In the U.S. alone Godzilla vs. Kong grossed $32.2 million in the box office. Collectively with Canada the film brought in $48.5 million, now internationally it brought to the box office $285.4 million.
In North America the cinematic film opened in over 3,000 theaters. It also had the largest opening, grossing $9.6 million the very first day! You would think with the pandemic this would have somehow affected the release or box office of Godzilla vs. Kong, however that was not the case here whatsoever!
Quoted statement by Chief Analyst at Boxoffice.com, (Shawn Robbins):
“It should again send a message to studios that the world’s audiences are hungry for big cinematic releases.” “If ‘Godzilla vs. Kong can break out to these numbers in a still-handicapped domestic market with a simultaneous streaming release, imagine what other blockbuster contenders will be able to achieve in the months ahead when given a reasonable window of theatrical exclusivity from day one.”
“A sleeping giant is truly beginning to wake up.”


- OUR STORY -
It's the chicken and the egg scenario! This is what prompted me to start Cart Reel Films. Actors are asked to put together a reel to showcase their work to help them book acting jobs, but they need acting jobs to be able to get footage to create those demo reels. How can they get one without already having the other. Chicken. Egg. Which one goes first?!
When I first started in the industry, it took several years for me to collect footage to create a strong reel. I did student projects, independent projects, free projects that promised to provide me with a copy of my scene... Unfortunately, most of the footage looked unprofessional or rushed, and in most cases, that promise of "we'll provide you with your footage" was never fulfilled.
When a person decides to become an actor, they go through the necessary steps of training and compiling their portfolio. An actor can easily sign up for classes with the abundance of acting schools and coaches. An actor can easily find a headshot photographer to take those perfect shots. An actor can easily start writing their resume with their training, bookings of independent projects, stage performances, etc. So, why can't an actor put together their own demo reel? Why does an actor need to wait around until the right job comes along that showcases their acting range? Why can't an actor just say "Hey! You know what? I can do this! Watch me!"
I created Cart Reel Films because I know how annoying that wait can be. Actors are in charge of their career, which includes how they are presented in their demo reel. Instead of being at the mercy of productions that may decide to never send footage or having to wait months or even years for that one amazing role, we provide actors with the ability to show what they can do - NOW!
Founder, Director, Writer
Be sure to check out our Reviews and get to know what our previous clients had to say about working with us!


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some Like It Hot, double Indemnity And apartment were just some classics that made billy wilder One of the most successful and acclaimed directors in Hollywood.
But when, in his 70s, he set out to make a film about how an aging screen siren, Fedora, is thrown out of retirement, he was rebuffed by the same studio that had once had brought them.
The story of the troubled shooting of the 1978 film fedora Told in a novel by Jonathan Coe in 2020, a book narrated by Observer as “A Novel To Cherish”,
now Mr. Wilder and Me With a multi-award winning screenwriter, director and producer to turn himself into a film. It will also trace Wilder’s journey to Central Europe, where members of his family were killed in the Holocaust. Wilder himself will play the Oscar winner Christoph WaltzJoe, like the great Hollywood director, was recently born in Central Europe before becoming a star in Bond films.
Mr. Wilder and MeThe film version of Coe’s book has what the novelist calls a “dream team” behind it: Christopher Hampton for script and Stephen Frears ,Queen And my beautiful launderette) as director, while the producer is Jeremy Thomas, whose films include Oscar-winning the last Emperor,
Fedora was played in the original film by Marthe Keller, while the main cast was William Holden, who played Wilder’s character. Sunset Boulevard, Coe, whose previous novels include Costa Book Award winners central england And What’s engraved!Uses Calista, a fictional translator-cum-assistant hired by Wilder to help shoot the film in Europe.
“I saw fedora When it came out,” says Coe, a film buff who has also written a biography of Hollywood legend James Stewart. “It was at a cinema in Birmingham and there were four of us in the audience. all my friends were going to see foreign And close Encounters, I realized it was a sea-change moment in cinema, and that Wilder had lost his audience. ,
Born in 1906 in the then Austro-Hungarian Empire, Wilder was one of many talented filmmakers and executives who fled Hollywood in the 1930s. His mother, grandmother and stepfather were left behind, and all lost their lives in concentration camps.
New film, like Koe Book, will show how Wilder returned to Central Europe in the late 1970s fedora took him on a journey into the darkness of his family’s history. It was also ironic that Wilder was turned down by Hollywood. fedoraHad to use German funding for his film.
By the late 1970s, Wilder had fallen out of fashion with audiences and was out of favor with Hollywood. “I thought for a long time that this would be a touchy subject for a book,” says Coe.
Hampton, whose films include Atonement and, recently, father, Reading Coe’s book immediately knew he wanted to turn it into a movie. “I first met Billy when talking to American immigrants as a preparation tales of hollywood [Hampton’s 1983 play about the European exiles who moved to Los Angeles], He was extremely liberal with his time, and was also very interested in a drama about people such as Thomas Mann and Bertolt Brecht, who had not really succeeded in Hollywood. Wilder, of course, did.
“I later wrote to him about the rights on a libretto for a musical version. Sunset Boulevard, He promptly replied that he had no authority by any ‘brutal boo-boo of the capitalist system’. Paramount, which owned them, then turned me down, saying they were in talks with someone else. He turned out to be Andrew Lloyd Webber. ,
Hampton, along with songwriter Don Black, then teamed up with composer Lloyd Webber to turn the 1950 film into a musical. “Billy loved it,” says Hampton, who admits to “an extraordinary admiration” for Wilder’s films. “It’s his unique combination of Mitteluropean and American sensibilities. What fascinates me about Jonathan’s book is his treatment of the way older artists can feel themselves cut off from the pressures of modernity.” .
Coe himself remembers reading an interview with Wilder, who – while clearly hurt fedora was not being made by a Hollywood studio – related to his feelings about filming in Germany with German funding. “He actually said it was a ‘win-win situation.’ If the film was a success it was his revenge on Hollywood. If it was a failure, it was his revenge on Auschwitz.
“I thought it was such an audacious comment from someone whose mother had died in a camp that it had to be the heart of a novel. I felt compelled to attempt a portrait of a man who could make such a joke. “
hopelessly, fedora It was neither a critical nor a box office success. Although Mr. Wilder and Me The film will at least remind viewers what an extraordinarily talented man Wilder was—even if viewed through the lens of his fading film career.


Thirty years after the cult classic hit theatres, the Oregon coastal town where it was shot still celebrates the local Goonies heritage.
To those who grew up in the 1980s, the phrases “Goonies never say die!”, “Boodie traps!” and “Down here is our time. It’s our time, down here!” are all stirring rallying cries of youthful adventure. And now that the original fans of Richard Donner’s 1985 cult kid classic have their own children approaching Goonie-age, this is your time – your time to relive the journey along the rain-soused Oregon coast where much of the movie took place
The cast of The Goonies featured a group of misfit, pint-sized Indiana Joneses – played by Josh Brolin, Sean Astin and Corey ...Read More


Film Estonia, the Baltic state’s new system of cash rebates, was introduced at the beginning of this year, under the auspices of the Estonian Film Institute. There are four annual submission deadlines designed to “encourage better cooperation between local and foreign film producers to shoot in Estonia.” By providing rebates worth up to 30 percent of in-country production costs, the scheme, though small, is among Europe’s most generous. Promising “easy access and fast procedure,” $540,000, is available this year, rising to more than $2 million next year for features, TV films, documentaries and animation. (2016)
Source: Hollywood Reporter
The Film Fund Luxembourg manages the National Support Fund for Audiovisual Productions (Fonds national de soutien à la production audiovisuelle). The Luxembourg Film Fund has an annual budget of around 30 Million Euros.
Film Fund Luxembourg offers two different support mechanisms for audiovisual productions carried out by a Luxembourg registered film production company:
– the Audiovisual Investment Certificate Program (CIAV), in place from 1988 to end of 2013, which provides assistance to offset a proportion of production costs incurred in the European Union and in particular on the Luxembourg territory;
– the National Audiovisual Production Support (AFS), is a refundable selective scheme which provides discretionary loans to producers to finance development and scriptwriting, distribution and production/coproduction for fiction, animation, documentaries, short films, transmedia projects (repayable from the finished work’s receipts).
In 2013, 14 films benefited from audiovisual investment certificates for a total sum of 15,491,579 euros, meanwhile 58 projects benefited from selective financial assistance for a total amount of 35,224,371 euros.
A new law adopted on 22 September 2014 created a structural fund for private investment in the audiovisual production, which restructured the Film Fund. CIAV was considered a less adopted instrument, following the financial crisis. The selective financial assistance under this Law may only be granted to resident and fully taxable limited companies whose purpose is audiovisual production.
Tax system: created in 2007. More than a tax incentive it is a discount system. No private investors involved.
Based on spend or content? German spend. NO financial and legal fees. Actors: only up to 15% of the total. NO development costs.
How does it work?
– 20% of eligible German costs for EU co-production Or German film (cultural test)
– 75% of the financing cost has to be in place
– You have to spend 25% of your budget in Germany (20% for budgets > 20M €)
– You have three months to start production after reception of the certificate
– the budget must be a minimum of 1M € (200,000 € for documentaries) CaP: 4M € (exception: 9M €)
– It can be paid in three equal parts during production but that case will need a completion bond.
Where does the money come from?
This is a new Government Fund, the DFFF. 80 M € / year for three years were allocated.
What’s the catch?
The need for a German distributor (with a history of 3 films) for at least 30 prints during a week. It is hard for co-productions to spend the 25% in Germany.
What about TV?
No TV projects are eligible.
Section 481 of the Taxes Consolidation Act 1997 as amended (“Section 481”) was introduced to promote the Irish film industry by encouraging investment in Irish made films which make a significant contribution to the national economy and the Exchequer. The scheme is a fiscal incentive to taxpayers as it allows tax relief in film projects certified under the Act. Further provisions are included in Regulations made by the Revenue Commissioners, with the consent of the Ministers for Finance and Arts, Sport and Tourism on 12/09/2008.
Historically, investors could invest up to 66% of the production cost for films up to IR£4 million (€5,078,950) and 55% of production in excess of IR£5 million (€6,348,690) with a maximum investment of €15 million. The Finance Act 2006 provided that the amount that could be invested in any one film was raised to 80% of the cost of production, capped at €35 million.
In 2008 however, the Irish government introduced new welcomed measures to strengthen this tax incentive even further. The amount which can be invested depends on “qualifying expenditure” ie. total spend by the production on Irish goods, services and facilities including the cost of EU cast and crew working in the State. The new improvements mean the ceiling on qualifying expenditure for any one film is increased from €35 million to €50 million. By virtue of SI No 97 of 2009 [Finance (No 2) Act 2008 (Commencement of Section 28(1) ) Order 2009], individuals buying shares in a special purpose film or television production company may now individually invest up to €50,000 under the scheme in any year of assessment, an increase of €18,250 over the previous cap of €31,750. More importantly these investors may now claim 100% tax relief on their investment as opposed to the previous 80%. This means that for each investor the available tax relief in cash terms has nearly doubled from €10,414 to €20,500. These changes result is a large increase in the producers net benefit available to each Section 481 project as projects may now derive a benefit of up to 28% of their qualifying expenditure.
Introduced in January 2014, productions that are spending up to a fifth of their budget in Lithuania can quality for a 20 percent tax rebate via a local production partner that may use the rebate to reduce local corporate income tax liability. Incentives are available to feature films, TV films, documentaries and animated movies. Domestic films and co-produced or commissioned films all are included in the incentive, which is managed by the Lithuanian Film Center.
Source: Hollywood Reporter
Another Eastern European territory offering attractive incentives is Latvia, where two cash rebate schemes have been running for the past six years.
The Riga Film Fund and the National Film Center of Latvia fund, which can be used in tandem, have been increased to a total of $2.6 million (€2.3 million) from 2017.
One recent beneficiary is Cannes’ regular, Ukrainian director Sergey Loznitsa, whose new film A Gentle Creature – inspired by Dostoyevsky’s short story about a woman’s quest for truth in a land of crime without punishment – is shooting in Latvia. The $2.5 million project will get a $220,000 rebate from the Film Center. Loznitsa shot his Cannes 2012 competition entry In the Fog in Latvia. Sales for sis new film, a coproduction between Marianne Slot (France) and Film Angels Studio (Latvia) are being handled by Wild Bunch.
There will be more money available in Latvia for productions celebrating the country’s 100th anniversary of independence in 2018. The Latvia100 initiative is making $8.5 million (€7.5 million) available to support 12 new feature length movies, including five features, six documentaries and one animated film.
Source: Hollywood Reporter
International co-productions working with Polish partners can access grants from the Polish Film Institute. The Polish Film Institute (PISF) is the largest source of funding with additional funds coming from the television, a well-developed network of regional film funds, as well as private sources. The most frequent coproduction partners for Poland are Germany, France and the Czech Republic, with growing involvement of the Scandinavian countries including Sweden and Denmark. An annual budget of 22 million euros ($24 million) is available for production, subsidizing up to 40 features a year and a further 160 documentary and animated projects. A new minority co-production scheme is designed to “foster international experiences of Polish producers.” From 2016, up to $520,000 per project will be available, with up to 70 percent of Polish costs underwritten. The Institute says it is “looking for projects by established directors or young filmmakers, with an interesting festival or workshops track record, backed by an experienced producer.” There is “no geographic limits” for project proposals — “as long as there is a strong artistic involvement.”
Poland has a well-developed network of regional film funds with 10 active funds. The film funds offering production support as coproducers or funders are: Łódź FF, Gdynia FF, Silesia FF, Lower Silesia FF,Poznań FF, Krakow FF, Białystok FF, West Pomerania FF, Lublin FF and Mazovia FF. A new fund for the Warmia and Mazury region is planned for 2017.
The Ministry of Culture proposed a bill in 2017 for a production rebate scheme dedicated to film and TV productions. The money will be paid out of an annual 22 million-euro fund and will offer 25% back on spends for productions that meet certain criteria, including using Polish crews, goods and services. Feature films – live-action or animated – documentaries and high-end television dramas will qualify under the proposal.
The Portuguese Institute of Cinema and Audiovisual Works (Instituto do cinema e do audiovisual) offers financial help to the cinema and audiovisual productions through a variety of support schemes. The Portuguese tax incentive for film production, provided for in the State Budget Act of 2016, has been established by decree-law, approved by the Council of Ministers on 15 December 2016. The incentive offers a refundable tax credit (corporate income tax) of 20% to 25% of the costs of production in Portugal, depending on the characteristics of the project. The incentive applies to cinematographic works (feature length) of every type (fiction, documentary or animation), with a minimum production expenditure in Portugal of 1 million euros, covering national productions, official coproductions, de facto coproductions and foreign films (executive production/services).
Support schemes launched by ICA in 2017, call for proposals:
Support to the cinema for:
– the writing of the script and development of cinema pieces: € 500.000
– fiction long movies: € 2.400.000
– fiction short movies: € 630.000
– cinema documentaries: € 800.000
– animated long movies: € 1.000.000
– animated short movies: € 750.000
– finalization of cinema pieces: € 660.000
– automation (depending on the sales of the last national cinema piece produced by the candidate): € 665.000
– international co-production with participation from the Portuguese minority: € 900.000
– the distribution in Portugal of cinema pieces supported by ICA: € 350.000
– the distribution in Portugal of national, European, and other cinema pieces: € 350.000 (for those pieces which did not already have the support of ICA; for those European and international pieces whose distribution in Portugal is lower than 5% of the market quota relative to the number of spectators in 2016 – the year prior to the launching of the call for proposal)
– showcase: € 225.000 (for those national, European and international pieces whose distribution in Portugal is lower than 5% of the market quota relative to the number of spectators in 2016 – the year prior to the launching of the call for proposal)
Support to the audiovisual and multimedia industry for:
– the writing of the script and development of audiovisual and multimedia pieces: € 450.000
– audiovisual and multimedia innovation: € 350.000
– production of audiovisual and multimedia pieces: € 2.500.000
Support to the public education in schools in the area of cinema and audiovisual for:
– education initiatives for the children and youth: € 300.000 (3 year program)
– education for students: € 240.000 (3 year program)
Support to internationalization for:
– the international release and promotion of national pieces: € 430.000
– the international release and promotion of national pieces – for associations which have as an objective the release and promotion of Portuguese cinema: € 570.000 (3 year program)
– the distribution of national piece on international markets: € 150.000
Support to the showcasing of Portuguese cinema in national and international festivals
Slovenian Film Fund (SFF) was founded in 1994 and it represents the centre for planning and realisation of film activities. Its founding coincides with the new wave of Slovenian film. In 2011 the Slovenian Film Fund changes its name in the Slovenian Film Centre.
A new Slovenian law on film incentives voted for on 27 September 2016 introduces a cash rebate scheme amounting to 25% of qualified spend for foreign producers filming in Slovenia. Most kinds of film and TV projects: feature films, animation, documentaries, TV series, etc are eligible. Excluded are commercials, sitcoms and pornography. The scheme has an estimated budget of 1m EUR per year. If the scheme proves to be successful, this budget may increase. All the bidding projects need to pass a ‘cultural test’, as required in the EU for similar EU film incentive schemes.
The Greek Parliament voted for the provision of investment incentives focusing on the growth of audiovisual sector in Greece. In addition to film productions, this industry includes video games and the production of TV and animation programs.
The Greek case
Based on other EU countries’ standards, the new legislation shall provide for a refund of 25% on expenditure for productions filmed in Greece. More specifically, after the completion of the business plan, the production expenses incurred within the Greek territory will determine the calculation basis of the refund rate, allowing a maximum absolute refund of 5 million Euros per production. However, if the expenditure incurred within the Greek territory does not exceed 100,000 Euros, the film, animation or TV program will not qualify for a refund.
The General Secretary of Information and Communication, Mr. Lefteris Kretsos, stated that the budget of the Ministry amounts to 450 million Euros and is expected to be allocated in the following 5 year period to audiovisual productions, which qualify through cultural tests.
The National Audiovisual and Communication Center (E.K.O.M.E.) is going to receive and assess the applications for investment projects concerning audiovisual productions. It is also noted that all the procedures included in
this scheme, are carried out through the Information System for Government Funding of the Ministry of Development.
Source: Tax Experts


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Audience members frequently expect a theatre performance to be something separate from them. Different eras, emotions and settings keep the stage like a movie: something to watch, not interact with.
They are all treated as members of the society. There is no fourth wall and the cast speaks directly to them at times.
It will be light and no one is brought up on stage. LaVerne initially discovered the play a few years ago while in a theatre group at the University of Alaska Southeast.
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I love how all of my cast are funny women who each shine in their roles. The play takes place at a Susan B. Communists attack their picturesque way of life during the play.
Cate Ross plays the youngest of the officers, Dale. I think the play raises some questions people should be asking about what it was like in that time to be a lesbian. That time period was very fraught with violence and danger for being out at all, and as the title of the play says, we are the five lesbians eating a quiche, so it reminds the public that we still have a lot of struggles with the civil and human rights movements.
She said the play was uncomfortable at first, but she learned to grow with it.
But I love it. My closing bit of advice from still holds true for today, but a lot has changed.
Holy Spirit helps us overcome our old nature, old habits, old sins and our struggles. Donn and Virginia Doland will be celebrating their 70th wedding anniversary on June 9.
Island Institute Youth Program awarded grant. More in Neighbors Dolands to celebrate 70th anniversary Donn and Virginia Doland will be celebrating their 70th wedding anniversary on June 9.
Graduation in the rain: Gimme a Smile My closing bit of advice from still holds true for today, but a lot has changed. Thank you letters highlight a soccer search. Dolands to celebrate 70th anniversary Donn and Virginia Doland will be celebrating their 70th wedding anniversary on June 9.


Jakub Zaremba (Australia) – We All Connect in a Different Way, 2012, 1:05
‘This short animation using VFX/animation and live action touches on the concept/idea of how no matter where in the world we are all connected through our passion to create and our imagination, and how creativity is all around us, does not discriminate and brings us together.
is film maker, animator and artist. He’s spent over the last 12 years working professionally in Australia and Europe within film, television and various collaborative visual projects. His films and Titles Design work have screened internationally winning awards in UK, US and Australia. His directing and visual style blends the unique and abstract story telling with emotive visual aesthetics. His focus is on the idea of ‘synaesthesia’ replacing the methodology of dialogue with the sense of sound, abstract animation and visualisation to driving the concept of moving image. He is passionate about Film and believes in VFX an animation being an integral part of story telling constantly striving to develop new ideas and concepts, and implementing them in his work.


“The constitution guarantees the pursuit of happiness.
Now all you have to do is go find it.” Benjamin Franklin
I just came in from viewing the documentary “The Happy Movie”.
It confirms everything I have been blogging about for the last month. Happiness is in centric. The film talked about the things that we could do to make ourselves happier. For example:
1. Be more compassionate to others
3. Be grateful
4. Help others
5. Follow your Bliss (Passion)
6. Try and get in the Flow (Zone)
All of these are good advise for anyone contemplating his or her own happiness. Tomorrow Feb. 11 is World Happy Day. Check out their web site http://www.worldhappyday.com/ and join the celebration.
There was one section in the film were a Doctor talked about how we measure depression but just started measuring Happiness.
If you can make the movie today please go and support the film. Who knows perhaps you will leave the theater feeling healthier and happier.
It seem Happy is in right now.


This book picks up speed as the Fate of the Jedi series is coming to an end. Meanwhile the Jedi are losing faith in acting Grand Master Kenneth Hammer, wait and see approach. I great book, which picked up the pace of the series.
This one wasn't my favorite addition of this series, but I still liked it.
It seems that throughout the "Fate of the Jedi" series, Troy Denning will have the enviable task of following Christie Golden's mediocre entries. All three scenes are highlights not just of the book, but of the entire "Fate of the Jedi" series so far. He also continues the "Fate of the Jedi" tradition of having everyone act maddeningly out of character in order to move the plot forward. It earns a little chuckle each time Denning (and Golden and Allston for that matter) tries to write unironic scenes where Daala mopes around wondering why everybody is mad at her in a wierd attempt to make her sympathetic. Which brings us to probably the single largest problem with not just this book, but the entire "Fate of the Jedi" series. There are basically three main villains: Daala, the Lost Tribe of the Sith, and Abeloth. In a galaxy that was invaded by and eventually repelled the likes of the Yuuzhan Vong, it seems that a little more would be expected before you were instilling crippling fear in that galaxy's defenders. There is a scene where Lando is talking to some Jedi and he urges them that when they go to fight Abeloth, they'll need EVERY JEDI AVAILABLE in order that they can DEFEAT THE MOST HORRIBLE THREAT THE GALAXY HAS EVER KNOWN!! Other than one very well written fight scene at the end of this novel, what exactly has Abeloth done to scare everyone so much? The entire backbone of the "Fate of the Jedi" series is the threat posed by Abeloth. All the fretting and gnashing of teeth just rings so extraordinarily hollow that even when Troy Denning pulls off great action scenes, they loose a bit of their effect when you reflect on what everybody is fighting about.
Im still having a blast with this series, and my opinion of Troy Dennings Fate of the Jedi: Vortex is pretty much the same as the previous oneentertaining but certainly not groundbreaking literature!
Thanks to my local library, I was able to get my hands on Troy Denning's "Vortex," the sixth in the "Fate of the Jedi" series. At the end of book 5, Abeloth was dead, the crazy Jedi were cured and the Lost Tribe of Sith and the increasingly unstable Daala were the main threats. Not to mention those who swim in the dark side waters on her jungle prison planet (pretty sure she's NOT the planet now, which is at least something...though the planet seems to be partly to blame) also become like her, but in a more minion-y type of way. And now Abeloth is trying to "restore" the dark future Jacen Solo went all Sith Lord to prevent. Jacen's daughter Allana (a.k.a. Amelia Solo war orphan) is now the future Jedi queen upon the Throne of Balance and Abeloth wants to eat her or become her or something icky to make sure the bad guys keep showing up for work. She wants to betray the Jedi and seduce Ben to the dark side, but she also really cares for Ben. She sounds really cute. Back on Coruscant, the Jedi are preparing to make war on Daala because it seems like she's becoming the tyrant that nearly everyone thought she would be, using Mandalorians to suppress slave uprisings on distant worlds and persecuting the Jedi. Then, when the Jedi have finally had enough of Daala, acting Grand Master Kenth Hamner goes rogue to defend the status quo--trying to keep the Jedi from launching their Stealth X's--and gets himself killed in battle with Saba the Barabel Jedi Master. She didn't even kill the Admiral in this series of books. The Jedi rebellion against Daala is handled with some good planning and cleverness. I'm still slogging through book one of "The New Jedi Order" (a.k.a. the Yuuzhan Vong are VERY boring) series.
The Jedi are also being hunted by a tribe of Sith, and a Force powerful monster called Abeloth. There's a lot of action and fighting, as well as political maneuvering and complicated plots.
It was really hard to put down because I cared so much for these characters and I needed to see them through.


I have an anonymous question and it won’t let me post it, it just keeps turning the publish button back on, so I’m just going to go right ahead and put it in a text post:
Anonymous asked: Do they kill the characters in the TV show like they kill them in the comic?
Very sorry this has taken me so long to reply, I’ve been away for the past few days.
*FOLLOWERS, THERE WILL OBVIOUSLY BE SPOILERS IN THIS SECTION ABOUT CHARACTER DEATHS (but I will only mention those who have died in the TV show so far - Though one of the mentioned characters does die after the prison arc in the comics, so be warned if you haven’t read past that in the comics.)*
Well, some characters have been killed in exactly the same was in the show as they have in the comics (in fact, certain scenes in general have been straight out of the comics).
Characters such as Jim and Amy have died as they did in the comic (bitten during the attack on the survivor camp, with Jim being later left on the side of the road to turn into a walker).
Whereas Dale has died in a completely different manner. His cause of death is not zombie related.
And then there’s Shane. His death is both the same as it was in the comics, yet different. Rick was lured out away from the other survivors by Shane, Rick and Carl were both involved somehow, it took place during a confrontation with Rick, Shane had the intention to shoot Rick. But it’s different because of the circumstances. Shane never made it to Hershel’s farm, it took place in the woods, Shane was actually killed by Carl (and was visited, but not shot, by Rick during the prison arc who saw Shane’s reanimated form).


Let there be light!
''Let there be light'' will soon start touring the big film festivals in North America and Europe, starting with the South By Southwest Filmfestival in Austin, Texas, on 10 March.
Achieving fusion energy is more of a marathon than a sprint. And so is the production of a documentary film on fusion ... although in the beginning of their endeavor, fusion was not even on the list of attractions, says Canadian film producer and two-time Emmy award winner Mila Aung-Thwin.
"About four years ago, I was researching the idea of making a documentary about the future of energy. I'm ashamed to say that at the beginning, fusion wasn't even on my radar. I hadn't heard of ITER. I got invited to the media and press visit, and came to see what was going on in person. It took me a while to really understand the profound nature of the difficult challenge being undertaken, in terms of both technology and politics. After a while, I realized that I was hooked and had to find a way to tell this amazing story that ended up taking as all around the world."
Now Mila and his co-director and cinematographer Van Royko have completed the final edits of their 90-minute documentary film Let there be light and they have started touring the big film festivals in North America and Europe. This past weekend they showed it in the US at the Big Sky Festival in Montana, and the reception from both the audience and the jury was extremely positive. The film won the "Feature Competition Artistic Vision" award. In the jury's statement it says: "In recognition of the film's artistic merit and educational value, the jury presents Let there be light with an Artistic Vision Award for its cinematic eye, innovative animation, and engaging (passionate) investigation into the future of fusion (clean energy)."
The next big screening is planned at the South By Southwest Film Festival (SXSW
) in Austin, Texas, on 10 March. It will be followed by the CPH:DOX
festival in Copenhagen, Denmark (also in March), and the Hot Docs Festival
in Toronto, Canada—the largest documentary festival in North America—late April.
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Time & Date: 28.03.2021 1400-1600
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For our VIP members, we provide member exclusive screening as one of the members’ privileges. This year, to adapt to the covid situation, films will be presented online. The first film we present you is one of the most legendary Taiwanese-language film, “The Fantasy of the Deer Warrior (1961)大俠梅花鹿”. After the film, we will have our first members meeting.
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Meet our Two New Co-Marketing Directors, (left to right) Isabella Frisolli & Natalie Zutter!
Hometown: Natick, Massachusetts. TFT Credit(s): Asst. Costume Designer (The Fall 2011 Season: Bedspread & Firework). Isabella is a senior at Fordham University. While majoring in English, she actively explores the many wonders the theatrical and cinematic arts have to offer. At Fordham, she has performed in T.O.P.’s (Theatrical Outreach Program) productions of The Importance of Being Earnest, The Crucible, Tartuffe, along with a selection of student directed short films. Isabella has also filled the post of production assistant for several student produced/directed films and webisodes. She is in the midst of writing a play of her own making and co-writing a short screenplay with one of her dear friends; both are of the comic persuasion.
Hometown: San Rafael, California. TFT Credit(s): Playwright (Drinks/ The Sincerest Form). Natalie is a playwright, pop culture blogger, and aspiring comic book writer who returned to the city of her birth to attend NYU’s Gallatin School of Individualized Study. Her concentration from Gallatin is Serialized Storytelling and Internet Culture, which means her work draws from influences as disparate as Nietzsche and Joss Whedon. Playwright credits include Twits (Gallatin Theatre Troupe), Osawatomie, Kansas (Gallatin Arts Festival/dir. Amara Dieter), and Spock Nudes (Tip My Cup’s 24-Hour Theater Festival/dir. Gamaliel Valle Rosa). By day, Natalie’s the Associate Editor at celebrity/entertainment site Crushable and a contributor for the sci-fi/fantasy blog Tor.com. She also co-writes the webcomic Leftovers, a weekly horror-comedy about a ragtag NYC food truck crew battling zombies and bringing food to apocalypse survivors. She has interned with the New York Neo Futurists and oversaw the social media outreach for the Lucrece Project’s multimedia performance Prometheus [Mediated]. Natalie is working on a new play about fandom, drawing on her experiences in early-’00s cult fandoms that brought their TV shows back. Follow her on Twitter and Tumblr!
We are THRILLED to welcome these ladies to the team! Team TFT is about to (Rev. Run voice) “BLOW UP!!!”


A little while ago I wore this look on a sunday… and everyone seemed to LOVE IT! Even the guy where I went to pick up some delish dinner told me he loved the doll look on me… If you have blue-ish eyes yourself, try out some warmer coppery or red colours. They really make your eyes pop!
Last weekend it was time for me to make a new Disney Inspired look again! This time I really wanted to do something with the Aladdin story so this is my first part of the Aladdin Disney movie :) I liked this look so much I simply dedicated a whole post and 3 photos of it!
After doing the Alice in Wonderland and The Little Mermaid inspired looks, I really wanted to make some looks inspired by Beauty & The Beast. They are inspired, so I gave them all my own little twist ;)


"The Lorax" is a 2012 American computer-animated musical fantasy-comedy film produced by Illumination Entertainment.
This film adapted from the environmental tale by Dr. Seuss features Zac Efron, Ed Helms, Betty White, and Danny DeVito as the title character. Taylor plays Audrey, the love
interest of Zac Efron's character Ted.
Audrey and Ted both live in a walled city in which everything, plants included, is artificial, and Audrey dreams of seeing real trees with her own eyes. Taylor's character in the film was
actually named after Dr. Seuss's wife, Audrey Geisel.
The movie was released by Universal Pictures on March 2, 2012, on the 108th birthday of Dr. Seuss.


I'll always love A Knight's Tale.
This. I watch it every time it's on.
Bloodsport or Out For Justice. Van Damme or Seagal is basically a requirement.
Edited at 2013-01-25 10:43 pm (UTC)
Army of Darkness. I mean, Bruce Campbell, really.
there is nothing bad about that movie. just awesomeness. pure, unadultered awesomeness.
but yeah, evil dead, also :) looking forward to the remake as well. Edited at 2013-01-25 11:30 pm (UTC)
It brings the LOL's.
Reign of Fire. Holy hotness!
I mean, come on. Christian Bale, Matthew McConaughey, AND Gerard Butler? In one movie?
I do have a soft spot for Center Stage, too.
Edited at 2013-01-25 11:29 pm (UTC)
The Cable Guy is usually called a bad movie, but I will defened it as a masterpiece every chance I get.
Also Pet Semetary 2 (Dead Is BETTER!), Starship Troopers and Legally Blonde.
that's an excellent answer
Thanks! I'm so sad it's not on DVD yet.
I LOVE that movie! The dancing is always great at the end. :)
I don't know if it's considered bad (possibly?), but I can always watch Dance With Me. Chayanne and Vanessa Williams are just great to watch! I also love the soundtrack.
yesssss. i've seen almost all of the bring it on movies and loved every last one of those horrible things.
I have only seen All or Nothing, with Hayden? Love it. I will stop what I'm doing to watch it.
God yes. I always watch this one every single time it's on. It's so ridiculous.
I agree, so ridiculous! But it's amazing.
Fucking LOVE Center Stage <3
VIDEO i just saw that the whole movie is on youtube. my night is decided
Oh man yes. Thank you for bringing that to my attention, I haven't seen it in years!
I love that damn movie. The main ballet guy looks like my ex. :)
Oh yes, Center Stage would be mine too. I used to be super obsessed with it and I still adore it. I also own it. Also I love Princess Diaries 1 & 2.
The Room. It never stops being hilarious.
Or anything that was featured on MST3K, really.
Every dance movie ever because the plots/acting are always so lame but the dancing is boooomb
the lake house. i don't even feel good about it, but i get so caught up in it.
Probably Urban Legend, though I, ah, actually just classify it as one of my favorite movies. I think it's considered bad, but honestly, I've loved it for too long and seen it too many times to be able to judge.


Mysterious girlfriend X episode 2 continues! The old school animation feel sure brings a smile to my face! Not only the unusual story or the unique situations gives this anime something to talk about throughout the anime forums. So far, it’s true to the Manga, guess if it follows it there will be a lot episodes. Tsubaki and his dreams sure dominate his life!
The episode starts with Tsubaki having a sorta hallway meeting with one of his closest friends; Ueno Kouhei. Tsubaki seeks advice on what actions he should take towards a girlfriend to smooth things over. Even, he denies having a girlfriend, Ueno plays along and gives him the advice.
Following the advice from Ueno, Tsubaki attempts to hold the hand of his girlfriend Urabe, a big fail. She questions if there’s any particular reason for holding hands. It ends up with their daily ritual of the drool.
Tsubaki follows Ueno advice again and tries communication, he begins to ask his girlfriend about her interest and hobbies. Urabe tells him about her interest of scissors, the episode reveals the famous “panty scissors” move. Get use to this because it will be used quite often. Back when I learn about this aspect of Urabe’s character I can only love this Manga/anime even more.
Tsubaki become a little frustrated and takes matters into his own hands. A sudden embrace does not bold well with Urabe, she goes into “panty scissor” mode. This follows the pattern of physical contact, no holding hands or embraces.
Tsubaki makes one last attempt of making himself and Urabe resemble a real couple. Ueno hands him a pair movie tickets, Tsubaki thinks it’s a shoe in! Urabe turns him down, do to she already has plans for that particular day of the movie. He begins to sulk, she consoles him saying that they share a bond (drool). They both walk towards an abandon house like place. Urabe shows gives a dose of drool that is quite special, basically she in the nude. With his eyes shut, Tsubaki is overwhelm with this drool. Urabe also let him know that if he would have open his eyes, it would be “panty scissor” time.
Tsubaki again dreams of making love with Urabe, even though its sorta strange. On their walk back home Tsubaki couldn’t stop grinning, and keeps the reason to himself. She manages to stick her finger in his mouth to grab some his drool. It gets her aroused, and tells him that would never have a doll tied around her head while having sex. And, that’s why she’s Tsubaki’s mysterious girlfriend.
Next episode please!


Canadian native Stacey Fraser’s innovative, modern and zany adaptations of the standard and contemporary operatic repertoire include Bernstein’s Trouble in Tahiti, Humperdinck’s Hänsel und Gretel, Mozart’s Impresario, Offenbach’s RSVP: or a Musicale at Mr. Cauliflower’s and Mozart’s Cosi fan tutte. Additional credits include La Tragédie de Carmen for Opera on Tap San Francisco, Bernstein’s Candide for Pasadena Opera, Maria de Buenos Aires by Astor Piazzolla with libretto by Horacio Ferrer, the premiere of Concert Suite from Frida by Robert Xavier Rodriquez and most recently her acclaimed Quentin Tarantino inspired production of Donizetti’s Don Pasquale for Cal State San Bernardino. In 2012 Stacey assisted Canadian director Kelly Robinson on Mozart’s Don Giovanni at the Banff Center for the Arts. She has also collaborated on several productions with dancer/choreographer Faith Jensen-Ismay of the critically acclaimed San Diego Dance Company, Mojalet Dance Collective. In May of 2017 she produced and directed the West Coast premiere of Monkey See Monkey Do and Tango by Robert Xavier Rodriguez for CSUSB Opera Theatre. In the Spring of 2018 she directed and produced the first university production of the iconic Einstein on the Beach (abridged) by Philip Glass and Robert Wilson. In 2019, she produced and directed the Britten arrangement of Poulenc's Les Mamelles des Tiresias. This past season of 2021-2022 she produced and directed a film adaptation of Song from the Uproar by critically acclaimed composer Missy Mazzoli and created a new staging of John Adams' rarely performed opera/music theatre piece I was looking at the ceiling and then I saw the sky.


Why playing a prostitute is never black and white.
The star of French television series Maison Close and the latest teen fantasy saga The Mortal Instruments:City of Bones, Jemima West tells Jennifer O'Mahony about her journey from Sorbonne to playing a sex worker.
It is not the typical career choice of a history of art graduate from the elite Sorbonne.
But Jemima West has made her name playing the character of Rose, a young prostitute working in a high-class brothel in 1871, against the backdrop of a Paris still dealing with the aftermath of revolution.
For the past three years, she has filmed two series of the drama, the first of which is now out on DVD, and her performance, along with appearances in The Borgias, has now caught the eye of Hollywood.
Four years after graduating, West is on the road to very big things indeed, appearing in the forthcoming film of the first of million-selling Canadian author Cassandra Clare’s Mortal Instruments series of books for young adults, as a ‘shadowhunter’.
West’s father, an accountant, and her mother, a business interpreter, settled in the French capital, where she later attended the Sorbonne to read History of Art, taking acting classes in the evening.
“I’m completely English, but I grew up in Paris, and went to school here. My parents moved when I was five,” she tells me.
Isabelle Lightwood, her character in The Mortal Instruments, turns out to be a feisty demon-slayer. “They are warriors, fighters, and they live in their own world,” she explains, admitting, “I had no idea that the fan base was so enormous for the books.” She will now be fully aware that the legions of teenage girls obsessed by what Publisher’s Weekly describe as Clare’s “smart/chic horror” will expect an authentic performance from her ink-haired demon-killer.
The ongoing shoot in Toronto, Canada, will also feature Lily Collins (Snow White), Jamie Campbell (Twilight) and Rob Sheehan (Killing Bono), and all involved with be hoping for Twilight's stratospheric success for the films.
It is a world away from the high-class brothel of 19th century Paris, the setting of Maison Close, where West has made her name in France and now in the UK on Sky Arts as Rose, a young paysanne (country girl) tricked into acquiring a debt she must pay for her freedom, searching for her mother and abandoned by her fiancé.
Maison Close, directed by Mabrouk El Mechri, is brutal, stylish and unflinching in its liberal scenes of orgies and drug abuse in the house of madam (and Madame) Hortense Gaillac (Valerie Karsenti).
Rose arrives a virgin, but the third episode sees her brutally raped by Charles Blondin (Antoine Chappey), on his second attempt at deflowering her, the first cut short when she threatens to kill him.
“I warned my Dad and he didn’t watch that, and after I told him he stopped watching the whole show, but my Mum has the capacity to watch the scene with me as a character,” West says. “And my Mum’s friends heard that the language was very coarse,” she laughs.
“What I like is that all the characters are so diverse and complex, that there are no black and white characters.”
There are certain scenes in Maison Close that approach parody (or pornography), such as when Véra (Anne Charrier), the star of the brothel, pops out of a birthday cake naked in a pink wig, smears herself with cream, and then participates in an orgy.
West’s character Rose sits stunned at the dinner table, then asks Véra if she knows Marie-Jeanne, her mother, while she is in the middle of receiving oral sex from a client at the same table.
“Véra was pretty tough on Anne [Charrier], lying on a table in front of 15 actors and 40 crew, completely naked, but that scene is about her as really proud of her performance, of performance being her job,” West says. Does it perhaps sensationalise a profession that degrades women? “I don’t think so. Their background stories are really tragic, the spectator needs some relief and comedy as the series is pretty dark already,” she says.
It is true that the violence and cruelty the women suffer is hardly ignored. One prostitute has acid thrown in her face by an accomplice of a vengeful debtor, and the women turn to opium when they are kept inside for “security reasons”, during which time we observe extensive scenes of intravenous drug use.
West has just wrapped the second series of Maison Close but is now glad to be working in English, because “It’s my mother tongue; that’s always easier”, and is enjoying a break from French that is now looking more permanent.
“I love working in both languages, but I’m happy to be working in English at the moment, I found working on The Borgias amazing, as it’s slightly easier for me [as bilingual] to jump on board, rather than a French girl working in an English showcase.”
That said, Paris is still her home. “There is lots of culture everywhere, so I love to do the expos (exhibitions), I love to travel, and of course there’s the cinema: there are so many here. For me, Scorsese, recent British independent directors and Italian classics are what I end up watching.
“I remember being a student and I would go every Friday to the Louvre and stay for ages, just walking around.”
How did she find the Sorbonne, which has such a rarefied reputation? “It isn’t that difficult to access, if you have a Baccalaureate, which is A-level equivalent. I didn’t need to pass an exam or anything; it’s general entry if you have the grades. I don’t think I realised how lucky I was though, the teaching was incredible.”
Great film taste, articulate, and modest as well. I ask West if there is anything else we should know about her. “I never know what to say to that!” Will that change when she is hyper-famous? “What will I talk about then? How brilliant I am?” One suspects that is unlikely.


I'm happy to report that I've (belatedly) discovered a sanctuary in the vast, blighted wasteland that is contemporary television. It's taken me a while to come around, but I am now totally hooked on The Wire. It's set in Baltimore, and to say it's a TV crime drama is like saying Hamlet is a story about a sad Danish kid. This show is more than TV...it's literature. Seriously, high school kids are going to be studying this in their English classes in about 100 years. The characters are fantastically complex, nuanced and deep. The bad guys are often quite likable, or are only bad because their circumstances demand it. Likewise, the good guys don't wear shining armor or white hats...they're good, but they're only so good. To the extent that there's a unifying theme, the show is about the way individuals interact with institutions (e.g., a detective vs. the police bureaucracy, or a poor city kid vs. "the game" of urban drug-dealing), and it's at once engaging and philosophical. In short, it's the best thing that's been on TV in decades, if not ever. Do yourself a favor: find a way to see this show.


How will the course run?
The course will run daily from 2nd September until 6th September from 12pm-6pm.
On the final day we will have a mock audition with a panel of industry professionals who will provide you with feedback on your monologues.
What will we cover?
This intensive week will look at the audition process and how to perfect your audition speeches as well as holding mock audition to get you well prepared for you upcoming drama school auditions. We will look at the speeches as detailed below.
Shakespeare: Through a series of exercises (ensemble & solo) you will be able to break down your Shakespeare monologue to a professional standard, have a competent understanding of the iambic pentameter and be able to take ownership over your speech.
Contemporary: Through a series of exercises, using (Stanislavski, Meisner, Lecoq & Laban) you will explore new ways of delivering your monologue. You will be able to develop character through endowments, learn to recognise and tackle your own bad habits and gain the confidence to let us (the audience / audition panel) into your world.
What will you leave with?
Direction on your monologues and feedback from industry professionals. A first-hand written account from drama school graduates about the audition process at their school and how they differ from other drama schools to help to find the right school for you. An idea of how the industry you are interested in works and how to excel and impress at your audition and in all future auditions.
How much will it be?
The cost of the course is £375 for the week.
How do I book?
Email us for your space today (or if you have any questions) at email@example.com or through the contact page.
About your facilitator: Alexander Tol trained at the London Academy of Music and Dramatic Art (LAMDA). Since graduating he has worked consistently in film, t.v,and theatre. He has also directed two plays, “Istanbul” and “Of Sirens and Other Monsters” (Pleasance Theatre). Alexander regularly works as an interviewer for the LAMDA audition panel. He has worked as a private audition technique instructor for 6 years, coaching both acting students and professional actors.Highlighted t.v credits include: Prince Ferdinand “Victoria” (ITV), Nate Sanders “Waffle The Wonderdog” (CBBC). Feature films include: Mike “Soul Reaper”, the Cowboy “Ashens and the Polybius Heist”, Bryan Tyler “Through a Dark Mirror”. He is currently voicing a lead character in an undisclosed EA video game.


Tim Curry Also Cast in Rosencrantz and Guildenstern are Dead
The Rocky Horror Show Actor Set to Make His Way to the venue in June 2011
The Haymarket Theatre has been in the news a lot recently, with Sir Trevor Nunn continuing in his role as Artistic Director, from the opening of “Flare Path” earlier in the year to the recent announcements of “The Tempest” and “Rosencrantz and Guildenstern Are Dead” appearing shortly. But further news has also been revealed about the latter as it is confirmed that Tim Curry will be making his way to the Theatre Royal Haymarket by joining the cast.
It means that audiences making their way to the Haymarket Theatre will be witnessing a high profile team-up between the former star of “The Rocky Horror Show” and “The Rocky Horror Picture Show” and two former stars of “The History Boys” – Samuel Barnett and Jamie Parker. It means that the show, which was written by Tom Stoppard in the 1960s, is likely to drum up even more interest that it might otherwise as three well known actors, whose work for the stage encompasses some acclaimed shows, arrive at the West End venue.
“Rosencrantz and Guildenstern are Dead” tells the classic story of Shakespeare’s “Hamlet” in a whole new way. Instead of focusing on the Danish Prince as he unleashes vengeance in the wake of his father’s murder at the hands of his Uncle Claudius, it focuses on two seemingly insignificant courtiers – Rosencrantz and Guildenstern. The pair become increasingly aware of their own random existence and this begins to play on their minds as events unfold around them. The show was penned by Tom Stoppard and originally appeared at the Edinburgh Festival Fringe back in 1966 before moving to London.
But by arriving at the Haymarket Theatre it becomes the latest show to arrive at the West End location as part of Trevor Nunn’s tenure as Artistic Director, which began with “Flare Path”. The venue has also been the home to recent shows such as “Waiting for Godot” with Ian McKellen and Patrick Stewart, “Sweet Charity” with Tamzin Outhwaite and “The Rivals” with Penelope Keith and Peter Bowles.
The Haymarket Theatre welcomes “Rosencrantz and Guildenstern are Dead” from Tuesday 21st June 2011 (previews from Thursday 16th June 2011) to Saturday 20th August 2011.


Filmmaker Lukas Huffman and his family drove up to Vermont from Brooklyn, New York, in May 2020, during forced postponement on production of his short film, “Night Music.” At the time, Huffman didn’t know Vermont would soon be his new base for operations. Now, from his Huffman Studio’s office in downtown Montpelier, he’s bringing a bit of New-York hustle to Vermont. “Night Music,” a film about the Alan and John Lomax field recordings of Black folk music in the 1930s, was recently featured at the Vermont International Film Festival, “Made Here” Festival. Huffman is also on the ground floor of a production collective for local filmmakers, and he has two short films on the Quarry Project dance ensemble that will be screened in the courtyard of Christ Church on Friday, July 8. Huffman planned to begin production on “Night Music” in March 2020. His wife was due to deliver their second child in May. The emergence of COVID-19 and its ferocious spread through New York City postponed production and turned local birthing wards into nightmares of contagion. He and his family escaped the city and sought refuge with his parents in Montpelier, where Huffman was born and raised. New York was quick to get its COVID-19 protocols in place for film production, and Huffman shot his limited-cast, single-location indie short in January 2021. His pandemic excursion into Vermont, however, helped him recognize that working remotely was a viable option. “We realized it’s not impossible to be in Vermont,” Huffman said. “In fact, it’s really nice.” They relocated permanently in the fall of 2021.“Night Music” premiered at the Breckenridge Film Festival, in Colorado, last September, where it was awarded “Best Short Drama” and the award for “Best Editing.” It finished its festival run by coming full circle back to Burlington for the VTIFF Made Here Film Festival, in April. The online short film distributor Omeleto has since released it on Youtube, where it is currently available. Huffman isn’t focused on only his own work, though. He wants to foster a community of filmmakers in Vermont by collaborating with his neighbors, the team behind Well Told Films, Chad Ervin and Kristin Cantu, to develop the Vermont Production Collective. Ervin described the collective as a “grassroots connection point” between filmmakers throughout the state that enables “people to talk online and offline, so that they can collaborate, spurring creativity and sector growth here in Vermont.” The collective is still in its early stages, but its Instagram page is already a hub for spotlighting filmmaking made in Vermont or made by Vermonters. Huffman explained, “one of our goals is for young people growing up in Vermont to have an awareness of the film industry and to let them know that the resources and community are in place for it to be a viable career path.” Huffman is a case in point, and VPC is presenting two short films of his — shot in Vermont with Vermonters — in the courtyard of Montpelier’s Christ Church on Friday, July 8, at 8:30 p.m. (rain date: July 9). The experimental short films document preparation for Hannah Dennison’s Quarry Project, a site-specific dance and theater piece created for the Wells-Lamson quarry, outside of Barre, one of the oldest and deepest granite quarries in the country. Huffman and ensemble members will be on hand for questions after the screenings. Live performances of the Quarry Project, six years in the making, will take place August 52 through 21 at the Wells-Lamson quarry. Travis Weedon writes about film and television and recently directed the White River Indie Films Festival.


Veerappan Hindi Movie
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Veerappan: The Hindi Movie That Tells The Story Of India's Most Wanted Bandit
Veerappan is a 2016 Hindi movie directed by Ram Gopal Varma, based on the life and crimes of Veerappan, a notorious sandalwood smuggler and elephant poacher who terrorized the forests of South India for decades. The movie stars Sandeep Bhardwaj as Veerappan, Sachiin J Joshi as Kannan, a police officer who leads the operation to capture him, Usha Jadhav as Muthulakshmi, Veerappan's wife, and Lisa Ray as Priya, an undercover agent who befriends Muthulakshmi.
The movie follows the events leading to Operation Cocoon, a joint mission by the Tamil Nadu and Karnataka police forces to trap and kill Veerappan in 2004. The movie shows how Kannan devises a plan to lure Veerappan out of his forest hideout by using Priya as a bait. Priya pretends to be a journalist who wants to interview Muthulakshmi and gain her trust. Meanwhile, Kannan and his team track Veerappan's movements and prepare for the final assault.
The movie portrays Veerappan as a ruthless and cunning criminal who has no qualms about killing anyone who comes in his way. He is also shown to be deeply devoted to his wife and loyal to his gang members. The movie also depicts the challenges faced by the police officers who risk their lives to hunt him down. The movie has several action-packed sequences, such as shootouts, chases, explosions, and ambushes.
Veerappan was released on 27 May 2016 and received mixed reviews from critics and audiences. Some praised the movie for its realistic depiction of Veerappan's life and crimes, while others criticized it for its excessive violence, poor editing, and lack of depth. The movie was also compared to Varma's previous film Killing Veerappan (2016), which was made in Kannada and had a different cast. The movie was a moderate success at the box office, earning about Rs. 10 crore against a budget of Rs. 15 crore.
Veerappan is a movie that offers a glimpse into the dark and dangerous world of India's most wanted bandit. It is a movie that showcases the courage and determination of the police officers who brought him to justice. It is a movie that tells the story of Veerappan, the man who became a legend.
The movie also received mixed reviews from critics and audiences, who had different opinions about the movie's accuracy, direction, performance, and violence. Some critics praised the movie for its realistic depiction of Veerappan's life and crimes, while others criticized it for its excessive violence, poor editing, and lack of depth. Some critics also compared the movie to Varma's previous film Killing Veerappan (2016), which was made in Kannada and had a different cast.
The movie was also controversial for its portrayal of Veerappan as a hero or a villain. Some people felt that the movie glorified Veerappan and his crimes, while others felt that the movie showed his human side and his motivations. Some people also questioned the authenticity of the movie's facts and events, and accused the movie of being biased or inaccurate. The movie also faced legal issues from Muthulakshmi, who filed a case against Varma for using her name and image without her consent.
Veerappan is a movie that attempts to tell the story of one of India's most notorious bandits, who eluded the law for decades. It is a movie that tries to explore the psychology and ideology of a man who lived by his own rules. It is a movie that challenges the viewers to decide whether Veerappan was a hero or a villain. ec8f644aee


Walking out of our hostel one day what did we see but a Bollywood movie displayed at a Yangon movie theater.
Now, after a month of temple visiting in Bali and Pagoda visiting in Yangon, immersing ourselves into a Bollywood movie (for you never just watch a Bollywood movie, you immerse into it) is like having a nice juicy burger after starving for 2 days. Pure indulgence. The movie was called “Happy New Year“. We had no idea about it. But it was Bollywood and promised some major dance numbers. That was enough.
We decided to head to yet another pagoda that had a festival first, and then catch the second show at 10. We reached the Pagoda, and somewhere there must have been a mistake, for there was no festival. Normally we’d be upset. But we had the movie to look forward to! I know I know. If the Buddha were buried he’d be turning over in his grave.
We spent sometime walking through the Pagoda premises. We saw four statues of the Buddha with 4 different hand gestures.
In Borobudur we were told about the different hand gestures symbolizing blessing the ground, meditating, teaching etc. but these were different gestures than the Buddha at Borobudur had. If someone knows about them please let us know in the comments.
We reach back to the theater after a quick dinner, buy our tickets and as we walk in we witness a waiting room in front every cinema hall inside it. Soon we find out why. The movie is half hour late! Not even in India, a country where the official time has the word Stretchable in it, are movies late. Trains might be late, schools might start late, even our elections might be late, but our movies always start on time (well except for this one time in 1985 in Kerala when the movie reel accidentally was unloaded at the wrong railway station resulting in the show being delayed 3 hours, but I digress).
Here movies are delayed so often that movie theaters had their own waiting rooms! The movie finally started at 1045pm. We were tired and sleepy at this point. Once we got in we also realized that the Myanmar people like to compensate for their heat by turning the A/C to the max. And then some. We were literally shivering in the theater. Add to that the fact that we were falling asleep, and that tickets were just 2$, we decided to walk out of the theater and go back the next day for an earlier show!
Come the next day, clad in warm clothes, replete with socks and a blanket we march back to the theater. This time we thoroughly enjoyed the show.
The movie was cheesy. Campy and utterly extravagant. It was the perfect from a month of temple visits.
The theater had only Burmese folks other than us. I had no idea the Burmese were so into Bollywood! They were laughing off the seats at every little joke in the movie. All with subtitles. And the theaters were really a good standard. Big screens. Surround sound, comfy seats, and they don’t even check if you’re bringing outside food! All for 2$ or less! Yangon is my favorite place to watch movies now.


- Release date:
- Released by:
- Clivage Music
Ten years after his first soundtrack experience, French producer Vitalic returns to the world of film. Vitalic recorded the original soundtrack to the film Disco Boy by director Giacomo Abbruzzese.
The film’s soundtrack is just as powerful as the film. “The music is a character in the film. It has a strong presence and can be listened to like an album. It has depth, and navigates between different atmospheres.”
The soundtrack has received many accolades, including a Lumières Award for Best Music as well as a César nomination. The ceremony is to be held on 23 February 2024.


Movie : Sulthan
Genre : action
Director : Bakkiyaraj Kannan
Star Cast : Karthi,Rashmika Mandanna
Sulthan : Sulthan is an upcoming Indian Tamil-language action film, written and directed by Bakkiyaraj Kannan, and produced by S. R. Prakash Babu and S. R. Prabhu under the banner Dream Warrior Pictures.
Director: Bakkiyaraj Kannan
Star Cast: Karthi,Rashmika Mandanna
Movie : RRR
Genre : Drama, Period
Director : S.S. Rajamouli
Star Cast : N. T. Rama Rao Jr., Ram Charan, Alia Bhatt, Ajay Devgn, Daisy Edgar-Jones
RRR : RRR is an upcoming Indian Telugu-language period action drama film written and directed by S. S. Rajamouli. The film is produced by D. V. V. Danayya of DVV Entertainments.
Genre: Drama, Period
Director: S.S. Rajamouli
Star Cast: N. T. Rama Rao Jr., Ram Charan, Alia Bhatt, Ajay Devgn, Daisy Edgar-Jones
Movie : Pushpa
Genre : action thriller
Director : Sukumar
Star Cast : Allu Arjun, Rashmika Mandanna
Pushpa: Pushpa is an upcoming Indian Telugu-language action thriller film written and directed by Sukumar.
Genre: action thriller
Star Cast: Allu Arjun, Rashmika Mandanna
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U.S. country music star DONNY RICHMOND is also now a fully-fledged movie star. His recent starring role in the movie, “Saving Faith”, brought him a nomination for Best Lead Actor in a Feature Film from the U.S. based International Christian Film Festival. The story features Donny in a dramatic role which is both serious and humorous in places. The somewhat biographical film centers around Donny and his career, along with many notable friends. His character, “Uncle Donny”, is also seen performing two of his former #1 U.S. singles, “Riding Out The Storm” and “The Smaller The Town”.
Supporting Donny in the movie with appearances are Vince Gill, Amy Grant, members of Rascal Flatts, The Gatlin Brothers, Michael W. Smith and many others. “Saving Faith” was released by movie and media giant Lionsgate Entertainment.
Richmond, who is now an inductee of 4 different music Halls of Fame internationally, is known for working alongside many country music greats, including Stonewall Jackson, Garth Brooks, Dolly Parton, Loretta Lynn, Willie Nelson, and many others. For Christmas, Richmond is also featured in a dramatic role in the feature movie, “The Christmas Reunion”. This movie also includes Donny’s former #1 single, newly re-released in America, “That’s What Christmas Means”.
The “Heartbreak Holiday” single by Donny Richmond as “Uncle Donny” is included in the film of the same name, starring Donny, and released in the U.S. Canada, Australia, New Zealand, and other countries, including formerly in Europe on Revelation TV. A new TV series with Donny Richmond in the lead role as “Uncle Donny”, and the next feature movie are also in the works for our American friend.


Well, without throwing a giant paragraph on how much I loved this movie, I will simply point out some of the things that a loved most of all. Don't worry, no spoilers.
The animation is just beautiful. So far I haven't seen another animated film with the type animation like this. It gave a lot of depth to the settings and plot.
The villain. He was just fun, I even felt sympathy for him in a few parts of the film.
Character designs. They were so awesome. I mean, look at the Tooth Fairy, she looks like something mystical like she should be. And not a small human women in a too-too with wings.
The characters. All of then were amazing, and I felt sympathy for every last one of them.
The plot was very sweet, and had me laughing and crying throughout.
The lore. After watching this film, I believe in these guardians again. It's fun to do so~
Santa(or North), Russian accent, and wields swords. I can never look at the plastic Santa's in the malls the same ever again.
The Easter Bunny.
Jack Frost. (Not just because he's cute, but because his personality is amazing, and simply...well, fun.)
Besides loving the movie so much, wait, no... Because of liking this movie so much, I had to draw fanart for it. And that rarely happens to me. I usually have to really, really, like it. Which I just love this movie. <3
Hope you guys like this, I worked pretty hard on it, and had lots of fun drawing it~
Art (c) ~Mary-kins
Rise of the Guardians (c) Dreamworks


In the opening ten minutes of Steven Knight’s historical crime drama Peaky Blinders only 2 scenes are dialogue driven.
i. Freddie’s rallying socialist cry to the workers.
ii. Thomas’ fight for power with his older brother.
Do these two scenes agree with each other in theme or disagree?
They represent ideological opposites.
Freddie is a ‘communist’. He believes in the power of the workers. He believes in the collective power of the working class. His ideology and influence over the workers of Birmingham, a major industrial city, was a threat to the political elite.
Wikipedia describes communism as:
In political and social sciences, communism (from Latin communis – common, universal) is a social, political, and economic ideology and movement whose ultimate goal is the establishment of the communist society, which is a socioeconomic order structured upon the common ownership of the means of production and the absence of social classes, money and the state.
However, Thomas is on a rise to power. He wants to be, as Freddie says to Thomas’ s sister, “King of Small Heath.” Thomas is a capitalist. Wikipedia describes the capitalist system:
In this system, there are two major social classes: the working class – who must work to survive, and who make up a majority of society – and the capitalist class – a minority who derive profit from employing the proletariat.
The conflict between these two political systems is Thomas Shelby’s story – his rise to power – from working class to capitalist class – from beggar to King.
It’s no mistake by Steven Knight that the two longest dialogue driven scenes in the opening ten minutes are both a struggle for power. One a struggle for communal, collective power. The other a struggle for personal, private power.
The two scenes represent capitalism versus communism.
The scenes are a war of ideas, a conflict of ideologies.
Summing up then, what ONE important thematic technique does Steven Knight employ in his opening ten minutes?
He does what Shakespeare taught us to do in dramas such as Hamlet, Coriolanus and King Lear.
He sets a personal story in a political context.


|Bruno "Ugly" Mannheim|
On the TV SeriesEdit
In the ComicsEdit
At some point, Bruno Mannheim became the head of the Intergang and was imprisoned at Stryker's Island, who's acting like a raving lunatic while palming the Crime Bible, which he says was given to him by Gordon Godfrey. He then is interrogated by Batman because he wants to know the location of the Joe Chills safe house.
After the Batmans interrogate, Superman interrogated him as well, Due to the fact that Superman took him in the air to scare him, Mannheim told him about Joe Chill's involvement with the Intergang. Later Mannheim was put back into his cell.
"Like I told the Bat, I don't know anything about any of it!"
- Bruno Mannheim appeared in the TV series episode "Stiletto" and was portrayed by the actor Dominic Zamprogna.


Confession #2: I’m not gonna apologize for it.
I know TV gets a bad rap, and I agree that most of what’s on nowadays is total crap. Reality shows about everything from fake boobs to the mafia to tattoos to cupcakes. Talk shows where all people do is scream at each other for no apparent reason. Cable “news” stations that somehow keep finding ways to fill 24 hours a day with rumor-mongering. Yeah, when you look at it that way, TV sucks. But there’s another way to look at it too.
Some of the scripted shows on the primetime lineup are excellent. They feature fantastic writing, gripping stories, compelling characters, stellar acting, and a sold hour’s (or half-hour’s) worth of quality entertainment (see: Dexter, Parenthood, The Walking Dead, Parks and Recreation, New Girl, The Newsroom, and so many more).
But there is one show that, for me, shines above the rest, that I’m so obsessed with that I’ll talk about it to pretty much anyone who will listen. Yeah, you all know where this is going: The Vampire Diaries.
And it’s based on a YA book series by L.J. Smith, so it totally fits in for this month’s question of the month on TV and film adaptations of YA and MG books!
The Vampire Diaries is, in a word, totally freaking awesome. (Okay, that was three words. Sorry.) And show creators Julie Plec and Kevin Williamson have done exactly what I believe is necessary when adapting a book series into a television series—they’ve used the book as a foundation for the story (the characters, the general plot, the setting), but then they’ve gone off on their own and, from that base jumping off point, created their own mythology. I think that’s what you need to do in cases like this, because:
A) Ideally, the TV series will last a long time and the writers will need to find ways to sustain the story even after they’ve run out of books to adapt.
B) Television is a much different medium than literature, so it’s important to work with what TV has to offer in the ways of visual images, CGI, special effects, 42-minute installments each with their own complete story arc, etc. In most books, we’re inside the characters’ heads much of the time—but just listening to a voiceover all throughout the show about what the character is thinking isn’t very entertaining.
C) The world changes so fast (technology, how teenagers behave, etc.) so that books can become outdated pretty quickly. A television show is a much more “immediate” medium (most series film an episode between 4 and 8 weeks before the airdate), so they need to change certain things to keep up with the times (remember Bella’s ancient computer and slow-as-all-hell dialup connection in Twilight?).
D) Try as you might, you’re never going to find actors that fit the author’s description completely. In The Vampire Diaries book series, Elena (the heroine) is fair-skinned, blonde, and kind of a spoiled brat. The actor who plays Elena on the show, Nina Dobrev, is Bulgarian, has long dark hair, and plays Elena as far more kindhearted than she’s written in the books. Initially, the casting directors were looking for someone more like the Elena from the books to play the role, but they just couldn’t find anyone who was exactly right. Then they saw Nina, saw what she could do, and changed the role for her. Because they decided to go with the best actor they could find, rather than someone who simply fit the author’s physical description, the show became something different, yes, but also much more compelling than the book series.
So even though diehard fans of Smith’s Vampire Diaries series may still be bellyaching about the changes the show has made, I think the changes made for a better, more formidable story. And that’s what you need to do when adapting a book for the TV screen.
Photo credit: the CW


|Fear and Desire|
One of the most interesting films we watched was the first feature film by Stanley Kubrick, Fear and Desire (1953) that Kubrick himself had put a ban on, so it hasn't been legally been available for decades. It's recently been released on DVD and is easily available. None of my friends had seen it, so it was all new to all of us.
It's a war film set somewhere in an unknown war, so it's heavily symbolic and abstract to the edge of being almost meaningless. Fear and Desire was written by a playwright, Howard Sackler (who also wrote Kubrick's second film, Killer's Kiss), so it's no wonder it resembles an absurdist play a lot. At times it gets bogged down by hilariously "deep" dialogue and monologue, but the first half-hour is actually quite good. Kubrick - who himself shot and edited the film - edits quirkily, against the rules, using quick flashes of people's faces and pieces of action. Kubrick was at least in the beginning of his career a noir director and there's a strong noir feel also in this little war film. It's an intriguing film, well worth a watch.
Other films with snappy mini-reviews and starrings:
|The ass of the Machine Gun Woman|
Lucio Fulci: Beyond (Italy 1981): confusing and dead-serious zombie flick. **
Willard Huyck: Howard the Duck (USA 1986): absolute bore-fest, with people (and the duck) just shouting, running and jumping all the time. *
Kaarlo Kortelainen: Makkarakalakeittoa, sano Tympee Huttunen/Sausage fish soup, said the Grumpy Huttunen (Finland 1988): one of the worst films ever, only video-released calamity shot somewhere at a deserted cabin and in near-by woods. Very hilarious. * or *****
Veikko Itkonen: Mullin mallin/Topsy-turvy (Finland 1961): nonsensical and incoherent musical comedy made near the end of the Finnish studio system. Probably one of these: * or ****
Adam McKay: Anchorman (USA 2004): I'd never seen anything by Will Ferrell, but even though this was mildly funny, I don't feel an urgent need to watch more of his films. **
Lucien Castaing-Taylor, Verena Paravel: Leviathan (USA 2012): experimental documentary of a fishing ship somewhere in the Atlantic, quite hypnotic at times, but don't go looking for a content. ***½
Tobe Hooper: Lifeforce (USA 1985): interesting movie about space vampires, but even though the main monster is one of the most beautiful women in the history of cinema, suffers from too much length and uninteresting lead actors. **½
Andrzej Zulawski: The Third Part of the Night (Poland 1971): very interesting allegory on Communist Poland, with lots of grotesque and surrealistic imagery thrown in. ***½
Fred Cavaye: Point Blank (France 2010): capable and snappy thriller. ***
Kinji Fukasaku: Message from Space (Japan 1978): a hapless Star Wars clone should've been more hilarious than it really was. **
Albert Band: Zoltan, Hound of Dracula (USA 1978): I didn't watch this myself, but from what I gathered is either * or *****
Ismo Sajakorpi: Merkitty/Branded (Finland 1984): early Finnish horror TV movie, not bad, but somewhat dated. ***
Steve Carver: Lone Wolf McQuade (USA 1983): hilariously serious Chuck Norris vehicle, quite entertaining if you're willing to forget it's very stupid and clichéd. **½
More Overlooked Movies coming in at a blog near you!


OFFICIAL SELECTION – Load! – Helene Madsen Smed – United Kingdom – 12 min
Director: Helene Madsen Smed
Country: United Kingdom
Genres: Indie, Comedy, Drama, Short
-The art of miscommunicating
Joyce and Michael have been a couple for several years and live together. Michael comes home after work, while Joyce sits on the sofa, lost in her phone, of which she quickly hides when she hears Michael stepping into the apartment. They want to order take away, but are disagreeing on where to order it from – Joyce wants to try something new and Michael wants to order from the customary “Chimalis”. Despite Joyce’s strong arguments, Michael wins the discussion and it results in a tense atmosphere. Michael notices that Joyce spends an exceptional amount of time on her phone. Michael slips into something comfortable.
In the attempt to lighten the mood, Joyce suggests that they start with the dessert – a ‘BJ’. They misunderstand each other, Michael thinks that they are talking about sex, while Joyce thinks they are going to share a Ben & Jerry’s ice cream. As a result, Michael ejaculates on the floor, by accident.
After the episode, Michael needs an answer to Joyce’s secrecy on her phone, which triggers an escalating agument, as they have not had sex for 5½ months. It turns out that Joyce fancies something else and has therefore subscriped to a porn site, which she has become addicted to.
Trying to solve their problem, Joyce presents Michael with her desires and fantasies, about having intercorse with a muscle man in front of him. Michael hesitantly states that he wishes to accommodate Joyce’s fantasy. When the pizza finally arrives, the delivery guy from Chimalis is the perfect match on what Joyce and Michael have discussed and the film ends in one big question mark.


Why, in your opinion, are dramas known as “plays?” Talk about a time in which you attended a play, musical or opera—at a school, church or other public venue. Describe the experience: the sights and sounds, the mood of the audience, and the impact of seeing a drama performed on a live stage. Have you ever acted and/or sung in a dramatic presentation? If so, depict for your classmates what it was like to be up on a stage performing material from a script. If you have never performed dramatic material, have you ever desired to? Why or why not? Describe a favorite television show or movie in terms of its main characters, setting(s), basic plot, conflicts and themes. What makes it one of your favorites?


Luv Multimedia is a content creation and animation production house that provides "to spec" script development and general freelance writing services. With expertise in SEO blog posting, web copywriting, article creation, B2B correspondence and screenplay formatting, we are able to assist you with your SEO content or script writing needs.
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Alicia R. Norman is a freelance writer as well as a graphic Illustrator/animator. Norman's primary goal is to combine vivid storytelling with animation in order to create scintillating, fun and/or thought provoking films. As a content provider, Alicia R. Norman is driven to create quality work at affordable prices. With several years of experience in media production, Alicia takes great pride in delivering a top notch quality product, on time, every time.


This was something different for me, which is always both a little exciting and a little daunting. I had the opportunity, through Mums 4 Refugees to help out on a film shoot produced by media agency People Like Us as part of the #KidsOffNauru campaign.
It’s a campaign obviously close to my heart, but I had never photographed in this capacity so I was a little nervous – but I ended up loving the process!
I shot a combination of behind-the-scenes photos – which involved a whole lot of kid-wrangling – and stills of all the families participating in the campaign.
There was something I really liked about these “pulled-back” images revealing how the magic happens. Particularly when you’re on a tight budget, literally working in tiny inner west backyards. The AD is taking a break in the bath tub, the make-up artists applying touch-ups out on the footpath.
And all of the “actors” in the film were not actors at all, but, well… people like us. Local families and citizens who just wanted to speak out on this issue. It was great getting to work with such a diverse group of people.
And though they say “never work with kids” I’ve obviously never shied away from working with little ones. I love the shot below of the kids being bribed with cookies the size of their heads!
All in all it was a great way to spend a day, helping out a good cause and I’d definitely jump at the chance to work on a film set again!
You can view the campaign video here.


Movie Script II 电影对白二：
Emily: With this hand, I will lift your sorrows. Your cup will never empty, for I will be...I will be...Your cup will never empty, for I will be...
Victor: I will be your wine.
Corpse 1: She's having a second thought.
Emily: I can't.
Victor: What's wrong?
Emily: This is wrong. I was a bride. My dreams were taken from me. But now, now I've stolen them from someone else. I love you, Victor. But you are not mine.
Barkis: Oh, how touching! I always cry at weddings. The young lovers together at last. Surely now they can live happily ever after. But you forget, she's still my wife. I will not leave here empty-handed!
Barkis: Uhh, Emily?
Barkis: But, but...I left you.
Emily: Left me dead.
Barkis: This woman is obviously delusional. Sorry to cut it short, but we must be on our way.
Victor: Take you hands off her.
Barkis: Do I have to kill you too?
Corpse 2: Victor, catch! Sorry.
Corpse 3: I say, play it fair, sir.
Barkis: Too shame, my dear.
Emily: Get out!
Barkis: Oh, I'm leaving. But first a toast to Emily, always the bridesmaid, never the bride. Tell me, my dear, can a heart still break when it stops beating?
Maggot: Let me have him, let me have him, don't let him...
Corpse 4: Wait, we must abide by their rules. We are amongst the livings.
Barkis: Well said.
Maggot: Not any more.
Corpse 5: Yes, you're right. He's all yours.
Corpse 2: New arrival.
Victoria: Oh, Victor, I never thought I'd see you again.
Victor: Wait. I made the promise.
Emily: You kept your promise. You set me free. Now I can do the same for you.
1. have a second thought，表示“另有想法，重新考虑”。
2. The young lovers together at last. 有情人终成眷属。
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On Entertainment Today guest show host Florentino Buenaventura interviews actor and film maker David Fernandez Jr. David talks about his career in acting and most specifically his freshman directorial debut with “A Father’s Journey”. He talks about how he wanted his movie to be a film his whole family could watch as he has predominately been cast in “Bad Guy” roles in movies like End of Watch with Jake Gyllenhaal and hit FX TV show Sons of Anarchy as well as his upcoming role in Dolph Lundgren’s latest movie outing. Many of the cast and crew called in to talk about their experiences on the movie such as Latin Kings of Comedy alumni Joey Media, Producer and co-star Rosa Aguayo, actor Ceasar Sanchez, film score composer Frank Unzueta, and numerous others. “A Father’s Journey” red carpet premier in San Diego was a key topic as well with the turnout being far beyond expectation with over 800 in attendance and numerous Hollywood celebs coming down south to San Diego to support the movie premier. Enjoy the hour long interview and get out to see this important movie when it comes to a theater near you.
09/30/15 Actor and Film Maker David Fernandez Jr. Making His Own Way in the Movie and Television Biz


You know how it is, nine times out of ten, the book is better than the movie.
There’s simply not enough time in an average movie to thoroughly explore the inner workings and motivations of the characters.
There are some new movies out that are based on audio books and I’m curious as to how that stack up.
Movies Better Than the Book
Once in a while, there comes a movie that manages to do things very well… even – dare I say it – better than the book? My favorite example is Shoeless Joe by WP Kinsella. The book was a snoozer for me, but Field of Dreams was a wonderful movie. Another is Forrest Gump, written and narrated by Winston Groom. The movie, with Tom Hanks, made Forrest sweet and innocent. In the book he was more streetwise and less likeable.
I had no idea that it was based on a book!
Anyway, recently my husband and I actually got to go to a movie on our own! Parents out there will understand why this is so exciting to me. Anyway, we saw The Town, starring Ben Affleck and Jeremy Renner. It was really quite a good movie. I had no idea that it was based on a book!
The audio version is narrated by Donnie Wahlberg, who sounds great in the sample. Apparently the book was originally published under the title, Prince of Thieves, but this reissue, timed to match the movie release, was renamed. I don’t know if I’ll spend the time on the book…
Another recent movie, The American, starring George Clooney, is also based on a book written by Martin Booth and narrated by Ralph Cosham. This is spy novel that was previously published as A Very Private Gentleman. The thriller is based on the mysterious life of Signor Farfalla, a resident of a small Italian town. I must admit, I am not a big fan of spy novels. I’m more likely to see the movie.
A Single Man
Although it is not currently in theatres, I am intrigued by A Single Man, written by Christopher Isherwood and narrated by Simon Prebble. The movie stars Colin Firth, whom I love. The story is that of a gay man who loses his partner suddenly and tries desperately to cling to the routines of his everyday life. I’ve seen the previews and am very interested in both the book and the movie. I’m thinking of ordering it on Movies on Demand the next time the children aren’t home. Oh. Right. They’re always home… Darn. Guess I’ll have to read the book instead.
AUDIBLE is an AMAZON.com Company


This is a section off a movie I made from the summer of 2008 called "Burnt Summer". Being one of my favorite films I have made, I know not many people have had the chance to see this movie. So here is one short segment of the movie that goes from the East Kaweah all the way to the Metlako falls all the way to the Stikine. It is a West Coast riders movie.
Anyway this edit is of my favorite trip I have done on the Fantasy Falls. We had perfect levels in my mind and a great crew. Enjoy this blast from the past and if you are interested in buying a copy of Burnt Summer contact me at email@example.com.