All children want to play. Children with disabilities are no different. “Ian” is a short, animated film inspired by the real-life Ian, a boy with a disability determined to get to the playground despite his playmates bullying him. This film sets out to show that children with disabilities can and should be included.
“Ian” premiered at Cannes in May 2018. It was written by Gastón Gorali (Metegol/Underdogs), produced by Academy Award winner Juan José Campanella (The Secret in their Eyes) and Fundación ian, a nonprofit founded by Ian’s mum, whose mission is to make life better for families with disabilities. The animated film has won numerous awards internationally. “Ian” has also qualified for the Best Animated Short category in the 2019 Academy Awards. A special film – please take a moment with your child(ren) to watch this.


The first feature film to use the special sound effect process Sensurround, Earthquake brought in $36,250,000
for Universal during its theatrical run. Although the DiscoVision jacket calls for the film to quake for 129
minutes, the movie only runs 122 minutes. The 129 minute version appears to be the run time of the television
version. All theatrical reference material lists the run time for Earthquake at 122 minutes. It left the
DiscoVision catalog after the October 1980 edition. Frame counts have been known to vary from copy to copy
indicating more than one mastering of the title.
MCA Home Video reissued Earthquake in October 1987 as a 3 sided CLV/CAV title (Catalog #: 10002).
MCA/Universal Home Video released a Widescreen version (2.35:1) of Earthquake in August 1994 (Catalog #: 42072).


The OHS Theater will take the stage once again for its final show of the school year to present: Puffs.
Puffs, or: Seven Increasingly Eventful Years at a Certain School of Magic & Magic is the Off-Broadway comedy by Matt Cox that follows a group of well-meaning magical misfits during the times of that certain boy wizard.This Potter-inspired comedy is for anyone who has ever felt like a secondary character in someone else’s story. The play gives the audience a fresh look at a familiar adventure from the perspective of three new heroes trying to find their place in this world. In this hilarious parody of a familiar story, this trio is just trying to make it through a magic school, a challenging feat indeed! Alongside them are the Puffs, a group of well-meaning, loyal outsiders searching for a place to belong. Their epic quest takes the classic story to new places and reimagines what a boy wizard hero can be.
Shows will take place in the OCS Auditorium on April 29 & 30 at 7pm and May 1 at 2pm.
Students & Senior Citizens: $5
Tickets will not be sold at the door, but are available for purchase anytime at: olivethstheatre.ludus.com


Mediation has made it to Hollywood. The opening scene of the romantic comedy The Wedding Crashers (2005) features a hilarious attempt at divorce mediation. The mediation scene does not demonstrate any mediation skills to be emulated and the film itself, apart from the opening scene, has nothing to do with mediation. Nevertheless one cannot ignore the power of the borderless dream machine called Hollywood. The Hollywood film industry does more than export films and fantasies around the world; it is a driving force in the globalisation of the themes with which it deals. When mediation becomes one of those themes — albeit fleetingly — it is on its way to becoming a globalised concept.
Mediation, globalization, technology
Dispute Resolution and Arbitration
ADR Bulletin: The Monthly Newsletter on Dispute Resolution
Mediators without borders: How technology is leading the charge to globalised dispute resolution. (2006). ADR Bulletin: The Monthly Newsletter on Dispute Resolution. 8, (9), 169-174. Research Collection School Of Law.
Available at: http://ink.library.smu.edu.sg/sol_research/1888
Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.


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Do you know who these famous people from the 60s and 70s are?
How old was Olivia Newton-John when she played Sandy in "Grease"?
Which British actress played the lead role in "The Sound of Music"?
Bob Beamon set a world record in which athletics event in 1968?
Sugar Ray Leonard won a world title in which sport in 1979?
What was the name of the 70s TV detective played by Telly Savalas?
How old was Sir Stanley Matthews when he played his final professional football game in 1965?
What was the first name of Mrs Thatcher, who became British Prime Minister in 1979?
Which actress did Richard Burton marry in 1964?
King Baudouin was the Head of State of which country in the 60s and 70s?
What was the first name of Ms Bardot, the 60s movie star?
We selected 3 interesting quizzes for you
Try this Proverbs quiz and see if you can find the missing word!


movie 4k For the Best Movie ExperienceBy admin
December 10, 2018
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Making Movies Work
With the dawn of the internet came the many ways of spending some of your time for entertainment. Movies online is just one of the most convenient and cheapest way to get entertained. You are also given the liberty to choose which movies to watch. Compared with watching movies in cinemas, watching movies online allows you to choose the movie that you want to watch. In cinemas, you only have to be contented with what is available. However, with watching movies online you get to choose the movie that you want to watch. movie 4k also offers TV series that you missed. Just go online and search through reliable sites like Sockshare.
When watching movies online, just make sure that you are watching from reliable sites. There are sites that might scam you in whatever way they can. To be sure, just choose sites that have gained the confidence and trust of fellow viewers. The reviews can greatly help you on this.


I’ve gotten several notices in the last several days about money for female filmmakers. Here’s what I’ve heard — add anything you know about in the comments!
Reveal, a project of the Center for Investigative Journalism, wants up-and-coming filmmakers for their new filmmakers-in-residency program. You have to be in the first 5 years of your career, have some basic shooting & editing skills, and be stoked to collaborate with CIJ’s team of investigative reporters. (Given the amazing work they’ve been doing lately, not hard.)
Reveal has one more thing: If you’ve got more experience than that, and a good idea in the works, apply to make a film for Reveal’s new documentary series. They’re short films, to be completed by June 2017, and to focus on women “taking control, taking power, taking chances.” The goal is to unite investigative journalism with cinematic storytelling. I mean, yes. Fill out this form by Sept 23. Then you can apply; decisions are rolling, until mid-October.
Birds Eye View has three programs for UK filmmakers — one for distribution executives (with 7+ years’ experience), one for coaching and mentoring, and one for a short-term “booster” program. Get the details.
Britdocs has several terrific funding streams, including one that focuses on international stories told by filmmakers from those places. Check out their website for specs/deadlines on each. (h/t @writersofcolor)
These are just a few opportunities that happened to land in my Inbox because PR people want me to spread the word (hi!). A quick Google found a few different lists of grants and other resources for women filmmakers.
And if you know any more, add on in the comments! The more great women filmmakers applying for great opportunities, the more great films get made — and the more we can finally start nudging dudes out of the way all the time, not just when there’s a grant.
PS: I borrowed the cover picture of bad-ass lady filmmaker Iris Ng from Michael Baker Studio, who made the image for , the Liaison of Independent Filmmakers of Toronto, via Creative Commons. Ng was the cinematographer on the Netflix hit How to Make a Murderer, but there’s many more reasons she’s bad-ass, which Sara Black McCulloch details in cleo, a journal of film and feminism.


Actor Robert Duvall responds during an interview at the La Meridien Hotel in Beverly Hills, Calif. Duvall directed the film "Assassination Tango," in which he also stars as an American hit man who indulges his enthusiasm for formal dancing in South America while waiting for his next kill.Mark J. Terrill/AP
LOS ANGELES - Many actors in their 70s gripe that they're lucky to land marginal roles as somebody's grandpa. Not so with Robert Duvall, who says he's getting more acting offers the older he gets.
This year alone, Duvall has been seen as Robert E. Lee in ''Gods and Generals,'' and has plum parts as an eccentric uncle with a shady past in the upcoming ''Secondhand Lions'' and as a trail boss in Kevin Costner's Western ''Open Range.''
Then there's the tango-fixated hit man he plays in ''Assassination Tango,'' which Duvall wrote and directed.
''I tell you, I get more parts than ever now,'' Duvall, 72, said in an interview. ''A lot of wonderful parts have come my way, and I appreciate it. Maybe they'll continue. You never know what's around the corner. ...
''Maybe there aren't many guys left for these parts. There are only two or three left,'' Duvall joked.
''Assassination Tango'' is Duvall's writing-directing follow-up to 1997's ''The Apostle,'' a low-budget story he financed himself about a Southern preacher who goes on the lam after an act of jealous violence. Duvall earned a best-actor Academy Award nomination for the role.
Duvall, who won the lead-actor Oscar for 1983's ''Tender Mercies,'' drew on his own passion for tango in his latest story, the tale of a New York City hit man on assignment in Buenos Aires, where he fills some down time while waiting for his quarry by immersing himself in Argentina's dance culture.
Luciana Pedraza, Duvall's real-life girlfriend of seven years, makes her acting debut as a tango dancer with whom the hit man has a dalliance.
Duvall has divided his time over the last five years between big Hollywood spectacles (''Deep Impact,'' ''Gone in 60 Seconds,'' ''The 6th Day'') and small, intimate projects including his own stories or the Scottish soccer flick ''A Shot at Glory.''
He shelled out $3.5 million of his own money to shoot ''The Apostle,'' which became the object of a bidding war at the Toronto International Film Festival. For ''Assassination Tango,'' old friend Francis Ford Coppola, who directed Duvall in ''Apocalypse Now'' and the first two parts of ''The Godfather,'' signed on as executive producer and lined up financing.
''It was like full circle, because Coppola always had said I should play a tango guy from way back,'' Duvall said.
Duvall's interest in the dance goes back 15 years, when he caught a performance of the show ''Tango Argentino.'' He got to know dancers involved with the show, then visited Argentina, where he hung out at dance clubs and saw some legendary old-timers doing the tango.
''Those older guys are dying off now. I knew some of them. One guy was a beautiful dancer, very slow, very interesting. Slow and then violent. I loved his dancing. Another one died of a heart attack dancing in front of a bunch of heart specialists. So there's always a story with the tango.''
The story behind Pedraza's participation resulted from frustration in casting the role of the hit man's new dance partner. Duvall needed a Hispanic performer who spoke good English, and for authenticity, he was more interested in finding a real tango dancer and turning her into an actress rather than teaching a trained actress to dance.
Pedraza, from Argentina, had come to share Duvall's ardor for tango, which they practice together on the dance floor Duvall had installed in a barn at his Virginia farm. While Duvall started too late to become a master dancer, Pedraza - about 40 years younger than he - is good enough to turn professional if she wanted, Duvall said.
Eventually, Pedraza offered to play the part. Duvall agreed, and they spent a year putting her through improvisation exercises and other training to prepare her for the cameras.
Over putting his girlfriend in his movie, Duvall said he felt ''not hesitation, but hesitant. Nobody questioned me about it. I don't much like nepotism, but I knew I needed this, a dancer, not necessarily an actress. ...
''Because once the non-actors get to a certain level, they'll put the professional actors on notice. They can be just as good, just as pure, no bad habits. So I like to take a chance. Once we got to a certain place with Luciana, I knew I was home free.''
Pedraza said her big problem was memorizing dialogue. Seeing Duvall act for years proved a good training ground, she said.
''He's someone who is always learning, even in his own profession,'' Pedraza said. ''In a sense it's like the tango, where you have room to keep learning and incorporating new things and getting better. I don't think he feels he has mastered his profession, and I think that's what keeps him growing as an actor. That's why he keeps working.''
The son of a naval officer, Duvall did an Army stint before he started acting in the 1950s. Stage and TV work led to his screen debut as Boo Radley in 1962's ''To Kill a Mockingbird.''
Duvall starred in George Lucas' early film ''THX 1138,'' originated the role of Frank Burns in ''M-A-S-H,'' played the surf-crazed colonel in ''Apocalypse Now'' and was an autocratic military pilot in ''The Great Santini.'' The latter two films earned him Oscar nominations.
He has gone back and forth from the big screen to television, where he starred in movie biographies of Josef Stalin and Adolf Eichmann and had the favorite role of his career, in the beloved miniseries ''Lonesome Dove.''
Duvall said he would love to write and direct another film, but he has run out of ideas. He has a couple of sketchy plots, but the stories are not developed well enough, he said.
Yet Duvall does not lack for opportunities. He has been turning aside offers for a smaller role or two so he can take some time off, but he might go back to work this fall in Andy Garcia's feature-film directing debut, set in Cuba before the rise of Fidel Castro.
Duvall figures more acting offers may be coming nowadays simply because he has gotten better as he ages.
''Yeah, I'm a late, late, late bloomer,'' Duvall said. ''Until they wipe the drool off me, I'm a late bloomer. Let me keep trying.''
Published in the Athens Banner-Herald on Sunday, March 30, 2003.
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The Classic Thriller Theatre Company presents The Case of the Frightened Lady, a new adaptation of the iconic “detective thriller” by Edgar Wallace.
Wallace is largely regarded as one of the most popular writers of the 20th century, and his novels are credited as being the father of the modern thriller. The Case of the Frightened Lady is his most celebrated piece, and has been adapted to film several times. Now, audiences can see the story unfold live on stage – right before their eyes.
The story follows Inspector Tanner, who is called to Mark’s Priory to investigate a murder. The estate is the Lebanon’s ancestral home, but not all is right at the Priory. The household appears to be under the control of the family doctor, and Isla, the secretary, is afraid for her life. The footman of the home act more like guests than servants.
As Tanner’s investigation unfolds, he discovers a closely-guarded and shocking secret.
The production will tour the UK from February through October of next year, with stops at Aylesbury Waterside Theatre, Regent Theatre, New Victoria Theatre, Milton Keynes Theatre and Theatre Royal Glasgow.
The Case of a Frightened Lady was first adapted to film in 1932 by British thriller director T. Hayes Hunter. The film starred Cathleen Nesbitt, Emlyn Williams, Belle Chrystall and Normal McKinnel.
In the 1932 adaptation, a young woman stays with Lord Lebanon. Two murders quickly lead to the arrival of detectives, and cause the young lady to fear for her life.
The play was again adapted into film in 1940 and was directed by George King. The film starred:
- Felix Aylmer as Dr. Lester Charles Amersham
- Ronald Shiner as Sergeant Totty
- Marius Goring as Lord Lebanon
- Penelope Dudley Ward as Isla Crane
- Helen Haye as Dowager Lady Lebanon
- Patrick Barr as Richard Ferraby
- George Merritt as William Tanner
- George Hayes as Brooks
- Roy Emerton as Gilder
- Roddy Hughes as Vicar
- Torin Thatcher as Jim Tilling
- John Warwick as Studd, The Chauffeur
- Elizabeth Scott as Mrs. Tilling
The 1940 film was released on DVD in 2008, and was the first time the film had been in public since its original debut in the theatres.
The BBC has also produced two TV versions of the story: one in 1938 and one in 1983.
The all-star cast of the Classic Thriller Company’s adaptation has yet to be announced. The show will tour the UK, with future dates to be announced.


The Ovation Awards (UK) is an event designed to bring new writing for theatre to the forefront. There is a lot of exciting new writing talent in the theatre industry which struggles to find a forum in which to be presented. These awards hope to provide a platform for writers to showcase their work, as well as an opportunity to receive feedback from industry professionals and theatre goers.
The Ovation Awards is a Planet Rabbit Productions event www.planetrabbit.co.uk
This national competition invites writers to submit short plays and monologues, each lasting approximately 7 minutes long. 10 pieces will be chosen and these selected finalists stage their plays at the Ovation Theatre Awards event in a bid to win one of the 3 awards up for grabs. Awards presented are Best New Writing, Best Actor, and Best Production. Two awards are selected by a panel of judges and one award chosen by the audience. For writers this is an ideal opportunity to showcase new writing and to meet with writers, actors, directors and judges at the event.
For an audience this is a great opportunity to see 10 short plays in one night, watch exciting new theatre and encourage fresh talent.
We shall not be holding an event in 2013 due to an increased workload at the production company. However, we do intend to hold more events again in the future - with a new & improved structure. Details of any future events will be posted here. Thank you.
The 2012 event took place on 20th October 2012 at the Partington Theatre, Glossop, Derbyshire.
The 2011 event took place on 12th November 2011 at the Square Chapel Centre for the Arts, Halifax, West Yorks
The 2010 event took place on 20th November 2010 at the Pavilion Theatre, Whitby, North Yorkshire.
If you entered the 2010, 2011 & 2012 competitions please don't let this stop you entering again in the future. We had piles of wonderful entries and next time it could be you in the final event!
TO BE TAKEN TO OUR FACEBOOK PAGE PLEASE CLICK HERE


This article is a stub.
You can help Peter Pan Wiki by expanding it.
History[edit | edit source]
Orphan Peter Pan is one of a gang of juvenile street thieves assembled by arch crook and ace fencer James "Jimmy" Hook. When Jimmy scores a major job, the ever-willing-to-please Peter talks the other boys into pulling off the heist themselves in order to impress Jimmy. They manage to steal a strange glowing orb from a gallery for a mysterious man. While Peter is off to the side, the boys and Jimmy gather around the orb. When Jimmy gives it a tap, Peter watches a glowing sphere encompass them and they disappear. Believing his friends dead, Peter runs to find the man for whom they stole the orb in order to exact revenge. The man tells Peter that they are still alive, so Peter hits the orb himself to see where they went.
Physical appearance[edit | edit source]
Peter is displayed in normal clothes with faerie silk weaved in, with brown hair and brown eyes.


Ohhhh where to begin with this film!
(If you’re not sure where to begin either, try ruminating while playing the 8-bit game – but only after watching the film, as it contains spoilers.)
So many themes have been pinballing around my mind after watching this film, but the first thing that comes to mind now that I’m putting fingers to keys is the idea of legacy. Since I’m in my early 50s now, and I recently experienced the untimely death of a very pivotal friend who was the same age, the concept of legacy has been gaining traction for me.
In reading the IMDB User Reviews for this film (of which there are 932 at the time of this post), it’s incredible how many people haaaated it. Or just didn’t “get it” – their words, not mine, and I don’t hold that against anyone. I do wonder about the average age of most of these reviewers, and how many of the (scant) favorable reviews might have come from middle-agers like me, who were struck by Colm’s misguided and desperate attempt to secure some sort of legacy. Just to level set, very few of the reviews I read mentioned the word legacy, so I’m not sure how much that theme resonated with everyone.
Anyway, even if most of those who bothered to post an IMDB review were compelled to do so because they were so hated and repulsed by it, this film obviously made a lot of people feel strongly. Which is a win, right, since the point of art is to make you feel something? To that point, the debate for most of these reviewers seems to be that a film shouldn’t just make you feel something for the sake of feeling, it has to make “sense” as well. A film can’t be just a piece of abstract art, because when it approaches those levels, people go ballistic. Don’t get me wrong, I’m not saying this film is the Jackson Pollack or Vassily Kandinsky of films, but these themes come to mind because people really seem to hate when a film doesn’t have a sewn-up conclusion and leaves things open to interpretation. I know because I used to be like that about stories (especially short stories!), abstract art, and films when I was much younger. Like, school-age.
Now that I’m an older (more seasoned?) consumer of media and stories, I appreciate these kinds of stories more and more. Maybe it first really clicked when I read about Hitchcock’s filmmaking philosophies in Hitchcock/Truffaut back in college; Hitchcock’s argument was that it doesn’t serve the audience, or filmmaking, to spoon-feed everything to the viewer. People get more out of a film if they are “forced” to engage with it by being drawn into the mystery and having to do a little bit of work to unpack the story. This philosophy evolved from his starting out during the silent film era; visual storytelling was part of Hitchcock’s DNA, and it continued throughout his career in the sound era.
The point is, with the kind of film this is, being simple and sparse, yet rich thematically, you can take what you want from the story. For me at the moment, it is legacy (and lunacy). In Banshees, the character of Colm Doherty (Brendan Gleeson) is perhaps depressed, but as it is defined between him and his priest, Colm is possessed of intermittent “despair.” This despair / depression may be what drives Colm to do what he does, although there could be additional mental issues going on as well.
Either way, Colm is so desperate to secure a legacy that he is driven to extremes. Why does he suddenly become concerned with this so late in life, and decide that he needs to go to extreme measures to be able to write a piece of music that he thinks (hopes?) will live after him? I don’t know that the “why” really matters here, but when people become (suddenly?) obsessed with legacy, I think there’s typically either a triggering event that causes a panic, or something internal just “switches on.” In this story, Colm offers the following “rationale”:
I just… I just have this tremendous sense of time slipping away on me, Padraic. And I think I need to spend the time I have left thinking and composing. Just trying not to listen to any more of the dull things you have to say for yourself. But I am sorry about it. I am, like.Colm Doherty, The Banshees of Inisherin
However, nothing in the film indicates that there was any kind of triggering event or dramatic agonizing shift that caused this; it seems to have just occurred to Colm one day. It was certainly painful for him to decide to cut off contact with his (alleged) best friend Pádraic Súilleabháin, but he’d made his peace with it. Of course, it’s quite selfish of Colm, and not so simple a thing to do as he imagines.
I think Colm is probably mentally a bit off, due to depression/despair/other issues, because he ultimately shows he’s not acting logically or rationally by threatening to self-mutilate himself to get the thing he says he wants, which would then prevent him from getting the thing he says he wants. That said, he does indicate later in the film that maybe he is just “entertaining” himself “while staving off the inevitable.” As a result, I think Colm is possessed of self-loathing as well, so he has conflicting desires between wanting to secure a legacy and preventing himself from doing so because deep down he feels he is not “worthy.” Luckily, Colm completes the tune he intends for his legacy, which he calls The Banshees of Inisherin, before he ends up completing his self-mutilation. So I guess all comes out well in terms of his legacy. Right? Yikes!
In the end, Colm actually ends up externalizing the war within himself to include his poor ex-friend Pádraic, who is now his sworn mortal enemy. Colm has written his legacy-making tune, so now he is free to concentrate on hastening own end by degrees – today it’s five fingers, maybe tomorrow it’s murder by Pádraic, or possibly committing suicide. Now I’m getting depressed…LOL?! Either way, I really don’t hold out much hope for these two by the end of the film.
To end this on a hopeful note, the only moral of the story I can think of regarding legacy is…don’t worry too much about it, and don’t force it. In the immortal words of Coach Morris Buttermaker in The Bad News Bears, just “get out there do the best you can!!”
Pádraic’s sister Siobhán ends up doing just that in The Banshees of Inisherin, and her character arc is the only note of hope in this film. So, in a world of Colms and Pádraics, be a Siobhán!
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Whip It is a 2009 Ellen Page vehicle directed by Drew Barrymore and based on Shauna Cross' novel Derby Girl. In the film, Bliss (Page) discovers roller derby, despite the limitations of living in a small Texas town under the watchful eye of her mother (Marcia Gay Harden), who makes her compete in local beauty pageants. Supporting characters include her best friend Pash (Alia Shawkat), intriguing musician Oliver (Landon Pigg) and roller derby ladies such as Smashley Simpson (Barrymore), Maggie Mayhem (Kristen Wiig), and Rosa Sparks (Eve).
Let's be frank: if you're reading this blog, you've probably already seen Whip It. Some of you might have come to derby specifically because seeing Whip It sparked or finally confirmed your interest in derby. Personally, I received a DVD copy of the film as a birthday present around the same time I started playing and planned a special showing with my partner, only to get impatient and watch it in secret. If you haven't seen the film, do so.
Whip It is good but not stellar. It's funny but impaired by a lot of sport movie and coming of age cliches. (My partner did give it points for having an actual sport tactic matter to the film's climax, however.) Its representation of derby culture, ranging from the physical challenges, to female rivalries and friendships to the often male coaches and implied male spectatorship is mostly spot-on. The game itself is misrepresented, as derby often is in television and film, as a no-boundaries contact sport, rather than a full-contact sport with checking but, say, no elbows to the face. For those who do want roller derby without penalties, this is what you're looking for.
The film's relationship with women is a mixed bag – it can be rightly commended as a feminist film, but one still perpetuating some tired stereotypes about women's bodies and (spoilers! Highlight to read) sex and what its relationship is to a woman's value. Bliss' mother misses a chance to correct this and it's sad to watch. As a fun film for derby enthusiasts and a fairly solid introduction to what roller derby can mean to a woman who feels frustrated by social or cultural limits on what she can do, Whip It does the job.
More broadly, Whip It is a good sign of the proliferation of roller derby culture. It's a derby film, penned and directed by women, largely driven by a female cast. The actors were extensively trained to skate and even in London, ON, our local Forest City Derby Girls partnered with a cinema to promote the sport at the film's premiere. That is astoundingly cool. At the same time, Whip It was a middling critical success and a definite commercial flop. And we need more roller derby films, more successful examples of the sport being depicted in entertainment. (Fun Fact: Zoe Bell, who played Bloody Holly in the film also played a roller derby player in the CSI: Miami episode, “Wheels Up” in 2011, which I'll review next week. Zoe was also Xena's stunt double.)
Modern roller derby has seemed to find more lasting success thus far when depicted in documentary style. The recent Hell on Wheels (reviewed by me here) and the A&E-tastic Rollergirls and the myriad of short derby docs making the rounds on Youtube (Brutiful is one) have received more consistent attention. Whip It is one of a very small number of feature films that attempt to portray roller derby as part of a story (the Rollerball remake with Chris Klein and LL Cool J does not count). And as I said, Whip It isn't perfect.
But it's pretty cool to have a solid roller derby film that isn't old enough to have featured a young Mickey Rooney.


Woe22Apr202019:30Het Pand, Onderbergen 1
Cerise lecture: Soviet Art House: The Secret History of Lenfilm Studio - CANCELLED
Catriona Kelly (University of Oxford)
Catriona Kelly is Professor of Russian at the University of Oxford and a Fellow of New College. She has published many books and articles on Russian history and culture, including St. Petersburg: Shadows of the Past (Yale University Press, 2014), which was shortlisted for the Pushkin Russian Book Prize. She is currently completing Soviet Art House, a study of the Lenfilm studio from the early 1960s to the 1980s.
Soviet cinema is universally regarded as one of the world's great film traditions, but it is mainly the movies from the 1920s and the 1930s that are familiar to Western audiences. By and large, too, we know film history in terms of famous directors (from Eisenstein to Tarkovsky), but have little awareness of the studio culture that shaped film production. Catriona Kelly's lecture, based on extensive work with Soviet archives and oral history, uses the history of one of the USSR's most important studios, Lenfilm in Leningrad, to explore how studios as well as film artists had their own 'handwriting'. Rather than simply making up a further line of bureaucratic obstruction, they provided film artists with material and psychological support, and were highly individual and in some respects successful working environments for a variety of artists, including set painters and costume designers as well as the famous names at the top of the credits. The lecture gives particular attention to the ways in which Lenfil'm nurtured (while also sometimes coercing and even bullying) young filmmakers in the Khrushchev and Brezhnev eras, a period at which the radical expansion of the film industry led to a mass recruitment drive and brought in new generations of young people whose views and ambitions were often very different from those of the established 'masters' who had dominated movie production in the Stalin era.


THE LITTLE DOG LAUGHED
by Douglas Carter Beane
The Village Playhouse
Mount Pleasant, South Carolina
‘Little Dog’ has lot to say
BY DOTTIE ASHLEY
Post & Courier Reviewer 08/14/09
Playwright Douglas Carter Beane is fearless and so is the Village Playhouse for taking the risk in staging The Little Dog Laughed, a fascinatingly honest play about show business.
With veteran director Steve Lepre’s magical timing and a cast of some of the city’s best actors, the comedy/drama was as mesmerizing as the Broadway version I saw in 2006.
Liz Duren, as the deal-making, fast-talking agent Diane, grabbed the audience the moment she stepped on stage in her stilettos. As a Hollywood agent whose star client Mitchell is suffering from “a slight case of homosexuality,” Diane well knows that a gay man who plays a gay man in a film will never get the credit that a straight man would.
Randy Risher, as Mitchell, exudes the intensity of someone who desperately wants it all: to be a famous movie star and to be in love with Alex, a male prostitute. Will Haden, as Alex, is more beguiling than the Broadway actor, and should be in a full-page Gap ad. Playing against type, Emily Wilhoit brought a hilarious, vibrant dimension to Alex’s girlfriend Ellen, who dates older rich guys for a living.
Beane’s dialogue is so witty that you are unprepared for the serious subjects in the second act. You leave the theater not thinking of the brief nudity but of how careers and lives are wrecked because of the myopia of society. You will be riveted to the stage every moment.
Sexy, Hilarious Little Dog
BY GREG HAMBRICK & SHANE SEARS
The Charleston City Paper 08/14/09
The City Paper sent out its theater queens to take a look at The Little Dog Laughed. The pair is happy to gossip about closeted gay actors, but the gerbil rumors make them a little nauseous.
Greg: The Little Dog Laughed is about ...
Shane: Two smoking hot guys who get naked for my enjoyment.
G: Well, you and the little old ladies in the audience. The Little Dog Laughed is about a rising Hollywood actor, Mitch, and his ambitious agent, Diane, who is trying to preserve his assumed heterosexuality. Then there’s the gay hustler Mitch falls for, Alex, and Alex’s girlfriend.
S: I loved it. I adored it. I’ve even come up with soundbites like you see in movie trailers. Sassy. Intimate. Sweet. Moving.
G: But enough about the latest Pepto commercial.
S: (pause for death stare/dramatic effect) Seriously funny. Heartwarming. Charming.
G: I’d add that the writing was some of the smartest you’re going to see this year.
S: And these actors — this did not feel like an opening night for me. It felt like they were living these characters’ lives. It felt like it was eavesdropping, not theater.
G: They all excelled. Liz Duren was hilarious as Diane.
S: She did Heather Locklear proud.
G: The scene where she reads off a Hollywood contract required expert timing. She pulled it off and got some of the biggest laughs of the night.
S: And her red shoes in the final scene. Fierce.
G: Um, sure. Then there was Emily Wilhoit as Alex’s girlfriend, Ellen. I was already a big fan.
S: And she delivered. She had me with the cigarette puffs in her first monologue. So many laughs.
G: Now, lets get to the main event. Randy Risher as Mitch and Will Haden as Alex.
S: The romance was incredible. The chemistry between these two actors was absolutely ... hot. There’s no other way to describe it. And the argument between the two in Act II was terrific acting. I teared up.
G: What did you think was the theme of the play? There’s a lot of talk about happiness, but you realize pretty soon that isn’t what we’re watching here.
S: It’s about the fabricated happiness that you find in Hollywood and the harsh reality you face in New York.
G: When Diane screams at Mitch to shut up, I think that really encapsulated what they’re saying here. A person wants to be happy and gay, but they’re told to keep in the closet and they believe that’s what they have to do to preserve this fabricated happiness.
S: Let’s talk a little about the nudity.
G: You know, the guy in front of me was in the way, so I had to crane my neck like some perv.
S: Did you get an eyeful?
G: Mission accomplished.
S: The nudity was completely natural. It’s not for shock value. I feel like it was symbolizing the stripping away of illusions they wore outside of the bedroom.
G: I’ve seen nudity on stage before, but never this intimate. That may have been since it was two guys in bed together.
S: Finally, props to director Steve Lepre and the Village Playhouse for putting this kind of production on. Very edgy and relevant and sexy and funny and smart. Give me more.


When it came time to settle on a group to score our feature film, Sayonara to Hello, it was quite a challenge. We wanted a sound that was classic but not retro. A group that could play many styles and create the emotional feel of a road movie with very unique characters. After listening to many groups and musician’s, the answer was right in front of us. The Doug Largent Organ Trio!
Doug and his trio play regularly in my neck of the woods and it’s easy to hear why. They are exceptional musicians.
Doug and his friends, Brad Maiani and TJ Maiani, gave this film the mood, groove and ambiance we needed. Not only that, they went way beyond out initial request and elevated our film to a new level.
We’ll post a video of them recording part of the score soon, so you can see and hear these cats in action.


December 15, 2013
Inception and the Matrix Final Paper
A lot can be said about a movie based on the genre it is part of. Inception and The Matrix are arguably both some of the best science fiction films ever made. The way both movies correlate in many different ways makes this comparison possible. Both are futuristic movies and technology is an important aspect of each one. There is also a common focus on an awakening of the human condition. Both movies go hand in hand in the realization that we have lost contact with reality, living our lives through electronic devices rather than real human interactions.
Both movies have to do with worlds where the existence of reality is questioned and the limits between what is our perceived reality and what is actually real are unclear. The matrix portrays a future in which the world that most individuals see as “reality” is in fact a fabricated computer space called The Matrix, constructed by sentient machines to maintain humans under control. “Matrix is the wool that has been pulled over your eyes–that you are a slave. (Ebert).” Meanwhile, Inception is more concerned with human psychology. The main character named Dom Cobb is a thief whose job is to infiltrate the subconscious of people in order to collect information. These two movies are often criticized for following the same structure. I would agree with this because the first part of both movies is basically exposition to the ideas presented by both films; the second part relies on action scenes and great special effects.
The matrix’s story was based on a fictitious realm. Neo is trying to wake humans up from the Matrix where they are held as slaves working for the system. The director greatly pointed out that humans are being ignorant by disregarding the fact that the way society functions is in fact a plan to control all individuals. On the other hand, Inception is still a science-fiction movie but still based on reality. The topic of dreams is real, which makes it more interesting for the audience but also more frustrating if not understood. For instance, many people that I know did not fully appreciate Inception due to not understanding some of the components of the film.
Another similarity that correlates with science-fiction film genre is that both are facing enemies in their respective alternate worlds. In inception Cobb and his team face rejections while in the matrix, agents have to be fought. The particular thing about Inception is that the villains are its own characters minds, which becomes a psychological challenge. For Neo and its crew, it is a different story. They have to fight the agents, which are probably some of the most talented fighters I have ever seen in any science fiction movie.
When it comes to the story line, I thought Inception’s was more interesting and compelling to watch. Now that more than a decade has passed since the Matrix was created, we can judge the film as just the story rather than just focusing on the mind blowing special effects. Looking at the basic story line, the Matrix had an interesting start that definitely captivates the audience’s attention. It also had a good plot twist towards the beginning. Neo wakes up from the Matrix and turns into this generic action hero, magically learns how to fight and becomes a professional killing machine. Even though the Matrix had a good start and mind-blowing special effects for its time, after the plot is revealed the story just turns into a generic action movie with entertaining and intense combat scenes. Inception’s story line was so complex and hard to follow that it almost did not make sense… almost. I found it really amusing and entertaining to feel challenged by the plot and having to think in order to understand the story.
One of differences that I noted in the films is that both of the main characters have very different backgrounds and are also presented in very different ways. The protagonist named Dom Cobb is a thief whose job is to infiltrate the subconscious of people in order to collect information. He is presented as a very clever and motivated character. Neo on the other hand was basically asked to play a person with no personality, show no emotions, which is perfect for a movie like the matrix where humans are held as slaves in the society we live in.
Both motion pictures utilize machines in order to access their respective alternate realities. Inception utilizes a machine that allows Cobb and his team to access someone’s subconscious while they’re sleeping. Meanwhile, Neo uses a technological device that allows humans out of the Matrix to learn anything in less than a few seconds. He uses it to learn Kung Fu and Trinity utilizes it to learn how to pilot a helicopter.
The matrix and Inception also use slow motion throughout action scenes in order to make it look more impressive and to make it more memorable. For instance, during one scene in the movie Inception, Cobb’s crew is in a van in the first layer of dreams, which is the closest to reality. We can see that the van is falling of the bridge slow motion since the director tried to emphasize the fact that in a dream everything is longer than in reality. This technique is used multiple times throughout the film. In the matrix, slow motion is used in order to make the action scenes more intense and appreciable. A famous example is when Neo dodges the bullets from the agent at the top of the building by putting his back almost against the floor while still standing (see Figure 1).
Another big aspect that is existent in both films is teamwork. Working together to accomplish common goals is a significant feature in Inception. For instance, Cobb has to build a team in order to be prepared for his last job. He needs very specific people with particular skills. “Cobb assembles a team, and here the movie relies on the well-established procedures of all heist movies. We meet the people he will need to work with: Arthur (Joseph Gordon-Leivtt), his longtime associate; Eames (Tom Hardy), a master at deception; Yusuf (Dileep Rao), a master chemist. And there is a new recruit, Ariadne (Ellen Page), a brilliant young architect who is a prodigy at creating spaces. (Ebert).” This kind of professionalism in making a team is very similar to the one in the Matrix. Neo and both Trinity and Morpheus play a huge role in chasing the agents and protecting “the one”, Neo.
Inception and the Matrix are both prime science-fiction films that are futuristic and entertaining. With many similarities, these two movies are easily comparable and may be competing for the best science fiction movie of the last 15 years. Both are centered on the awakening of human nature and the use of technology in a fantastic and almost unthinkable way.
Ebert, Roger. “Inception.” All Content. Elbert Digital LLC, 14 July 2010. Web. 15 Dec. 2013.
Munro, Shaun. “10 Incredibly Innovative Uses Of Slow Motion In Movies.” WhatCulture RSS. What Culture LTD, 7 June 2013. Web. 15 Dec. 2013.
Ebert, Roger. “The Matrix.” All Content. Elbert Digital LLC, 31 Mar. 1999. Web. 13 Dec. 2013.


Being a massive Marvel fan (sorry DC you’re cool but my heart belongs to them) I knew I had to go and see this film, however I was a little dubious at first, this was mainly due to the film #2, which in my mind left a lot to be desired. This was probably because of the villain and lack of story, but I’m not one to be put off easily. For those of you that haven’t seen Iron Man 2 (and evidently live under a rock) the villain was Whiplash, who had basically no back story so was a bit confusing and had pretty shitty powers. This was joined by the compromising of Tony Stark’s character because of the way he was shown in his relationship with Pepper. I personally (remember it's an opinion) just think that in film #2 Tony wouldn't have been the sort of boyfriend they portrayed him as so that his cheeky character and lack of any ability to show emotion was over looked. Simply to get gushy romance stuff involved, and who wants that in a superhero film!? Don’t misunderstand me here, I love Pepper, she is awesome, strong (like seriously I want to be her, she's ma fave) and when their “ship” name is Pepperony, a pizza topping, it must be love. My issues with the Iron Man franchise was pretty much fully rectified in Avengers Assemble where Tony was as bad ass and sassy as ever also his interacting with other characters was more what I imagined him to be like. They even managed to include Pepper and it not be disgusting, romances should not be the main focus of a superhero film.
The story line in #3 was amazing right from the start, it begins back in Tony’s playboy days and shows how perhaps being an utter man whore might come back to bite you in the ass (and not in the good way)! Without giving spoilers away the bad guy, The Mandarin, threatens the life of Tony but now his weakness is showing, the one woman that could make him succumb to a socially acceptable relationship, Pepper. Needless to say Tony isn't best pleased about this and ends up having to run off and save the world, as per.
The villain in this piece is an old Chinese man that seems hell bent on destroying America for its lack of morality. He makes a brilliant bad guy obviously to make up for the crappy last one, he’s creepy, powerful, pretty psychotic and has a twist to his character (little hint for you there oooh).
There’s a lot more complexity in Tony stark’s character too, his relationship with Pepper plays a large role (but not so big that it ends up being a mushy mess that makes you want to vom all over their faces) but he is also thrown into unknown territory where he needs to learn to go back to basics and trust a rather unlikely ally (another little taster). It had everything, with the added bonus of the typical Marvel humour which is always appreciated... oh and of course the appearance of Stan Lee.
What made this film so great was its ability to draw you in with huge, climactic action sequences but evened out with a deeper more substantial story that keeps your attention. Many films don’t manage to get an equal mix of both these things, it’s no easy feat.
Over all the film was pretty powerful, fun and had a fucking awesome soundtrack, well done Marvel! This film is perfect for all levels of superhero fan, even if you don’t consider yourself a fan at all, it’s comedy, fantasy, action, slight romance anything you could want in a film. If you haven’t seen it yet I urge you all to do so, now ... like right now!
Oh and don’t forget to hang about until the scene after the credits, especially if you enjoyed Avengers Assemble (and one more ooooh eeer).
There you have it, my views on Iron Man 3 ... it was freaking epic.


This video rights are
Jesus (also known as Jesus Film) is a 1979 biblical drama film directed by Peter Sykes and John Krish, and produced by John Heyman. In Jesus, the life of Jesus Christ is depicted, first and foremost with the help of the Gospel of Luke as the main foundation of history. A voice-over narrative appears sporadically throughout the film, providing background information on characters and events.
Recorded on location in Israel, the film was primarily funded by Campus Crusade for Christ with a $ 6 million budget and released without production or cast credits when producer John Heyman declared that the creators of this image were “just translators” of The New Testament Gospel of Luke, “so that no one will know who produced or directed the film.” At the end of the movie, it says that the Good News Bible (today’s English version) was used during filming, and instead of telling a parallel story or decorating the biblical story like other biblical films, the filmmakers chose to stick to the Gospel of Luke so as close as possible.
Jesus is sometimes described as the most viewed movie of all time, in addition to being the most translated film of all time.
Brian Deacon, a Shakespearean actor, was cast as Jesus for his “ethnically correct” olive color. In addition to 45 major actors, mainly Israeli, an additional 5,000 extras were involved in the shooting. The filmmakers cast Yemeni Jews as background extracts because, according to Eshleman, “their facial features have changed at least over 2,000 years.” Filming began in late November 1978 at a location in Tiberias, Israel, which continued for 31 weeks throughout the country, including the cities of Tel Aviv and Jerusalem. During production, Heyman revealed that the filmmakers “were required to re-film three days of work” because “they had shown eucalyptus trees in various shots” when “eucalyptus trees were introduced to Palestine much later”.
Deacon grew his hair and beard during production, but producer Jon Heyman had decided for Deacon to wear a wig over his hair, as well as a prosthetic nose, so he had a Mediterranean look. Former director of Jesus Film Project Paul Eshleman, who was on the scene during much of the main photo, revealed in the DVD’s audio commentary that Deacon was so committed to the film and its announcement that he read several Bible translations a day to make sure I have presented the teachings of Christ correctly. As Deacon developed pneumonia during head photography, double rooms were used in certain scenes. Deacon’s dialogue mostly consists of full-length scriptures, and he is hardly depicted and does nothing but do miracles and speak.
Eshleman revealed that Niko Nitai, the actor who played Peter, became a believer during the shooting. In terms of special effects, the movie features buffets of smoke and transparent glories to indicate miracles and angelic figures, and a whirring snake and a deep voice represent Satan. Heyman’s original clip of the Jesus movie ran for more than four hours. However, in consultation with Bright and Eshleman, I have edited a shorter version for Campus Crusade. Right after the filming, Heyman was not satisfied with the original dialect of the Israeli cast and decided that they should all be called upon by English voice actors using received pronunciation accent.
Directed by Peter Sykes
Produced by John Heyman
Screenplay by Barnet Fishbein
Starring Brian Deacon
Told by Alexander Scourby
Music by Nachum Heiman
Distributed by inspirational films
Warner Bros. Images
October 19, 1979 (USA)
128 minutes (remastered)
Budget $ 6 million
Box office $ 4 million
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Jesus Christ 1979 – THIS IS THE BEST ORIGINAL LATIN SPANISH AUDIO TRANSLATION OF THIS MOVIE.
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The Building Stage exists to create original theatrical events that celebrate, mourn, explore, and question our world and ourselves. Serving as both a neighborhood theater and a cultural destination, we seek to combine an entertaining, approachable experience with unique and challenging artistic products. We aspire to contribute to the evolution of the modern theater as we rediscover the vital role that theater can play in American cultural life.
The Building Stage works from pre-existing sources that reflect the world we live in. We transform those sources through rehearsal, creating on our feet, with no separation between play and production. This process allows us to highlight the rapport that is created between performers and audience in the space and time of performance. Our pieces do not simply tell narrative stories; instead, they play with the boundary between poetry and prose, engaging the mind as well as the emotions, stirring the imagination as much as the senses.


Thursday, 14 April 2011
The Lost Gardens by Philip Osment and Michael Foreman (Collins Big Cat Drama)
Stumbling upon a hidden and forgotten garden, three young friends find themselves transported to World War One, and caught up in the shocking truth of young soldiers sent to fight for their country. Beautifully illustrated by Kate Greenaway winner Michael Foreman, this thought-provoking play helps to bring the First World War into modern day. * Diamond/Band 17 books offer more complex, underlying themes to give opportunities for children to understand causes and points of view. * A playscript * Curriculum Links: History: What was it like to live here in the past?
Another interesting book from the Collins Big Cat series. This book is from the Drama range and is a play, with seven characters. The drama could be read as a role play with six children playing the children's role and an adult playing the old lady. It includes plenty of history, the first world war and tells the story of a young soldier called Albert, within the story and is a great text for school.
Thank you to Michael from The School Run Forum for sending me the book to review.


Rehearsals will run from early March through to early June.
Most evening rehearsals are Monday and Wednesday nights at High March School.
In May 2019, we will add some Sunday afternoon rehearsals at Hall Barn, allowing actors new to the company to familiarise themselves with the venue and performing outdoors.
A full rehearsal schedule will be made available to all actors who become cast of A Midsummer Night's Dream.
Doors at High March open at 7.45pm for evening rehearsals.
Chosen Charity 2019
CSC Box Office,
Woodrow Farm Cottage,
Bucks, HP7 0QH
Please use our Contact Us form
01494 573 559


The past two years, under the direction of elementary teacher Cathy Naylor, WCA offered one single drama production which centered on Lower and Middle School Students as the primary cast. These productions, How to Color Your Cardboard Box, and Finding Franklin were both tremendous successes and planted the seed for the restocking of our Upper School drama department. The fruits of those productions are now coming ripe, as this year the drama department has expanded. Our Upper School drama troupe is currently in regular rehearsal for the performance of ‘High School Musical’ with teacher and director Dan Stec, while our Lower School now has its own self-contained drama troupe, which is once again under the direction of Naylor.
The first purely Lower School production team will perform their play, ‘The Hope of Whippeland’ for one night only on February 7th at 6:30PM. The following is a summary of the new production, which once again utilizes a method by which the actors themselves are integral in the development of script and characters:
This is a free performance and is open to the WCA community. We hope you will join us!


Variety.com – Production has just started at Rome’s Cinecittà Studios on “Finalmente L’alba” the new film by “My Brilliant Friend” director Saverio Costanzo. It is set during the 1950s when the famed filmmaking facilities were known as Hollywood on the Tiber.
This high-end costume drama – the title of which translates as “Finally, Dawn Has Come” – features a stellar cast comprising Lily James (“Pam & Tommy”), Joe Keery (“Stranger Things”), Rachel Sennott (“Shiva Baby”), Willem Dafoe, and Italian newcomer Rebecca Antonaci.
“Finally, Dawn” is the journey over the course of a long and intense night of an aspiring young Italian actress, played by Antonaci. In the Cinecittà studios of the 1950s, she experiences some memorable hours that will mark her transition to full blown womanhood.
What are the main elements of the story?
It’s about a young Roman woman during the 1950s. She is simple, unsophisticated and on the verge of becoming engaged to a man that her family likes more than she does because he is well-to-do.
The young protagonist played by Antonaci goes to Cinecittà to do an audition as an extra and is thrust into this almost infinite night during which she discovers herself. She finds the most gutsy part of her inner self and taps into her self-awareness thanks to the encounter with a group of [American] actors who are shooting an Egyptian swords and sandals movie at Cinecittà.
It’s a film about the world of show business. So it’s clearly a film on ambitions, on vanity. Since these characters spring from the movie world, and they are making a movie, there are plenty of films inside this film. It’s like a Chinese box.
And Joe Keery’s role?
He plays a young actor named Sean Lockwood who, compared with Josephine, is a newcomer. In this film, Keery plays three characters: an American soldier whom he portrays in a film in which the soldier is among those who free Rome from the Germans [at the end of World War II]; then he plays a Mesopotamian prince in the Egyptian swords and sandals film; and the he plays himself, Sean Lockwood. In this Roman night he will also come to terms with his insecurity, both as an actor and as a man.
Billboard.com – With second album ‘Decide’ out Sept. 16, the ‘Stranger Things’ star will reach new heights in his musical career, too.
When Joe Keery performs as his musical solo project, Djo, he looks nothing like the character that millions of TV watchers have come to know — and that’s the point.
If not for an all-caps sign in the Lollapalooza crowd that read “Listening To Djo All Day Keeps Vecna Away,” for instance, festivalgoers likely wouldn’t have been quick to associate the artist with a shaggy wig, glasses and stark-white painter’s jumpsuit onstage with Steve Harrington, the bully turned beloved chaperone from Netflix’s Stranger Things.
In addition to his prominent role in the worldwide phenomenon, Keery, 30, has recently starred in Free Guy and Spree as he has simultaneously reached new heights in his acting career. Currently, he’s working on a project in Italy, ahead of a few others coming in the fall. But that’s Joe Keery, the actor. Joe Keery, the musician — Djo — is its own separate entity. There’s hardly a trace of the everyday Keery, and no mention of characters associated with a film career, on Djo’s social media accounts or digital service provider profiles.
“There’s a level of comfort being in this alternate look, where I feel more free to do what I want,” he says. “I think about David Bowie or Marc Bolan dressing up. Devo is another great example. Something that started off with that intention has opened this door to make me realize that it can be more than just that.”
Deadline.Com – Joe Keery is set to join Lily James and Willem Dafoe in the indie drama Finalmente L’alba (Finally Dawn) sources tell Deadline. Rachel Sennott and Rebecca Antonac are also on board with Saverio Constanzo directing the pic.
Plot details are currently unknown and production is set to start sometime this month in Italy.
Keery is best known for his role of Steve in Netflix’s Emmy and Golden Globe Award-nominated series Stranger Things, which recently completed its fourth season for Netflix. Not only did the series become the biggest show in Netflix history, it landed 14 Emmy nominations including Best Drama.
He recently wrapped production on romantic drama film, Marmalade, where he stars alongside Camila Morrone and Aldis Hodge. Based on O’Donnell’s script, Marmalade centers on a naive small-town man who ends up in jail and narrates a tale of a romantic bank heist to his cunning cellmate to escape and reunite with the love of his life. Keery has also joined the cast for the Fifth Installment of FX’s Fargo from Acclaimed Series Creator and Executive Producer Noah Hawley. He also recently was seen in the 20th Century pic Free Guy.
He is repped by Gersh and 3 Arts.
thedailybeast.com – Joe Keery won’t stop talking about Stanley Tucci. We’re 20 minutes into our coffee in the Lower East Side, and because the Tooch is one of my favorite topics of conversation as well, it physically pains me to steer the conversation back on track.
Directing. Let’s talk about directing. We were talking about getting behind the camera when Keery began to gush over Tucci, whose 1996 movie Big Night inspired the young Stranger Things actor to pursue filmmaking. Then, there’s Tucci’s new memoir, Taste, a mix of recipes and autobiography, which has brought Keery to the idea of a cookbook-album concoction—as in maybe one day, somehow, creating a project that blends recipes and his music.
“Well, not a cookbook,” Keery says. “How can you blend genres? What he does there, in a really great way, is: How do you blend a cookbook and a story about your life? Nobody’s done that in the same way, not that I have read.” (As a devoted rom-com lover, I tell him to read Heartburn by Nora Ephron.)
Keery rattles off a long list of movies he’d like to make one day. A moving family affair like Big Night. An original adventure movie. Or even a sizzling thriller like Nightcrawler. I tell him to combine all three for something original—genre-blending like Taste—and he seems eager for the challenge.
Still, as exciting as this all is, and as hyped as I am about Keery’s passion to direct, we’re here to talk about his new album DECIDE—yes, the popular actor makes music, too—and Stranger Things.
Though he’s newly 30, Keery can’t help but unleash his inner child when something thrills him, spinning through conversations with a buzzing energy and a carousel of topics to excitedly discuss. The actor is calm and soft-spoken—except when he’s talking about his idols (Charli XCX and Stanley Tucci, of course) or reminiscing about his days as a college kid in Chicago.
Thrust into fame in his early twenties, thanks to his dopey grin, floppy hair, and crush-worthy charisma on Stranger Things, Keery has now adopted the stage name of “Djo” (pronounced “Joe,” like Django Unchained) for his music career.


Ball at the Capulet's house. Romeo and his friends enter the hall. Romeo is amazed by Juliet's beauty. Taking advantage of the fact that Tybalt takes Paris away from Juliet, Romeo approaches the girl. He does not hide his delight and admiration. Romeo's mask accidentally falls, revealing his face to Juliet's gaze. But Romeo is recognized by Tybalt and, fearing possible complications, hurries to leave the house. Juliet is still under the impression of meeting Romeo. Who is this beautiful young man?
Moonlight night. Romeo appears before Juliet. They confess their love to each other and swear allegiance. Verona Square is noisy and fun. Juliet's nurse, on behalf of her young mistress, gives Romeo a note.
Romeo begs Father Lorenzo to secretly seal the alliance between him and Juliet. Lorenzo promises his help, hoping to reconcile the warring families of the Montagues and Capulets by this marriage. Juliet appears. Lorenzo performs the wedding ceremony. Mercutio, Benvolio and their friends are having fun. Appearing on the bridge, Tybalt notices his enemies and, drawing his sword, rushes to Mercutio. Romeo wants to reconcile them, but it’s impossible. A fight ensues between Tybalt and Mercutio. Romeo tries to separate them, but Tybalt, seizing the moment inflicts a mortal blow on Mercutio from under Romeo's hand. The death of a friend infuriates Romeo. Drawing his sword, he challenges Tybalt to a duel and kills him. The relatives of the murdered man, gathered at his body, swear eternal revenge on the Montagues family.
Romeo must say goodbye to Juliet. He is expelled from Verona. The morning rays of the sun burst into the room. The Nurse tries in vain to comfort Juliet. Parents and Paris appear. Juliet learns about her wedding, listens to the confessions of the groom, but resolutely refuses to obey the will of her parents. After the departure of Paris, a hail of reproaches falls on the girl. The will of the Capulets is unshakable. Juliet is desperate. She decides to consult Father Lorenzo. Conquered by the girl's boundless love for Romeo, the father gives her a potion: after drinking it, Juliet will fall asleep, everyone will decide that she has died, and her body in an open - according to custom - coffin will be taken to the ancient Capulet crypt. Romeo will immediately return to Verona, find Juliet awake, and unclouded days of happiness will come for them. Returning home, Juliet pretends to submit to the will of her parents. After drinking the potion, she falls asleep. Her parents come, the Nurse throws back the canopy by the bed, and everyone freezes in horror: Juliet is dead…
Cemetery in Verona. Romeo appears. He cannot take his eyes off his beloved. She is dead - and life has lost its meaning for him. Romeo drinks poison and falls at Juliet's feet. Juliet wakes up and sees Romeo prostrated at her feet. She leans towards him. The young man's lips are already cold. Juliet stabs herself with Romeo's dagger. The Montagues and Capulets stare in a daze at the dead bodies of their children. Silently, they stretch out their hands to each other... The long-term enmity between the Montagues and the Capulets was stopped at the cost of the lives of two loving hearts.


To foster, encourage, and develop popular public appreciation of all dramatic and theatrical productions
To provide means, equipment, and facilities to afford qualified persons an opportunity to acquire knowledge of the science of stagecraft and practical experience in theatre production
To provide means, equipment, and facilities to afford qualified writers, actors and others a medium through which their compositions may be presented to the public
To own, lease, operate and maintain one or more workshops and theatres
To cultivate, promote, foster, sponsor, and develop the understanding, taste and love of the dramatic and theatrical arts
And to do all and everything necessary, suitable and proper for the attainment of any of the purposes, the accomplishment of any of the objects, of the furtherance of any of the powers herein-above set forth.


Sunday, September 29, 2019
Philomena: A Film Analysis Essay
Among the many good films of 2013, this one has to be on my top 5 list. Directed with passion by Stephen Frears, Philomena is a film that questions your beliefs regardless of which religious sect you belong to. As a little exposition, Philomena Lee (Judi Dench), way back 1952, was impregnated out of wedlock and was therefore sent forcibly to a convent where she gave birth to a son she named Anthony. She and other young women of similar situation were only allowed to see their children once a week. This and other practices including oppression and prejudice among the nuns are presented well in the film in a way that could condemn the Catholic Church. These are presented in a tone that is sarcastic and ironic, with a mood that is mild and forgiving. Visually, the setting and production design will bring you back to 1950s Ireland, which is highly distinct with the present time. The cinematography is nothing too special; it was shot in polished angles, and with dim lighting to establish the gloomy environment the film is trying to convey. In my opinion, this is the style used to make it closer to reality so it will capture the emotions of people. As the plot develops to the rising action, you start rethinking about Ã¢â¬Å"moralityÃ¢â¬ drawn by the strict administration of the nuns. The irony will later be exemplified when you see babies sold to Americans without the consent of the mothers; one of these babies was Anthony. And while he is being sent away, Philomena was watching from afar, not knowing that it is the last time she is going to see her child. The cinematography at this point was brilliant where the angle is trying to show the innocence of Anthony, and the agony of Philomena through an over-the-shoulder shot. Fifty years later, with the help of Martin Sixsmith (Steve Coogan), the search for the missing son will begin. Martin, who was rebuilding his career in writing, initially declined the idea of writing about PhilomenaÃ¢â¬â¢s lost son. However, as he hears more about the case and discovered that Philomena was only one of the many oppressed women, he decided to do it. Together, they travelled to the United States to find Anthony. Their journey together shows their stark differences. In most of their dialogues, it is very noticeable how different their perspective in life is. This is perfectly presented through the powerful performances by both actors, and subtle representations of their faith. Philomena believesÃ in God, Martin doesnÃ¢â¬â¢t. And while we see how unfortunate PhilomenaÃ¢â¬â¢s life can be, her faith is still strong. Martin, like probably many of the viewers, does not understand this irony. When they finally discovered who Anthony became, they found out that he died eight years ago from AIDS. Still, they traced back his identity just to know how he lived his life. Philomena wanted to know if Anthony ever thought of his hometown, or if she was ever thought of. As the plot boils down to resolution, they will discover that Anthony went back to Ireland and that his body was actually buried in that same convent because he knew his mother would find him. At this point, the film is scored with instrumentals that could bring hostility and liberation. Martin despised the senior nun who kept this a secret as part of her moral standards. She did not allow Philomena to see her son even once before he passed awayÃ¢â¬âa suffering considered as Ã¢â¬Å"atonement for sinÃ¢â¬ . The tone at this point is aggressive while Martin demanded the nun to apologize. The nun did not ask for forgiveness, but Philomena forgave her anyway. This, I consider, is the best part of the film. It was t oo hard for her to forgive, but she did so. Why Philomena still has faith so strong despite all that has happened to her answers why we believe. At the end of it, they will find his grave and they will continue their lives. Martin will publish PhilomenaÃ¢â¬â¢s story not to upset the convent, but because it deserves to be heard by many. Like Philomena, we have beliefs; and even though these were taught to us by people who may hurt us or fail us, our faith clings to something unfailing. We believe because even if circumstances are not in our hands, we have the option to embrace them. And like Martin, although we do not understand other peopleÃ¢â¬â¢s beliefs, we respect them and we accept people for who they are. This is clearly presented when he gave a small sculpture of Jesus to Philomena. The film is not chronologically narrated, with an editing technique using flashbacks and home videos to illustrate what has happened in the past. It was well color-corrected to demonstrate tension and emotions through less-saturation. I find this very effective since the film does not hard-sell drama, yet can still give a highly emotional ride. The dialogue isÃ nothing so melodramatic and was instead written very lightly. This represents the character of Philomena as someone who is very graceful and humane. As for the performances, both Dench and Coogan did a brilliant job in portraying their roles. Frears was able to direct them so distinguished to the characters. This is probably one of the many strengths of this film. The acting was so balanced with the overall mise-en-scene that it easily captures the attention and the emotion of the audience. With a story so beautifully debauched, Philomena was told with heart and passion that even if it presents horrific things, it ended with a very positive attitude that is hauntingly terrific.


The movie depicts 11-year-old girls twerking, a “sexually suggestive dancing characterized by rapid, repeated hip thrusts and shaking of the buttocks especially while squatting”.
The original poster for the movie created a strong reaction on the internet. On the poster, the prepubescent girls can be seen in suggestive postures and dressed inappropriately.
The reaction to the poster made Netflix change the description of their movie.
Originally, their description read : “Amy, 11 years old, tries to escape family dysfunction by joining a free-spirited dance clique named “Cuties,” as they build their self confidence through dance.”
They then changed it to : “Eleven-year-old Amy starts to rebel against her conservative family’s traditions when she becomes fascinated with a free-spirited dance crew.”
Notice the difference here: the added word conservative.
Apparently, the backlash did not force Netflix to review their highly inappropriate movie but rather to just change its description to make it a conservative versus progressive issue.
This is not the first time Netflix promotes content which may appeal to pedophiles.
When asked by an online user whether Netflix “supports pedophilia”, a Netflix customer service representative refused to answer by a simple yes or no answer, stating instead that Netflix “cannot really comment on that.”


A young woman, kidnapped when she was a child, returns home to the family she barely remembers and struggles to feel at home. More recently, Gillies starred in Canadian medical drama Saving Hope as Dr. Joel Goran for 3 seasons. GettyDaniel Gillies plays Robert Durst in the new Lifetime Movie. David Marks, the character based on Durst, was portrayed by Ryan Gosling. Robert Durst’s first wife described being badly beaten by him and fearing for her life before she went missing nearly 40 years ago, her medical school … Robert Durst has been featured in the headlines somewhat recently with his recent arrest and the controversy surrounding the HBO documentary series “The Jinx.” Lifetime took a new angle on this story, bringing Katherine “Kathie” McCormack Durst to the foreground of The Lost Wife of Robert Durst. Kathleen McCormack and Robert Durst’s Relationship. For those who may remember there was a movie "All Good Things" with Ryan Gosling and Kirsten Dunst about the same subject matter some years ago. Was this review helpful to you? “The Lost Wife of Robert Durst” pulls back the curtain on the world of Robert Durst and explores what may have happened between him and Kathie. She is known for co-starting in The House Bunny. Drama 2019 1 hr 25 min. F. Fiona Vroom. He played in movies like Scrooged, Gremlins 2: A New Batch and he played The Riddler in . Kathleen “Kathie” McCormack. John Soursby Glover Jr. is an American actor known for villainous roles in film and television. Young and wide-eyed, Kathie falls in love with charming yet quirky real estate scion Robert Durst, only to find their marriage turning stranger, darker and more disturbing as time passes. Shortly after its theatrical release, Robert Durst saw the film and contacted director Andrew Jarecki, expressing admiration for the film, which evolved into discussions between the two of them being included on the DVD video release, and eventually resulting … THE TV MOVIE “The Lost Wife of Robert Durst” . Jacob Gordon can't catch a break. Getty Daniel Gillies plays Robert Durst in the new … Natalie and Nick are frustrated with their luck in romance. It's been two years since Tina's husband-to-be, Brock, lost his first wife in a tragic accident. Suspicions grow when Matt's brother is injured in a car accident similar to the one that recently killed their father. With Katharine McPhee, Daniel Gillies, Jesse Hutch, John Glover. Powered by. The Lifetime movie explores what could have happened to Kathie and is based on the book “A Deadly Secret: The Bizzare and Chilling Story of Robert Durst” by Matt Birkbeck. Young and wide-eyed, Kathie falls in love with charming yet quirky real estate scion Robert Durst, only to find their marriage turning stranger, darker and more disturbing as time passes. Get a sneak peek of the new version of this page. Written by Emmy-nominated Bettina Gilois (Bessie), the film is told from the perspective of Kathie Durst, Robert Durst’s first wife, who will be played by Katherine McPhee. Young and wide-eyed, Kathie falls in love with charming yet quirky real estate scion Robert Durst, only to find their marriage turning stranger, darker and more disturbing as time passes. Trailer for the TV movie The Lost Wife of Robert Durst, starring Daniel Gillies, Katharine McPhee and Martin Donovan.. Original title The Lost Wife of Robert Durst Cast Daniel Gillies Katharine McPhee John Glover Fiona Vroom Ryan Robbins Jesse Hutch Martin Donovan Blair Penner Kwesi Ameyaw Ella Cannon Kyla Wise Aidan Kahn Jason Schombing Michael Dickson Bree Woodill Frances Flanagan Iris Paluly Grace Wan Graeme Duffy Kurt Teixeira Ash Lee Nailya Red Jessica Smith Ragnarok Watson Gerry South Adam Kozlick Chilko Tivy Vaughan Winmill Leandro … The Originals’ Daniel Gillies is taking on another killer role during his hiatus: The actor will star in Lifetime’s original movie The Lost Wife of Robert Durst as the titular accused murderer. Glover has also made appearances on stage. Katharine McPhee. Katharine McPhee is an American actress, singer and songwriter known for being the runner-up on the 5th season of the television show American Idol. He is best known for his role as Elijah Mikaelson on The Vampier Diaries and its spin-off series The Originals. He reprised this role in the film version of the play. That movie showed a longer time span of events and I think is better in some ways not so good in some ways. Directed by Yves Simoneau. Is Matt really the missing son or a deceitful stranger? Add our editors' Netflix movie and TV picks to your Watchlist, including "Bridgerton," David Fincher's Mank, and more. Daniel Gillies. A struggling actor with a personal life to match. Compassion!. John Glover. By Dailymail.com Reporter. One of his most well-known roles is that of Lionel Luthor on CW’s Smallville. Cast & Crew. True crime story: Katharine McPhee gets into character on set of the Lifetime movie The Lost Wife of Robert Durst. as Robert Durst. Robert Durst. View production, box office, & company info, ‘The Vampire Diaries’ & ‘Originals’ Alum Daniel Gillies Signs With Buchwald, Here’s Everything That’s Coming to and Leaving Hulu in July, Johnny Depp-Produced ‘Muscle Shoals’ Drama From Global Road Entertainment Set At ABC. J. John Glover. K. Katharine McPhee. The Lost Wife of Robert Durst will be filming in Vancouver and British Columbia until June 21st. «Зникла дружина Роберта Дерста» (англ. Young and wide-eyed, Kathie falls in love with charming yet quirky real estate scion Robert Durst, only to find their marriage turning stranger, darker and more disturbing as time passes. Starring Katharine McPhee and Daniel Gillies. You must be a registered user to use the IMDb rating plugin. McPhee has also established an acting career. Kathie Durst, Robert’s Wife: 5 Fast Facts You Need to Know, ‘The Lost Wife of Robert Durst’: Meet the Cast of Lifetime’s New Movie, Copyright © 2021 Heavy, Inc. All rights reserved. A supernatural medical drama that centers around the lives of the doctors and nurses of Hope Zion Hospital. Daniel Gillies is creepy looking enough with a twitch and all - better than Ryan Gosling who is too much the good guy to be convincing as the title character Robert Durst.You keep on thinking why didn't she just leave him but it was a long time ago and he was very wealthy so things weren't that simple.This movie shows with enough money you can get away with quite a lot. It's not long before Julia... See full summary ». Other actors span the cast list on IMDB, but it’s likely that since the story is so focused on the home life of Durst and McCormack, these characters won’t get much screen time. After settling into a new home, mysterious things begin to happen. Police launch a high-profile investigation after a teenager (Alana Boden) is abducted from her bedroom in Salt Lake City. Want to share IMDb's rating on your own site? Add the first question. Gillies has been active in film and television since starring as a Medic in the film A Soldier’s Sweetheart in 1998. Amy Glynn is a poet, essayist and fiction writer who really likes that … He has also started directing episodes of The Originals in 2016, starting with the episode “Phantomesque,” which aired in 2017. Her self-titled debut album was released on January 30, 2007 and sold 381,000 copies as of December 2010. But, according to fountain mythology, they only have a week to turn those dreams into reality. While Robert Durst has captured headlines with his recent arrest and controversy surrounding the documentary, The Jinx, Lifetime puts his forgotten first wife … The Lost Wife of Robert Durst. Keep track of everything you watch; tell your friends. The Lost Wife of Robert Durst premieres Saturday, Nov. 4 at 8 p.m. on Lifetime. Search for "The Lost Wife of Robert Durst" on Amazon.com, Title: as Kathleen “Kathie” McCormack. This FAQ is empty. In the movie, young Kathie falls in love with older, charming and quirky Rober Durst. Her fiancé Charlie has nothing to worry about, at least until his sister Becca becomes suspicious of Helena's culinary ... See full summary ». Cast & Crew Katharine McPhee Kathie Daniel Gillies Robert Durst The Lost Wife of Robert Durst (2017) directed by Yves Simoneau • Reviews, film + cast • Letterboxd • The events surrounding Durst inspired the 2010 film All Good Things, the title of which is a reference to a health food store of the same name set up by Durst and his wife in the 1970s. Tina's only obstacle is Joyce, Brock's former mother-in-law, who is determined to stop the ... See full summary », Hoping for a fresh start, Julia, a troubled woman, moves to Los Angeles with her new boyfriend. 56. A few years later, McCormack, who was in her early 20s at the time, decided to continue her education. Currently she stars as Paige Dineen on the CBS drama series Scorpion, which was recently renewed for a fourth season. 10 years after disappearing, Matt mysteriously returns home. 10 True Crime Shows to Watch This Fall From a missing D.C. intern to evil twins to the latest take on Robert Durst, the best true-crime shows to watch out for McCormack and Durst eventually moved to Manhattan, and on April 12, 1973, Durst’s 30th birthday, got married. Glover began his career in television, playing a mentally disturbed kidnapper on Search for Tomorrow. The Lost Wife of Robert Durst) — біографічна кримінальна драма 2017 року знята на основі книги, сюжет якої заснований на реальних подіях. The actor won a Tony Award for Featured Actor in a Play for his roles in Love! WHEN | WHERE Saturday at 8 p.m. on Lifetime. When Kathie vanishes in 1982, her family and friends are deeply disturbed that her disappearance isn't taken seriously by police. They get married, only to find their marriage turning darker and disturbing as time goes on. TMDb Score. Use the HTML below. Meet the cast of Lifetime’s new movie below: Actress Katharine McPhee plays Kathie Durst in the upcoming movie. The Lost Wife of Robert Durst (2017) "She feared the truth." Also Starting This Week. Robert Durst is currently in jail awaiting trial for the murder of his friend Susan Berman, there are still questions about what really happened to Kathie. Daniel Gillies is a Canadian-born New Zealand actor. What begins as a dream situation turns into a nightmare when Amy starts to obsess ... See full summary », Pastry chef Helena poisons men who don't meet her high standards. The Originals’ Daniel Gillies is taking on another killer role during his hiatus: The actor will star in Lifetime’s original movie The Lost Wife of Robert Durst as the titular accused murderer. 9 of 16 people found this review helpful. Young and wide-eyed, Kathie falls in love with charming yet quirky real estate scion Robert Durst, only to find their marriage turning stranger, darker and more disturbing as time passes. (TV Movie 2017). After tossing coins into a fountain, the two then begin dreaming about each other. His epic streak of bad luck just might change when he's cast in a Broadway musical; "The Ice Queen", opposite stage and screen royalty Veronica Bailey. John Glover stars as Seymour Durst, Robert’s father. The Lost Wife of Robert Durst Psychological thriller in which two twin sisters move in with their aunt after their mother is placed in psychiatric care. She also played small roles in TV shows like CSI: NY, Community, Ugly Betty and Family Guy. Daniel Gillies as Robert Durst. The Lost Wife of Robert Durst cast is already being buzzed about before the highly anticipated movie airs on Lifetime tonight!Tune in to find out all of the juicy details surrounding the mysterious disappearance of Robert Durst’s first wife, Kathleen … Valour! New York real estate heir Robert Durst, the Lehigh University graduate who once was arrested for shoplifting a hoagie at a Northampton County Wegmans, faces … Young and wide-eyed, Kathie (McPhee) falls in love with charming yet quirky real estate scion Robert Durst (Gillies), only to find their marriage turning stranger, darker and more disturbing as time passes. As time passed, the marriage of young Kathie to real estate scion Robert Durst turned stranger, darker and … But the subject matter and crime is so fascinating it's still worth watching this movie.Katherine McPhee shows she can play dramatic roles well and she is beautiful and sympathetic here. WHAT IT’S ABOUT Kathleen “Kathie” McCormack Durst (Katharine McPhee) was … When Amy has nowhere to go for winter break, her friend Christine insists she come stay with her family. When Kathie disappears in January 1982, family and friends find that her disappearance isn’t being taken as seriously as it should be by the police. While Robert Durst has captured headlines with his recent arrest and controversy surrounding the documentary, "The Jinx," Lifetime puts his forgotten first wife Kathie at the center of "The Lost Wife of Robert Durst."


Tuesday, March 31, 2009
A Witness to Student Achievement..at its best!
Last night, I witnessed a celebration of student achievement. In Effingham, Illinois, over 1000 people went to watch films produced by high school students. In addition to the high school films, a film done by a 4th grade student in Wisconsin and a first grade class in Alabama were awesome. It was amazing to see the crowd reaction and seeing the smiles of the students as their film was shown on the big screen. What I was impressed with most was their “people” skills as I met several of them at the seminars previous to the show. Their technology and storytelling ability was unbelievable. I am always thrilled to attend the AHA Film Festival and the seminars. The seminars this year were great. I was able to meet some great people and learn something from awesome teachers that I can apply in my classroom as I strive to be a better teacher. My students took a lot of information back and shared it with their classmates. They expressed to me several things where our school could improve and how the students could improve within the classroom. My students also touched on a real key issue. The community celebrated with the students on their achievements. Unfortunately, academics and the arts are not celebrated, which is where my students think we could improve. Great job Joe, Craig and the rest of the combined Multimedia class of Effingham and Teutopolis students! I’m looking forward to next years AHA Film Festival.


The epic tale of one man's pursuit of the American dream, to discover gold. Kenny Wells, a modern day prospector desperate for a lucky break, he teams up with a similarly eager geologist and sets off on an amazing journey to find gold in the uncharted jungle of Indonesia. Getting the gold was hard, but keeping it would be even harder, sparking an adventure through the most powerful boardrooms of Wall Street. The film is inspired by a true story.
About GoldArtist : Matthew McConaughey, Edgar Ramirez, Bryce Dallas Howard, Corey Stoll, Toby Kebbell
As : Kenny Wells, Michael Acosta, Kay, Brian Woolf, Jennings
Title : Gold Ver Pelicula Completa Online
Release date : 2016-12-25
Movie Code : 0071566
Duration : 90
Category : Drama
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