When my family had to choose our Disney-themed costumes for Mickey’s Not-So-Scary Halloween Party in 2009, we took our cues from my then-twelve-year-old son, Billy, who has Autism. At first, he flatly refused to wear any costume. I’m quite sure that the only reason I was able to sweet-talk him into it was because we were going to Walt Disney World!
So, after weeks of getting “No!” “No!” “No!” as a response to “What do you want to be for Halloween?” he abruptly changed his mind. “Pirate!” he said. “I will be a pirate!”
“OK,” I said. “Billy will be a pirate.”
“And Mommy,” he declared. Okay…
“And Daddy,” he continued. “And Tricia and Catie!” (sister & cousin)
If Billy was going to dress like a pirate, we were ALL going to have to dress like pirates! Luckily, the rest of the family agreed to go along with the theme. (You end up doing quite a lot of this when living with Autism.)
As it turns out, dressing like a pirate is not that difficult to do and was an excellent choice for a group MNSSHP costume. It certainly helps that Disney has a long tradition of pirate adventure films:
For example, in 1950, Disney released Treasure Island, a live-action film adapted from Robert Louis Stevenson’s swashbuckling tale.
In 2002, Disney created an animated science fiction version of this film called Treasure Planet.
Another well-known Disney pirate was Captain Hook, the villain in the animated classic Peter Pan (1953). The film was based on the play Peter Pan, or The Boy Who Wouldn’t Grow Up by J.M. Barrie.
The franchise was modernized with Jake and the Never Land Pirates, a musical interactive animated children’s show, debuted on the Disney Junior channel in 2011.
(Have you ever noticed how may pirates have prostheses?!)
Of course, there are plenty of pirates in the Disney Parks:
In 2003, the Pirates of the Caribbean attraction inspired a series of wildly successful live action films…
Which, in turn, inspired changes in the attraction!
There were plenty of fellow “pirates” at the party that night…
All in all, I think “Pirates” was the perfect themed costume choice!
I hope you have fun getting YOUR Halloween costumes together this year! Thanks for reading!


Do Re Mi ❤
If you can complete the sentence, “The hills are alive,” and if you learned the phrase “auf wiedersehen” not from Heidi Klum on Project Runway but from the von Trapp children’s evening serenade, it might surprise you to learn that the film version of The Sound of Music was not an immediate critical success. The critical consensus found it saccharine and sentimental at best, a sugarcoated spin on the story it purported to tell.
But time has proven the critics wrong—or if not wrong, at least superseded by popular opinion. In the introduction to a new LIFE book on the movie, The Sound of Music: 50 Years Later, the Hills Are Still Alive, TIME’s film critic Richard Corliss unpacks its unlikely success. Despite its run as a musical alongside more modern shows like West Side Story and the movie’s release in the wake of Beatlemania, Corliss writes, “What…
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In an earlier post, I told you that I would be making some book recommendations. These recommendations are not necessarily for recent books, but all of them will be books that I have read and strongly endorse. As I mentioned there, this is in keeping with my motto, “It’s not for me. It’s all for you.” I was looking at a list of movies today and decided that I would add a movie recommendation to this site as well. I have no criteria other than I will only write about movies that I really think more people should see.
In the case of this first recommendation, it is for an excellent movie that did not get all of the press and audience that it deserved when it hit the theaters. There are no car chases, no explosions, no gratuitous or even non-gratuitous sex and no teenage angst. Clearly, this is a movie that was never going to become a blockbuster. It does, however, have a stellar set of actors led by Robert Duvall, Sissy Spacek, Bill Murray, and a talented supporting cast. The story is a simple one about a man who sentences himself to a life of solitude in the Tennessee hills as punishment for something that happened in his youth. He decides to make things right before he passes from this earth and wants to host his own funeral while he is still alive. Duvall is cast as the hermit and if you have any appreciation for fine acting, the movie is worth your time just for the time he is on-screen. Sissy Spacek portrays an old flame of Duvall’s character. It is insufficient to say that Bill Murray provides comic relief as the undertaker that Duvall approaches to arrange his funeral. “Comic relief” is the moronic sidekick in those other movies. Bill Murray adds humor to the movie without just being silly (not that there is anything wrong with silly – I am personally a fan of silly).
You will find the Amazon.com link below if you want to pick up a copy for yourself. Get it for the next evening where you feel like some entertainment for adults. I was going to say when you feel like some adult entertainment, but that would not send the right message. On the other hand, if they had used that phrase in marketing this movie, it might have become a blockbuster after all.


How to Kill a Character, @ omnivoracious.
I can’t say that I’ve ever killed off a character: but after reading that article, I’m kind of itching to! I’ve certainly done plenty of other evil, unpleasant things to my characters: death just seems like the next logical step.
While I myself don’t find death to be any sadder or more shocking than any number of tragic or terrible things that could happen in a story, the taboo of character death certainly makes one stand up and take notice when it happens. The death of a beloved character is almost always memorable.
Some of the ones I remember include:
- Beth from Little Women (I have to admit: I sobbed over that one!)
- Jay Gatsby from The Great Gatsby
- Paul Atreides from the Dune series
- Romeo and Juliet from Romeo & Juliet
- Almost everybody in Hamlet (I’m beginning to think including Shakespeare is cheating…)
- Winston Smith from 1984
- Phineas from A Separate Peace (Ok, I cried over this one, too…)
- Catherine Earnshaw from Wuthering Heights
Which have I forgotten? Which literary deaths were most memorable for you?


In June 2014, The Big Funk Company partnered up with New York’s Ensemble Studio Theatre’s Youngblood playwrights program for a great Parisian adventure:
AMERICAN SUNDAYS - Theater and Brunch.
Julie Delaurenti met with The Ensemble Studio Theater Youngblood Program in January 2014. After falling in love with their "Theater and Brunch" concept, she decided to bring it to Paris. The BFC is proud to reinvent this original project that the EST started nearly 20 years ago in New York here in Paris calling it AMERICAN SUNDAYS. An afternoon of theater and brunch, where you’ll find four one-act plays, performed under a new theme at each performance, and followed by a delicious American buffet. The plays are performed in English and subtitled in French. The Big Funk Company created their first American Sundays in June 2014 at La Nouvelle Seine. In 2015, they moved to the Peniche Adelaïde. In 2016 they had a successful season at Le Theatre du Lucernaire and with an ever growing audience. Seeking a larger audience, the BFC moved to the Petit Théâtre du Gymnase for the 2016/2017 season. After a successful run, American Sundays is now held at the Theatre du Lucernaire.
ENSEMBLE STUDIO THEATRE’S YOUNGBLOOD PROGRAM
Youngblood is Ensemble Studio Theatre’s Obie-winning collective of emerging professional playwrights under the age of 30. Founded in 1993, Youngblood serves as a creative home for the next generation of theater artists. Youngblood provides artistic guidance, peer support, regular feedback, and a fertile production environment that allows their member playwrights to hone their skills and explore their craft. They also provide exposure to the public and the press, professional outreach to the industry, and opportunities for production and publication.
Plays by current and former Youngblood playwrights have been performed at The Royal Court Theatre, Lincoln Center, Playwrights Horizons, Second Stage, Actors Theatre of Louisville, the Mark Taper Forum, the Vineyard Theater, the Atlantic Theater Company, and Rattlestick Playwrights Theater; include award winners such as Annie BAKER's THE ALIENS and Amy HERZOG's 4000 MILES; and develop into film and television adaptations, such as alumna Lucy ALIBAR's JUICY & DELICIOUS, which was adapted into the Cannes Caméra d'Or-winning, and Academy Award-nominated film BEASTS OF THE SOUTHERN WILD.
December 6th 2020, January 31st 2021
At 11:30am @ Théâtre du Lucernaire
53 rue Notre Dame des Champs, 75006, Paris


image via Repetto
- Browsing YouTube for short films over a cup of morning coffee and stumbling upon the little gem above, called "Head Over Heels" by Timothy Reckart, which is nominated for an Oscar this year. I've always loved short films, and I think they pack a punch because they rely on gesture rather than dialogue. This one is about an old married couple who have grown distant throughout the years and live in upside-down worlds in the same house (you'll see what I mean when you watch it). It has a happy ending.
- Online window-shopping. More specifically, coveting a colorful pair of Repetto flats, aka the quintessential ballerina flats popularized by Bridget Bardot. The Repetto website is magical, as are their window displays. But I don't think I'll be spending $300 on a pair of flats
ever anytime soon.
- Calling an end to the every-day-is-a-bad-hair-day syndrome (fingers crossed!). Because these days I have that syndrome, so I made up my mind to get a real hair cut, not "just a trim." And it's scheduled for a couple of hours from now. It won't be anything too drastic. Nevertheless I'm one of those people who gets nervous-excited before haircuts... is it sad that I woke up at 7am in anticipation?


Videotron Centre | Québec City, Québec
You have to be there to experience all the Disney characters sliding into action on Saturday 4th March 2023 at Centre Videotron. They tell an amazing narrative that will leave fans and critics spellbound. Yup, this theater play has it all wrapped up into one magnificent package, from superb visuals, gorgeous costuming, a mellifluous musical score and all of this will be delivered through first-rate figure skaters. If it isn’t obvious by now, it really should be – this show will sell out very quickly, and you really don’t want to miss out, be sure to buy your tickets right now.
Experience your beloved Disney characters as they come to life in this beautiful show on ice. It is going to be one of the best productions this spring, why? Well because top tier figure skaters will be reenacting Disney’s most beloved tales and they move around with such elegance that everyone becomes captured in their magnificence. It is not a something you want to lose out on
The show is hosted by ‘mouse-ter’ of ceremonies Mickey Mouse who will lead a parade of Disney characters including Minnie Mouse, Donald Duck, Goofy and a whole stream of Disney princesses such as Cinderella Rapunzel, Ariel and even Snow White. The production group has been busy preparing some awesome visuals which will include safe theatrical fog, strobe lighting and stunning special effects. You can be confident that this showing will have all of that Disney magic dusted everywhere. It will honestly be an unforgettable time out the whole family.
There are very few tickets left, as audiences have been queuing up to get theirs. Be warned, there are only a few left, but you can buy yours now before they’re all gone. So why wait? Act quick and secure your seat.


“Hey guys look, no crutch!”
To stop myself from being sad I made a cute Hershel. It looks goofy
Hershel Greene - “Christ promised the resurrection of the dead. I just thought he had something a little different in mind.”
Via You wouldn't be my family. You would be m’lady
In Cold Blood, 1967. A film based on Truman Capote’s book of the same name. Adapted and directed by Richard Brooks. Starring Robert Blake, Scott Wilson and John Forsythe.
Although the film is in parts faithful to the book, Brooks created a fictional character, “The Reporter” (played by Paul Stewart). The film was nominated for four Academy Awards: Director, Original Score, Cinematography and Adapted Screenplay.
Some scenes were filmed on the locations of the original events, including Garden City and Holcomb, Kansas; Kansas State Penitentiary, where Smith and Hickock were executed; and the Clutter residence, where the murders took place.


Sean Connery (Source: Wiki Commons)
Hard to believe it's 50 years since the boyfriend of the day dragged me to see Dr No. I wasn't keen but he was persuasive & have to say I really did enjoy it. The boyfriend didn't last the 50 years but I have enjoyed most of the Bond films since. My favourite of the Connery Bond's was the first Dr No. It was so different to any of the films being produced then & its style was copied but was never matched.
Not sure who my favourite Bond is, I've liked them all even Timothy Dalton & George Lazenby.
Roger Moore Source: Wiki Commons
I loved the really elegant & humorous style of Roger Moore & his voice is still wonderful. My favourite of Roger Moore's Bonds was Moonraker. Who could forget Jaws?
Pierce Brosnan brought the humour, the elegance & the fabulous good looks to Bond in 4 films.
My favourite of his films was the first, Goldeneye where he came up against a former friend played by Sean Bean. Sean Been always seems to play the baddie now. His posh accent in Goldeneye was really over the top but I suppose a broad Yorkshire accent wouldn't quite have matched the character. I loved the computer whiz Boris who thought he was "invincible".
Now we have Daniel Craig and I have to say I'm not that keen on him as Bond. He was great as Mikael Blomkvist in The Girl With the Dragon Tattoo but I still don't see him as Bond.
Daniel Craig Source: Wiki Commons
I think if I had to choose my favourite Bond, it would be Pierce Brosnan!
Another great thing about the Bond films is the music. The first one Dr No introduced us to John Barry's James Bond theme & since then there have been additional themes for each film. Hard to pick my favourite there have been some fabulous songs but I think I'll opt for gorgeous voice of Matt Monro with the John Barry Orchestra & the theme song of From Russia With Love. If you get a message restricting you from watching the video just click on the Watch on YouTube link.
Now we're just waiting to see how Adele fairs with her rendition of Skyfall from the next Bond Film. I love Adele & this certainly sounds like a Bond theme but I'm not sure it's as strong as her usual songs. We'll see.


I stopped watching TV ages ago; I think it was as far back as 2010, I can never be sure. I stopped watching it as it did something to me, I wasn’t sure what and I couldn’t define it but I knew that TV made me mental. I covered it up for ages by saying the noise bothered me; this sounded “normally abnormal” and fitted with the experiences of other mentalists. Those involved in my ‘care’ at the time accepted this and understood.
When I was confident that my suspicions I had DID were correct and I decided to share my findings with my ‘care team’ one of the things I mentioned was television- I revealed to them that I had stopped watching television as it made me switch, TV was very triggering. Those involved in my ‘care’ at the time didn’t accept this and didn’t understand.
I used to love TV, all sorts of TV and I loved films, all sorts of films. In the time I have avoided the TV I have occasionally watched a film but anything I watched had to be something I’d seen before, was familiar with and therefore could identify any potential triggers. I had to have enough knowledge of a film to ensure I was watching it with the correct eyes- or at least not the wrong eyes.
For the past two years or so I have repeatedly watched Mulan, Heathers, The Breakfast Club, In The Loop, Spiderman, Monsters Inc. and Ferris Bueller’s Day Off. Whilst all of these are fantastic films, it does get a bit boring and I think I sometimes miss TV, watching TV is such a normal thing to do, it’s easy, entertaining and informative. Mostly I’d like to be able to watch TV as I feel inept that the TV still fills me with fear, I feel like I’m failing in some way.
I did once watch something I had never seen before- Disney’s Up and I’m still haunted by it. I don’t know why and I daresay it’ll all come out one day but that film was a horrific ordeal and now any reference to it- be it a picture or whatever is triggering, it is to my great sadness that my previous love of balloons has been replaced by fear as they now remind me of that film. I was retraumatised by Disney/Pixar, which sounds amusing and indeed would make a great t-shirt slogan but it was a further knock to my confidence that I’d ever obtain anything resembling stability.
Just over a week ago I decided once again to try and challenge my fear of TV and settled down to watch Curious George- a cartoon about a monkey, I love monkeys. I’m not sure what it was about and I’m not entirely sure what happened but I suspect that the episode of Curious George was not unconnected to the awful body memories and flashbacks I went on to experience a couple of days later. I don’t know what all of my triggers are, I can’t imagine I ever will but I have a vague idea of some of them. Some are obvious and probably common, some appear ridiculous (Party Ring biscuits) and some make no sense at all. One of my triggers is umbrellas; there were umbrellas in that episode of Curious George. So you see it makes perfect sense- if you’re mental.
So once again, I was avoiding the TV. TV is far too unpredictable when your summary of yourselves is “triggered by everything” it’s far too dangerous when you just don’t know what might come up and how it may affect you.
Last night I decided that it might be nice for the 7 year-old to have a movie night. I had ‘purchased’ the live-action Horrid Henry film from isohunt and we had obtained the necessary supplies from the Spar- popcorn, chocolate and crisps. I despise Horrid Henry; the animated series on TV is rubbish as are the books. I consider myself something of an expert on children’s fiction and children’s TV, the popularity of Horrid Henry confounds me to this day. I’ll spare you my critical analysis but suffice to say I find the stories of a child with some sort of oppositional defiant disorder with parents who display inconsistent parenting styles from one incident to the next, very dull indeed. I had therefore decided that the Horrid Henry movie was likely to do nothing more dangerous than bore me to death and add fuel to my hatred for Francesca Simon.
I was wrong.
I don’t really remember watching Horrid Henry- always a bad sign, but from the tweets I made during the film I can tell that several pairs of eyes watched it and it ultimately was a confusing ordeal. Not as traumatic as Up *shudders* but not something I’m keen to repeat.
I can, thanks to my virtual paper trail point to some things that made Horrid Henry quite so difficult- one being mixed cultural references, I have the same problem with Stuart Little (I have many problems with Stuart Little as I detailed here). The Horrid Henry film had outfits from times I couldn’t identify but they were anything from 1950- current day. Henry has an iPod shuffle- my poor little brain just could not compute.
Well-known faces in the film, whilst no doubt good for the box-office were also confusing for me- not least as I wonder what on earth Richard E. Grant was thinking being involved in such a pile of dross. Gavin from Gavin and Stacey was in Horrid Henry but he wasn’t Gavin. I think Jo Brand was in there too but I can’t be sure. I know Noel fielding was in the film as I tweeted about it and promptly lost my mind.
Last night I vowed never to watch a film again- ever.
I feel depressed today that something so fundamental still evades me and I feel hard done by that DID feels the need to constantly remind you of its pervasiveness and sneak into every corner of your life. I daresay that eventually, as therapy progresses I’ll gather the knowledge I need to be able to watch TV and films again, but I can’t help feeling angry that something that should be easy, even enjoyable is like planning a military operation.
As Horrid Henry would say IT’S JUST NOT FAIR!


THEA3: EL TEATRO CAMPESINO
Reading, viewing and discussing the development of the Chicano (Mexican American) culture in American Society reflected in the works of playwright and director Luis Valdez and El Teatro Campesino (The Farm Worker's Theatre) are the focus of this course. It traces the historical and cultural influences of the theatrical company from its creation in 1965 to the present. Students will read actos, plays and view live theatrical production, film and video produced by El Teatro Campesino. This course has the option of a letter grade or pass/no pass. ADVISORY: Eligible for English 250 and English 260.
- Students will indentify the societal influences behind the historical development of El Teatro Campesino and examine the struggle of the Chicano (Mexican-American) culture in American Society.
- Students will restate the background, diverse cultural and artistic influence of writer, director Luis Valdez inspiring the development of Chicano Theater and theater of social protest in the Americas..
- Students will analyze and discuss the purpose of actos as the early work of El Teatro Campesino and Luis Valdez as a means for inspiring cultural awareness and social justice for the farmworkers struggle in American labor culture.
- Students will demonstrate how demonstrate how actos can be used to communicate ideas, how people are feeling and bring cultural awareness to a social problem.
- Student will analyze the discuss the historical influences and develop cultural awareness in the plays written and developed by Luis Valdez.
- Students will view and evaluate live theatrical performances, film and video production produced by El Teatro Campesino and reflect on their cultural significance.


I’m so into Vanderpump Rules now. Doesn’t mean I’m gonna go back and watch 10 seasons of it. I don’t feel I need to. I’ve got a pretty good grasp on these people just having read recaps and seeing clips here and there. And I’m 100% all in on James Kennedy. Easily my favorite character on the show. I’m very well aware of his problematic past on the show with drugs, drinking, and cheating. I’m not condoning that. I’m talking about the James Kennedy we’ve seen from the reunion episodes on. He’s hilarious. Great one-liners, good sense of humor, and at least keeps things a bit light on the show regardless of how upset people are getting. And I really like his new gf Ally. Seems to have a good head on her shoulders, and is loyal to the women. However, I can do without the astrology career and reading Schwartz’ birth charts. I’ll just pretend I didn’t see that last night. Other than that, enjoy watching them together. I would take a Kennedy spin off any day of the week. Please. Bring it on. Oh wait, we’re getting “The Valley.” Ugh.
For those that didn’t see it, Lexi documented her endometriosis journey on her IG feed with 3 separate videos. If you haven’t seen it, I embedded it for you here. A really impressive look at what she’s been through. Couldn’t have been easy for her to share this, so I commend her:
Also, @BachelorData has broken down the IG gains of all the women this season. And what Daisy has been able to do is something we haven’t seen in at least 5 years. I mean, last season’s winner Kaity Biggar, didn’t surpass 200k followers until the day after the finale aired. Daisy has been able to accomplish that in 3 episodes, or, 16 days to be exact. It just goes to show this audience will always get behind an underdog story and Daisy’s story is really resonating with people. Here’s the breakdown:
“Reader Emails” begins on Page 2…


"It was here that I first discovered music, or where I first learned its rare beauty, a beauty that has gladdened and haunted me from that moment…”
'Carl Davis has made an astonishing impact on music in Britain.....raising to hitherto unheard of standards of the once humble television theme tune...’ Musical Opinion
Davis's output for film and television is vast, including The World At War and The French Lieutenant's Woman (the winner of both the BAFTA and Ivor Novello awards).
Davis has composed soundtracks for several Chaplin films and has toured them around the world. Following the Chaplin Festival in London, given by the LPO under Davis, the BFI released a set of Chaplin films on DVD together with his brilliantly descriptive scores.
Famous for his character "The Tramp," the sweet little man with a bowler hat and moustache, Charlie Chaplin was an iconic figure of the silent-film era and one of film's first superstars, elevating the industry in a way few could have ever imagined.
Beyond his comedic genius, Chaplin's talents extended to directing, writing and composing. He was an accomplished violinist who counted some of the 20th Century's greatest musicians amongst his friends.
His career spanned over 75 years, from childhood in the Victorian era until his death in 1977, and encompassed both adulation and controversy.
This evening of cinematic treasures explores the fascinating relationship between music and film in the hands of one of the 20th Century’s greatest cultural icons. Highlights will include memorable set pieces from The Immigrant, The Adventurer and The Gold Rush, all accompanied by specially adapted soundtracks by the acclaimed silent film composer, Carl Davis.
About the performers
Copyright 2017 Mash Productions
Carl Davis CBE
The Little Tramp
Charlie Chaplin entered movies in 1914. In 1916 he became the highest paid entertainer in the world, when he signed a contract with the Mutual Film Corporation for a salary of $670,000.
Mutual built Chaplin his very own studio and allowed him total freedom to make 12 two-reel films during this fruitful 12-month period. Chaplin subsequently recognised this period of film-making as the most inventive and liberating of his career.
The resulting masterpieces are recognised as amongst his finest work. This project has been developed to celebrate the 100th anniversary of these remarkable achievements.


Famous Disney villains that you love to hate. Which one has become your favorite?
Let’s face it – the majority of time, you really WANT to appreciate Disney villains for who they are. There’s just something about them that makes you want to LIKE them, right?
What follows is a list of some of the most famous Disney villains introduced throughout the years. Which one do you love to hate the most?
Famous Disney Villains
Ursula (The Little Mermaid)
Ursula is probably one of the most entertaining villains in Walt Disney animated history.
Presiding over her “garden of broken souls,” she uses her charm to get the best of Ariel, King Triton and Eric.
I have to say, she’s definitely a Disney villain but she IS entertaining! 😉
The character is based on a fairy tale written by Hans Christian Anderson.
Gaston (Beauty and the Beast)
It really isn’t until later in the movie that Gaston shows his true colors, when leading an angry, pitchfork-wielding mob to kill Beast.
Before that, he was just a good-looking guy who didn’t care about anyone but himself, believing he should have everything he ever wanted… including Belle!
The Evil Queen (Snow White and the Seven Dwarfs)
No list of famous Disney villains would be complete without the Evil Queen, a.k.a. Queen Grimhilde.
Jealousy and the quest to be the most beautiful queen in all the land certainly got the best of her.
Fortunately, her poison apples didn’t win out in the end. Snow White lived happily ever after. Heigh-ho, heigh-ho… it’s off to work we go!
Cruella De Vil (101 Dalmatians)
The animated version of 101 Dalmatians came out in theaters in 1956 and Cruella De Vil has been villainous ever since.
I remember seeing her in the movie and being scared, definitely. After all, she was mean towards dogs!
What she wants most in this world is a beautiful Dalmatian fur coat and she’ll steal an adorable litter of puppies to get it. She’s also extremely good at road rage and balancing a cigarette holder.
Shere Khan (The Jungle Book)
Shere Khan is the king of the jungle, at least in his eyes.
He’s the totally calm and calculating tiger whose goal in life is to do away with Mowgli. Why? The answer is simple.
Shere Khan hates man… even the ones who aren’t grown up yet.
Jafar wants to rule the throne. There’s only one problem… Princess Jasmine. He must coax her into being his slave and then kill her to make his dreams come true.
Even though Jafar is pure evil, he lets his sarcastic humor out every once in a while. Maybe it’s because of his silly tag-a-long parrot.
Lots-o-Huggin’ Bear (Toy Story 3)
This Disney villain really gets to me. Maybe because he looks like he should be so cuddly, unlike other Disney villains. And the fact that kids probably get confused with their teddy bears being mean after seeing this horrible Toy Story 3 villain.
Lotso is a pink fuzzy bear with a bad attitude. Just ask Woody, Jesse and Buzz. He almost killed them, after all.
I’m personally glad there’s not a meet and greet for Lots-o-Huggin’ Bear in Toy Story Land at Disney’s Hollywood Studios (here’s our best tips for visiting). At least not yet!
Lotso didn’t start out to be a big old meanie. It happened after his owner threw him away. At that point, he decided if he couldn’t be happy no one else could either.
These are just a few of the many famous Disney villains brought to life through the ages.
Which ones did we miss? Who would you add to the list as a famous Disney villain?


Middle and High school faculty completed a combined 300 hours of training this summer in AP and Pre-AP workshops presented by the College Board. Thank you, faculty, for spending a week of your summer dedicated to the growth of our academic excellence! Thank you to: Mr. Biddle (AP Biology), Mr. Burton (AP World History), Mr. Cox (AP Statistics), Mrs. Felice (AP English Literature), Mrs. Harris (AP Physics), Mrs. Hayes (Pre-AP Spanish), Mrs. Hunsucker (Pre-AP Spanish), Mrs. Mitchell (Pre-AP Middle School English), Mr. Schaffner (AP U.S. History), and Mrs. Wolfe (AP U.S. History).
Additionally, 0ur Fine Arts staff was busy with summer workshops and summer stock work. Choir Director Daniel Montgomery spent several days in New York City attending the Broadway Teachers Workshop. During the conference, he participated in workshops and show talk-backs with Broadway performers, including several Tony Award winners. He also heard presentations on the College Audition process, musical theater directing, and stage choreography.
Theater teacher Natalie Jackson worked for the Dallas Children’s Theater all summer in several capacities, including directing a ‘Broadway Bound’ camp and producing a production of “Seussical” in one week! She also served as the dance instructor, teaching the choreography for their musical theater camps and a Scenes and Songs workshop. On top of all that, she played Mrs. Pinkerton in their mainstage union production of “Pinkalicious, The Musical!”


I was eager to know if Still Alice could capture the deep truths of dementia on film. Caregivers like me don’t get much time to go to the movies, so it was gone from theaters long before I finally saw it. No one wanted to watch it with me, so I viewed the DVD all alone. I was very glad I did it.
My sister, who loves movies as much as I do, was afraid to watch Still Alice. She thought it would dredge up sad memories of mom’s first dementia symptoms. We were all frantic at that time in our lives. My sister did not want to revisit that pain. I wanted to see the movie for the opposite reason. I wanted to be sure that this important work offered a realistic portrayal of dementia, not just a rehash of Hollywood fluff. I was happy that Julianne Moore was cast in the lead role. She’s very intelligent and has the talent needed to capture the subtleties of Alzheimer’s and how it effects families.
Still Alice brought me to tears several times. When smart, capable Alice can’t figure out where she is at the beginning of the film, Moore plays the scene perfectly. Her acting did exactly what my sister feared. It made me recall the harrowing days when my mother would walk out to get lunch and forget why she left the house. Julianne Moore captured the sense of panic that arrives with the first bewildering episodes of forgetfulness.
During those early days, my mother kept losing her bank card. Sometimes she’d call a friend, who would go to Mom’s house and find the card for her. When her symptoms got worse, Mom would call me to report that someone stole it. My mother started being suspicious of everyone around her, thinking they were taking her money or planning to hurt her. During these calls, there was a terrifying note of hysteria in her voice. Like the main character in Still Alice, Mom’s biggest fear was that she would not be able to exercise control over basic aspects of her life.
The film made me wonder about the medication Alice took and the unanticipated effects it might have had on her behavior. The movie didn’t say much about Alice’s treatment options. It just said that little could be done for her form of the disease. The Alice character did mention, however, that she was taking Namenda. Just hearing her say that took me back to my mother’s horrible experience with that drug. Mom did all kinds of truly crazy things until we realized that the medication was doing more harm than the disease (at that point). A film can’t pursue every possible story line, but I would have liked to hear Alice’s family talk more about treatment issues. They are critical matters for dementia families.
Alice’s wealth was one aspect of the film that I found to be too cinematic. I understand that it’s easier to make a visually engaging movie when the characters live in a gorgeous New York brownstone and spend months at the beach. But most families facing issues like Alice’s are struggling to figure out how they’ll pay for care. I did not detect any sense of urgency on the part of Alice’s husband or kids regarding the costs of treatment.
The movie made me thankful that my mother didn’t share Alice’s notions about ending her life. Sure my mom was scared, but she was not frightened enough to think she should just stop living. Although it is a huge challenge to care for someone with progressive dementia, our family has been strengthened a million times over by working to give my mother the best possible life. If she had left us sooner, we would have been cheated of the chance to learn how deep love can grow when you grapple with dementia. Still Alice captured this important truth in its portrayal of the mother-daughter relationship. If you’re a family member trying to figure out what can be gained from dealing with this awful disease, Still Alice may have an important message for you. Don’t be afraid to watch it.


The internet has revolutionized the way film is made and distributed. The advent of YouTube has made it possible for anyone to post a video on these sites, and computer capabilities make it easy for aspiring filmmakers to improve the look of their videos. This newfound accessibility has given millions of aspiring filmmakers the chance to “go public” on their own.
Another advancement in technology is 3D printing. By using this technology, filmmakers can turn a digital idea into a physical set, location, or character. This has revolutionized the pre-production process by creating fully immersive digital replicas of the real thing. With this advancement, filmmakers can create better visual effects and have more flexibility in pre-production.
Another example of how technology is affecting the film industry is in the drones to capture visuals that were previously highly costly or too dangerous to reach. This helps producers cut production costs while creating amazing images and content that audiences want to watch. Find out more about FPV Drone Filming by going to a site such as https://www.skypower.co.uk/drone-services/fpv-drone-filming/
The use of virtual reality technology has also changed the process of making movies. Virtual reality can help filmmakers create a scene or location without requiring expensive set rentals or production crews. With virtual reality, moviemakers can even insert actors and actresses into their environments without having to shoot the scenes in real life. AThey are often able to do this by using LED walls to shoot. These walls serve as a realistic virtual backdrop for the movie making team to see the final result.


Renowned French actress Bernadette Lafont died yesterday, on July 25, 2013:
Bernadette Lafont, who has died aged 74, could have claimed to be the first female star of the Nouvelle Vague. François Truffaut chose the sensual, dark-haired, 18-year-old Lafont and her new husband, Gérard Blain, to play lovers in the director’s first professional film, Les Mistons (The Mischief-Makers, 1957). In this charming short, shot in Nîmes one summer, a group of pubescent boys spy on Lafont and Blain’s lovemaking in the fields. Blain and Lafont were also picked to appear in arguably the first French New Wave feature, Claude Chabrol’s Le Beau Serge (1958). In this film, about a young man returning to his childhood home, Lafont played the “village vamp”. (The Guardian: “Bernadette Lafont obituary” by Ronald Bergan, July 26, 2013)
I’ve had the chance of viewing a very nice 35mm copy of Les Mistons three years ago, during a Truffaut retrospective. In the opening of what is considered to be Truffaut’s first significant film, Bernadette Lafont plays a young woman, “unbearably beautiful”, who is riding her bicycle through a small rural town. She is dressed in a white blouse and her dark skirt is flying in the wind. As the voice over recounts, she haunts the “darkly hidden dreams” of young teenagers.
But I did not discover Bernadette Lafont in Les Mistons. I first came to know the French actress years ago through her unforgettable role in Jean Eustache’s masterpiece La Maman et la putain, which I have seen a couple of times since then. The film stands less for the excitement of May 1968 than it does for all the unfulfilled promises and unrealized hopes that came to mark the years that followed. If 68 was about overcoming authoritarian capitalism, the film shows how human beings are perfectly capable of alienating themselves without the help of an oppressive regime. The couple, through mutual and seemingly never-ending incomprehension, provide the stage for such a demonstration.
In the film, Lafont plays Marie, the owner of a fashion boutique who is having an enduring liaison with the young Alexandre, played by Jean-Pierre Léaud. Alexandre, whose head is filled with quotations from books and movies, is unemployed, has no money, and mostly lives with her. That doesn’t stop him from trying to start a relationship with another woman, Veronika (played by Françoise Lebrun). Imbroglios ensued in the form of colorful tirades, amidst cigarette smoke and drinking scene.
Eustache was very strict regarding the script: the actors were to read the lines as they were written, and there isn’t much in the filmed version that is improvised. In an interview she did in 2007 with Jean-Baptiste Morain et Serge Kaganski for the French cultural magazine Les Inrockuptibles, Bernadette Lafont recalled:
Avec Léaud, vous avez ensuite fait La Maman et la Putain. Là, vous aviez un texte !
Là, oui ! On n’improvisait pas du tout. Le tournage était tendu mais, des acteurs aux techniciens, tout le monde savait qu’on faisait quelque chose d’extraordinaire. On avait lu le scénario avant, c’était splendide. Eustache était tellement à vif, tellement concentré. Il fallait jouer très serré. Un jour, Léaud avait voulu faire une petite blague. Véronica dit à un moment dans le film : “Et vous, avec votre vieille queue en forme de bec de théière.” Et Léaud a eu le malheur de dire : “Ah oui, Lautrec disait : “Quand je bande, je ressemble à une cafetière.” Eustache l’a mal pris : “Puisque vous ne prenez pas mon film au sérieux, je m’en vais, je m’en vais !!!” Et il a quitté le plateau, alors que le budget était très minuté. Il n’était pas cool du tout. (Les Inrockuptibles: “Bernadette Lafont : « Tout le monde peut faire du cinéma »” by Jean-Baptiste Morain et Serge Kaganski, July 25, 2013)
Despite the dialogues being written and filled with literary and cinematic references, they do not come as theatrical, quite the contrary. Instead, the film provides an almost documentary-like portrait of a number of frail, but intense relationships. Furthermore, the final result is far from being pathetic, for the film is loaded with snappy retorts, humorous one-liners and comical ―although sometimes awkwardly realistic― situations.
The film won the Jury’s Special Grand Prix at Cannes, in 1973. As of now, the only version with English subtitles is still the VHS edition (Amazon). For a while, a subtitled version was available on YouTube, but it is no longer the case at the time of writing (although a version without subtitles can be found). A Page on Facebook is appropriately named We Want the Jean Eustache Film Edition. It offers some interesting Eustache-related materials.
There are many more images of Bernadette Lafont taken from the movies she played in over at The Red List. For a more detailed explanation of the relationship betwen Eustache’s film and the French New Wave, see Brannavan Gnanalingham’s essay “Milestone Movies: The Mother and the Whore (1973)”.
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Erscheinungsdatum: 21.09.2018, Medium: Buch, Einband: Gebunden, Titel: Screened Encounters, Titelzusatz: The Leipzig Documentary Film Festival, 1955-1990, Redaktion: Moine, Caroline, Verlag: Berghahn Books, Sprache: Englisch, Schlagworte: PERFORMING ARTS // Film & Video // History & Criticism, Rubrik: Theater // Ballett, Film, Fernsehen, Seiten: 396, Informationen: HC gerader Rücken kaschiert, Gewicht: 669 gr, Verkäufer: averdo
Icíar Bollaín s inspirational and poignant story of a vibrant, determined young woman on a journey From Goya Award Winner and internationally acclaimed director Icíar Bollaín (Even the Rain, Take My Eyes), The Olive Tree follows a wilful and spirited young woman named Alma who embarks on a journey from the East coast of Spain to Germany in order to retrieve an ancient olive tree precious to her ailing grandfather. With the help of a variety of friends & new acquaintances, she pulls everyone she encounters into her plan with unexpected consequences for all involved. The powerful feature film which stars Anna Castillo, Javier Gutiérrez and Pep Ambròs was written by Paul Laverty, winner of the Best Screenplay award at the Cannes Film Festival for Sweet Sixteen. Laverty is also well-known for penning Ken Loach s Palme d Or winner The Wind that Shakes the Barley, the Cannes Film Festival Jury Prize Winner The Angels Share and the BAFTA Award-winning I, Daniel Blake. Dual Format EDITION featuring: Booklet featuring new writing about the film by Jason Wood Optional English Subtitles
Want to know how to use men to your own advantage? With just a few simple steps, you, too, can learn How to Use Guys with Secret Tips! The directorial debut of Lee Won Suk, How to Use Guys with Secret Tips is a hilarious anti-romantic comedy starring Lee Si Young (Meet the In-Laws) as a young woman who acquires a set of self-help tapes that teaches her to use the misogynistic attitudes of the men she works with to her own advantage. Oh Jung Se (Quick) goes all-out, co-starring as an arrogant soap opera star who unwittingly becomes the heroine's victim. Lee's creative directing style and twisted sense of humour has tickled audiences around the world, from the Udine Far East Film Festival (where it won the top prize) to the Shanghai International Film Festival. Bo Na (Lee Si Young) works as an assistant director at a production company. Stuck in the same job for five years, Bo Na feels like she's hit a glass ceiling in a misogynistic society. After one disastrous shoot, Bo Na encounters a truck filled with self-help tapes. The shady owner sells her a set of tapes called How to Use Guys with Secret Tips, promising that it will help her get somewhere in the world. By following the tips, Bo Na invents a new personality and begins using male mentality to her advantage. Soon, she sets her aims on Lee Seung Jae (Oh Jung Se), an arrogant soap opera actor who was rude to her on one production. Seung Jae soon falls for Bo Na, but is he in love with the new Bo Na or the real Bo Na? Special Features: 5.1 Surround Sound Anamorphic Widescreen with Removable Subtitles
The latest from Miguel Gomes (Tabu, Our Beloved Month of August) Arabian Nights (As mil e uma noites) is probably this year’s most ambitious cinematic undertaking, and the most talked about film experience of the last Cannes Film Festival. Arabian Nights uses the framing device from the original Arabian Nights of the beautiful young Scheherazade telling tale after tale in order to keep her murderous husband from killing her—but that’s where the similarities end. Over three features, Gomes channels the current struggles of economically depressed Portugal through an assortment of tales that range from farcical yarns to grounded accounts of social issues. Volume 1 – The Restless One: After opening with overlapping documentary portraits of a shipyard and a wasp-exterminator, the director appears on screen, contemplating his overly ambitious undertaking. From here, Gomes spins a satirical tale about the financial powers-that-be preying on Portugal’s vulnerability. Next up is the comic story of the role a rooster plays in a local election, followed by a sobering triptych of interviews with unemployed citizens. Volume 2 – The Desolate One: The volume's opening chapter is about a criminal on the run. In “The Tears of the Judge,” a public trial becomes a mockery, with the testimony implicating everyone in attendance. Finally, The Desolate One ends on an exhilarating note, with a hugely entertaining story about a dog named Dixie who’s passed between owners, familiarizing us with the inhabitants of a working-class apartment building. Volume 3 – The Enchanted One: Having escaped the palace, Scheherazade explores a seaside landscape where she encounters, among others, a “wind genie” and a daft suitor. This segues into a documentary-style exploration of the working-class sport of chaffinch singing competitions. Movingly and unexpectedly, the last gesture of Arabian Nights is to scale back its scope and provide a disarmingly modest and poignant grace note on which one of contemporary cinema’s new masterpieces can close.' (Vancouver Film Festival Catalogue) Arabian Nights is a joint acquisition of New Wave Films and MUBI.
The early seventies were a period of remarkable activity for Robert Altman, producing masterpiece after masterpiece. At the time he came to make Images, MASH and McCabe & Mrs. Miller were behind him, with The Long Goodbye, California Split and Nashville still to come. Originally conceived in the mid-sixties, Images concerns a pregnant children’s author (Susannah York, who won the Best Actress award at the Cannes Film Festival) whose husband (Rene Auberjonois) may or may not be having an affair. While holidaying in Ireland, her mental state becomes increasingly unstable resulting in paranoia, hallucinations and visions of a doppelgänger. Scored by an Oscar-nominated John Williams, with “sounds” by Stomu Yamash'ta (The Man Who Fell to Earth), Images also boasts the remarkable cinematography of Vilmos Zsigmond (Close Encounters of the Third Kind). Features: Brand-new 4K restoration from the original negative, produced by Arrow Films exclusively for this release High Definition Blu-ray (1080p) presentation Original English mono audio (uncompressed LPCM) soundtracks Optional English subtitles for the deaf and hard-of-hearing Audio commentary by Samm Deighan and Kat Ellinger Scene-select commentary by writer-director Robert Altman Interview with Robert Altman Brand new interview with actor Cathryn Harrison An appreciation by musician and author Stephen Thrower Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by the Twins of Evil FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by Carmen Gray and an extract from Altman on Altman
One of the most genre-defining (not to mention genre-defying!) horror-comedies imaginable, and one of the key Hong Kong blockbuster hits of the 1980s, the popularity and influence of Mr. Vampire cannot be overstated. Spawning at least four sequels and countless spin-offs and imitations, this Hong Kong horror-comedy to end them all was an understandable crowd-pleasing sensation, and triggered a wave of jiangshi ( hopping vampire ) movies. Produced by the legendary Sammo Hung, the original Mr. Vampire is essential viewing for anyone interested in the 80s golden age of Hong Kong cinema. In a career-making performance, the late Lam Ching-ying is Master Kau, expert on all matters of the supernatural. When Kau and his two bumbling students, Man Choi (famous comedian Ricky Hui) and Chou (Fist of Legend's Chin Siu-ho), exhume a corpse for reburial, things go frighteningly and hilariously awry when the cadaver is revealed to be a hopping vampire. With the undead on the loose, Master Kau is blamed for the chaos, and must work with his students to put the spirits to rest before the vampire's own granddaughter (80s Hong Kong action icon Moon Lee) gets bitten. Fighting the vampires with everything from sticky rice to filing down the bloodsucker's fangs, the trio must defeat an increasing number of ghoulish dangers. Director Ricky Lau would go on to make several more Mr. Vampire successors (as well as the related Sammo Hung sequel Encounters of the Spooky Kind II, with Lam Ching-ying as another vampire-battling master), but nothing tops the original for its classic fusion of screams and laughs, and it has never looked as eye-poppingly, vampire-hoppingly beautiful as this new Blu-ray special edition. Special Features: Limited Edition O-CARD Slipcase with new artwork by Darren Wheeling [2000 units] PLUS: A Collector’s Booklet featuring new writing on the film [2000 units] 1080p presentation from a brand new 2K restoration Original Cantonese audio (original mono presentations) English dub track produced for the film’s original European home video release English dub track produced for the film’s original American home video release Newly translated English subtitles Brand new and exclusive feature length audio commentary by Asian film expert Frank Djeng (NY Asian Film Festival) Alternate end credits Archival interview with Chin Siu-hou [40 mins] Archival interview with Moon Lee [15 mins] Archival interview with Ricky Lau [12 mins] Original Hong Kong Trailer


In the context of the 1963 assassination of U.S. President John F. Kennedy, Babushka Lady is a nickname for an unknown woman who might have photographed the events that occurred in Dallas' Dealey Plaza at the time Kennedy was shot. Her nickname arose from the headscarf she wore similar to scarves worn by elderly Russian women or grandmothers.
Babushka Lady was seen to be holding a camera by eyewitnesses and was also seen in film accounts of the assassination (such as this Muchmore frame and Zapruder Frame 285). She was observed standing on the grass between Elm and Main streets and she can be seen in the Zapruder film as well as in the films of Orville Nix, Marie Muchmore, and Mark Bell (44 seconds and 49 seconds into the Bell film: even though the shooting had already taken place and most of her surrounding witnesses took cover, she can be seen still standing with the camera at her face). After the shootings, she crossed Elm Street and joined the crowd that went up the grassy knoll in search of a gunman. She is last seen in photographs walking east on Elm Street and neither she nor the film she may have taken have been positively identified.
The Babushka Lady never came forward. The police and the FBI did not find her, and the film shot from her position never turned up, despite a request by the FBI to local photo processors that they would be interested in any pictures or films of the assassination. Jack Harrison, a Kodak technician in Dallas, claimed to have developed on November 22, 1963, the day of the assassination, an out-of-focus color slide for a brunette in her late 30s that showed a view similar to the Babushka Lady's position.
In 1970, a woman named Beverly Oliver came forward and claimed to be the Babushka Lady. She had worked in 1963 as a singer and dancer at a strip club that competed with Jack Ruby's Carousel Club. In 1994, she released a memoir chronicling the events of the day of Kennedy's assassination, but she has not been able to provide convincing proof she was there. Oliver says her film was taken by Federal agent Regis Kennedy and never returned.
Critics have noted a number of inconsistencies with her story, such as her alleged use of a model of camera that did not exist in 1963, and her claim to have positioned herself just behind Charles Brehm and his son, despite Brehm's statement that he and his son had hurried to that position at the last moment.
Oliver was played by Lolita Davidovich in the 1991 film JFK, but is not portrayed as claiming to be the Babushka Lady. In the director's cut she is depicted as wearing a head scarf at Dealey Plaza and speaking of having given the film she shot to two men claiming to be FBI agents.


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Tickets to Palm Springs ShortFest
The Monkey Tree Hotel is offering complimentary tickets for two to the Palm Springs ShortFest, from June 18th through the 24th. The largest short film festival in North America, the competitive ShortFest screens over 300 short films and welcomes hundreds of filmmakers from around the globe. An Oscar, BAFTA, and Los Premios Goya-qualifying festival, ShortFest has presented more than 100 shorts that have gone on to receive Oscar nominations or awards. Call 760-322-6059 for more details or to book.


This movie is one of the worst movies that I have ever spent my money on and trust me I’ve spent my money on some dumb things like in the past like. The actors in this movie was not even remotely funny and I’ve seen better acting in cheesy movie sites, you know which ones I mean, the ones that let you find without paying a thing. I don’t know what the director was thinking when he made a part 2 to this movie since part one did not even do so well itself. I mean honestly… I could have done a much better job with my iPhone camera because this movie was just that bad all around. I would rather spend my time finding and then to watch this movie again.


Gala Night: Thursday, November 17th at 7:00 pm at Isabel Bader Theatre.
We are thrilled and honoured to announce that South-African born CBC news anchor and host of CBC News Suhana Meharchand will be our MC for the evening.
Here is what you can expect:
- Inauguration of TSAFF 2016 by Honorable Consul General Mr. Nyameko Goso
- The screening of the critically acclaimed and gripping film SINK
- A post-screening Q & A facilitated by Suhana Meharchand with SINK’s director Brett Michael Innes who is flying in from South Africa AND lead actor Anel Alexander who is flying in from L.A. just to be with us!
- Wine, wine and more South African wine donated by our sponsor Wines of South Africa
- Scrumptious food donated by our sponsor Nando’s
- Live Band by Brian Litvin and Jabulani
- A silent auction including Raptors and Leafs tickets, flights to South Africa (donated by our sponsor South African Airways), a family vacation to South Africa, gift baskets donated by our silent auction partner Loblaw and more
- Plus…of course you’ll be able to hob nob with all our celebrities…
Gala Film Presentation
Sink - Thursday, November 17th at 7.00 pm
Sometimes the things we cannot change, change us.
Rachel, a Mozambican domestic worker living in Johannesburg, is forced to make a life-changing decision after her daughter, Maia, tragically dies whilst under the care of her South African employers, Michelle and Chris Jordaan. Does she quit her job and return to poverty-stricken Mozambique or continue working for the people responsible for the death of her child so that she can keep her home, her visa and continue to support her family in Inhassoro? Things become even more complicated when she finds out that the Jordaans are expecting their first child.
Rachel decides to stay, but struggles to come to terms with her loss while Michelle grapples with the guilt that she feels. Two women trapped in a house where one is an employer while the other is a servant. Chris finds himself in the middle of all this, trying to juggle his empathy for both his wife and his domestic worker. Trapped by circumstance, Sink explores how three people from vastly different backgrounds come to terms with loss and find a way to see each other through their pain.
Director: Brett Michael Innes
Genre: Narrative (Drama)
Length: 1 h 48 mins
Best of Show at the Accolade Global Film Competition 2016
Jury Life Award at the Mexico International Film Festival 2016
Official Selection Atlanta Film Festival 2016
Official Selection: Discovery Section of the Stockholm International Film Festival 2016
Official Selection International Film Festival of Kerala 2016
Saturday November 19th, 2016 at Isabel Bader Theatre.
When Voices Meet - Official Sponsor
Saturday, November 19th at 10.30 am
This film will be followed by a Q and A with the film's star Sharon Katz and the film's Executive Producer Marilyn Cohen. Plus a choir from Toronto's Nelson Mandela School will perform with Sharon Katz on stage.
One Divided Country. One United Choir. One Courageous Journey.
When Voice Meet tells the true story of a racially-diverse youth choir who embarked on an epic and dangerous journey across South Africa during the civil war of the early 90s in an attempt to bring unity and a sense of community to the country during a time of separation and division. Threatened with bombs and thwarted at every turn, they prevailed, and railroaded across the country aboard the “Peace Train”.
Singing their way into the hearts, minds and soul of a divided nation in the midst of the most turbulent times the country had ever experienced, they promoted a peaceful transition to democracy and went on to become Nelson Mandela's face of the new nation.
When Voices Meet documents the trials, tribulations and triumphs of those musician activists and young choir members. They performed together for seven years; never lost touch with one another, and then reunited 20 years later to tell their stories.
This is an inspiring tale of solidarity and breaking boundaries. Sutton Smith & Ginzberg’s film captures perfectly the excitement and sense of adventure the choir felt to travel the world and transcend racial barriers. This uplifting and moving film carries a universal message of hope, harmony and prosperity that will stay with you long after the film ends.
Director: Nancy Sutton Smith, Abby Ginzberg
Genre: Family Documentary
Length: 1 h 26 mins
Rating: G (General Audience)
Winner, Best Documentary, Jersey City International Film Festival, 2015
Winner,Audience Choice Award, Philadelphia Film Festival, 2015
Winner, President's Choice Award, Ft. Lauderdale International Film Festival,2015
Winner,Best Inspirational Film, Hawaii Waimea Ocean Film Festival, 22015
Winner, Best Director, Documentary and Original Soundtrack, World Music and Independent Film Festival, 2016
Saturday, November 19th at 12.50 pm
The deeper the dig, the darker the secrets.
This documentary chronicles the extensive journey that Karoo-born director, Jolynn Minnaar, took to uncover the truth about what's going on in the Karoo. More than 18 months of research; over 400 interviews; traveling across South Africa, the United States, Canada and the United Kingdom; battling gag orders and no trespassing zones; losing cameras to extreme heat and sub-zero temperatures and suffering first hand chemical exposure from drilling sites - to get to the bottom of the controversial topic.
When Jolynn Minnaar first heard about the fracking in the Karoo, her home district, she was optimistic. Companies seeking to drill in this semi-arid area of South Africa promised that the new process of gas extraction was a safe, time-tested one; a practice that would bring widespread prosperity for the poor, rural Karoo communities. But after stumbling across a rumoured case of water contamination in Pennsylvania, Jolynn is drawn into an investigation which takes her across the United States, the home of the fracking technology, in search of answers. Her discoveries leave her horrified.
As the South African government lifts the moratorium on fracking, the race against time begins to share her findings with the residents of the Karoo - before it's too late.
Director: Jolynn Minnaar
Genre: Investigative Documentary
Length: 1 h 30 mins
Winner Sheffield Doc/Fest 2014 – Green Award
Encounters International Film Festival 2014 – Best South African Film Audience Award
Tri Continental Film Festival 2014 - Best Film Audience Award
Durban International Film Festival 2014 - Official Selection
CPH:DOX 2014 - Official Selection
IDFA 2014 - Official Selection
BIFF Bergen International Film Festival
Nominated Best Female Directed Documentary - Alliance of Women Film Journalists 2014
Free State - Official Sponsor
Saturday, November 19th at 2.45 pm
Forbidden love and loss at the height of Apartheid.
Free-minded law student Jeannette’s comfortable world is turned upside-down by a random act of kindness from an attractive Indian man. An unexpected and passionate love affair ensues when, despite being warned not to act on her feelings, Jeannette decides to pursue them. But this love is verboten: inter-racial relationships are not only banned by law, they are a cultural stigma. So when their relationship is exposed, it leads to a very tragic turn of events.
Based on a true story, and set in 1979 against the backdrop of the racial tensions in South Africa, Free State offers a different perspective, that of the marginalized Indian community, of the racial discrimination faced by people of colour during Apartheid.
The film also explores the impact of this forbidden love on three worlds-apart families and highlights the predicament of the parent-child relationship when they are confronted by the ripple effect of Ravi and Jeannette’s love for each other.
Haunting, more because of what it doesn’t say than what it does, Free State is a beautifully- filmed romantic period drama that will stay with you long after you’ve left the theatre.
Director: Sallas de Jager
Genre: Narrative (Romance / Drama)
Length: 1 h 38 mins
Winner, Garden State Film Festival 2016
M. Carroll Raver Award for Cinematography
Winner, Luxor African Film Festival 2016
Grand Nile Prize
Saturday, November 19th at 4.45 pm
This screening will be followed by a Q and A with doctors sharing their experiences working in South African hospitals
Five Doctors. Five Cultures. 30 Hour Call.
Doc-U-Mentally is a fly-on-the-wall look into the lives of five different doctors working on call at Ngwelezane Hospital in rural Kwa-Zulu Natal, South Africa.
The documentary explores the nature of the life-saving work these different medical professionals perform, ranging from paediatrics to emergency services. Doc-U-Mentally shines a light on the mental toll the 30-hour shifts take on these doctors, showcasing the intensity of their jobs and the emotional strength needed to endure shortages in staffing and resources.
This film offers a harsh but realistic view at the lengthy shifts these dedicated doctors work in South Africa, and the extensive number of under-privileged patients in need of care. Doc-U-Mentally is not only an analysis of the doctors’ coping strategies, but it’s also a commentary on the demand for healthcare professionals, centres and services across South Africa.
Are they crazy, superheroes or somewhere in between? You decide.
Director: Francois Wahl
Genre: Medical Documentary
Length: 1 h 22 mins
Winner, Best SA Documentary at Jozi Film Festival.
For Love and Broken Bones - Co-presented by "Toronto Black Film Festival"
Saturday, November 19th at 7.10 pm
A whirlwind of intrigue, romance, and music.
For Love and Broken Bones tells the tale of a lonely, serious and ruthless debt collector who falls in love with a feisty and passionate wedding planner, who just happens to be his latest assignment. Can they both overcome their old fears and let love into their lives? And can he save her and her son in time, before his powerful and dangerous boss comes to get his money back?
Malope’s film showcases powerful performances, excellent cinematography, and stellar music. For Love and Broken Bones is a refreshing and original story, as unique as it’s engaging and understandable. Highly entertaining and emotionally resonant, this film will stay with you.
Director: Tebogo Malope
Genre: Narrative (Romance / Drama)
Length: 1 h 38 mins.
Best Film Award at Portland Film Festival 2015
3 SAFTA nominations: Best Feature Film; Best Achievement by a lead actor (Mduduzi Mabaso); Best Achievement in Cinematography in a Feature Film (Zeno Petersen)
Dis Ek, Anna
Saturday, November 19th at 9.10 pm
Someone had to do it.
Dis Ek, Anna follows Anna as she finds herself on trial for a crime that she is unquestionably guilty of, but perhaps justified in committing: the murder of her stepfather. Anna recounts the tale of her troubled childhood and the years of sexual abuse she endured, and the final straw that made her pull the trigger.
Dis Ek, Anna is a compelling and thought-provoking film with a powerful message. Blecher’s film shines a light on the often under-represented victims of sexual abuse in an incredibly honest and sombre fashion. At the 2016 SAFTAs, the film won 6 awards, including Best Feature Film and Best Director. Anna’s is a story that is heart-breaking to watch, but must be told.
Director: Sara Blecher
Genre: Narrative (Drama)
Length: 2 h 02 mins
Winner, Silwerkerm Film Festival, 2015
Winner, South African Film and Television Award, 2016


…for film and books
Michelle has enjoyed the opportunity of assisting many wonderful writers realize their dreams with their screenplays, plays, novels, and non-fiction books.
Presently, she is consulting the estate of Jeff Corey to bring his memoir, Improvising Out Loud: My Life Teaching Hollywood How to Act, to the public. His former student and substitute teacher, Leonard Nimoy wrote the Foreword and the book will be out Spring of 2017.
Michelle wrote the screenplay for the short film, Beyond Belief, a romantic comedy. She has now expanded it into a feature film currently in development. She co-wrote the script for the feature film biopic, The Close-Up, depicting the life of Mary Pickford.
In the book arena, Michelle is the author of Downloads From The Universe, Actually, There is Something Under the Bed: A Parent’s Guide to Empowering Their Child In the Dark, as well as Of Course You Can Sing! Michelle also co-wrote with Kathy Kelly, Peter Straus, and Kenwyn Dapo, MenoOpop (a Menopause Pop-up and Activity Book). Weird, a novel about four teenage girls and their experiences with a OUIJA board will be her first fiction book.
“Michelle has a wealth of knowledge and experience growing up in the business which gives her a keen eye to help make sure your script is ready to be sent out into the world of the decision makers who can (greenlight) your script. Having Michelle take a look at my screenplay before I had a meeting with major studios such as Disney made me feel confident I was ready to take meetings.” – Wendy Wilkins, Award winning Actress/Writer/Filmmaker
“ It was just one Skype session with Michelle Cohen, when I got to the point in my writing where I felt like my head was in a blender, that stopped the spinning and set me on a path of clarity and true direction.” -Robin McDonald, actress and librettist


I'm not a fan of The Walking Dead myself, but then, I'm not much
of a TV viewer, period. But my husband watches the series, so I looked
in on a few episodes when it began, partly because of the Georgia
locations, and partly because I had read that it was supposed to be a
thought provoking look at how people handle a Götterdämmerung.
But even in the beginning, the carnage overshadowed the psychological
elements. I've seen a handful of episodes since then, usually when hubs
is watching off-season repeats, but I'm still no fan.
The premier for Season 7 that aired on October 23, was sadistic and
sickening, with no redeeming qualities whatever that I could see, and
for me that description now fits the whole series. I won't be watching
I actually think a story about how a people, a culture, handles the
collapse of their civilization would make a great TV series or
theatrical film, if it was realistic (i.e., not due to a zombie
apocalypse). In fact, I think how our Southern ancestors handled the
oppression of their region, its economy and culture, for several decades
after the civil war, would be fascinating -- although likely not in the
hands of leftist Hollywood haters.
A series about surviving civilizational collapse, whether fictional or
historical, could be still be thought-provoking, even compelling. The
collapse of civilization has occurred numerous times in various parts of
the world throughout history, and such catastrophes have already
inspired cinematic and television dramas. The reality of societal
cataclysm is beginning now in Europe and it's in full swing in Syria --
and some of the atrocities occurring in Syria would make the latest
episode of The Walking Dead look like a kid's Halloween special by comparison.
But regardless of how much worse reality can be, last weekend's sadistic
television make-believe was over-the-top. The reaction by some viewers
that I've seen online echo my thoughts. The series is no longer
character driven; it is driven by shock value. One viewer commented that
the episode was "snuff porn." Skimming comment threads about the
premier and the series itself, I saw many declarations that AMC and the
producers had crossed the line, and the viewer would not follow the
Reportedly, the Season 7 premier was the second highest-rated episode of
the series, so presumably next week's ratings will give an indication
of just how sick this sick episode made viewers and fans.


Yesterday night i watched the movie 'No Country for Old Men'. You can watch the trailer here. Its a wonderful movie. No wonder why this is nominated for the upcoming 80th academy awards. [Movie reviews @ RottenTomatoes.com].
[Update] This movie won the oscar for best picture.
just watched no country for old men, it's unassumingly unconventional yet (thankfully) never over-the-top. the Coen bros. deserve their Oscars; well done indeed.
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From 1948 to the 1970s, the Custody of the Holy Land was involved in the production of films, initially for an audience of friends close to the Holy Land, but which were then also used in catechism activities and in the promotion of the Holy Land.
The majority of the films were made by semi-professioanal directors, and we could define them “amateur works of a high standard.” They can be considered a milestone in the film category called “useful cinema.” Thirty-seven titles have recently been digitalized, after analysis and restoration, the films last between 9 and 2 minutes, except for one title which reaches 100 minutes.
This film production by the Custody of the Holy Land is part of the branch of films and documentaries made after World War II by several missionary institutions.
An outstanding figure for the production of these films for the Custody was a lawyer, Rinaldo Dal Fabbro (Venice, 1909 - Rome, 1977). Dal Fabbro, passionate about the cinema and with a fair experience in directing and scriptwriting, made a series of films on behalf of the Custodyfor the Commissariats of the Holy Land, with the supervision of Fr. Alfonso Calabrese, at the time in charge of the "Propaganda and Publishing” centre in Milan – today the seat of the Fondazione Terra Santa and the Edizioni Terra Santa.
Professor Elena Mosconi, lecturer in the History of the Cinema at the University of Pavia and a speaker at the lecture which was held on 22 November at the MIC, Milan Cineteca, explained the reasons that persuaded the Custody to choose the cinema as a form of expression. The meeting was under the auspices of the Fondazione Terra Santa, on the occasion of the restoration and digitalization of some films, curated by Milan’s Museum of the Cinema.
The university teacher recalled that the reasons for these productions are expressed by a contribution by Fr. Alfonso Calabrese, in the 1950s at the head of the “Propaganda and Publishing Centre” of Milan. Father Calabrese wrote in the Italian magazine "La Terra Santa" that “the films intend to acquaint Christians with the land where Christ was born and lived; to allow pilgrims to relive the experience of their journey; lastly, they aim to let the world know of the appeals for justice and peace that come from a land tortured by conflicts. These are aims which also designate the possible audiences and the conditions of screening.”
There are various themes that characterize the 37 restored and digitalized titles: films such as "The Mother" (1955), "Canticle of the Virgin Mary" or "Christmas in Bethlehem” (1954), while "The valley under the sea" (1954), "Holy Land" or “In the steps of God” have an exquisitely informative approach. Also worth remembering are “Return to the sources" (by Rinaldo Dal Fabbro, 1964), on the journey by Pope Paul VI to the Holy Land, and the films made by the director Ernesto Remani in 1948 which describe the situation of the places of Christ after the Second World War.
In January 1955, Mario Verdone, one of the most important Italian film critics and teacher of History and criticism of film, wrote about all this in the Rivista del Cinematografo. In his article, his highlighted the value of the work of the Franciscans in the field of the cinema, which was not only limited to the spiritual and religious aspect, but also the historical, geographical and human aspects.
"Film historians tend to file away these films in the category of "useful cinema", i.e. that amateur cinema promoted by religious, educational and professional institutions for their own ends, especially in the 1950s and 1960s," said Professor Mosconi. "It is perhaps a minor cinema, but it played anything but a secondary role at a social level: it brought people who were not usual filmgoers closer to the world of moving pictures , it conveyed new ideas and extended the topics dealt with to original subjects, at the service of collective purposes,” Prof. Mosconi concluded, underlining the positive potential of this “useful” cinema, which contributed to teaching the public how to read moving pictures.


You would not believe your eyes
If ten million fireflies
Lit up the world as I fell asleep
Cause they fill the open air
And leave teardrops everywhere
You'd think me rude, but I
Would just stand and stare.
I'd like to make myself believe
That planet Earth turns slowly.
It's hard to say that I'd
Rather stay awake when I'm asleep,
Cause everything is never as it seems.
Cause I'd get a thousand hugs
From ten thousand lightening bugs
As they tried to teach me how to dance.
The best movie you'll never want to see again
At the end of the movie, there was silence, absolute and total silence in the theater - and then, only an occasional sniffle until the end credits had finished rolling and the house lights came up. It would've seemed almost disrespectful to profane the silence with words.
Seeing a movie like this really changes attitudes about war - about who really suffers, and that the honor and glory is shallow comfort when you contemplate what has been lost in the struggle.
I've made the comment to my friends that if you ever see someone who isn't moved (usually to tears) by this movie, you've found someone without a soul. As difficult as it is to watch, turn off the phone, dim the lights, and immerse yourself in the film with ones you love - you will be a better person for it in the end.
The story is based on a bestselling novel by Akiyuki Nosaka. A survivor of the firebombing of Kobe in World War II, Nosaka battled starvation and actually lost his younger sister to malnutrition. Haunted for years by the experience, driven by the guilt of his sister's death, he wrote the book in hopes of silencing the ghosts surrounding him.
Even now, several years and several vewings later, its suffering and peacefullness remain a deeply touching experience.
When speaking about this film, Takahata and Nosaka confess that this story is better suited for animation, and they may be right. Perhaps this simply couldn't work with live actors. We would be too self-conscious of the sight of a real 4-year-old suffering; it would either look overly maudlin or hokey. But when animated, we more readily accept what Takahata shows us. It's realistic, but in the sense that Van Gogh and Coltrane is real. With its warm humanity, you feel emotions pulled out of you that you never knew you had.
Fireflies is equally full of moments of serene beauty, scenes of peaceful vitality. Visually, this is a beautiful movie. Everything is drawn in lush, vivid watercolors; the greens and blues of the lake, the saturated reds of a devastated Kobe, even the smoke from the bombers looks poetic. A bucket, a mop, a well - the film is littered with these snapshots of daily details.
If you haven’t seen it you owe it to yourself to experience this profound study of war and its effects on the human condition.


STEVE MCQUEEN IN JUNIOR BONNER24 May 2020Highligts-enNEWS This post is also available in: ItaJunior Bonner is a rodeo film which for several reasons is more than usually interesting. One is that it is directed by Sam Peckinpah (The Wild Bunch), another is that Steve McQueen plays Junior. The film also features a decent script and a strong supporting cast (Ida Lupino, Robert Preston). Junior has been out of touch with his family for some time. When he returns home to Arizona, he is shocked to discover that his parents are splitting up, and his brother (Joe Don Baker) is making a fortune by selling the family ranch for real-estate developments. He gets a bug in his ear about the local rodeo, and decides to compete, inspiring a brief family reunion in the process.


In a storm of passion and romance, Carol takes the silver screen through the eyes of a person in love. The 2015 film, directed by Todd Haynes –previously known for 2002 Far From Heaven, the period drama about forbidden love— rides on the familiar waves of infatuation and undeniable connection that comes with being completely in love.
Based on the novel The Price of Salt by Patricia Highsmith, an author more often recognized for her crime thrillers such as The Talented Mr. Ripley, the story follows Therese Belivet, a young woman played by Rooney Mara, who becomes entranced at first sight by a magnificently poised femme fatale (Cate Blanchete). As subsequent events draw them closer and mark their poignant interest for one another, it becomes obvious the significance each has on the other’s happiness. However, the 1950/1960’s setting shows their relationship as a frontier not yet understood and much less legally respected. This poses a problem especially as Carol, our femme fatale, is a just recently divorced mother.
The film’s cinematography is intimate and gothic with a score that matches the subtle suspense and intensity of a budding romance. Rooney Mara, lauded for 2011’s The Girl with the Dragon Tattoo, gives a spectacular performance of a vulnerable, yet open creature trying for her own happiness. With 5 Golden Globe and 6 Oscar nominations, Carol may be the best romance of the year. To be sure, this is not a movie for everyone, as the subject of love between two women is not yet as generally accepted as the typical heterosexual relationships portrayed in Hollywood. Unfortunately, beyond terrific acting, visual and sound direction, a weakness lies in the script for leaving a bit to be desired in immersing the viewer into the realness of the characters. The film is best appreciated when one embraces the simplicity of the connection between the two protagonists.
A high three stars.
A note from Gach Noi:
Traditional theater in Vietnamese culture, such as the operatic ‘Cai Luong,’ showcases tragedies and romantic tragedies full of plots and twists tying in economic and class dynamics to Shakespearean breaks in family relations. Yet the representation of lesbian, gay, and bisexual characters are still taboo in popular literature and we are yet to see “out” role models in the Vietnamese community. As more significant and respected quality media such as Carol are presented and embraced, so will the notion of love between any two people, regardless of gender, be embraced as an inarguable asset to humanity.
**Author’s note: I hope you’ve enjoyed this first movie review. There are many more to come, for a very diverse range of films. This first one is very dear to me, and I hope to continue sharing movies that may mean something more to you! Keep your eye out and happy viewing! (I’d love to hear your input, so comment below for thoughts or requests.)
Watch Carol’s trailer below:


Well, those weren't her exact words. She actually said, "I wouldn't pay for it but I'd love to see it." It's not the first time I've heard someone say something like that. Or statements like 'it's not the kind of film I'd watch in the cinema'.
It's no secret that the price of cinema tickets are pretty outrageous today. It's not something that I acknowledge much; the only time I ever have to buy a full-price cinema ticket is when purchasing for someone else. Last week I purchased a ticket for friends for The Equalizer at my local and couldn't believe it cost £11. From time to time, I notice the price of tickets in the West End branches of the mainstream cinemas and balk at the prices. More so when I consider then the added fee if the film is 3D/IMAX, as well as if you want to buy snacks. When I told my friend, he asked if it was IMAX or 3D, such was his confusion as to how expensive it was. I can't blame him. I'd even go as far as questioning how many people would honestly go to the cinema anymore if Orange/EE Wednesdays did not exist.


This is a great opportunity for pro-lifers in Northwest Missouri. "Thine Eyes: A Witness to the March for Life" is coming to The Hangar on South Main St. in Maryville Missouri, Septemeber 14 at 6 pm. Tickets are $5.00 at the door. Proceeds go to the "Thine Eyes Fund" in Olathe Kansas. One of the producers, Jack Cashill, will also speak about the film and take questions. The story behind the filming includes how Benedictine College in Atchison Kansas came to be featured in the film instead of Notre Dame University as was originally planned.
"Thine Eyes" was designed to look and sound great in theaters. If you have seen the movie on Youtube, on a TV screen, or attended the March for Life yourself, you will want to see it on the big screen along with others from around northwest Missouri. If you ever wondered what the march looks like from above, or why hundreds of thousand of people come every year, this is your chance to find out. Visit the official Thine Eyes web site and also check out Chelsea Zimmerman's article at Reflections of a Paralytic.


Do you have a creative Kid? Does your child thrive in the spotlight? Do they have an active imagination or hidden talent? Then enrol them in Creative STARZ Youth Theatre!
Theatre Director, Mrs C, provides a Drama programme for the budding performer who has never set foot on the stage to the one who shines in the spotlight. With over 10 years of experience as a Performance Art Teacher, Mrs C’s passion in youth arts inspired her to create a space where children grow through creativity while building their social & interpersonal skills. “I thrive off creativity and use Drama to inspire and motivate children to be themselves while stepping out of their comfort zone. Creative STARZ Youth Theatre motto is Inspire, Create, Fun!”
Creative STARZ Youth Theatre supports a creative and safe environment for ideas and imagination to be explored where children discover their own hidden confidence and character. Creative STARZ Youth Theatre offers Term workshops that are now running in The Shoalhaven. Want to know more? Please contact today! All children can be Creative STARZ!
Days Available: School Term


Most of my evening entertainment has already taken a “break” until January/February. For the last couple of weeks my evenings have been relegated to reruns or movie rentals, with the exception being Rizzoli & Isles. Thank you TNT television programming people! I need my grown-up television shows after a long day of playing planes, trains, and automobiles with my children. Tonight is the season finale and I am excited about how this season is going to play out.
What will happen with Korsak? Is he going to end up with his ex-wife and repair his relationship with his step-son? Is Jane’s FBI Agent crush going to come back and sweep Jane off her feet or are they going to fizzle out? Is Maura going to make a real go of it with Jane’s brother, Tommy? There are so many “What Ifs” running around in my head. I am very much looking forward to the season finally, but at the same time I am sad to see this season come to an end. This season has had great character development and creative story lines that I have thoroughly enjoyed watching.
Rizzoli & Isles Season Finale: Burning Down the House
A warehouse fire kills a man and Jane and Maura investigate whether it was arson or an accident. But their investigation hits a snag when a hit-and-run leaves someone in the hospital. To top things off FBI Agent Gabriel Dean (recurring guest star Billy Burke) makes an appearance and has high hopes of rekindling his relationship with Jane. As an added bonus, recurring guest star Jacqueline Bissett appears as Maura's mother, Constance Isles.
Tune in Monday at 10/9c on TNT to watch the Rizzoli & Isles season finally. And if you haven't seen the show, you can check it out here http://bit.ly/lnDvyi!
I have been hired by Warner Bros. WBWord division to promote Rizzoli & Isles.


This is the website for the Lego James Bond Brickfilm: "007 Operation: Cement Dust". The movie gained quite big popularity on YouTube. Many people asked for more background information and how the film was made. Therefore this site was set up.
You can get information about the making of the film in the "Making of" section. In the "Downloads" section "Operation: Cement Dust" is ready for download in high quality. Moreover there are a few more videos available, I had made before "Operation: Cement Dust". The quality of them is not very good because they were some kind of learing works. But there you can see how it started.


10 “I never thought I’d say this but, it’s good to see you, Arthur Morgan”
The moment Red Dead fans have been waiting for, John’s first appearance in the sequel. After the botched Blackwater heist, the Van Der Linde gang has been chased all the way up into the snowy mountains of the Grizzlies. During the getaway, John is separated from the group, and Abigail begs Arthur to go looking for him.
Accompanied by Javier Escuella, Arthur finds John close to death and sporting a few new scars. A series of wolf attacks are the cause and finally, the origin of John’s scars are revealed. As Arthur begins to help John out of his snowy predicament, John says this quote in a manner of classic Marston sarcasm.
9 “Rip Van Winkle”
When approached by Agent Milton right after having his son stolen by the Braithwaite’s John is scared and nervous. Having killed many of the Braithwaite’s, stealing their horses and moonshine, John believes his son might soon be hurt to which Dutch, Hosea, and Arthur do their best to convince him otherwise. During the conversation, Agent Milton finds the camp and approaches them making demands.
He calls out each member by name except John, whom he asks “Who are You” and in typical John Marston fashion, he answers with this line. In the face of police finding their camp, and the drama involving his son, he still finds the time to talk a little smack to the Pinkertons.
8 “What Plan? What Goddamn plan Dutch?”
After Dutch convinces Eagle Flies to lead his men to an army controlled oil field for an attack, John utters this line. This comes after John’s escape from Sisica penitentiary, and tensions are at an all-time high. Dutch states he is partially responsible for Eagle Flies attack, and that it is all a part of his plan.
John fed up with Dutch’s talk, demands What Plan, what Goddamn plan Dutch? It appears John has had enough of Dutch’s beating around the bush. In a mocking attempt to answer his own question John even starts naming locations to run too “Tahiti? Timbuktu?” Javier retorts “Enough what happened to loyalty?” To which John responds “Yeah, What did?”
7 “Dutch you left me, you left me to die”
After being shot off the train during the final robbery, John returns just as Arthur has pulled his gun on Micah and his two hired guns. It’s been revealed Micah is the rat from Agent Milton himself, and Arthur is ready to settle it all as John shows up and reveals that Dutch left him behind during the train heist.
Dutch responds by trying to calm the situation, calling John his brother and his son. John has had enough of it and immediately sides with Arthur. This line is one of a few that catalyst into the end of the Van Der Linde gang, and the death of Arthur as the Pinkertons ambush the camp in the middle of the standoff.
6 “John…JIM Milton..”
While being introduced to Mr. Gedes after defending his home at Pronghorn Ranch, John is caught in a lie. He has already introduced himself as Jim Milton to Mr. Dickens, Mr. Gedes’s farmhand, and has been going by that name. Yet during John’s first encounter face to face with the owner of Pronghorn Ranch, he forgets his alias and introduces himself as John…Jim Milton…
He quickly realizes his mistake and tries to cover it by saying Jim Milton right after saying John, but the damage is done. Mr. Gedes assistant Mr. Dickens realizes it immediately and gives a look at John of curiosity. Mr. Dickens also mocks him directly after saying “You hear that John Jim”. This was a heart-dropping moment for players rooting for John Marston to keep things under control.
5 “I am always honest, maybe not always good, but I’m always honest”
Years after the end of the Van Der Linde gang and Arthur’s passing, John, his wife Abigail, and son Jack, are entering Strawberry. John wonders what’s for them there in Strawberry and Abigail states they like honest hard-working men there to which John replies with this classic quote.
John can acknowledge his flaws in a funny manner, and it becomes even funnier hearing the background to this conversation. The reason for the move to Strawberry is because John shot someone that he claimed needed shooting. Like he said, honest, but not always good.
4 “Like what, writing silly stories?”
While Sadie is attempting to recruit John full time into her bounty hunter work and possible transportation business, she suggests the work is so easy even Jack could do it. To which Abigail gets very angry and states not to fil his head with bad ideas.
She continues her tirade saying Jack will do something better than all of this. John quickly retorts back Like What? Writing silly stories? John has always had a weird relationship with his son, and the way he reacts to his son’s passion, hobby, and possible future involving reading and writing is terrible. It sums up just how tumultuous their relationship is, and how far they still have to go.
3 “All of this wouldn’t exist if it weren’t for Arthur, Sadie, and all the folks that fell”
When John finally has everything he wants, the ranch, his wife and son back in his life, Sadie shows up at Beecher’s Hope. She has tracked a former associate of Micah and is confident in the lead.
In the spur of the moment, John has to decide if he’s riding for revenge, risking everything he has worked for, or if he’s staying home and putting it all behind him. He chooses to ride with Sadie and Charles as they trace Micah’s associate to Strawberry. This scene echos John and Arthur’s talks about loyalty and who to be loyal too. In the end, Arthur was his most trusted friend and even after completing what Arthur wanted, John to escape and live with his family, he puts it on the line for certain closure.
2 “I remain a fool, and I’m sure I shall die a fool, but I’m trying very hard to be something like the man you deserve”
John seemed down and out, working as a farmhand, family recently left, and struggling to make any money. During one specific argument, Abigail mentions Beecher’s Hope in passing not even necessarily serious about it, just the fact they needed their own place. After Abigail and Jack leave John at Pronghorn Ranch he goes above and beyond to show that he was listening, and purchases Beecher’s Hope with the help of Mr. Gedes.
The place is a dump when John arrives yet he fixes it up and builds his own home with Charles and Uncle in hopes that one day Abigail and Jack will return. In a letter to Abigail, John writes this line, and it fully represents how far John is willing to go to make things right.
1 “Dutch….Dutch… We all did our best for you… ain’t our fault things turned out the way they did”
Micah has Sadie Adler at gunpoint, Dutch has John at gunpoint. Up in the snowy mountains of The Grizzlies, it appears the revenge plot has gone terribly awry. John and Dutch go back and forth over who shot at who first, who betrayed who first, and who the selfish one was.
Even in the face of adversity and two guns drawn on him, John still declares his loyalty to Arthur stating “Arthur saved my life, more than once”. Realizing how dire the situation looks, John stares at Dutch and pleads this quote. He follows up by saying killing him won’t help anything which actually appears to leave Dutch speechless. John follows up demanding and screaming that Dutch say something, anything, and as Dutch stares back he proceeds to shoot Micah in the abdomen, leaving him for John to finish. The redemption arc has finally come full circle.


Film & TV
McMaster’s scenic campus is a sought-after setting for television and film shoots from May to August. Our manicured grounds, a wide array of buildings and athletic facilities along with on-site crew accommodation make for a convenient, budget-friendly choice. Our experienced team and beautiful campus will make our location a great choice for your next production.
Please contact the Manger of Conference & Event Services
directly to set up your site visit and kindly review the McMaster Film Policy
in the meantime.