Acht junge Einwanderer versuchen in New York City der unterdrückten Kontrolle des Mannes zu entkommen, welcher sie durch einen höchst ungewöhnlichen Einwanderungsbetrug ins Land gebracht hat.
Statement der Regisseure und Autoren:
I am Emmy, writer/actor/producer and the director of SWANS.
SWANS uses true and account and fairy tale to tell the story of eight young immigrants in New York City.
Everything about the way this film came together is fairly unbelievable. I came to New York City as a foreigner more or less in exile in 2012 and the community that I now have here enabled SWANS to have a diverse (and frankly, crushingly lovable) cast and crew, cool locations all over the city and a soundtrack made up exclusively of badass local bands. It started as a personal story but the project changed significantly when I outgrew the idea that I was the only one suffering the dehumanizing effect of immigration angst.
In fact, as the film went into production, this fact became heavy at times. At this moment, nearly every person involved in the film is struggling with visa issues and four of our number have been forced to leave the United States, abandoning the communities/careers that they have built during their time here. - Emmy Harris, Shoestring Eagle


History Of The Lion King
For over 15 years, The Lion King has been one of the most popular shows on Broadway and The Lion King tickets have been among the most purchased in history. Debuting in 1997, just three years after the animated Disney film was released in 1994, The Lion King in now the fourth longest running show in Broadway history. The Lion King is also now the highest grossing show in Broadway history, selling over $853.8 million worth of Lion King tickets.
Lion King tickets have not just been available in New York, but all over the world through various productions. Throughout the over 15 years since the musical debuted, Lion King tickets have been available for productions in Tokyo, London, Toronto, Paris, Las Vegas, Madrid, Sydney and many others. There is currently one US National Tour running through various cities, but at one time Lion King tickets were being sold for two separate US National Tours running at the same time.
When The Lion King first debuted in 1997, it was grossing around $800,000 a week from sales of The Lion King tickets. Now, sales of The Lion King tickets easily exceed $1 million gross during the eight performances put on per week. Even as the show moved out of it’s original home at the New Amsterdam Theatre, to make room for Disney’s Broadway production of Mary Poppins, and into its new home at the Minskoff Theatre, the sales of Lion King tickets remain the most popular on Broadway.
The show features many of the same songs as the original film written by Elton John and Tim Rice including The Circle of Life, I Just Can’t Wait to be King, Hakuna Matata and Can You lee The Love Tonight. Additional songs have also been added for the performance with the musical score by Hans Zimmer and choral arrangements by Lebo M.
Along with being one of the most extravagant sets on Broadway, the performances from the actors themselves of some of the most difficult in any show. The portrayal of animals in the show features performers walking on stilts, dancing with large headsets or life size puppet costumes.
In 1997, The Lion King was nominated for Tony awards for Best Musical, Best Book of a Musical, Best Original Score, Best Performance by a Featured Actor and Best Performance by a Featured Actress, but did not win any of those categories. The show did win a Tony for Best Direction and Best Choreography along with multiple set design awards.
Even though the show did not get the initial recognition, it is now today one of the most popular Broadway shows of all time. Sales of The Lion King tickets have yet to even hint at a decline after so many years of performances. Disney has no plans of slowing down the performances either, even as it ends the run of Mary Poppins for a new musical rendition of Aladdin at the New Amsterdam. Since the show started, The Lion King tickets have been, and will continue to be, the king of Broadway.
The Lion King Tickets News
4-8-14: The Lion King musical has seen a bit of a renewed buzz on social media as a live performance of “The Circle Of Life” on board an airplane has gone viral. The cast of the Australian version of the musical had an impromptu performance on board Virgin Australia Flight 970.
3-4-14: More than 100 Lion King tickets remain on the secondary market for tonight’s show. The average price for last minute tickets is currently $240.77 with a get-in price of $214, keeping it line with the pricing for the rest of the show over the week.
3-3-14: The Minskoff Theatre will have eight showings of The Lion King this week. The performances start on Tuesday night and will have two shows on Wednesday and Saturday. The average price for Lion King tickets have an average price of $244.91 on the secondary market across all eight shows.
2-28-14: Theatre goers will have four chances to grab Lion Kings tickets this weekend at Minskoff Theatre. The average price on the secondary market average for all four shows is $249.34. Saturday night’s performance is the lowest average price at $244.73 and a get-in price of $216.
2-27-14: Last minute Lion King tickets are available on the secondary market for tonight’s performance. With a limited number of seats remaining, the average price for remaining tickets is $256.75 with a get-in price of $216. The average price is currently more expensive for the show on Friday night.
2-26-14: After being the best selling show on Broadway, Lion King tickets are still some of the most bought and demand in New York. For those wanting tickets, Wednesday night represents the cheapest performance of the week at just an average price of $235.44 on the secondary market.
2-25-14: Even after almost two decades of performances, the Lion King tickets are still some of the most in demand on Broadway. This week, the average price on the secondary market over the eight shows is $251. The cheapest date is Wednesday with an average price of $235.44.
2-20-14: It was reported this week that The Lion King will be returning to the Majestic Theatre in San Antonio for its Broadway in San Antonio 2014-'15 season.
28,349 Lion King tickets remain available on the secondary market, which is down 3,000 over the last week. There are 516 upcoming The Lion King dates scheduled at Lion King tickets are averaging $232.06, up just $1 dollar in the last six days.
2-14-14: We currently have 31,072 Lion King tickets available for 532 upcoming shows with an average price of $231.70. The most expensive upcoming show is the March 30th, 2014 show at the Neal S. Blaisdell Center - Concert Hall with an average price for Lion King tickets of $336.31 and a get-in price of $231. The least expensive upcoming show is the March 23rd, 2014 show at the Paramount Theatre in Seattle where the average price for Lion King tickets is $105.75 and the get-in price is $71. Other shows are currently taking place at the Minskoff Theatre, the Neal S. Blaisdell Center, the Fabulous Fox Theatre in Atlanta, the Kennedy Center Opera House, the Paramount Theatre in Seattle, and the Princess Of Wales Theatre.
2-6-14: There are currently 33,417 The Lion King tickets available for 454 upcoming shows at the Minskoff Theatre, the Neal S. Blaisdell Center, the Fabulous Fox Theatre in Atlanta, the Kennedy Center Opera House, the Paramount Theatre in Seattle, and the Princess Of Wales Theatre. The average price for The Lion Kings for these shows is $229.87. The most expensive The Lion King tickets is for the show on March 30th, 2014 at the Minskoff Theatre. The average price for tickets to this show is $336.31, the get-in price is $231 and there are 306 seats available. The least expensive upcoming show is the March 6th, 2014 show at Neal S. Blaisdell Center - Concert Hall with an average price of $119.43 for Lion King tickets. The get-in price for this show is $63 and there are 46 seats currently available.


‘Feed’ is a movie genre Drama, was released in July 18, 2017. Tommy Bertelsen was directed this movie and starring by Troian Bellisario. This movie tell story about Olivia and Matthew Grey, 18-year-old twins born into a world of privilege and high expectations. There are almost no boundaries between them – even their dreams are connected.
Director : Tommy Bertelsen.
Stars : Troian Bellisario, Tom Felton.
Production Co : Indy Entertainment.
Duration : 96 min.
Release : 2017-07-18
Genre : Drama.
|United States of America.
Country : United States of America.
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I’m a massive Buffy The Vampire Slayer fan – I remember watching it with my BFF when we were teens and fan-girling all over Spike. Well, I was all about Spike, she liked Angel (ick) It was just brilliant. The writing was fantastic, the characters were brilliant and I loved how it was a little bit tongue in cheek as well. It never took itself too seriously.
Spike is one of my favourite characters ever. James Marsters is a brilliant actor and really made Spike the best he could possibly be. For the first few months of blogging my titles were all Spike quotes (oh yeah) and every now and again I dust off my old Buffy dvds and re watch the whole lot. I love season 3 and 5 the most but could happily watch any.
I found the video below on youtube and had to share; it’s amazing!
Also, this video is amazing and one of my favourite songs ever


Avengers 2 Latest News: Avengers 2 Release Set for Labor Day weekend, Hulk and Iron Man face off
Marvel Studios and Walt Disney Studios have set the Avengers 2: Age of Ultron release date to May 1, 2015 in 2D and in IMAX 3D, just in time for the Labor Day weekend.
At the San Diego Comic-Con, Robert Downey, who plays Tony Stark/Iron Man, revealed that there will be an epic face-off between his character and Hulk.
Downey hinted, "It can't just be a good fight, it's gotta be about something."
And instead of looking to the Age of Ultron comic book for story inspiration, writer and director Josh Whedon created his own material for Avengers 2: Age of Ultron.
"With the first 'Avengers,' everybody pretty much had the power to punch somebody. And now we have a woman who can get inside your head and move objects, a boy who can move faster than anything, and a robot who can replicate and is out of his mind. So all of a sudden, it's a darker, weirder, tougher world that they're living in," Whedon said in an interview.
Apart from leading the "Avengers" franchise, Whedon best known as the brains behind the hit series "Buffy: The Vampire Slayer."
The movie's all-star cast includes Chris Hemsworth as Thor, Mark Ruffalo as Hulk, Chris Evans as Captain America, Scarlett Johansson as Black Widow, Jeremy Renner as Hawkeye, and Samuel L. Jackson as Nick Fury.
The team will be fighting a new set of Avengers 2 villains: Scarlet Witch and Quicksilver.
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Unforgettable Screenplays The Art of Writing for Film and Television
Writing screenplays for film and television is an art that has the power to captivate audiences and leave a lasting impression. Whether it's a heart-wrenching drama, a thrilling action film, or a hilarious comedy, a well-crafted screenplay is the foundation of any successful production. In this article, we will explore the key elements and techniques involved in writing unforgettable screenplays. From developing engaging characters to crafting compelling dialogue, we will delve into the intricacies of this creative process.
The Importance of Structure in Screenwriting
A well-structured screenplay is essential for engaging the audience and delivering a compelling narrative. The three-act structure is a widely used framework that divides a screenplay into three distinct acts: the setup, confrontation, and resolution. Within this structure, plot points and turning points drive the story forward, creating tension and suspense. A strong beginning hooks the audience, while a satisfying ending leaves a lasting impact.
Creating Memorable Characters
Memorable characters are at the heart of any great screenplay. Protagonists, antagonists, and supporting characters all play crucial roles in driving the story and engaging the audience. Developing multi-dimensional characters with unique traits, desires, and flaws helps create authenticity and relatability. Character arcs allow for growth and transformation throughout the story, making the characters more compelling and memorable.
Crafting Compelling Dialogue
Dialogue serves as a powerful tool for advancing the plot and revealing character traits. Well-crafted dialogue should be natural and dynamic, capturing the essence of each character. Subtext and non-verbal communication add depth to conversations and create layers of meaning. Writing memorable and quotable lines helps to leave a lasting impression on the audience.
Visual Storytelling Techniques
Screenwriting is not just about dialogue; it's also about visual storytelling. Show, don't tell is a fundamental principle of screenwriting, allowing the audience to experience the story visually. Vivid descriptions of settings and environments help immerse the audience in the world of the screenplay. Symbolism and visual metaphors can enhance the storytelling by conveying deeper meaning and emotions.
Writing for Different Genres
Different genres have their own unique conventions and expectations. Understanding these genre-specific elements is crucial for crafting a screenplay that resonates with the target audience. Balancing originality and familiarity is a delicate task, as audiences seek fresh and innovative stories while also craving elements they are familiar with. Adapting the writing style to suit the genre ensures that the screenplay feels authentic and cohesive.
Collaboration and Adaptation
Screenwriting is often a collaborative process that involves working with directors, producers, and actors. Understanding their perspectives and incorporating their input is essential for the success of the project. Additionally, adapting source material, such as novels or true stories, into screenplays requires careful consideration of the medium's requirements and limitations. Balancing creative vision with practical considerations is crucial for a smooth production.
The Business of Screenwriting
To navigate the world of screenwriting successfully, it's essential to understand the industry and stay updated on market trends. Pitching your screenplay effectively and knowing how to sell it can make all the difference in getting your work noticed. Familiarizing yourself with copyrights and contracts is also important to protect your intellectual property and secure fair compensation for your work.
Creating a Compelling Premise
A strong premise sets the stage for an unforgettable screenplay. It encapsulates the core idea of the story and sparks the audience's interest. A compelling premise should be original, engaging, and capable of sustaining a feature-length film or TV series.
Developing Engaging Characters
The Protagonist and Antagonist
The protagonist, often the main character, drives the story and undergoes a transformation or arc. The antagonist, their primary opposition, creates conflict and obstacles for the protagonist to overcome. Developing well-defined and multidimensional protagonists and antagonists adds depth and complexity to the screenplay.
Supporting characters contribute to the overall narrative and help shape the protagonist's journey. They can provide comic relief, offer guidance, or act as foils to the main characters. Well-developed supporting characters enhance the richness and believability of the story.
Building a Strong Plot
Conflict and Tension
Conflict is the driving force behind any memorable screenplay. It creates tension, raises stakes, and keeps the audience engaged. Building conflict through obstacles, both internal and external, challenges the characters and drives the narrative forward.
Plot Twists and Turns
Plot twists and turns add surprises and unpredictability to the story. They keep the audience on the edge of their seats and prevent the screenplay from becoming predictable. Strategic placement of twists and turns throughout the narrative ensures a thrilling and unforgettable viewing experience.
Writing Dialogue that Shines
Captivating dialogue brings characters to life and engages the audience. It should reveal important information, advance the plot, and showcase the unique voices of each character. Mastering the art of writing dialogue involves understanding pacing, subtext, and the power of silence.
Formatting and Structure
The Importance of Formatting
Proper formatting is essential in screenwriting. It ensures consistency, clarity, and readability. Industry-standard screenplay formats, such as using the correct font, margin sizes, and formatting elements, help convey the story effectively to potential producers, directors, and actors.
Scene Transitions and Descriptions
Smooth scene transitions and vivid descriptions allow the reader to visualize the story as if watching it on screen. Well-crafted scene descriptions create a sense of atmosphere and provide crucial visual cues for directors and cinematographers.
Editing and Revising
Editing and revising are integral parts of the screenwriting process. They involve refining the story, improving dialogue, and tightening the overall narrative. Objective feedback, self-reflection, and a willingness to make necessary changes contribute to the creation of an unforgettable screenplay.
The Power of Visual Storytelling
Screenwriting is a visual medium, and harnessing the power of visual storytelling enhances the impact of the screenplay. Creating vivid and evocative visual imagery through descriptive writing and understanding cinematic techniques strengthens the emotional connection between the audience and the story.
Adapting Stories for the Screen
Adapting stories from other mediums, such as books or plays, requires a unique set of skills. The process involves condensing, reimagining, and translating the source material into a screenplay format while maintaining the essence of the original story. Adapting stories successfully requires a deep understanding of both the source material and the demands of the screen.
The Importance of Rewriting and Feedback
Screenwriting is an iterative process that involves multiple rounds of rewriting and refinement. Seeking feedback from trusted sources, such as fellow writers or industry professionals, helps identify areas for improvement and ensures a polished final product. Incorporating constructive feedback and addressing any weaknesses in the screenplay is essential for making it as strong as possible.
Writing unforgettable screenplays requires a combination of skill, creativity, and dedication. From understanding the importance of structure to creating memorable characters and crafting compelling dialogue, every aspect of screenwriting plays a crucial role in captivating audiences. By embracing collaboration, adapting to different genres, and staying informed about the business side of the industry, aspiring screenwriters can increase their chances of success. With persistence and a commitment to continuous improvement, anyone can master the art of writing for film and television.


Quantity: 1 available
Book Condition: Fine
Comes with the publisher's prepublication letter and an invitation to review the book.
A Washington Post Best Book of 2001, Rebecca Miller's powerful debut, Personal Velocity, is the basis for her Sundance Festival award-winning film by the same name. Acclaimed by The New York Times as "the work of a talented and highly visual writer, " the vibrantly fresh and lustrous stories in Miller's collection explore the multifaceted lives of women in seven arresting portraits. From within the secret self of each character we see the surprising shape of her life created as she hurtles through it. Modern and diverse, these women of different classes and ages struggle with sexuality, fate, motherhood, infidelity, desperation, and an overriding will to survive.
We meet Greta, a cookbook editor who is chosen by Tavi, the hottest writer of his generation, to edit his new book. The book becomes a best-seller and Greta is propelled out of her marriage by her own ambition and success. The story, however, ends with a poignant flashback to the moment when one morning Greta realizes that ambition has grabbed her as she looks down at her kind, lackluster husband's wing-tip shoes. She suddenly knows she is leaving him and that their marriage is effectively over. Other characters include Paula, a pregnant twenty-one-year-old, who is on the run from the horror of a man who was hit by a car and died walking her home from a club the night before; Delia, an abused, working-class wife who goes into hiding with her children; and Louisa, a painter who moves rapidly from one lover to the next, acting out a self-perpetuating drama over which she has no control.
Edgy, fearless, and beautifully spare, Personal Velocity marks the emergence of a singular new voice in American fiction.
Title: Personal Velocity
Edition: First Edition
Publisher: New York, Grove Press: 2001
ISBN Number: 080211699x
ISBN Number 13: 9780802116994
Book Condition: Fine
Jacket Condition: No Jacket
Type: Uncorrected Proof
Size: 8vo - over 7¾" - 9¾" tall
Item: 1.00 Item
Seller ID: 004921
Keywords: FICTION SHORT STORIES SINGLE AUTHOR


Breaking the Bamboo Ceiling: Director and Actor Justin Chon
The entertainment industry is notorious for whitewashing Asian/Asian American characters. Simultaneously, the roles available for Asian/Asian American actors usually perpetuate Asian stereotypes. Actor and director Justin Chon wants that to change. Rather than wait for the perfect script to fall in his lap, Justin directed his own film and smashed stereotypes in the process. His film, Gook, highlights an unlikely friendship set against the backdrop of the 1992 LA Uprisings. Samuel Goldwyn picked up the highly acclaimed film and it's on its way to Sundance NEXT FEST. By creating his own content, Justin exemplifies ways to outsmart the industry and transcend Asian American media representation.
By Eric Nakamura and Natalie Mark
Video and Photos by George Ko
GR: What's on your t-shirt? I see Russian words and an Asian guy.
Justin Chon: This guy is Victor Tsoi. He came onto the scene right at the fall of the USSR. He was basically the Kurt Cobain or a sort of Sex Pistols revolutionary musician. He was half Russian half Korean and this was the name of his band— it says Kino. It's really interesting because no one knows about them. The only reason I know is because my wife is Russian. That's the thing about Russia; people think it's like Sweden where everyone is just white. But it's actually influenced by Asia because all of the Stans— Kyrgyzstan, Uzbekistan— they're the buffer between China and Russia so the people all look like Hapas.
GR: If you look at their features some look East Asian, mixed, and white.
JC: I thought I was going to be the only nonwhite person in Russia, but when I got there I was like, "What?" It was a trip. It was something I never realized.
GR: Let's talk about your movie "Gook." It takes place in Paramount. I know your family had a shop in Paramount that got looted during the Riots. Can you talk about how the real event happened?
JC: When my dad immigrated here he worked at swap meets. There were so many indoor swap meets all around California so he just did all of them. Eventually when he got some money together, he sold athletic shoes wholesale. He had a small storefront right across the bridge from East Compton over the 710 on Rosecrans Ave. He was selling shoes. When the riots broke out you couldn't tell when it was going to stop. As the days progressed, the police started losing control and started barricading areas. You could see it start to spread. I think that's the thing about the Riots that a lot of people don't know. It wasn't just South Central. It spread. There were even outbreaks in Long Beach. My dad's place got looted on the 4th day, which was basically the tail end of the riots. He was there and the police department tried to vacate them but he stayed on his property. There was a point where it was just too dangerous so he left. But when he did, the whole place got ransacked.
GR: Wow, so he didn't have help?
JC: He did. His workers and other employees helped for a while. Mexican gangs were offering assistance for money. That's something you would never hear about, but that was available. When it comes down to it and there was a mob, he had to ask himself, "Is it worth it?" So he just left and let it get ransacked. It was like a tornado had just come through. Back then they had metal things that would go up to store the inventory. When you don't have enough space, you go upwards. All that stuff was toppled over. Just shoe boxes and stuff all over the ground. I'm sure he carried Jordans but back in the day it was LA Gear, British Knights, all that stuff. Reebok was big, so was FILA. It was the tail end of that.
GR: You actually patterned your character on your dad.
JC: Basically. The idea was based off, “What if the kids got left this store?” I made it a women's shoe store because I thought, “What business do these two brothers have running a women's shoe store?” My dad told me when immigrants come to the United States they just need to figure out a business they can do. With women shoes you're just trying to fulfill a need in a neighborhood, which is similar to a lot of immigrant businesses in those areas. The reason a lot of Korean people had liquor stores or small groceries was because bigger chains didn't want to be in those neighborhoods; it's too much risk and management problems. That's why Korean people went into those neighborhoods and set up shop.
GR: That's a word that feels like it's almost extinct. I remember as a kid seeing it on a bumper sticker. I was like, “What is that?” It was a sticker that said, "No Gooks." But no one uses it now.
JC: No one uses it anymore. They would use "chink" more than "gook." When I was filming, the actors and the patrons were born in the 90s and they didn't even know how to say it. They pronounced it "g-uh-k." We were like, "Oh no, that's not how you say it." It was weird to actually tell them how to say the word because I felt conflicted about it. They don't know how to say it because it's becoming extinct. But here I am telling them how to properly say a derogatory term against me. That's a big conversation, that even our own derogatory words don't hold weight. It's good in a way but it's also sheds light on how there's no focus on Asian American issues. Even the derogatory terms haven't stuck, which is sort of weird. My intention wasn't for it to have shock value. It was just a scene in the film where he talks about the definition of the word. I wanted people to be curious as to why you would name it a derogatory term. It seemed fitting.
GR: I guess you kind of own it now. It belongs to you for now.
JC: I'm conflicted. I don't know if that's a good or bad thing.
GR: I think it's explained. I thought the movie was awesome. How many times did you come up with the situation where someone thought it was going to be about something else? I was expecting your movie to be about someone in Koreatown and it's completely not.
JC: That's what you want in a historical-based film that is not a history lesson. If you want to talk about something, the best way to talk about it is indirectly. That was my goal. If you watch a documentary to find out the actual events there is a version of that movie worth making. But that isn't the film I wanted to make. It's a challenge. What makes it worth telling the story from the Korean and Asian perspective? What is my contribution to the conversation? I don't think it's from the writing or the Koreatown perspectives. Yeah, there's that but I think when you watch a film, if the audience knows where it's going to go, you're kind of already dead in the water. I think that was one of the things I was conscious of when I was writing.
GR: I think a comparison has been made to Do The Right Thing, because that was based on the hottest day of the summer. Yours was the day the riots started. It had a different backdrop but similar in that it took place in one day.
JC: I'm a huge Spike Lee fan and I didn’t want to feel like I lifted stuff right from the film, so I didn't watch it. But no matter what your influence ends up in the work you do. I was more influenced by La Haine, which was black and white. That was a huge inspiration for me. It's about three guys and it's about a different riot but around the same time. That was more of a direct influence than Do the Right Thing. When I first saw La Haine, I was like, “Whoa!” Now it's such a classic when you push in and zoom out. I think that film does it the best out of any film I've seen, just youth wanting to have this bravado and misplaced anger. The film captures it incredibly well.
GR: Why was your film in black and white?
JC: I didn’t want people to sit through the first 15 minutes and dissect it, "Is this period perfect?" I wanted to draw attention away from the color palette and whether the shirts were worn down enough. Another thing was budget. I couldn’t buy out streets and dress it with period perfect cars. You have a little bit of leeway with black and white. Also, telling the story in black and white was incredibly difficult because it was much more lighting intensive, the direction of the sun was really important. Working in contrast is a different way I had never done before. I tried to design this while in pre-production, which was the fun part.
GR: You probably had tons of people telling you it should be in color.
JC: Yeah! Some of the first investment meetings I had thought we could get money from a more traditional finance firm but they said, "Don't make it black and white. We're not going to be able to sell this film. You're putting yourself in the same category of documentaries, in terms of sales." It was such a huge thing. They told me I had to make it in color but then I questioned even making the film. That's exactly what I don’t want to do. If we're going to go there, if we're going to take a risk, having basically no Caucasian people in the film, why not go all the way? Originally, I wanted to shoot in digital and do a 16-millimeter transfer. Just not even a conversation of cost. That was the most foolish dream to have.
GR: The cinematography is amazing. I thought it was beautifully shot.
JC: That is a huge credit to my DP (Director of Photography), Andy Chang. He's a Taiwanese cinematographer. When we were doing prep, he brought me a look sheet and a mood sheet and one of the big things he had was Schindler's List. He was like, “Look at how the light's coming in,” and I'm like, “Alright cool.” That was one of his big things. He said, “Let's make this the LA Riots’ Schindler's List!” and I was like, “Okay... let's talk about it.” He's great. He killed it.
GR: That may have added to its commercial appeal. You sold it.
JC: Absolutely. I've gotten comparisons to Clerks, but I purposely stayed away from those static scenes. That is why the camera is constantly moving. We used moving masters a lot when we covered scenes with the camera moving around, which was very conscious. We were already in this location; we couldn’t be static and dead. It needed to be constantly moving.
GR: I didn't think about the film being in black and white after a while. It's a testament to the quality of it.
JC: That was a big thing. People thought, “Well, how's the comedy going to translate if it's black and white.” I was like, “Why wouldn't it translate?” It doesn't need to be vibrant in color; it needs to be vibrant characters. People thought it wasn't going to be funny because it’s in black and white. I said, “Who says so? It's funny!” That's the coolest thing about making this film. You can't really explain it to them. When I was trying to get money for it, I was trying to show the visuals of comparable things, but for a film like this, the only way to show them is to actually show them. People thought the story was so unorthodox because of the relationship between an Asian guy and an 11-year-old black girl. They couldn’t comprehend that dynamic being played out on screen. But it's so not weird at all. You just have to show them.
GR: Simone Baker was amazing. I thought it was cool the story was not about the LA Riots; it was about family and friends. Was that the intention?
JC: That was the intention. I wanted to laser focus on a friendship with the external stuff as the backdrop. How does the period affect the dynamic? I think that's way more of an interesting look at that time period than just talking about the riots. I wanted to make a film about the riots from a Korean American perspective but the friendship was always the spine of the film.
GR: What was it like to direct yourself?
JC: It sucks. I hate it because I don't get to protect my own performance. I really have to rely on the deep and heavy scenes from rehearsals. The DP kind of knows what I want. It's more an exercise of preparation because if I didn't prep it right, then I can't really be trying to do things on the fly since I'm directing myself. I just have to know I did the prep work so when we're shooting I'm not worrying about my performance.
It's cool in other ways because it's like shorthand with actors. We did about a month and a half of rehearsals and I already worked out all the kinks with them directly. I was rehearsing with them so when we stepped on set it wasn't like some other actor was taking my place. We had already rehearsed and I'm in the scene with them. I can direct through acting. If it's on, say, Simone’s coverage, I can deliver my line differently to get her to react differently. I can provoke her more to get her to do a different thing, which is shorthand. I don't have to explain it; I just have make her react to what I'm doing. It's a different way of directing but it's also very terrifying because I don't know exactly how my performance is. I only know what their performance is.
I'm more of the straight man in the film. I have a very singular role— to protect the store. With them, my job as director is to be straight and make them shine and make their nuances live. It's to assist play rather than to try and outshine each other. You know actors want to be the stars. As a director, I was very much trying not to be the star. Very purposely, my role was to not outshine anyone. Who are these characters and how do I make them look like Lebron James?
GR: What was it like working with your father who was a child actor?
JC: He was incredibly grumpy and difficult. At first there were all these reservations like, “Am I going to be able to direct him? Is he going to be able to take my directions?” He was really particular. He didn't want to do night shoots but half of the film was at night. It was interesting once we got into the motions because I got to see that he actually is an actor. He would ask the right questions, he would be concerned about his wardrobe and what that meant. As an actor you do all that stuff, but to see your parental figure— an older Korean man— be operating in that way was weird. The first few takes were weird. But after we got the ball rolling it felt like any other shoot. He respected me as a director but at the end of any day he would turn back into dad mode and bitch me out about something that has nothing to do with the shoot. It was part of the reason I wanted to make the film, to be able to have those scenes with him. Now I have that forever.
GR: Was he into the whole idea of the movie? Because he lived it?
JC: No, he wasn't. In his eyes he was like, “Why do you want to relive that time? Why do you want to reopen that wound and talk about such a traumatic time in our family's history and in immigrant Korean history?” He just didn't understand why we wanted to talk about it. My thing is about why we have to. It's a part of our history. If we don't tell it from our perspective then someone else will tell it for us and that's not what I want. It took a bit for him to understand why, but once he saw how people reacted to it, he was like, "Okay I guess it was worth it."
GR: As soon as I saw him pull out the gun in that one scene. I thought about Latasha Harlins. Was that intentional?
JC: Absolutely. Some people were upset I didn't go more into that correlation. But that's not what the film is about. This is my story, through my lens, and it’s really about unifying. I touched on it. I was playing with the idea of tricking the viewer into thinking the movie is a conventional LA 1992 film but it's not anything like that. In the beginning, I show these things and the viewer thinks, “Oh my god, is this going to be the typical do-the-right-thing Korean grocer?” But it's not. I humanize this guy. I make you hate him and then I make you like him. I've gotten some heat about not going more into the Latasha Harlins issue, but I can't make a movie for everybody.
GR: It scared me when I saw it. It must have been really fun to have cussed out your dad.
JC: I had to show people that on script it said, "Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you." It was just seven "Fuck you”s in a row in the script and people were like, "What is this?" I was like, "No, it'll be funny trust me." But during the script phrase people thought it was stupid. I think it works.
GR: What happens now? Where is it going to go?
JC: At Sundance. Samuel Goldwyn bought it. Our rollout will start at the Arclight Hollywood on August 18th. The next time it will play in LA will be for Sundance Next Fest in Downtown at the Ace Hotel. I think that’s on August 12th.
GR: Is it going to be a national rollout?
JC: I think they're talking to a big chain and we'll see if they commit. I think it will be in major cities. It's really important people go see it the first weekend and the first week because that will dictate whether they expand it or if you're just going to see it on Netflix. I think it's important if you are interested in Asian American film or Asian American voices to support it monetarily, otherwise it doesn't give any basis for studios to desire to make film from the Asian American point of view.
GR: Will you make more movies like this?
JC: I'm writing something right now with Sal Paskowitz who wrote The Age of Adaline. It's about Korean brothers who surf their way down Argentina with their Mexican best friend. I’ll imagine it and write it. But getting money for this stuff is so incredibly difficult. There's another one that'd I'd like to make about a blind masseuse living in New York. But again, it's hard to get money for it. I just signed on to do a book adaptation of this New York Times bestseller called Counting by Sevens. It's about a black girl and her relationship with this Vietnamese family to form a family around her so she doesn’t get taken to foster care. That's how I can dip my toe into a commercial space while maintaining my integrity. I can still do a little bit there to tell the Asian American narrative. But we're still a long way.
GR: Asian American cinema isn't really a genre.
JC: Yeah and it needs to be.
GR: Tell me about BgA, this boy band.
JC: It's kind of Ryan Higa's brainchild. He just wanted to parody a K-Pop band and K-Pop music in general. It's funny because our first song is titled "I Need To Take A Poo." It ended up being a parody but our second one started to be more legit. More traditional K-Pop and people are treating us like an actual K-Pop band. We were on top of the iTunes K-Pop charts. That's a testament to Ryan's following but it's meant poke fun at how rabid the fans are. I don't even know really where it's going or what it is. It's us having fun. It's also so cool that you can make something as a joke and it can get so much traction. It's a conversation about how global Asian pop culture has become. It used to be Japan.
GR: How will you transition into an actor playing people in their 30s or 40s after playing so many young people? Do you look forward to that or is there a challenge in there?
JC: Early on I wanted to grow out of playing young people. I always wanted to be the Asian Sean Penn and play the Mystic River roles. But after a while you have to look at yourself very honestly, and I just look young. It's just not possible and the roles aren't written for me to look at it outside of the box. There comes a point where you just have to embrace it. I just got to pick the roles that are interesting. I'll do a commercial thing like 21 & Over or Twilight but I will also do a bunch of indie, weird things. Or take risks with films like Seoul Searching. I just did a film based on writer Tao Lin's novel and it's called Taipei that is super millennial. I’m looking for those roles where I can still get stretched even while playing young people. Going forward, I'm going on a television series for ABC called Deception and hopefully if it's a success and it will go more than one season, I can bridge that gap within that time span. I can do that on the show. If they want to keep me infantile and not mature in the show then I'll just have to live with that. I've been trying to do riskier roles in smaller films and push myself there with stuff that might not necessarily make sense for me right now, like playing a cop or young detective. Looking for those kind of films is where I'd like to start to bridge that gap. I'm still trying to figure it out.
GR: Your credits are gigantic and you have tons of roles. I saw Twilight and I saw some indie horror film. It shows a lot of range.
JC: I just want to make stuff. That's why I directed and I wrote. I don't see myself as just an actor. I just want to create. Creation and collaboration is fun for me. I look at it in more of those terms rather than being like, "I am just this and I don't want to be seen outside of acting drama." For me being a minority and a diverse voice, it can be very limiting because there's not that much choice. I think it's okay. That's why I do so much YouTube. We're in an era where no one cares. You can do a sketch for Funny or Die but it's not going to take away your credibility.
GR: Where did all the acting chops come from?
JC: I thought about acting in high school and I was just such a lover of the Cineplex and movies. I could spend hours watching TV. I learned how to be an American by watching films and television. When I went to college and I did an internship during the Internet boom in the late 90s, I was just like, “This is not what I want to do. I don't want to be in an office. So what are the other options?” Acting was a pipe dream but a worthwhile endeavor. I thought, “I like watching these shows, maybe I can be in one.” Then I fell in love with the craft and once that happens it's not just about being famous or being recognized; it becomes a love of the artistry. The skills come from constantly working at it. I still take classes now. That's what's fun about it. You'll never get to where you would like to be. That striving to achieve, that unattainability is what keeps you growing as an actor. Directing, I'm still such a baby at it so that's fun because I can actually see the improvement from film to film and even experimenting in shorts. I can see myself improving in bigger strides. But acting, it's just small tiny wins.
GR: What's it like having to compete against so many Korean American actors and colleagues?
JC: We all collectively support each other in the creation of more Asian-centric films. I don't feel like it's a competition because we’re all different. I'm not the same kind of actor as Steven Yeun. The essence of what we bring is so different. I don't think I'm competing with him because if he gets a role he's going to do it completely different than I would. It's not like we're so similar in style and tone of acting that it's a direct competition. If he got it, then he brought something I just don't have. In that way, I don't feel like I'm losing out.
Of course, the frustrating part is that we're all going for the same roles. I'll see people who are 18 to 50. How am I auditioning for the same role as this 50 year old that I respect and grew up watching? They'll create one Asian role and that's what's frustrating. Why are all of us vying for this one role? Which goes back to creating. It's eye opening when you make your own stuff. You don't look at it the same way. Behind the camera, they're going to choose who's best for it, but in the meantime if I don't get this, I can make something and satisfy myself artistically. It's frustrating because of the lack of opportunities.
GR: How many roles have you got that were not even written for an Asian person?
JC: I think a majority. When it's for an Asian guy, they have so many actors to choose from. But I'm the wild card. In Twilight, for example, my name was Eric Yorkie. The director Catherine Hardwicke fought for me. They were saying, "No, there are no Asian people in Forks, Washington," and she's like, "Why not?" 21 & Over was written for an Asian guy. My name is Jeff Chang. That's like John Doe for Asian people. I competed with a lot of people. People came up to me afterwards and told me they were up against me for the role.
GR: I think I first saw you in Crossing Over, a great underrated film.
JC: I don't think most people even know about it.
GR: I thought it was a great movie. There was a Giant Robot sticker behind you in a scene! You played a 15 or 16-year-old?
JC: I was really young. That role was obviously meant for an Asian. It's all about immigration. I was a kid about to be naturalized. To be honest, I thought that film would be my meal ticket. Originally Sean Penn was in, but he got cut out because he didn't want to be in the film. But it was Sean Penn, Ashley Judd, Harrison Ford, Ray Liotta, Jim Sturgess, Alice Eve, and Josh Gad. I thought that was it. I was one of the leads. I thought, “Shit, I'm about to blow up.” Nah.
GR: Do you have any dream roles?
JC: My mentality has been less focused and more open to possibilities. I would love to play Victor Tsoi because I'm sure Russians would be really appalled if an American was playing a Russian icon.
GR: Is the Internet giving you that opportunity?
JC: Yeah, because anything is possible now. I can go film it on an a7s.
GR: I heard somebody tried to make you do an accent for a role. What kind of accent were they trying to make you do?
JC: Just a blanket Asian accent.
GR: What is an Asian accent?
JC: That's what's annoying. They say, "Give me an Asian accent" and you're like, "Well. That could be Cantonese, it could be Mainland, it could be Vietnamese, Filipino, or Korean." They're all so different in nature. I'm like, “What does that mean?”
GR: You didn't do one?
JC: I didn't even go in the room because I found out they were going to trick me. They bring you in the room and they make no mention of an accent in the script because it doesn't need it. I had a feeling though. When you get in the room, they ask for an accent. When you're already in that vulnerable position, in the position of wanting the job, it's really unfair to all of a sudden bring that all. Ethically, do you say no and walk out? Or do you say "Sure"? It puts the actor in a very weird position.
GR: That would suck to be that person then. Sold out is the wrong word, it's still a job.
JC: I can never blame the actor because they didn't write the role. It's so hard to make a living as an Asian American actor in the first place. I can't fault anyone for taking it. But for me, it's also how the office dealt with it. I called my manager right away to say that I'm not doing the accent. He called the casting and they said, “Then tell him to leave. It's his choice.” They were so unsympathetic to it. I was shocked. I guess we still don't have power because they can just talk to us like that and I can't take it to the press. They're not scared at all to talk to us that way. I thought that was really disturbing. It's a long history. I walked out and I thought about ways to turn the experience into a positive. At least I can air it out and talk about it. I thought we had gotten at least some progress but it was a rude awakening into how short of a distance we've come. It was frustrating. It's changing, slowly.
GR: That's a tough one. You don't want to be Gedde Watanabe playing Long Duk Dong. He still has to live that down.
JC: It's such a bummer. I like that movie. I'm a huge John Hughes fan so it's just such a bummer. I did it. I'm not sinless. I did it in the beginning to myself. There were a series of T-mobile commercials with these poser gangster guys and I went into the audition. It wasn't written for a Chinese but I brought it in with this pseudo-fake accent, making fun of myself. I vowed after that that I would never do that again. I really try to never do those stereotypical things. Even in Crossing Over, he was an immigrant so it made sense that he had an accent. But I get it. It's come a little bit, but I can't stress it enough. That's why I like making films from our point of view. It’s important to make good shit. It's cool to make your own films but think it through. It doesn't do anyone service if it's shitty. Ask for help.
GR: There are a lot of films that get trapped in Asian American land. They're fighting the good fight and they're finding the money and ways to get made but I'm watching it and it feels like 20 years ago.
JC: I was sitting in one of the Asian Film festivals watching a film and it was the same Dragon Lady doing the traditional dance or tai chi in the courtyard. I was like, “Oh god. Joy Luck Club was over 20 years ago. How are we still making the same film about tiger mom bullshit?” Like cool, okay. Have that in the film but don't make it the focus of the film. Don't make it with the ending being Dragon Dance or eating mooncakes. Millennials don't want to see that. They get turned off. They want to hear an awesome Kendrick Lamar song playing while Asian people are rocking out and doing drugs or doing whatever they're doing. That's what I want to see.


This Performing Arts season, we take a look at some of the favorite heroes and heroines of our music and theater stage–
and their villains slain, both otherworldly and within. Welcome to the 2016/17 season.
UP NEXT: Disney's The Little Mermaid
Oct. 15 - 30, Main Theater
directed by Jennifer King
MERMAID MATINEES! Call 256-7500 for tickets
Take a seat! See what's playing this 2016/17 season.


Current AAS members received this directly from the AAS. It would be great for the Philippines to be well represented among these films. Pls. note the criteria noted in linked page given below: “Criteria utilized in the selection process include timeliness, broad appeal to the scholarly community, and examples of new field work.” –Megan
The Association for Asian Studies is now accepting films for consideration and inclusion on the 2018 Annual Conference Film Expo program.
The Annual Conference will take place in Washington, DC, March 22-25, 2018.
We welcome the submission of films related to Asia produced by scholars and independent filmmakers. All films selected to be screened at the Annual Conference are promoted in a special Film Expo Booklet which includes contact information for distributors or filmmakers who self-distribute. In addition to the main screening room, we will offer a ‘on demand’ room for attendees who miss scheduled screening times.
The deadline for submissions is November 10, 2017. Please visit the AEMS website for detailed instructions and submission form.
AAS Film Expo is curated by the Asian Educational Media Service (AEMS), a program of the Center for East Asian and Pacific Studies at the University of Illinois at Urbana-Champaign
We look forward to seeing you and your film in Washington DC!


Leonardo Dicaprio is an American actor, producer and environmentalist. He started his career doing commercials and over time, started doing TV shows and movies. He achieved international fame by playing Jack Dawson on Titanic. You might know him from some of his many movies such as Inception, Django Unchained, The Wolf of Wall Street or Once Upon a Time in Holywood. He received the long deserved Oscar by playing Hugh Glass in The Revenant.
When it comes to his face shape, he has a round face shape. As you can see, his head is as wide as it is long. He also has a round jaw line with a short chin which makes his face look circular.


“There are conditions to being selected for the Cannes Film Festival. It must have been completed twelve months before the festival and has not been screened in other international film festivals. It is fine to conduct business operations in your own country but not feasible, in principle, in areas outside your country.” Huang Sibo was taken aback. “Is there anything else to pay attention to? Then, our movie does not seem to meet this condition anymore?” Lin Ruyi nodded. “Yes, but the film festival is a place where people pay attention to connections. Rules are determined by people. Tomorrow is Beautiful might have been released, but the popularity is very low now and there is no particular heated discussion; neither did we participate in other film festivals.
“The reason why these film festivals formulated these mandatory requirements was to lock in more high-quality film resources and to ensure the quality and popularity of the film festival.
“In fact, some films that had won in Berlin, Venice, and other places had also participated in the Cannes Film Festival. However, it was basically very difficult to be selected except for some very good and top-notch films that could win awards.
Tips, opportunities to make money：How to do online mission to make money “In addition, the relationship between Cannes and the film distribution company was also very delicate. Some bad films could also enter the main competition. It was said that there was an exchange of resources there.
“Of course, this situation was very rare. Most of it was to bring in candidates. Whether you could win the award or not depended on the quality of the film itself. That was the bottom line of Cannes. “So do you understand? Tomorrow is Beautiful is not popular in foreign countries, the quality is not excellent, plus some other reasons that we don’t know about. The judges made an exception to let us enter, but don’t think about winning any awards. We’ve already profited from walking the red carpet and seeing the world.”
Huang Sibo was a little regretful. He might be the person-in-charge of Fei Huang Workspace, but he was the most amateur amongst everyone on the set. He had also been in ‘shock therapy’ recently. He had not understood this even though he had been doing his further studies.
Tips, opportunities to make money：Do you have a clothing to sell online selling money? One naturally did not know of these if one were not in charge of film submissions.
“That was a pity then. If I’d known, then we should have submitted the film before we released it?” Huang Sibo said angrily.
Lin Ruyi shook his head. “You’re thinking too much. Many good domestic films came to Cannes without any results. Tomorrow is Beautiful is probably not enough, too. Moreover, who could think so long term by then?
“What’s more, most directors had participated many times in many Film Festivals and knew each other well. They had relationships with others while we are not even well known in China...
Tips, opportunities to make money：What a way to make money online there “Therefore, don’t think so much; we’ll just be around and head back. We are basking in Boss Pei’s light to be here in the first place. We’ve beaten many domestic movies, okay?”
Huang Sibo thought of it and seemed to understand that logic. However, at this moment, Zhu Xiaoce, who had been listening to their conversation, interjected. “Little Lin, Cannes is not the same as Oscars. The organizing crew would not notify the group to participate in the final awards ceremony if they did not win any award. That means that we’ll get one award at the very least.”
Lin Ruyi’s eyes lit up immediately. “Really?”
Zhu Xiaoce hesitated. “Uh... in most cases, yes. However, they would also ask the nominated to come in certain cases. In short, I do think there is hope for the best newcomer award. We must have confidence in the quality of our movie after all.”
The awards were beginning to be announced as they discussed.
Short Film Palme d’Or, Best debut, special mention, etc...
The lucky winner would step on the red carpet to accept the award. The audience would also respond with endless warm applause. Excellent filmmakers would be reported in this event with god-like respect.
Zhu Xiaoce and the rest clapped along but felt something wrong the more they waited. The entire award ceremony would take more than an hour from start to end. More than 40 minutes had passed after looking at their watches.


At Revel Film, we uniquely tell your love story the way it was meant to be, in beautiful cinematic fashion. We handle every detail of your wedding film, leaving you free to enjoy the biggest day of your life – and to relive your story with family and friends for the rest of your life.
Most importantly, we live for the moments that are only seen once. A father seeing his daughter for the first time or a groom coming to tears as his beautiful bride walks down the isle, is what we look for when telling your story. These moments are priceless and are truly beautiful to capture. This is why, at Revel Film we want to be your ideal partner, not just your vendor.
“Brian and his crew were absolutely amazing! We are so in love with our wedding video and highlight reel. The crew had such an incredible eye for detail and we’re able to get such great footage without being “in the way.” Our guests commented on how non-intrusive they were and we loved that about them!”
The beautiful moments of proposing to the love of your life is something you both will always remember. We’d love to capture it and see it unfold. We’ll work with you throughout the planning process of your proposal to make sure your comfortable and confident with our team as well as your execution. Our candid cinematographers and photographers will be there with you to capture all the beauty you put into planning this unforgettable milestone in your life.
“If you’re in the market for a videographer/photographer look no further. The folks at Revel Film are the best, bar none. They handled my surprise proposal photo & video shoot and without question will be handling all wedding media related affairs going forward. The process was seamless and the end result was incredible.”
“Revel Film was able to capture one of the most amazing moments of my life and they couldn’t have done a better job. Having pictures is one thing, but having a video in the quality that Brian produces them in, is unbelievable!!! Everyone who watches my proposal video ends up with tears in their eyes and asks me if this was part of a tv show…”


I started taking my child with autism to the movies at a very young age, because I wanted to provide him with an outlet for entertainment when he was older. As with any child, it was difficult. Initially, he would face his body towards the projector to watch the streaming lights instead of the film itself. But, after many years and lots of reinforcement to stay seated, it is now one of his favorite outings.
AMC theaters offers “Sensory Films” once a month for children with autism who are not able to tolerate a typical movie screening. In these showings, the lights are on and the sound is adjusted, and it is okay (even encouraged) for children to get up, walk around or dance during the film.


The Seed is a high-value, issue-driven, motion picture inspired by actual events.
“Buck Conner” – a small town, Texas corn farmer is forced into a battle with a powerful multi-national GMO seed corporation in order to save his family farm. This true-to-life, character-driven story offers a touching portrayal of a traditional, American corn-belt family and their values put to the test in the face of seemingly insurmountable odds.
Like a modern telling of David vs. Goliath, this independent, faith-oriented, issue-driven movie is our pro-farmer answer to the ever-steady encroachment of genetically modified seeds and the devious lengths to which a massive GMO corporation will go to in order to punish anyone who stands in their way. The only thing Buck Conner did wrong was say, “No” to their system. This decision plunges Buck, his family into a battle over the rights of the individual farmer vs. the imposed rights and claims of the corporation over what God created – the seed.
Zodiac Studios produced the proof-of-concept short film that is based on the feature. This short film has been accepted into film festivals around the world as the financing for the feature is raised.


Francis Geffa, is the sadistic organizer who welcomes you to Sadistic Fight Club, which is the first and only Italian extreme fight federation, where young women will compete in brutal submissions matches. Today is Niky is challenging Ivy, the sadistic company’s manager. The girls get introduced and the fight is on. Ivy starts off talking trash talk, which causes her to get slapped by Niky. Ivy didn’t take it too well, as she starts to beat the crap out of Niky even using a chain wrapped around her fist to make thing easier. Once Niky is weakened, Ivy uses that chain to choke Niky. Niky tries to fight but soon passes out. Ivy lets her go, but sees Niky waking and decides to choke Niky more. Again Niky struggles are useless as she’s choked out again. Ivy poses over Niky and Francis checks on Niky. Unable to wake Niky, Francis claims Ivy as the winner. They have a long talk all in Italian, long enough for Niky to wake up and come back for revenge. She attacks Ivy for behind, using a stick to and a reverse bear hug to beat Ivy down. Niky wants revenge, using a string to choke Ivy out. Ivy struggles for a while but soon enough passes out. Retribution gained, Niky poses over the twitching Ivy before leaving.
This video both hits and misses, all at the same time. The set up for this vid takes forever, it’s all in Italian, so I’m not sure what they’re talking about, but no matter what, it shouldn’t take that long. Then the fighting starts and it’s awesome! Ivy seems so merciless as she beatsdown Niky, choking the life our of her, twice. Niky twitches and sticks her tongue it petty much the whole time she’s being choked, even after she’s out, her eyes stay open and she continues twitching. Then, ivy and Francis talk forever, again, I have no idea what they’re saying, but no reason it should take take that long. When Niky comes to get her revenge, again the action is golden. Ivy isn’t as great with all the eye crossing, twitching and sticking her tongue out as Niky, but it’s still pretty great. In the end there’s a weird music montage, that highlights the fight, with an overlay of Ivy still laid out twitching. It’s kind of cool, and kind of hard to see what’s going on, but a nice try at something different. Overall, this has way way way too much talking, especially when the action is so over the top and amazing. Cut the talking down 80% and you’d have an 9.5 video, easy.
Overall seore: 8/10


10 Ways to Get Cheap Movie Tickets
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Movie theaters are a great place to take a break from reality. But with the average price for a movie ticket at $9.11, not including popcorn and drinks, seeing a blockbuster can be pricey.
What if you could score cheap movie tickets and stretch your entertainment budget? You may get a better deal for the same movies as your friends for a fraction of the price.
There are many ways to score discounted movie tickets and save money without missing out on your favorite films.
10 Ways to Get Cheap Movie Tickets
Cheap or free movie tickets are a great way to save money and cut expenses without sacrificing your favorite activity.
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Check out sites like Groupon for deals on movie tickets in your area. Deals are not always consistent, but you can find great prices for local movie theaters for less than what they go for at the box office.
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Redeem your Swagbucks points for movie theater gift cards from AMC or Cinemark. Next time you’re in the mood for a good movie, use the gift cards you earn with Swagbucks to cover some or all of your ticket price.
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You can buy your movie tickets online and offset the cost by using the Rakuten portal. Rakuten, formerly known as Ebates, is an online shopping portal that gives you cashback on your online purchases.
First, you’ll need to sign up for a free Rakuten account. It takes fewer than five minutes to get started. Once you have your account set up, search for Fandango in your Rakuten portal. Click on “shop now” to be redirected to Fandango’s site. This will activate your cashback deal with Rakuten.
Once you’re on Fandango, purchase your tickets. You’ll receive an email from Rakuten after checkout notifying you of your cashback earnings.
4. Purchase discounted movie gift cards on Raise
Pay less for your next movie ticket by buying discounted movie gift cards on Raise.com. Raise is a website that sells gift cards to a variety of retailers at a discount, including movie theater chains like AMC and Cinemark.
On Raise, you can find gift cards for up to 30% off the value of the card. For example, if a gift card has $100 on it, with a 30% discount you could pay $70 for $100 credit to your favorite retailer.
Gift card discounts and availability changes daily, so check the website often.
5. Get a MoviePass subscription
If you’re a big movie buff, the cost of seeing the latest films can add up, even if you can get cheap movie tickets. That’s where MoviePass comes in. It’s a subscription service that allows subscribers to watch a certain number of movies each month. The basic plan allows users to watch up to three movies each month, and the premium option has no limits on how many movies you can see.
MoviePass can be a good option if watching movies is your main hobby. Make sure you go to the movies often enough to justify the price. While MoviePass is not accepting new subscribers, you can sign up to be notified when the service is open again.
On a similar note, check your local movie theater to see if it offers a subscription plan. Some theaters are following MovePass’s lead by offering patrons the chance to pay one low monthly cost for a certain number of visits per month.
Related: 3 Ways to Get Netflix for Free
6. Enjoy a matinee
Most movie theaters charge full price tickets during the high-traffic, evening hours, but shave off a few dollars for matinee showings.
Since fewer people go to the movies during those times, theaters offer cheap movie tickets to get more moviegoers through the door. Instead of going for dinner and a movie, try going for a movie and then dinner to save money.
7. Take advantage of cheap movie ticket Tuesday
Some movie theaters run specials for weekday showings, since most people go to the movies on weekends. It’s a win-win for the theater and for moviegoers looking to score cheap tickets. The theater gets to fill up seats that would otherwise go empty and you get a good deal on a movie.
Check the websites for your local movie theaters to find out if they offer a weekday discount. The ones in my area offer discounts on Tuesdays when tickets are only $5 no matter what time you go.
If you can’t find any information online, call the movie theater and ask if it runs any specials.
8. Check for car load sales at your local drive-In
Besides the fun of watching a movie under the stars, drive-in theaters run specials and can be cheaper than a typical movie theater
Check your local drive-in theater for special “car load” sales. For these, you pay a flat fee for the entire car load of people rather than the usual per-person charge. Some will specify that if the per person price is cheaper, you can pay the normal rate.
Let’s say you bring a family of four to the movies. The theater charges $7 for adults and $3 per kid, which will come out to $20 total. If they are running a car load sale for $12, you save $8 on admission.
9. Check your local discount movie theaters
Many big cities and metro areas have discount movie theaters. They show movies that are a few months old for half or less of the cost of a regular ticket.
Discount theaters are usually older and don’t have stadium seating with reclining chairs. Do a quick online search for any discount theaters in your area.
10. Look for kids summer movie camp deals
If you have kids, be sure to check out your local movie theaters for summer movie deals. Many local and national movie theater chains run specials on kids’ movies during the summer months.
Expect to pay between $1 and $5 per ticket. Some theaters even let you decide how much to pay, and some only offer discount shows during certain days or times.
One major chain that runs this kind of program is the AMC Summer Kids Movie Camp. Tickets are $4 plus tax and include a kid-sized popcorn, a fountain drink, and fruit snacks. Showings are every Wednesday morning, and there’s a different movie each week.
A Few Bucks Saved Really Adds Up
Even if money is tight, you can get cheap or even free movie tickets with creativity and persistence.
Sometimes being frugal means using a few different tricks, like always clicking on the Rakuten button to get cashback or only going to the discount theater in town.
You can be smart with your money and still have fun, even on a budget.


The trend to invite Hollywood actors in the Bollywood movies is catching up high.
In her directional debut Leena Yadav is going to feature a joint tenure of Hollywood and union Bollywood top ravishing actors the actor of the millennium Amitabh Bachchan and Sir Ben Kingsley who played a challenging role of “The Father of Nation- Mahatma Gandhi” in movie “Teen Patti”.
Sir Ben Kingsley will play a prominent part in this movie. Besides him, the movie has remarkable star cast of our Bollywood Daddy Amitabh Bachchan, R. Madhavan, Raima Sen, heart throb beauty of Bollywood Sushmita Sen, Boman Irani, Jackie Shroff and Ajay Devgan. Plus, some of newcomers will be seen in this movie. Baddie Shakti Kapoor’s daughter Sharadha Kapoor will be among the others in the movie to make their debut.
Going behind the scenes, it seems that the movie team had tough time in getting the shooting permission from the famous Cambridge University. Later, when the authorities came to know that Big B and Sir Ben were the stars, they allowed the team to shoot.
This movie will be soon among the moviegoers on the silver screen, the production is undergone.
Women’s Hair Trends 2009: Styles, Colours, Cuts
Taking their cues from 2008, in 2009 women’s hair trends will play to the extremes. They might be extremely short, extremely girly, extremely sexual or extremely slick. It’ll only be the bob hair cut which will sit somewhere to the left of extreme; and you’re going to be hard pressed to find that hair style on fashion forward women.
You got short hair trends in the form of the Pixie Crop and the Cropped bob, and in the middle is ye olde simple bob; so what does that leave us with? Long hair in 2009. And it’s what I’m imploring all girls grow.
You see, the bob is done and dusted for the truly fashion forward, and the shorter variations simply aren’t going to suit everyone; but long hair? Long hair, cut and layered correctly leaves you able to take advantage of most of 2009’s hair style trends. Consider just a few of the looks from the Spring/Summer 2009 catwalks.
Straight and Sleek: 2009 long hair style
Sleek and straight hair trend on Doo Ri (left) and Matthew Williamson runways (middle and right)
What type of hair do you want?
This is what you could be wearing this winter 2009 – what do you think? Hit or Miss?
Whose attending?Â This show comes round once a year and will definatly be a great day out!
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WhatsApp groups are a fun way to connect with your fellow actors. Here’s where you can meet other actors, discover new people and chat with actors you already know, and have fun! Join Actors Whatsapp Group and get the latest updates about Movies and WhatsApp status and videos on Allu Arjun’s mobile phones.


Last Saturday, I was privileged to make it for the final weekend of a play I desperately wanted to see this summer called Faith Healer with Ralph Fiennes, Cherry Jones and Ian McDiarmid. It lived up to my expectations! This play tells the story of a traveling faith healer (Frank Hardy), his long-time lover (Grace) and his devoted manager( Teddy). As the three bare their innermost thoughts, they ask potent questions about who we trust, what we know and why we believe. It was all performed in monologue by each of the 3 actors and then a final monologue by Ralph Fiennes. In my opinion, Cherry Jones stole the play! Her portrayal of Grace Hardy, Frank's wife, was captivating. It was a very emotional monologue filled with desperation yet a strength in her character that you admired. The combination of these 3 very powerful actors made it so memorable to me.


#06 Victoria Racimo: Preview of her new film “One Day”
We are pleased to share with you the sixth video from our 2015 American Equine Summit featuring Victoria Racimo, Filmmaker and President of Palomino Entertainment. Victoria previewed her new documentary film “One Day” about the rescue of 1977 Champion Race Mare, Our Mims, and the woman, Jeanne Mirabito, who saved her. This film was edited by TanNa Young who is also the Coordinating Producer of the CBS Series, “The Good Wife.”
Visit Our Mims Retirement Haven website for more information on the work of Jeanne Mirabito.


Star Trek is Back in Top Form
Star Trek is back and it is kicking ass and taking names. J.J. Abrams has given the old sci-fi franchise a modern-day makeover complete with a hot young cast and a U.S.S. Enterprise that can bring the pain with its added firepower. It made over $70 million opening weekend so it’s safe to say that a good chunk of you saw it already. For the rest that haven’t, head to the theater ‘cause it’s worth the price of admission.
I’m not going to spoil anything major about the film but there are some things that crossed my mind regarding the new Trek – things that a Pinoy from California who is expecting his first child would notice.
Yes, I am expecting my first child which leads me to my first observation about the film. The movie starts with the birth of Captain James T. Kirk as his mother goes into labor on a Starfleet vessel while it is being attacked by a Romulan mining ship. What kind of irresponsible mother-to-be allows herself to be on a vessel in outer space near her due date?!?!? I guess there’s no such thing as maternity leave in the Star Trek universe. I don’t care how advanced medical science is in the future, I wouldn’t want to be the doctor that has to pull off a c-section on a spaceship while disgruntled aliens are bombarding it with torpedoes and lasers. I know, I know, it’s a movie. I’m just saying.
Speaking of Starfleet vessels, there’s a scene in the film where Kirk rolls up on his motorcycle to view the construction of a new spaceship in a field in Iowa. It’s stuff like this that puts the fiction in science-fiction. Unless Barack Obama really does start bringing manufacturing jobs back to the United States, the construction of Starfleet vessels would most likely get outsourced to China or India and wouldn’t take place in an open field in Iowa. The only big thing that’s gonna be constructed in an open field in Iowa is a new Wal-Mart plaza with a Chick-fil-a and Waffle House.
Now, I am appreciative that the film crew used the Cal State University Northridge library as the main Starfleet Academy building (it was also the high school in Sky High).
Seeing that building brought back fond memories of math study groups, #irc chatrooms, and the time my buddy pulled the library fire alarm so that the building would get evacuated in order to get more people to buy stuff at our Filipino club’s history month bake sale taking place on the library lawn. It was all fun and games and cultural dance performances until the fire truck came. But I think we sold a few bbq sticks to those firefighters as well!
Anyway, in the film, Cal State Starfleet is located near the Golden Gate Bridge in San Francisco. It is the premiere academy where students looking for careers in engineering or medical sciences would go with the hopes of being assigned to a ship to perform a specialized task… a lot like the Navy. Let’s recap real quick: school, engineering, medical science, Navy, and San Francisco. This school is every Filipino parent’s wet dream for their kids. You can actually hear someone’s mom or dad bragging to their friends that their child got accepted to “estarpleet”. The only issue I have is that there should have been more Filipinos in Starfleet Academy in the new Star Trek movie. If J.J. Abrams really wanted to lend some plausibility that things in Star Trek are not too far from happening, then they needed to show the area of Starfleet Academy where the Pinoys are kicking back and playing pusoy dos to kill time. I was only able to find one Filipino actor in the entire cast of the new film and that was Reggie Lee as a test administrator. Let me guess, all the Pinoys must have either been at PCN practice, protesting at some affirmative action rally in the quad, or there must have been a Pacquiao fight going on that day.
It’s an entertaining film and I expect that we will see more Star Trek movies with this cast in the not too distant future. Let’s just hope that in the next Star Trek film, they cast a few more Filipinos. The Basco brothers and the rest of the Debut cast could use the work.


Drama is not just about the acting but the holistic development of an individual.
That’s the view of Drama Development Officer, Martin Quashie, as he spoke to SVG-TV News on Wednesday, ahead of the opening of the 2018 School’s Drama Festival, which opens next Monday with participation from as many as ten secondary schools.
Quashie said the preparation is going well, but noted that the Girls High School will not be defending their title. He said that this year there will be a focus on the development of the acting skills of the younger students.
Quashie, who is also the National Drama Festival Coordinator, encouraged parents to support their children if they decide to get involved in drama, adding that they would not regret their decision. He also used the opportunity to appeal to the corporate sector to make a greater input in drama.
Quashie added that unlike previous years, this year’s festival will not feature a semi final round.


This time of year is perfect for movie nights. The weather means we want to be constantly warm and comforted so no matter whether it’s date night or girls night spending an evening watching THIS new movie will provide you with all the necessary LOL’s!
OFFICE CHRISTMAS PARTY is in cinemas December 7 starring Jennifer Aniston, Jason Bateman, Kate McKinnon, T.J. Miller and Olivia Munn. It tell’s the story of a CEO who tries to close her hard-partying brother’s branch, he and his Chief Technical Officer must rally their co-workers and host an epic office Christmas party in an effort to impress a potential client and close a sale that will save their jobs. Watch the trailer here!
To celebrate we’re offering you the chance to win a day out in London on December 3rd, to watch the film at an exclusive London hotel and enjoy a fabulous dinner. Plus you’ll also receive a voucher to spend at Office for your glam night out! Check out our Facebook page for details on how you can win this amazing competition.
Check out our party shoes to make sure you kill it at the Christmas do this year.


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Pelli Choopulu Movie Special Premiere Show In Vijayawada; Tarun Bhaskar Interview About Pelli Choopulu Movie; Rana Daggubati At Pelli Choopulu Movie Press Meet; Pelli Choopulu Movie Success Meet; Pelli Choopulu Movie Team At Regency College Of Hotel Management; Vijay Deverakonda Interview About Pelli Choopulu Movie; KTR Watching Pelli Choopulu. 08/08/2016 · Watch Nani talking about Pelli Choopulu movie. The movie Pelli choopulu was released recently and gained an immense response from the industry and as well as the audience. Pelli Choopulu 2016: Its been such a long time since I watched such a refreshing movie like Pell Choopulu.In recent times,most of the movies are turning out to be a disappointing ventures.This week out of Jakkanna and Pelli Choopulu,I opted for Pelli Choopulu because I wanted to avoid Jakkanna.I had good vibes on this movie after watching the. 29/07/2016 · Watch Pelli Choopulu Telugu Movie _ Back To Back Video Songs _ Nandu _ Ritu Varma _ Vijay Devarakonda - video dailymotion - Melodies on dailymotion.
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30/07/2016 · Pelli Choopulu is an endearing romantic comedy that comes as a fresh whiff of breeze amongst the cliched offerings from Tollywood. First timer Tharun did a commendable job in handling this light hearted entertainer that is laced with emotions. Prashanth Vijay. 17/02/2017 · Latest super hit, 'Pelli Choopulu' is all set for a world television premier on Gemini channel. The movie, directed by Tharun Bhascker shot the lead actors- Ritu Varma and Vijay Devarakonda to fame overnight and also introduced Priyadarsi as a off-beat comedian.Made on a. Watch Pelli Choopulu Telugu Movie Teaser Online starring fame Vijay Devarakonda and Ritu Varma. Directed by Tharun Bhascker Dhaassyam.
Following are the song lyrics from the movie/song album Pelli Choopulu. The actors in Pelli Choopulu are Nandu, Ritu varma, Vijay devarakonda and the lyrics are penned by Shreshta, Nikhil bharadwaj, Rahul ramakrishna, Shri. Pelli Choopulu Telugu Movie - Overview Page - Pelli Choopulu is a 2016 telugu romance comedy film directed by Tarun Bhaskar starring Vijay Devarakonda, Ritu Varma in lead roles. The movie is produced by Raj Kandukuri, Yash Rangineni and musical score by Vivek Sagar. 26-Dec-2019 - pelli-choopulu-2016-telugu-full-movie-download. Visit. Discover ideas about New Indian Movies. December 2019. Pelli Choopulu Movie Trailer exclusively on Telugu. Pelli Choopulu Movie Trailer exclusively on Telugu Filmnagar ft. Yevade Subramanyam fame Vijay Devarakonda.
Pelli Choopulu success did not just give him a name but propelled his career as lead too. Many directors are approaching the young talented Vijay Devarakonda who proved his comic timing and acting skills with Yevade Subramanyam and Pelli Choopulu. He has completed a movie and started acting in a film produced by Geeta Arts and UV Creations. 28/07/2016 · Check out Pelli Choopulu 2016 movie review, rating & box Office. A romantic comedy film directed by Tarun Bhaskar, starring Vijay Devarakonda and. Vijay Devarakonda Net worth, Career & Earnings. He has debuted with Yami Gautam in Nuvvila 2011. Then, he has acted in a cameo role in Life is Beautiful. Both movies were successful but Vijay failed to get recognition. His first lead role was in Pelli Choopulu. Pelli Choopulu Review, Pelli Choopulu Movie Review, Pelli Choopulu Telugu Movie Review, Pelli Choopulu Rating, Vijay Devarakonda, Ritu Varma.
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Who doesn’t love a monster, created or robot in the movies? Now you can go to The Stan Winston School of Character Arts to learn how to create these yourself with their webinars and online courses. I’ve always loved big, blockbuster movies like Jurassic Park, The Terminator movies and more! And, I’ve known about Stan Winston through the countless DVD special features I’ve watched over the years. So when I was able to have Matt Winston on the podcast to talk about how a Hollywood practical effects master teaches online courses I was elated.
Matt talks about creativity and how his team plans the course content. While they have the names of famous movies to help market and promote their courses, they still do a lot with social media marketing. I was impressed with how personable Matt is and devoted he is to the online training community. It’s not just a way for him to make money, but a way to teach the next generation how to make physical effects for movies and television. And more important than that, it’s a way for him to extend the legacy of his father, the late (and great) Stan Winston.
Matt Winston’s bio
About Stan Winston and The School of Character Arts
For over 40 years, the name Stan Winston has been synonymous with iconic fantasy characters, including the killer cyborgs of The TERMINATOR series, the extraterrestrial monstrosities of ALIENS, the alien hunter from the PREDATOR series, the prehistoric giants from the JURASSIC PARK films, and the iconic suits from IRON MAN. By relentlessly pushing the limits of art, technology & imagination, Stan Winston Studio continually set new standards of excellence and innovation for character creators worldwide. After Stan’s untimely passing in 2008, the Winston family founded Stan Winston School of Character Arts to preserve Stan’s legacy by inspiring and fostering creativity in a new generation of character creators. Through connecting the world’s finest artists and technicians with students worldwide, our mission is to empower aspiring artists and technical wizards to push the boundaries of character creation for years to come.
- Nominated for 10 Academy awards and won 4
- Known for Terminator series, Aliens, the first 2 Predator films, Jurassic Park 1-3, Iron Man
- The Stan Winston School of Character Arts
- Instructors have 24 Academy nominations with 12 Academy awards
- Stan and his company have worked with James Cameron, Steven Spielberg and more!
Questions for Matt Winston:
- With a background as fantastic as your father’s, how was it growing up to get a front row seat as Stan developed characters for the Terminator series, Aliens, Jurassic Park and many more?
- Since Jurassic Park is one of my favorite movies and I know you were able to work on set with the all the live action dinosaurs, do you have a favorite memory about that movie and how it was created? \
- You’ve been in some very popular films and television shows like Fight Club, Little Miss Sunshine, Scrubs and Star Trek Enterprise. Why did you decide to start the Stan Winston School of Character Arts?
- Take us behind the scenes of these courses, how many people does it take to produce a single course, like how many camera operators, writers, etc or is it a simple operation?
- Do you have a template you follow to create each course for the online school?
- Since many of the courses deal with creating a monster or effect while learning from the instructor, how did you remove the barriers to entry so users can not only follow along online but also use the same materials as the instructors use?
- What lessons have you learned with creating your courses?
- What types of marketing do you do?
- What would you tell someone who wants to start an online school that’s as ambitious as The Stan Winston School of Character Arts?
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