjoy the delights of the other. More than a few newspaper reviews of the production noted the youthfulness of its audience, the implication being that this Coriolanus helped generate interest both in Shakespeare and in theatre among groups more typically drawn to blockbuster cinema – and if that is true, then all the better. On a much more practical note, though, Hiddleston being in this show meant that there was no way in hell I was going to get a ticket to it, and that I was one among many in such a situation. Live broadcasting to cinemas becomes all the more pertinent in such circumstances. With demand far exceeding supply, new possibilities for access to the production meet a clear and demonstrable need. My cinema in Stratford-upon-Avon was filled to the brim, with at least two ‘encore’ screenings to follow, and I wouldn’t be surprised at all if most other cinemas broadcasting it across the country were met with a similarly fulsome crowd.
The remarkable demand for tickets for this production, however, means that any discussion for me of the broadcast itself must be limited to that – the broadcast alone. And it was an interesting one. To date all of the broadcasts and live filmings that I’ve seen of Shakespearean productions have been from relatively large, spacious stages, often with a very strong sense of place: the Globe in London (Henry IV parts 1 and 2, Globe to Globe), the RSC mainstage in Stratford-upon-Avon (Richard II), the amphitheatric Olivier at the National (Othello), a highly atmospheric, reclaimed church in Manchester (Macbeth). The Donmar, with its intimate scale and spare black-box of a stage, is a markedly different kind of space, and not one that necessarily lends itself to visual tableaus or epic camera sweeps. What would the screened experience be like?
The first indication we got of an answer came in the form of an overt Brechtianism that was starkly distinctive from the more pictorial setting evoked at the start of the RSC’s Richard II in November. Young Martius ran on with a paintbrush splashed with red and swiftly drew a large square outline around the stage-space, a bloody chalk circle of sorts. Inside was a single vertical ladder, behind a set of empty chairs and Roman graffiti projected on the back wall. But while these physical features may have gestured towards a Brechtian theatre of alienation, or even the German playwright’s own staunchly socialist reworking of the play in the 1950s (retitled Coriolan), neither possibility evolved into something more significant once the production really got going.
Instead, in the play’s opening scene we encountered a chaotic, disjointed mob, angry in their demands and reckless in their threats. The camera moved rapidly, coming at the actors from all three sides of the Donmar stage, with the swift and sometimes dramatic cuts between different angles adding to a sense of frantic divisibility. This was in no way the ordered, noble citizenry assembled at the start of Brecht’s play, but rather a disgruntled fringe spurred on by a particularly aggressive First Citizen, whose longer speeches were cut (‘We are accounted poor citizens…’, ‘If the wars eat us not up, they will…’) and whose belligerent, bullying lines were accentuated (‘Let us kill him!’, ‘He did it to please his MOTHER!’). Very little camera time was offered to either Citizen Two or Three, and once Menenius/Mark Gatiss/Mycroft entered the stage the focus turned resolutely to him and his mincingly triumphant, if heavily curtailed, belly fable.
Until, that is, Caius Martius/Tom Hiddleston came into the scene – and all the cuts to the preceding action meant that his entrance occurred easily within the first ten minutes of the show, perhaps even the first five. With the camera fixed on him, and the three citizens positioned at separate corners of the square stage, Martius was alpha dog to their skittish, ineffective pack – the un-unified, undignified ‘fragments’ he imagines them to be. When he scornfully announced that they would be granted tribunes to represent them, they whooped and hollered on stage, but to no clear political end. The victory seemed to be more in winning itself than in the gain of any real power or authority.
In terms of the filmic style, the chief visual mode for this production was no doubt the close-up, and what’s more the close-up from many angles. I counted upwards of 42 changes in the sequence that leads to Martius’ banishment, which probably occurred over roughly 80 lines in performance. This meant that we were averaging close to one camera shot per 1-2 lines, the result being a very directed point of view.
Not long after attending this broadcast I watched an extended interview with the British director Steve McQueen, known for his use of resolutely, even unsettlingly, long takes in his films. In response to a question about a 17-and-a-half-minute long shot in his 2008 film Hunger, which features a dense and fiery conversation between the IRA hunger striker Bobby Sands and a priest, McQueen described the long shot, especially when it contains multiple characters, as one that demands a different kind of watching from its audiences. While conversations divided into close-ups project the location or meeting point of the conversation into the audience itself, the long, sustained, and wider shot requires the audience to project themselves into the scene, to acknowledge themselves as spectators and voyeurs and to make sense of that experience.
In a way McQueen seems to be saying that in film the long shot is more radical and involving because it observes what we might call the fourth wall, while the broken up, sequenced shot is less so because it directs the story straight into the world of the audience member, obscuring any sense of theatrical divide. This seems somewhat at odds with how theatre historians and performance critics often understand the observation or ‘breaking’ of the fourth wall, but I suppose in a cinematic broadcast we are dealing with two frames of reference – the theatrical one and the cinematic one – and that we are in turn navigating a potentially double divide. What is the result?
Well, the honest answer is that I still don’t entirely know, but my sense is that many theatrical broadcasts are dealing with it by trying to jump over and beyond it. This Coriolanus was very intimate, even claustrophobic – though to be fair, the Donmar as a space is too, so wide or distant perspectives simply aren’t a part of the theatrical experience it offers. One thing that struck me throughout the broadcast was how so many of the full-stage shots came from either above or below eye-level, almost as if the camera had to back into the upper and lower crevices of the space in order to squeeze in the wider view. And while many shots tracked with the actors, few if any tracked through them – that is, moved through the stage space even if the actors themselves were more or less stationary (something I found especially compelling in the Richard II broadcast). Occasionally, we were treated to a level and fairly open view of the stage from one of the downstage corners, which for me were the most effective shots. With them I felt that I had a perspective that offered a fuller understanding of the theatrical space and the actors within it, without feeling so cramped or craned.
But for the most part, the multi-angle close-up predominated, offering an emotional intimacy and naturalism that highlighted what seemed to me to be an especially and even excessively emotional Coriolanus. It was certainly unBrechtian in this regard – the constant approach was that of empathy, identification, interiority, with Coriolanus himself very much the victim and very little the enemy of the people. Haughty, yes, but more foolhardy than anything else. Tears were in abundance, and the camera worked hard to highlight them as much as possible – in the first domestic scene, close ups on Virgilia’s silent tears worked to sculpt a greater sense of character out of what is ultimately a very tiny part, and in the closing sequence Coriolanus’s own steady tears became the chief visual motif running through the supplications of his wife, child, friend, and mother.
Perhaps it was the Coriolanus that this space, and this actor, demanded – in the interviews preceding the broadcast, Josie Rourke described the Donmar as ‘a deeply psychological space that has to be enormously truthful’, and for me Hiddleston’s very moving, very ‘truthful’ Coriolanus was most absorbing even when he was most outside what I think the part actually demands. It’s understandable, then, that the camera work in this broadcast sought to capture and even heighten these strengths, but I still couldn’t shake the feeling that I wanted the visual frame to slow down, and to back off. I wanted to see and explore more of the stage space on my own terms, to attend to Hiddleston’s powerful presence and even celebrity within the context of the whole theatre (audience included). I wanted the visual narrative to breathe. But maybe that’s not how this production worked, irrespective of the screen.


If you find it hard to put yourself in the shoes of others, try renting the movie "The Pursuit of Happiness" with Will Smith. I don't recall anything that would disturb Christians or young children. The entire movie will tug at your heart and it will disturb the way you look at poverty.
Will Smith plays Chris Gardner a struggling salesman trying to take care of his family while his wife worked double shifts to support their young son (Will Smith's real son played the part). Chris is presented with a possible dream and begins a six month non-paying internship for one position as Stock Broker for Dean Whitter. His wife leaves him and the test for strength begins. He faces homelessness, jail, wage garnishment and a long list of major and minor trials. Yet, he continues his quest for the job. I was impressed with the lack of blame. The character cried, but never gave up or blamed anyone for his problems. He remained refreshingly responsible through every discouraging event. The end is a wonderful surprise and left me in tears.
This movie is clean, engaging and extremely philosophical. He should have won an Oscar. It was difficult to watch some of the scenes because my heart was breaking for the character. I finally decided I felt that way because I've experienced similar times of complete desperation. When the movie finally found a resolution, I felt like my emotions were just floating in my throat somewhere between not breathing and gushing. When my emotions began to flow, I felt spent. I was exhausted from last night's ride - but what a ride!
The best part.....was in the ending credits. This movie is based on a true life story. WOW!
And while I'm on movies, I'm glad to see that some people in the industry are understanding the need for more affirming clean movies. You must watch "Facing the Giants". It's especially great for teens or anyone needing to see the hand of God in daily circumstances. It was made entirely by a church in Georgia. Since no professional actors were used, some of the acting is a smidgen stiff, but it is a must see. Sony pictures was so impressed that they picked it up for distribution. Your local video store should have copies. The message is wonderful and the end had me in tears. It's a football movie with a huge Christian impact and everyone that I talk to loves it.
God loves you


A coming-of-age story and a comedic tour-de-force, meet Jamey Fuller, a cocky California kid who achieves his wildest ambition: admission to The Juilliard School in New York City, the country’s most prestigious acting school. Once there, he is sure, he will find fame and glory. He will dance on tables, as in “Fame.” He will take his place among the Great Actors of his time, freed from the fear of becoming just like his father, a director of Hollywood TV spots. But the reality proves hilariously brutal, as Jamey grapples with Shakespeare, lust, disillusionment, cut-throat classmates and imperious teachers. FACES ON MY WALL is a privileged glimpse into the bizarre hidden world of an actor’s training, a poignant father-and-son story, and the chronicle of a young man’s painful gropings toward maturity.


The first week of January is always really hard to get back into the routine of getting up and going to work but this week I’m really pleased that Jason Donovan, Richard Grieve and Graham Weaver and the cast of Priscilla, Queen of the Desert made the effort.
They have all turned up at the Wales Millennium Centre to perform this feel good show until the Saturday 18th January.
Having seen the show early in its UK tour while the show has not lost any of its dazzling style and I believe it has got better. There have been little improvements to the set helping the story to flow more freely and the cast seem to really enjoy playing up to their vivid and outrageous characters.
The show is a pop-roller coaster of sing-a-long songs that get the audience involved from tthe opening moments.
Jason Donovan, Richard Grieve and Graham Weaver are outstanding in the lead roles and all the supporting cast all deserve a mention as they provide as much of the entertainment throughout the show.


IMDbPY is a Python package for retrieving and managing the data of the IMDb movie database about movies and people.
from imdb import IMDb # create an instance of the IMDb class ia = IMDb() # get a movie and print its director(s) the_matrix = ia.get_movie('0133093') for director in the_matrix['directors']: print(director['name']) # show all information that are currently available for a movie print(sorted(the_matrix.keys())) # show all information sets that can be fetched for a movie print(ia.get_movie_infoset()) # update a Movie object with more information ia.update(the_matrix, ['technical']) # show which keys were added by the information set print(the_matrix.infoset2keys['technical']) # print one of the new keys print(the_matrix.get('tech'))
How to contribute
Do you like this project? You can help by:
- Spreading the word!
- Contributing to development.


I saw this a week ago and quite enjoyed it. I can' remember it perfectly as over the festive period I've since watched Bad Company, Jack Reacher: Never Go Back and Spiderman: Homecoming.
But what I can remember is that the film has the standard Star Wars setup of rebels on the run against an enormous enemy. In that sense it particularly parallels the second film in the original trilogy, Empire Strikes Back, most obviously for the scenes on the salt planet, which look very similar to the ice planet Hoth.
There are also Jedi training scenes, but this time they are the other way round, as Luke is the master. And the training goes rather differently. In fact it is the presence of old Luke Skywalker that sets this film apart, and his progression is the most satisfactory.
There is also a recurring theme about the nature of hope, which at its worst consists of Leia repeatedly talking about hope, but at its best is the boy at the very end offering hope for the future, and perhaps a hint of what will come in the final chapter.
The humour is acceptable but not particularly funny, but I suppose audiences expect it now. I think if you're making a Star Wars film you should be aiming for the sort of thing other people want to parody, not parodying yourself (I'm thinking of the visual gag with the iron).
Perhaps because I saw the film at a late showing I found the pacing of the film slightly wrong, and there are two more acts than I expected. I'm all for long epic films, as long as they build up correctly and you don't think "Is it about to finish?" then it carries on for another half hour.
I need to watch this again, to see how it connects to the other films. It was enjoyable, but I think the off-shoot films (like Rogue One) might actually provide more hope to the Universe than Episode Nine.


Playing in the role of striker, he recorded 1 goal (a header versus St John's College in a 5-1 defeat) in 29 appearances, before moving to centre-back. He played the role of Wes Gibbins from season one to three and appeared as a guest in season four. Alfred Lewis Enoch (born 2 December 1988) is an English-Brazilian actor, best known for playing Dean Thomas in the Harry Potter film series and Wes Gibbins in the ABC legal drama television series How to Get Away with Murder. After what had happened in previous episodes, it made sense for him to die. Etheline Lewis is a Brazilian-born doctor of Barbadian origin. Alfred Enoch's girlfriend in real life is unknown. At the carnival, several photos appeared of him kissing an unidentified woman.
2020 Nonetheless, there are huge rumors that Alfred is romantically linked with his How to Get Away with Murder’s co-star Aja Naomi King. At 13, Enoch was cast to play Dean Thomas in Harry Potter and the Philosopher’s Stone. While at university, Alfred starred in the College football 1st XI.
Though in his on-screen life, the Harry Potter star was romantically linked with Laurel, it’s hard to figure out who he is dating in his real life. In 2017, there were rumours that Aja Naomi King and Alfred Enoch were dating. However, it’s revealed that he is not married yet and does not have a wife. , Enoch returned to the West End in the 2018 revival of Red at Wyndham's Theatre, starring alongside Alfred Molina.. Alfred Enoch is the only son of actor William Russell and physician Etheline Lewis. READ ALSO: Mary McCormack bio: husband, children, net worth and measurements. However, due to some reason, he missed out on Harry Potter and the Deathly Hallows - Part 1. Alfred Lewis Enoch was born on 2nd December 1988 (age 30 years) in Westminster, London, England.
Contact Us, Who Is Alfred Enoch Wife? As a child whose father is also an actor, he was always going to give his best in the film. He graduated with a degree in Spanish and Portuguese in The Queen’s College Oxford. Alfred Lewis Enoch is an English actor.
In 2020, Enoch returned for two episodes of How to Get Away With Murder's sixth season but in the separate role of the adult version of Christopher Castillo, Wes' son. The images were on Aja’s Instagram page. It is unknown whether the woman was Alfred Enoch girlfriend. And, as of 2018, he has accumulated a total net worth of $3 million to his name. About. But was Alfred Enoch in Harry Potter for all the eight films? The actor joined The Queen's College in Oxford where he graduated with a degree in Portuguese and Spanish. Alfred Enoch also played Wes Gibbins in the legal drama series How to Get Away with Murder. , In 2016, Enoch was cast as Edgar/Poor Tom in the well received Talawa Theatre Company and Manchester Royal Exchange co-production of King Lear, for which he won much praise for his characterisation and the physicality he brought to the roles. While it is normal for co-stars to spend time together, the tw… READ ALSO: Xavier Samuel age, height, parents, girlfriend and net worth. ©
Alfred Enoch height is 190.5cm and weighs 81kg. Alfred Enoch is a British actor.
A Short Bio and Family of Alfred Enoch: The actor Enoch was born in Westminster, London, England, United Kingdom.  He attended Westminster School, a public school in London. Harry Potter and the Sorcerer's Stone. Playing in the role of striker, he recorded 1 goal (…
It is a role he excelled at while continuing with his education. Alfred’s shoe size is unknown. MarriedDivorce.com and All Rights Reserved The actor also has a Brazilian descent and is fluent in Portuguese and Spanish. The actor appeared in seven of the eight Harry Potter films. But why did Alfred Enoch leave How to Get Away With Murder? Well, the rumors which got initiated back in 2017 are still getting heat-up as Alfred and Aja are still spotted together on several occasions. Enoch had to leave the show after three seasons, something that made many fans disappointed. The gossips about their dating started when the two started to post many photos of them hanging out together in many places. He is known for his portrayal of Dean Thomas in the Harry Potter films. At seven years of age, he performed a sonnet at Shakespeare’s Globe Theatre on the eve of Shakespeare’s birthday. His Parents Some of his distinctive features are an afro hairdo, dimples, and tall and slim stature. Alfred Enoch's nationality is British. William Russell is a renowned English actor known for playing Ian Chesterton in the British science fiction TV programme Doctor Who. Alfred Enoch parents are Etheline Margareth Lewis (mother) and William Russell Enoch (father).
In a 2014 interview by Cosmopolitan, Enoch admitted to having a girlfriend. He also voiced the character in video games. read more. Born in Westminster, England #7. Alfred Lewis Enoch was born in Westminster, London, to English actor William Russell and his second wife, Etheline Margareth Lewis, a Brazilian-born doctor of Bajan descent. He appeared in seven of the eight Harry Potter films. He celebrates his birthday on December 2 and was born in 1988. Alfred stated acting when he was young. In July 2011, Enoch appeared at the London Film and Comic Con.
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Jeni Cumming and I had the opportunity to participate in the Progressive Playwright event at The Tron Theatre on January 22nd. To be selected, we each submitted 5-10 pages of scripts responding to the theme of “desire.” We were both really excited to participate and found the close work with the actors and directors very informative. To prepare for the event, we each spent an hour at The Tron observing a rehearsal of our pieces. Personally, I had never written anything that someone else was directing and interpreting so the experience was completely new. After rehearsing that day, we saw the pieces (alongside two other selected scripts and one extended piece from the previous month’s event) performed before an audience. Following the staged readings, the audience had the chance to ask questions and give feedback to the playwrights. Having that immediate reaction from people not familiar with our work is a great way to develop our writing skills and connect with other Glasgow playwrights. I am really happy to have had the chance to participate in this event and would encourage anyone who is interested in developing their playwriting to apply!
Written By: Molly Ziegler, MLitt Theatre Studies


One Year Gone is book seven in the series of TV Tie-in novels from the CW show Supernatural, and is written by Rebecca Dessertine. It takes place between the end of season 5 and the beginning of season 6.
…possible spoiler warning for those not familiar with the TV series…
Dean is struggling after the events of season five. With Sam gone he moves in with old flame Lisa Braeden and her 12-year-old son, Ben. He makes every effort to live a normal life, as far away from his previous hunter’s lifestyle as possible, as per Sam’s final wishes. However, the guilt over failing his brother consumes him and he finds solace in whiskey.
Eventually, Dean concocts a plan to free his brother from Lucifer and the cage. Under the guise of a family vacation, he lures Lisa and Ben to Salem, Massachusetts where he hopes to find a witch with an original copy of the Necronomicon. With help from this dangerous artefact and a powerful witch’s spell, Dean hopes to be reunited with Sam.
What I particularly enjoyed about One Year Gone is the re-emergence of Samuel Campbell, and an introduction to some of the other Campbell family hunters, Sammy’s cousins, Christian, Mark and Gwen. Along with a very accurate portrayal of one of my other favourite secondary characters, the hilariously sarcastic, witty demon, King of Hell, Crowley.
Unfortunately, these secondary characters aren’t actually in the story for very long and I soon found myself getting a bit frustrated with the slow, tedious pace. Dean doesn’t act like himself, trying to be a family man for Lisa and Ben just isn’t really in his nature as a hunter, and I’ve never been a fan of this aspect of the TV series.
On the other hand, I do quite like soulless Sam during the major story arc between season’s 5 and 6, and the lengths he goes to in order to kill demons. However, I got a little annoyed at the constant, and somewhat unnecessary, flashback scenes, when he’s off hunting with Samuel.
I struggled quite a bit to read One Year Gone, as I didn’t find the story entertaining and the witches acted like weird cross-over baddies. Part witch, part demon, part nothing-can-possibly-harm-me immortal. They just didn’t make enough sense for me. There are also a number of annoying spelling errors, so another poor 1 out of 5 stars for this Supernatural novel.


THEIR ROYAL HIGHNESSES AT YUGOSLAV DRAMA THEATRE’S 60TH
Belgrade, 3 April 2008 – Their Royal Highnesses Crown
Prince Alexander II and Crown Princess Katherine attended this evening the
premiere of the play Tartuffe, by Moliere, on the occasion of the 60th anniversary of the
Yugoslav Drama Theatre.
Their Royal Highnesses were greeted by Mr. Branko Cvejic,
a well known actor and Director of the Yugoslav Drama Theatre.
The event was attended by numerous public figures such as
Mrs. Ruzica Djindjic, Mr. Mirko Cvetkovic, Minister of Finance, Mr. Vojislav
Brajovic, Minister of Culture, Mrs. Milica Cubrilo, Minister for Diaspora,
Mr. Slovodan Milosavljevic, Minister of Agriculture, Forestry and Water
Management, Mr. Radovan Jelasic, Governor of the National Bank of Serbia,
Mr. Zoran Alimpic, Acting Mayor of Belgrade, Mrs. Gorica Mojovic, Assistant
to the Acting Mayor of Belgrade, Mrs. Radmila Hrustanovic, Assistant to the
Acting Mayor of Belgrade, actors Mr. Petar Kralj, Mr. Misa Janketic, Mr.
Vojin Cetkovic, actresses Mrs. Jelisaveta Sablic, Mrs. Rada Djuricin, Mrs.
Neda Arneric and many others.
The Yugoslav Drama Theatre (JDP) was built after the
Second World War. For decades, the theatre played an important role in the
cultural life of the city and the country. In 1997 it was burnt down, at the
time when the old Socialist Federal Republic of Yugoslavia was transformed
into the smaller Federal Republic of Yugoslavia. Symbolically, the fire was
an end of a utopia. The Yugoslav Drama Theatre was reconstructed in the
meantime, and has maintained its traditional as well as a modern look.


TPM ENCOUNTERS:FRAZ VS THE FUTURE & VILLAGE AX
JANUARY 7TH – 17TH 2016
Hayduk and Wiest Double Bill!Venue: The Rachel Browne Theatre – 211 Bannatyne Ave. (at Main St)FRAZ VS THE FUTUREWritten and performed by Fraz WiestEver since humans invented the idea of “the future”, they have pondered, wondered and been deathly afraid of it. Fraz has the courage to make the future hilarious, while at the same time admitting he’s terrified of it. Fraz vs The Future is a show about time travel, technology, fear of change and social media.Writer and Improviser Fraz Wiest is a founding member of Toronto’s Ghost Jail Theatre, and a cast member of Winnipeg’s DnD Improv. Fraz performed White Rabbit Red Rabbit for TPM last season and is well known on the Fringe and comedy circuits across Canada.VILLAGE AXWritten by Elsa Reesor-Taylor and Sydney HaydukPerformed by Sydney Hayduk“DO YOU WANT TO DISAPPEAR?”Standing tall is a high-security village. Inside living, buzzing and breathing inhabitants struggle for their lives. Inside them is a small, vulnerable creature.Village Ax is a story within a heart, within a person, within a village that goes down in history, and proves the interconnectedness of humanity.Dedicated to those who lock themselves in.Peachy Keen Productions debuted on the Fringe scene in 2014 with the delightful hit Bizarro Obscure. (Sydney Hayduk/Christy Taronno). The company crafts each show around messages of human vulnerability and love.
ENCOUNTERSAFTER SOME OF THE PERFORMANCES WE WILL HAVE WHAT MORE TRADITIONAL THEATRE CALLS “TALK BACKS”. OUR INTREPID WRITER/PERFORMERS ARE INTERESTED IN DOING SOMETHING “WITH” THE AUDIENCE. “TALK WITHS” OR “ENCOUNTERS” MAY BE A BETTER WAY OF DESCRIBING IT. SYDNEY, ELSA AND FRAZ WOULD LIKE TO TALK, LAUGH AND SHARE IDEAS WITH OUR PATRONS. THERE WILL BE PAINTING, DANCING, COCKTAILS AND TIME TRAVEL. THERE WILL BE A SHARING OF SPACE, IDEAS AND ENERGY. WE WILL MEET EACH OTHER.BELOW IS A SCHEDULE OF OUR FIVE POST-SHOW ENCOUNTERS. EACH WILL OFFER SOMETHING DIFFERENCE, EACH PROMISES TO ENTERTAIN AND INSPIRE!
Saturday January 9thQ&A Three Way – Getting to Know You with Syd, Elsa and FrazSunday January 10th (licensed)Cocktails in the Hive – Story Time & Mixer- How Sydney & Elsa created Village AxTuesday January 12Vision Quest 2016 – Making Art & Life- When Fraz Met SydneyFriday January 15 (licensed)Dance Dance Revolution– A Licensed Artistic ExchangeSunday January 17thClear Eyes, Full Hearts, Can’t Lose THE ARTISTS:Writer and Improviser Fraz Wiest is a founding member of Toronto’s Ghost Jail Theatre, and a cast member of Winnipeg’s Dungeons n’ Dragons Improv show, which has sold out every Fringe for four years running. Last year Fraz joined Theatre Projects to perform Nassim Soleimanpour’s White Rabbit Red Rabbit. He has performed countless shows with The Big Stupid Improv Show (Winnipeg), Scratch (Edmonton), Bad Dog Theatre (Toronto), CRUMBS (Winnipeg), Comedy Knights (Winnipeg), White Rhino (Toronto) and many more – this man is improvmanic! His first one-man show, FRAZ: Lonely At Last premiered at the 2012 Winnipeg Fringe, and this, his second solo effort, FRAZ vs The Future, was performed at the 2014 Winnipeg, Edmonton, and Vancouver Fringes. Sydney Hayduk is a self-produced, self-directed, powerhouse. She has performed at the Orlando, London, Winnipeg and Saskatoon Fringe Festivals. In 2015 Sydney and co-creator Justin Otto won the Harry Rintoul Award for best Manitoba Play at the Fringe for their collaboration, Manic Pixie Dream Girl. Her career started as a theatrical technician and has expanded to stage manager, to performer, to writer, to company founder. She has dabbled in the art of stand-up comedy and has an extensive 14 year background in dance which she always finds a way to bring to the stage. Sydney continues to try and find different ways of incorporating everything she has ever learned into her work.Expect dancing, rhyming, and messages about love, in absolutely everything that she does.Elsa Reesor-Taylor is a 21 year old lover of poetry, plays, and potions. She has a passion for finding beauty in darkness and bringing it to light through these mediums. She is currently attending her fourth year at the University of Winnipeg’s Asper Centre for Theatre and Film, and is president of the Theatre and Film Students’ Association. She is also in the process of opening a cocktail bar called The Roost, where she is the resident mixologist and bar manager. She lives in the West End with her cat, Princess Charles, and enjoys writing in her journal, riding her bike, and picking flowers.


Ok, so before everyone starts going ham on this scary movie 'Veronica', let me just say one thing, IT'S BEEN DONE. We've seen the demons, the hauntings, the exorcisms and the ghost little children that, don't even deny this, scare the shit out of us. The thing is, I'm not saying we can't remake movies or try and piggy back on an idea. We all do it, Myspace was before Facebook, mp3's were before iPods, and sidekicks were way ahead of iPhones. But all of these piggy back ideas have one thing in common: they were better ideas and better versions of the first.
First of all, the movie starts off with shorty (veronica), and she's this misunderstood beautiful girl that truly isn't viewed and appreciated the way she should be. Again, this has been done in the movies: Twilight, Perks of Being a Wall Flower, any and all Disney movies, and honestly if I keep going I could do this all day. Anyway she's about 15 years old. Her and her friends go to the basement of her catholic school and channel evil spirits through the famous ouji board. She intends to contact her late father and as expected ends up contacting someone else. Also, there is no back story on her father, no information on him that could further pull us in and connect with her character.
Veronica's mom works nights and she is pretty much left alone caring for her three younger siblings. So after Veronica passes out in her school's basement and whispers something in her friends ear, the director attempting to add the illusion of suspense, she snaps out of it in the nurses office and all of the 'creepy ominous' things start to happen. Im sure you can imagine what I'm talking about, theres a night where she hears her dad call her name and sees him in a corner looking evilesque, she starts having the dark dreams, and yes you guessed it, it starts to effect her friendships and personal life.
Look, I'm all about a scary movie, and from what I've heard this movie is specifically based on a police report, or so the ending is, but me personally, I would of liked to see more creativity. They never show the demon or the face of the demon. They make it look like this huge skinny guy, and I run into those on a daily basis, I ain't scared. The demon itself looks unrealistic, they never follow up on her father after that last time she saw him, and nothing goes as far as things falling and someone slipping and cutting themselves in the slightest way. It's 2018, if you're going to do something switch it up and please, oh please dont gas it up just to make me lose an hour of my life I wont get back.
Oh, and in the end she dies of unknown causes, so shout out to Veronica...


foolish mistakes, but whatever, they are all mine.
I am all the wrong things - fat ,middle aged, bisexual, disabled, loud and I won't go away. My hobby is seeing how many years I can add to my collection before I die.
Posting will be random but may contain fat acceptance, wool, and cats, lagomorphs and corvids in no particular order. Posting may also be sporadic as I have ME/CFS and a bunch of other stuff that makes me tired and some times crabby.
All worked by me is under the license below unless otherwise stated. Photos, quotes and work by other people are under license by their creator. If you see your work here and would like it removed from my blog, please contact me.
“The culture at that time was trying to deny that homosexuality even existed, and here they had well known Hollywood players involved in it, so they didn’t want to see what was there. […] What is extraordinary about [Rope] is its treatment of homosexuality. I mean today it still is one of the most sophisticated movies ever made on that subject; probably treats them more as people than anybody else has. Hitchcock certainly knew that, and it certainly attracted him. And what he liked was not that they were homosexual, but that they were homosexual murderers. If they were just murderers he wouldn’t have been interested, if they were just homosexual he wouldn’t have been interested. You had to have another little twist to it…”
— as told by Arthur Laurents, the screenwriter of Rope, a 1948 film directed by Alfred Hitchcock, adapted from a 1929 play based on a real murder case. Arthur Laurents, both of the actors portraying the couple (John Dall and Farley Granger), and the composer of the featured piano score were all known to be gay in real life (though it’s said that Granger resented the gay label, and he officially came out as bisexual towards the end of his life). The character played by Jimmy Stewart in Rope was also gay, but the final version of the script was so subtle due to censorship that Laurents was unsure if Stewart ever realized he was playing a gay character.
DEAR WHITE PEOPLE follows the stories of four black students at an Ivy League college where a riot breaks out over a popular “African American” themed party thrown by white students. With tongue planted firmly in cheek, the film will explore racial identity in “post-racial” America while weaving a universal story of forging one’s unique path in the world.
Elle Woods was hollering back before the movement. This is why i love this movie. It’s so progressive. Elle is a femme feminist who comes by it the hard way. She doesn’t change for the bookish people, the elitists, or for the feminists. She just does what she needs to do, and what she wants, even when at first it was chasing a boy. Then the movie drops the romance. IT DROPS THE ROMANCE. chick flicks don’t do that. Emmett asking her out is a footnote at the very end. And this whole time, she is classy, and lady like, and has pride in herself and her work. She’ll go to a costume party as a playboy bunny, but like hell will she sleep with her professor for an internship. Elle is my feminist role model
Elle Woods 4ever
I remember listening to my DAD defend Legally Blonde. An uncle was saying “Oh look, it’s that stupid movie again.” as he flipped through the channels. My dad responded with “Oh yeah, that movie where the blonde girl with great grades works really hard to get into pre-law, studies hard and proves herself to her peers and bosses while maintaining her integrity and not sleeping with her boss? What a terrible message to send girls.”
Also, I love this movie because Reese Witherspoon.
My very favorite thing about this movie is that Elle doesn’t have to sacrifice any of the femininity and bubbly optimism that make up her personality for the sake of succeeding. She tries to undermine her true self in favor of what others want her to be, but in the end she finds the balance she needs to be successful. Elle Woods doesn’t need to give up one stereotype just so she can conform to another. Elle Woods defies them both.
This movie really is the best, see ALL the commentary above.
I dunno why people are so surprised when I say I love this film.
Film: Pumzi is a Kenyan science fiction short film written and directed by Wanuri Kahiu. It was screened at the 2010 Sundance Film Festival as part of its New African Cinema program.
Pumzi,imagines a dystopian future 35 years after water wars have torn the world apart. East African survivors of the ecological devastation remain locked away in contained communities, but a young woman in possession of a germinating seed struggles against the governing council to bring the plant to Earth’s ruined surface.


The Portuguese pianist Júlio Resende integrates the soundtrack of the new HBO series.
Júlio Resende is the first Portuguese musician to integrate his original music into a series of the American giant HBO.
"Cyborg improvisa sobre a Luz e a Madrugada" is the composition of the pianist that integrates the soundtrack of the new series "Foodie Love" that opens on December 4.
The theme is also in Júlio Resende's new album - "Cinderella Cyborg", for which the director of the series fell in love.
Isabel Coixet is the famous director of HBO's biggest bet for next winter and “Foodie Love” promises to nurture hearts, or as the director says in raw Spanish: «Espero que ‘Foodie Love’ aumente las ganas de comer, y de follar también»
Júlio Resende had already worked for Netflix in Isabel Coixet production “Elisa y Marcela”.
The Hollywood Reporter (EN)
Música y Sonido (ES)
SAPO Mag (PT)
Discover and listen to Júlio Resende's albums.
You can also buy the albums and stream them from the online music streaming platforms.


90s Teenage Movies: Teen movies from the 1990s featured plenty of alluring newcomers, love triangle dramas, and even the occasional murder mystery.
The 1990s were a dynamite decade for entertainment, but it set new standards for appealing to a younger audience. TV networks and movie studios rushed to create content starring the most well-liked teen idols of the time as teenagers demonstrated what a devoted audience they were.
Top 90s Teenage Movies List
As a result, the 90s Teenage Movies were packed with alluring newcomers, love triangle dramas, and even the occasional murder mystery. Many of these films went on to become cult classics, cementing their places in fans’ hearts and the teen movie hall of fame despite not earning the respect of most critics.
In “Cry-Baby,” Johnny Depp Plays A 1950s Greaser
90s Teenage Movies Cry-Baby, written and directed by the renowned Hairspray creator John Waters, centers on Johnny Depp’s Wade, a teenage rebel in 1950s Baltimore who falls in love with a girl from the “square” neighborhood. Despite receiving favorable reviews, the movie bombed at the box office when it debuted in early 1990.
Cry-Baby became a cult favorite after a disastrous theatrical run, largely because of Johnny Depp’s outstanding performance. The movie’s success prompted the creation of an eponymous Broadway musical, which made its debut in 2007 and received four nominations for the score and choreography of the show.
Jawbreaker stars Courtney, Julie, and Marcie
90s Teenage Movies Jawbreaker, a black comedy about a group of popular girls that disintegrates after one of its members is killed by the group’s leader, was inspired by the late 1980s classic Heathers. The remaining three members, Courtney, Julie, and Foxy, were played by Rose McGowan, Rebecca Gayheart, and Julie Benz, respectively.
Upon release, Jawbreaker received a negative review. Many critics referred to the film’s obvious similarities to Heathers as plagiarism rather than homage. However, the film was praised for its vibrant costume design and McGowan’s performance—two aspects that would later inspire the enduring Mean Girls.
Depp and Tim Burton first worked together on “Edward Scissorhands.”
Edward Scissorhands, directed by the contentious Tim Burton, had its 1990 world premiere to overwhelmingly positive reviews. The romance between Edward, a young man with scissor blades for hands, and Winona Ryder’s character, Kim, centers on the first project between Burton and Johnny Depp.
90s Movies Despite receiving numerous nominations for its makeup, costume design, and performances at important industry gatherings like the Academy Awards, Edward Scissorhands only managed to take home two awards: the Hugo and the Saturn. Due to its cultural influence, the gothic subculture became more well-known and was adapted into a London ballet production.
In “The Craft,” four outcasts practice witchcraft
The Craft from 1996 follows a group of four misfits as they start learning witchcraft and deal with the effects of their newly discovered abilities. In addition to Neve Campbell, it featured an ensemble cast that included Robin Tunney, Fairuza Balk, Rachel True, and Andrew Fleming, who also directed the 2007 Nancy Drew film.
90s Teenage Movies Despite receiving mixed reviews, the movie was a box office hit, earning almost four times its modest fifteen million dollar budget. The Craft, like many other lesser-known teen films of the era, went on to become a cult favorite due to its themes and characters. The sequel, The Craft: Legacy, to the movie was widely panned and released in 2020.
She’s All That’s Star-Studded Ensemble Cast Leaves a Mark
She’s All That, a 1999 teen rom-com starring Freddie Prinze Jr. and Rachael Leigh Cook, is about a successful high school student who wagers to make over one of the least popular girls in the school. Along with having a stellar ensemble cast, the movie also starred Matthew Lillard, Paul Walker, Kieran Culkin, Anna Paquin, and Gabrielle Union.
The featured single “Kiss Me” from Sixpence None the Richer became an overnight hit in the music charts thanks to She’s All That, which garnered several fan-voted awards. Twenty-two years later, Netflix released He’s All That, a gender-flipped remake of the movie starring singer and TikTok star Addison Rae.
Cruel Intentions Kathryn, Sebastian, and Annette
Cruel Intentions, which is based on the 18th-century novel Les Liaisons Dangereuses, centers on a group of students attending a privileged high school in New York and their interpersonal conflicts. Selma Blair, Ryan Phillippe, Reese Witherspoon, and Sarah Michelle Gellar all won praise for their performances.
Cruel Intentions received mixed reviews from most critics but nevertheless enjoyed enormous popularity with the general public. Cruel Intentions was turned into a jukebox musical in 2015 after a disastrous prequel in the year 2000 and an even worse direct-to-video sequel in 2004. The musical ran for three successful years.
The Slasher Genre Was Reinvigorated & Reinvented by “Scream”
David Arquette, Neve Campbell, Courteney Cox, Matthew Lillard, and Rose McGowan starred in Wes Craven’s Scream, one of the most well-known slasher films of all time. The movie, which is set in California, centers on a group of high school students who run into the masked killer Ghostface.
Following a period when such films were primarily devalued in the eyes of critics due to direct-to-video distribution, scream both parodied and reinvented various slasher tropes, reviving the genre. The film’s box office success led to the creation of a lucrative film franchise. Early in 2022, the latest episode, also titled Scream, debuted.
Romeo and Juliet is still among the most widely watched Shakespeare adaptations
Shakespeare’s best-known play was transformed into a modern teen romance by Australian director Baz Luhrmann in 1996, starring teen heartthrobs Leonardo DiCaprio and Claire Danes. Romeo and Juliet depict the title characters, who are now the heirs to two prosperous companies, as they fall in love despite the bitter animosity between their families.
Despite not being a critical darling, the movie received praise for its originality and aesthetics and is still regarded as one of the most significant Shakespeare adaptations ever. Romeo + Juliet was nominated for an Academy Award for its art direction and won two prizes at the 47th Berlin International Film Festival.
“10 Things I Hate About You” shot to stardom almost immediately
In yet another modernization of Shakespeare, Heath Ledger played a local bad boy who is hired to date Kat, a socially awkward girl portrayed by Julia Stiles. Due to their outstanding performances, both leads as well as Joseph Gordon-Levitt became overnight teen sensations and won numerous accolades.
Early in 1999, 10 Things, I Hate About You made its debut to generally favorable reviews, and since then, it has grown to be one of the most well-known teen films ever made. The movie was rewritten into a short-lived eponymous TV series that ran for twenty episodes on ABC Family before being canceled, exactly ten years after its release.
One of the top teen movies of all time is “Clueless.”
Clueless, which is based on Jane Austen’s novel Emma, follow Alicia Silverstone as Cher Horowitz, a wealthy and stylish but impressionable high school student who takes great pride in her makeovers and matchmaking. Cher’s best friend Dionne was portrayed by Stacey Dash, and Cher’s new “project,” Tai, was portrayed by Brittany Murphy. Paul Rudd completed the cast as the main love interest.
Clueless, in contrast to other teen movies, received positive reviews from both critics and viewers. It was widely praised for its acting, characters, and script, and it was so well-liked that ABC decided to greenlight a sitcom spin-off in 1996, one year after the movie’s release, which ran for three seasons without Silverstone’s participation. Twelve years later, a Broadway jukebox musical also appeared, extending Clueless’ appeal into the new millennium.


Just a quick update on a film I mentioned in my first ever blog post; Room 237 is a documentary that speculates on the validity of the many theories that surround Stanley Kubrick’s horror classic The Shining. The film, directed by Rodney Ascher, earned a reasonable amount of acclaim at this year’s Cannes Film Festival. Currently, it continues to do the rounds at film festivals around the world, and is most recently scheduled to be shown at the 50th New York Film Festival. Unfortunately, this means that a DVD release date remains unclear, although any date set will most likely be a way off from now. There are however some videos to wet your appetite in the meantime. The first is an interview at Cannes with the makers of Room 237; The second is a podcast interview which discusses the making of the film and gives a brief overview of some of the theories covered in the documentary itself.
At Cannes 2012:


Mar 4, 2012. 8PM. FREE
Gladstone Hotel Ballroom, 1214 Queen Street West
To close the month of Cinenova, we will be hosting a party at the Gladstone Hotel that will also feature a newly commissioned performance by Toronto-based artist Sharlene Bamboat responding to the Cinenova collection and the themes and ideas surrounding it. Drawing from her daily life, Sharlene Bamboat’s work in film, video and performance embodies themes of mobility and fragmented identity, migration and homeland, and how the queer body relates to architectural spaces of in-between-ness. Bamboat’s performance, Throwback, will be in collaboration with Montreal-based artist Ali El Darsa, and explores the transformative nature of archiving and the intertwining histories of performance and video documentation.
8 PM commissioned performance by Sharlene Bamboat in response to Cinenova’s work and working methodologies, locating them within the conditions and contexts of Toronto.
9 PM The performance is followed by Rebels Rule a screening curated by Toronto’s G.B. Jones, Alex McClelland, Leila Pourtavaf, and Lex Vaughn featuring Will Munro’s films and his appearances in films.


1 edition of Six modern one-act plays. found in the catalog.
Six modern one-act plays.
|Series||Treasures of modern prose series|
|The Physical Object|
|Number of Pages||160|
A list of 50 of the best plays by women. For as long as there have been plays, there have been plays by women. Unfortunately, like many arts, theater has long been dominated by men and the preservation of men's work, often at the cost of : Amy Diegelman. Read "Six One-Act Plays" by Margaret Scott Oliver available from Rakuten Kobo. THE HAND OF THE PROPHET An Arabian Episode Cast Kodama, A Merchant of Riad. Halima, His Bride. Sindibad, A Young Sheykh, Brand: Library of Alexandria.
royalty-free one-acts CRY HAVOC and its playwrights are pleased to make a wide selection of one-act plays developed with the company available for production royalty-free. These are dynamic, high-quality, well-tested plays that reflect CRY HAVOC’s commitment to creating raw, provocative, and humane new works. A collection of six plays, which are best described as shocking, sizzling and outrageous. Pinero finds comedy, hilarity, paradox and pathos in such unlikely places as subway toilets, pimp bars, drug "shooting galleries", crowded tenements and in the writer's own struggles with his Smith-Corona and penury.
Contemporary One-act Plays: With Outline Study of the One-act Play and Bibliographies. Benjamin Roland Lewis. C. Scribner's Sons, - Drama - pages. 0 Reviews. Preview this book. Free One Act Plays "Super Dead Man" Short comedy play for seven actors "Touched by an Alien" Short comedy about space explorers that discover a new kind of alien. 5 actors of any gender (plus possible non-speaking roles). "Man of Metropolis" Short romantic comedy play for 2 m 1 f about finding a super man and falling in love "Pity the Fool" Short play about an artist looking .
Cultural influences and the international classification of accounting systems
A carpet of flowers =
Maps by John Arrowsmith in the publications of the Royal Geographical Society.
Beef production from grassland
Portals to the world.
Option strategiesfor institutional investment management
Die rechtsstaatliche Bewältigung der demokratischen Bodenreform
Alessandro nelle Indie
Wisdom Literature and Poetry
Every-name index to History of the town of Goshen, Connecticut, with genealogies and biographies, 1897, by Rev. A.G. Hibbard
Looms past and present
Data structures and algorithm analysis in C++
Six modern one-act plays. London: Univ. of Lond. Press. MLA Citation Six modern one-act plays Univ. of Lond. Press London Australian/Harvard Citation. Six modern one-act plays Univ.
of Lond. Press London. Wikipedia Citation. “The Bad Room” by Patricia MacLachlan. Summary: A motley group of students discover ballroom dancing when they’re assigned to in-school suspension (aka “The Bad Room”).
The script plays with stereotypes in an effective and humorous way. Character Breakdown: 3F, 5M, 1 Dog; One male and one female role are adults; the other two girls and four boys are. London: University of London Press, SIGNED FIRST EDITION, thus. Octavo, pp Publisher's softcovers.
SIGNED BY JOHN LENNON. An interesting school text-book borrowed by Lennon whilst a student at Quarry Bank School, Liverpool. Lennon has signed the lending stamp to the inside cover 'J ohn Six modern one-act plays. book inston Lennon, IVC', and dated this ''. They are examples of the importance of timing and dialogue in one-act, minute format plays.
The subject matter of the works is light to the point of being cartoonish. "Words, words, words" is perhaps the best of the bunch but that is because most of the dialogue is lifted from other works (by Shakespeare, Swift and Kafka).4/5(21). Here are six plays that stand as landmarks of the modern drama: Chekhov’s THREE SISTERS repeats, in terms of a handful of people, the spasms of a dying society.
Isben’s THE MASTER BUILDER is the tragedy of the modern romantic, caught between desire and reality. Shaw’s ’S PROFESSION shocked England and America; this play was Brand: Random House Publishing Group. The repertory of the Irish Players, for example, is composed largely of one-act plays, and American Little Theatres are given over almost exclusively to the one-act play.
The one-act play is in reality so new a phenomenon, in spite of the use that has been made of the form by playwrights like Pinero, Hauptmann, Chekov, Shaw, and others of the.
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$ A Snitch in Time - Time Travelling Adventure Script for High. 6 one act plays Download 6 one act plays or read online books in PDF, EPUB, Tuebl, and Mobi Format. Click Download or Read Online button to get 6 one act plays book now. This site is like a library, Use search box in the widget to get ebook that you want.
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Details *. 24 Favorite One Act Plays [Cerf, Bennett, Cartmell, Van H.] on *FREE* shipping on qualifying offers. 24 Favorite One Act Plays out of 5 stars Known classics and modern plays in one compilation.
Reviewed in the United States on Novem Verified Purchase.4/5(27). Six One-Act Plays Contents: The hand of the prophet -- Children of Granada -- The turtle dove -- This youth-gentlemen -- The striker -- Murdering Selina Language: English: LoC Class: PS: Language and Literatures: American and Canadian literature: Subject: One-act plays Subject: American drama Category: Text: EBook-No.
Release Date: Mar. Browse scripts for one-act plays on-line from the titles published by Lazy Bee Scripts. Drill-down by genre, including drama, comedy, farce, thriller and whodunnit, by length or by cast size.
All the scripts can be read in full on the Lazy Bee Scripts web site. A One Act Play, or more commonly "one act", is a short play that takes place in one act or scene, as opposed to plays that take place over a number of scenes in one or more tend to be simpler and have fewer props, scenery and cast members (sometimes only one).
The Find a Play tool, created by Playscripts, Inc., allows theater makers to search our vast catalog of plays by cast size, theme, genre, duration, and more. Before him, one-act plays were written in poetry, but he made prose the medium of his one-act plays.
In short, he made the drama, simple & real, & brought it nearer to everyday life. He made the modern one-act play what it is & his example has been widely followed. George Bernard Shaw & John Galsworthy are two of his greatest followers.
(shelved 9 times as plays-and-drama) avg rating — 1, ratings — published Most people, when you mention theatre, think of the old classics: A Streetcar Named Desire, Private Lives, The Importance of Being Earnest, Hamlet, Tartuffe, Uncle Vanya, Caucasian Chalk Circle and Waiting for are all great works and are classics for a reason, but there is much more to theatre then lavish period costumes, moral dilemmas from a bygone age and.
This banner text can have markup. web; books; video; audio; software; images; Toggle navigation. Lee "Six One-Act Plays" por Margaret Scott Oliver disponible en Rakuten Kobo. THE HAND OF THE PROPHET An Arabian Episode Cast Kodama, A Merchant of Riad.
Halima, His Bride. Sindibad, A Young Sheykh. For a one act play, use Arabic numerals: 1, 2, 3, etc. If the play contains more than one act, indicate the act number with a Roman numeral, followed by a dash, then the Arabic page number. This is better explained by example: for instance, these are how the first three pages in a play with more than one act (andFile Size: 40KB.COVID Resources.
Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this ’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle .This is an original, author-signed book.
1st Edition, First Printing (with "First Printing" stated; see pic), Published by Random House, New York, USA, SIX Seller Rating: % positive.


Posted on Monday, February 5th, 2018 by Chris Evangelista
James Mangold‘s new movie is finally taking shape. The filmmaker will helm the true story of the battle between designers at Ford and Ferrari to create the world’s fastest race car. More on Vroom vroom! More on James Mangold’s new movie below.
James Mangold made one of the best superhero movies in recent memory and isn’t about to sit back and rest on his laurels. Variety reports James Mangold’s next movie will track the battle between Ford and Ferrari to build the world’s fastest race car. Here’s how Variety describes the movie:
“Based on a true story, the film follows an eccentric, determined team of American engineers and designers, led by automotive visionary Carroll Shelby and his British driver, Ken Miles, who are dispatched by Henry Ford II with the mission of building from scratch an entirely new automobile with the potential to finally defeat the perennially dominant Ferrari at the 1966 Le Mans World Championship. The project doesn’t have a formal title, but is known internally as the Untitled Ford vs. Ferrari Project.”
The film’s plot sounds slightly like the plot of the now-delayed >The Current War. That film was about the battle between Thomas Edison and George Westinghouse over electrical power dominance. This Untitled Ford vs. Ferrari Project wasn’t Mangold’s first choice as a Logan follow-up. Originally, the filmmaker was going to direct a drama for 20th Century Fox about the abduction of heiress Patty Hearst. That film was canceled after Hearst objected to the film’s source material, Jeffrey Toobin’s book. Hearst felt the book romanticized her rape and torture, and said she was “saddened and appalled” that Fox “agreed to finance and produce a movie based on Toobin’s book.” Fox subsequently canceled the film.
Mangold will now develop the Ford and Ferrari film with screenwriters
Jez and John-Henry Butterworth.
Ferrari On Film
Mangold’s Ferrari film isn’t Hollywood’s first attempt to bring the life of legendary Italian motor racing driver and entrepreneur Enzo Ferrari to the big screen. Fox was originally trying to adapt A.J. Baime’s book Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans as a feature film. Michael Mann was going to direct this adaptation with
Christian Bale starring as Ferrari. The project has since gone to Legendary pictures to be adapted as a TV series, but Fox still hopes to cast Bale in this Mangold-directed movie.
In Mangold’s take on the material, Bale is no longer wanted for the part of Ferrari, but rather that of British driver Ken Miles. Mangold will now use a different source for his Untitled Ford vs. Ferrari Project. This means we can expect two competing Ford vs. Ferrari projects in the future. Sort of like when Armageddon and Deep Impact came out in the same year. but with less asteroid strikes and more scenes of cars going really fast. That’s all we know about James Mangold’s new movie for now, but one thing is for certain: it definitely won’t have a post-credit scene.
Cool Posts From Around the Web:
Source : http://www.slashfilm.com/james-mangolds-new-movie/


Caddyshack script at the Internet Movie Script Database. Sat, 20 Oct GMT caddyshack script scripts on screen pdf – Title: Caddyshack. Author: Steve Created. Date: 3/3/ AM. Caddyshack is a comedy. Get this from a library! Caddyshack: [screenplay]. [Brian Doyle-Murray; Douglas C Kenney; Harold Ramis] — The story centers around Danny.
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Did you take the Cooter Preference Test Beeper against Czervik and Webb. Archived from the original on November 19, The film was dedicated to producer Douglas Kenney, who died shortly after the film’s release. I didn’t think you’d understand.
He wanted the movie to feel that it was in the Midwest, not Florida. The brothers are all active partners and make occasional appearances at the restaurant.
Films directed by Harold Ramis. An overall deal was made with John Dykstra ‘s  effects company for all the necessary visual effects including lightning, stormy sky effects, flying golf balls, disappearing greens’ flags, etc. Can’t youjust let it be? The main character is ‘Danny’; he’s a caddy who will do almost anything to raise money to go to college. You must tell him every time. Danny wins the Caddy Day golf tournament and the scholarship, earning him praise from Smails and an invitation to attend the christening ceremony for his boat.
I own two lumber yards. Danny often caddies for Ty Webb, a suave and talented golfer and the son of one of Bushwood’s co-founders.
‘Caddyshack’: A comic masterpiece with 18 plot holes – Chicago Tribune
Before they left, caddysjack, there was still one last scene to get in the can, and it would require stealth, diversions, outright lies, and wanton mayhem and destruction. After two months of hard partying and filming on the fly at Rolling Hills, the time to say goodbye to their home away from home scrippt fast approaching. Retrieved June 18, Many of the film’s quotes have entered the lexicon of pop culture.
I’ll be working in a lumber yard.
This is the only film that Chase and Murray have appeared in together. The scene that begins when Ty Webb’s golf ball crashes into Carl Spackler’s ramshackle house was not in the original script.
No, the thing is. A sequel, Caddyshack IIfollowed inalthough caddyshacj Chase reprised his role and the film was poorly received.
Retrieved August 20, Retrieved March 14, The Judge makes it very clear to Danny what his fate will be if he accepts. In interviews, Cindy Morgan stated that the scene she shared with Chevy Chase, in which he pours massage oil on her, was completely improvised, and her reaction to Chase dousing her back with the massage oil, where she exclaimed “You’re crazy! He himself said he could “barely watch it.
‘Caddyshack’: A comic masterpiece with 18 plot holes
The shots of the serene country club are sharply contrasted by the morning chaos happening in the Noonan household. There’s a force in the universe Chevy Chase, who has talked openly in the past about his own addiction and recovery, said that cocaine just always seemed to materialize on the set of Caddyshack.
By the time they reach the final hole, the score is tied. Nevertheless, the film has gained a cult following in the years after its release caddyhack has been positively reappraised by many film critics. Bill Murray’s famous ” Cinderella story” scene was improvised based on two lines of stage direction.
The film is recognized by American Film Institute in these lists:.
Caddyshack Script at IMSDb.
All the members are wealthy and eccentric, and all the staff are poor and slightly less eccentric. Retrieved June 22, As soon as Peters and his party passed through the gates of Rolling Hills, Ramis sprung scropt action.
Although he stuck mostly to drinking and smoking pot, Berkrot says that the sight of coke was hard to ignore at the Rolling Hills motel, where the cast was staying. All the while, Carl has caddyshadk wiring up his explosive animals and planting them in every open gopher hole on the course.
The film has garnered a large fan following and has been hailed by media outlets, such as Time and ESPNas one of the funniest sports movies ever. His brothers Bill and John Murray production assistant and a caddy extraand director Harold Ramis also had worked as caddies when they were teenagers.
I had a couple of burgers. Create a new account.
Remember me on scrpt computer. Finding libraries that hold this item Please verify that you are not a robot. There was a sequel, Caddyshack IIwhich did poorly at the box office. What an incredible Cinderella story.
Smails refuses to pay, so Czervik beckons two hulking men, named Moose and Rocco, to “help the judge find his checkbook.


Megan brings 25 years of experience writing and editing technical environmental documents to her role as Technical Editing Manager. With her background as an environmental consultant, Megan upholds Farallon’s high standards for excellence and reputation for superior-quality written work products.
Megan was born in Washington State and returned home after living in Pennsylvania, Texas, California, and Hawaii. Formerly an avid movie fan, she watched every Oscars telecast from 1980 to 2011, but gave it up once she stopped seeing most movies because having identical twins is a lot. Now you can find her destroying her brain with trashy reality TV.


A Primetime Evolution: Director Fred Toye & The Good Life
BY MELISSA WALKER
Los Angeles native Fred Toye, has made a promising career in the film industry over the past 25 years as an editor, producer and award-winning director for a variety of primetime television shows, including the CBS science fiction crime drama series Person of Interest, and Fox series Fringe.
Toye’s current projects include the critically acclaimed legal and political drama, The Good Wife, that will air its final episode on May 8, 2016, recently completed 11.22.63, a Stephen King mini series with James Franco and Chris Cooper, and an upcoming HBO series Westworld, with Anthony Hopkins, Ed Harris and Jeffrey Wright . He has also worked on the acclaimed ABC series Alias and Lost, and the CBS series CSI: New York and Ghost Whisperer.
Calm spoken and bright-eyed, Toye, was surprisingly alert even after working a 13 hour shoot in New York the day before for the popular, The Good Wife. Back at home in Santa Barbara, California, he shared his views on the film industry with impactmania.
Inspiration Strikes in Unexpected Places
The gracious and talented television veteran discussed his education at UC Santa Barbara, and his growth to what it takes to be in the director’s chair in an ever evolving and competitive industry.
Toye’s interest in the arts began in high school and was quite unexpected. It happened one day as he was walking past the school auditorium, when on a whim he stopped near the entrance of the theater and decided to audition for the school play, Cyrano de Bergerac, a classic romantic comedy written by Edmond Rostand in the late 1800’s. He continued to act in plays through his senior year and in college where he majored in Film and Media Studies at the University of California, Santa Barbara.
I was so proud to be part of the UC Santa Barbara Film Studies Department, because I learned so much there. We had such a great program. A lot of the faculty is still there, and having contact with them is just really fun for me.
“The UCSB Film Studies program was really set up around an education of the entirety of the filmmaking community. It was film theory school so we were learning about the film process and the impact that different genres have on different people and that was really critical for me now,” Toye said. “Had I been in a program where it was all about learning how to load a camera, and knowing what lenses to use, it wouldn’t have had nearly the impact on me that UC Santa Barbara did, because things like lens choices, or things that you learn on the job, that’s a craft. So, I credit my experience at UC Santa Barbara for ultimately how I have behave as a storyteller today. In terms of what I was interested in doing, I had always wanted to make movies, and I have had the opportunity now, growing through television to be able to make larger scale projects that are much like movies.”
Started from the Bottom
Toye, like most entering the highly competitive field, started at the bottom of the film industry in Hollywood, playing hookey from school to work on films as a production assistant running errands on movie sets for six years before moving on to work as visual effects coordinator. His hard work led to a promotion as an on set visual effects supervisor where he worked closely with the editorial department.
“At the time I was trying to decide what would be better for my education as a storyteller, to work on sets as a visual effects person, or a choreographer or editing. My hero filmmaker was a guy named David Lean (director of Lawrence of Arabia and Doctor Zhivago), who was an editor and he became a great filmmaker, so I thought editing would be a better choice for me,” he said. “I began work as an apprentice film editor, and I worked as an editor for about 15 years before I started directing.”
Toye’s directorial debut occurred in 2002, when he wrote and directed a 27-minute short film called Lost, starring Bodhi Elfman and Scarlett Chorvat, where he took a leap of faith by mortgaging his house to make the film.
“I decided that I was going to do something unexpected for me. I was going to push the boundaries of my creativity and I was going to do everything in my power to make the best film that I could make,” said Toye. “Regardless of the outcome, it was just the fact that I did it. Of course, I had expectations that it was going to win the Sundance Film Festival, which it didn’t but that didn’t matter ultimately speaking.
Now, 16 years since I made the film, I can say that it was just the experience of pushing yourself beyond what you think you can do – going that extra mile on your own and traveling a road you didn’t expect to travel that changes you in a very positive way.”
A transition from feature filmmaking to television primetime was a natural fit that opened up many directorial opportunities to enhance his creativity in visual storytelling. He’s directed episodes of Brothers and Sisters, The 4400, V, and Falling Skies, among other series.
When asked what he has learned over the years as a director, writer and producer in filmmaking, Toye replied, “I’ve learned that the world is an incredible place, and the variety and diversity of people that are out there is amazing and fascinating.
Having the opportunity to interact with so many enthusiastic and creative people makes me inspired about who we are as a people, and I think that being a filmmaker brings me closer to humanity in a way that I probably wouldn’t of had if I were involved in some corporate environment, or another field.
Because it’s a creative field, and people open themselves up to creativity, they open themselves up emotionally to storytelling.
And you get a window into humanity that you don’t get on a daily basis in other places.
My lesson has been to value, and to adore and enjoy the company of people.”
You are currently directing the final series episodes for The Good Wife. What other projects are in the works?
“I just recently completed 11.22.63, a Stephen King mini series with James Franco and Chris Cooper, and I’m currently working on another series for HBO called Westworld, with Anthony Hopkins, Ed Harris and Jeffrey Wright that will be airing towards the end of the summer.
I love telling a closed in story of seven or eight episodes of a television series, and I feel like, creatively speaking, television is really great right now because there is so much creativity pouring into the television industry, and I think that I’m very fortunate and proud to be part of it.
I’m interested in just continuing to do television projects that are really pushing the boundaries of storytelling, which I think is happening more in television now than in features.”
What is your favorite part of storytelling?
“Looking back now, from the time that I was in high school and college at UC Santa Barbara, thinking about what interested me about storytelling, I can say that now I think that working with actors is probably my favorite part of storytelling.
I love to work with actors. I think it’s really, really fun. The magic that they bring to storytelling is incalculable, because you have an idea in your head, as a storyteller, of how you want to tell a story. And what exactly you want to say.
But when the actors come, and they begin to read the words, they begin to bring a life to the story and to breathe life into their characters – it brings an entirely new dimension to the story that you’re telling.
Always better, always more enhanced…when the actors come, when I get to work with them, that’s where it sort of explodes into something bigger and greater.
And so, I think that working with actors is my favorite part of being a film maker. What happens in the process of creating a story, and working with actors, is that when you have an idea, and a story that you want to tell, and a picture in your head of what a character might be, it lives only in just one particular plane of creativity until the actor comes in and brings their own sensibility to it.
So, for example, the mini series that I worked on, which is 11.22.63. That role, Jake Epping is the character name, was given to James Franco. And none of us knew before we started the project what he would bring.
Because we’ve seen him in other things, and we’ve seen him over the years in comedies, independent films, and so he has a very diverse career.
It wasn’t until we showed up on the day with James, and saw what he brought to the project. And what we got, was I think, incredible.
He was hoping to play an every man, a person who was disillusioned with his job, and disillusioned with his life. And sort of fell into a situation, an extraordinary situation, which happens in the book, which is he goes back in time in order to try and stop the assassination of John F. Kennedy.
We had no idea that the every man person that he wanted to play would be a different person than we’ve ever seen before. A different character than we’ve ever seen him play.
And we were all very pleased with that. He was in every single scene in that mini series.
We were all completely blown by his performance, and we couldn’t have predicted it.
I think that’s the case with all performers and things that I work on, is that when the actors show up they bring themselves. And when you get to see that, it is really magical.”