The Unruly Womb In Early Modern English Drama: Plotting Women's Biology On The Stage, 2019 University of Western Australia
The Unruly Womb In Early Modern English Drama: Plotting Women's Biology On The Stage, Ursula Potter
Late Tudor and Stuart Drama
This study provides an accessible, informative and entertaining introduction to women’s sexual health as presented on the early modern stage, and how dramatists coded for it. Beginning with the rise of green sickness (the disease of virgins) from its earliest reference in drama in the 1560s, Ursula Potter traces a continuing fascination with the womb by dramatists through to the oxymoron of the chaste sex debate in the 1640s. She illuminates how playwrights both satirized and perpetuated the notion of the womb’s insatiable appetite.
The Mixed Reception Of The Hamilton Premiere In Puerto Rico, 2019 Linfield College
The Mixed Reception Of The Hamilton Premiere In Puerto Rico, Daniel Pollack-Pelzner
In this article originally published in The Atlantic, Daniel Pollack-Pelzner wonders about the challenges of premiering the famed Broadway musical, Hamilton, during a time of political discord in the aftermath of 2017's Hurricane Maria, in Puerto Rico.
Direction Of The Imaginary Invalid By Molière Translated By Charles Heron Wall Adapted By Kimberly Dorman, 2019 Central Washington University
Direction Of The Imaginary Invalid By Molière Translated By Charles Heron Wall Adapted By Kimberly Dorman, Kimberly S. Dorman
All Graduate Projects
PROJECT REPORT ON THE DIRECTION OF
THE IMAGINARY INVALID
The Imaginary Invalid
Original Script by Molière
Translated by Charles Heron Wall
Adapted by Kimberly Dorman
Sky Performing Arts
Kimberly S. Dorman
This project comprises of the selection, research, casting, adaptation, production and post-production process of The Imaginary Invalid. Documentation and research include adaptation, analysis of the play as a production vehicle for our program, research, script analysis, outcome goals, a record of the production period, and a postproduction evaluation.
Kinship And Twinship In Jacob And Esau, 2019 Chapman University
Kinship And Twinship In Jacob And Esau, Kent R. Lehnhof
English Faculty Articles and Research
"The implications of these early stage directions are upheld and amplified elsewhere in the play. In what follows, I demonstrate this to be the case by reviewing some of the ways the interlude seeks to justify Jacob’s usurpation, most interestingly in its systematic and strategic deployment of kinship ties and familial terms. After explaining how the play leverages family relations to elevate Jacob and overthrow Esau, I concentrate on one family relation in particular: namely, the complicated bond between twin brothers. As I will make clear, the interlude’s treatment of twinship raises pressing questions about the way wealth ...
Baby Snooks And Daddy: A Little Gal's Journey To Joy And Jell-O, 2019 Bard College
Baby Snooks And Daddy: A Little Gal's Journey To Joy And Jell-O, Sofia Luella France
Senior Projects Spring 2019
A little girl in pursuit of Jell-O can do anything! In this Theater and Performance project Baby Snooks just wants a happy, gelatinous Halloween, but will Daddy’s petty pranks get in the way? Worry not, Baby Snooks saves the spooky day, and finds herself along the way. Come on pumpkin heads! It’s time for a treat!
"Must Be Heavyset": Casting Women, Fat Stigma, And Broadway Bodies, 2019 CUNY Graduate Center
"Must Be Heavyset": Casting Women, Fat Stigma, And Broadway Bodies, Ryan Donovan
Publications and Research
This article surveys how contemporary Broadway musicals cast fat women and focuses on Hairspray. The use of fat suits and contractual weight clauses figure into the discussion of fat stigma and casting practices. Seemingly body-positive musicals both celebrate and undermine the identities staged in them.
“The Ground On Which I Stand” Healing Queer Trauma Through Performance: Crafting A Solo Performance Through The Investigation Of Ritual Poetic Drama Within The African Continuum, 2019 Virginia Commonwealth University
“The Ground On Which I Stand” Healing Queer Trauma Through Performance: Crafting A Solo Performance Through The Investigation Of Ritual Poetic Drama Within The African Continuum, Ashley W. Grantham
Theses and Dissertations
“The Ground On Which I Stand”
Healing Queer Trauma through Performance:
Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum.
By: Ashley W. Grantham
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Performance Pedagogy at Virginia Commonwealth University
Virginia Commonwealth University
April 16th, 2019
Thesis Adjudicator: Dr. Tawnya Pettiford-Wates
Committee: Dr. Keith Byron Kirk, Director of Graduate Studies and Karen Kopryanski, Head of Voice and Speech
How does this method of Ritual Poetic Drama within the African Continuum, by extension, solo performance, uncover ...
Dramatic Themes: Active Learning And Thematic Teaching In The Theatre History Classroom, 2019 Virginia Commonwealth University
Dramatic Themes: Active Learning And Thematic Teaching In The Theatre History Classroom, Brandon Lareau
Theses and Dissertations
This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the resulting syllabus in chapter three. The syllabus creates a curriculum ...
Who Is Paying For God: A Thematic Analysis Of Henry Arthur Jones's Religious Plays In Relation To The Modernist Trend, 2019 Central Washington University
Who Is Paying For God: A Thematic Analysis Of Henry Arthur Jones's Religious Plays In Relation To The Modernist Trend, Jay Tyler Sharma
All Master's Theses
This thesis project argues for the value of Henry Arthur Jones’s work in the late 1890s and seeks to illustrate that Jones’s contribution to the larger Modernist movement in the theatre. Using a close textual analysis of Jones’s plays Michael and His Lost Angel, Judah, and Saints and Sinners, this project examines Jones’s use of popular theatrical genres to provide commentary on the religious and fiscal tensions in the surrounding Victorian society. The critical commentary in Jones’s plays is then used to draw a connection between Jones’s work and his fight for dramatists to ...
Myrrha Now: Reimagining Classic Myth And Mary Zimmerman's Metamorphoses In The #Metoo Era, Claire A. Pukszta
Scripps Senior Theses
This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma ...
Monstrosity As A Problem Of Moral Proximity In Shakespeare’S Othello, 2018 Brigham Young University
Monstrosity As A Problem Of Moral Proximity In Shakespeare’S Othello, Kyle Ward
In Othello, Shakespeare explores the idea of monstrosity through his titular character. This paper argues that Othello exemplifies the idea that monstrosity is not an inherent evil, but rather that it is a problem of Moral Proximity. The Problem of Moral Proximity, as it is explained in the paper, is the idea that good and evil are the moderation of or corruption of neutral traits. This paper not only argues that monstrosity is one of these neutral qualities, but also explores how Iago corrupts this monstrosity to bring about Othello's downfall.
Defending Eulalie, 2018 University of New Orleans, New Orleans
Defending Eulalie, Mimi Ayers
University of New Orleans Theses and Dissertations
No abstract provided.
Pillow, Talk: Kaitlin Prest’S The Shadows And The Elements Of Modern Audio Fiction, 2018 Northwestern University, Chicago
Pillow, Talk: Kaitlin Prest’S The Shadows And The Elements Of Modern Audio Fiction, Neil Verma
This essay is a study of The Shadows (2018), a series produced by Kaitlin Prest and Phoebe Wang for CBC Podcasts. I situate the work in the framework of Prest’s career after her podcast The Heart, and argue that The Shadows crystallises a set of conventions about “audio fiction” that set it apart from “audio drama,” “radio features” and other similar forms, at least at this particular historical moment. These conventions include: the embrace of naive themes; a preference for retroversion or 'queer temporality'; a focus on body sound; multiplication in mixing and editing that comes across as a ...
Masks: A New Face For The Theatre, 2018 James Madison University
Masks: A New Face For The Theatre, Alexi Michael Siegel
James Madison Undergraduate Research Journal (JMURJ)
This study seeks to reimagine and reinvigorate modern theatre’s relationship with mask work through text-based historical research and practice-based artistic research. It focuses on three ancient mask traditions: pre- and early Hellenistic Greek theatre, Japanese Noh theatre, and Nigerian Egungun masquerades. Research on these mask traditions and recent masked productions informed the development and staging of a masked performance of Charles Mee’s Life is a Dream. The production featured sections for each of the ancient masking styles and a final section that explored masks in a contemporary theatrical style. As a whole, this creative project pulls masks out ...
Christine Hegenbart. Zum Politischen Der Dramatik Von Thomas Bernhard Und Peter Handke. Neue Aufteilung Des Sinnlichen. Peter Lang, 2017., 2018 Université Paris Nanterre/Goethe Universität Frankfurt am Main
Christine Hegenbart. Zum Politischen Der Dramatik Von Thomas Bernhard Und Peter Handke. Neue Aufteilung Des Sinnlichen. Peter Lang, 2017., Catherine Girardin
Studies in 20th & 21st Century Literature
Review of Christine Hegenbart. Zum Politischen der Dramatik von Thomas Bernhard und Peter Handke. Neue Aufteilung des Sinnlichen. Frankfurt am Main: Peter Lang, 2017.
Michael Wood. Heiner Müller’S Democratic Theater: The Politics Of Making The Audience Work. Camden House, 2017., Josh Alvizu
Studies in 20th & 21st Century Literature
Review of Michael Wood. Heiner Müller’s Democratic Theater: The Politics of Making the Audience Work. Rochester: Camden House, 2017.
The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, 2018 University of Southern Mississippi
The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, Christopher Lovely
In this dissertation, challenges and limitations related to presenting Così fan tutte within a small university setting are conveyed, as well as offering innovative ideas to create a manageable presentation. I recall my personal experience as Korepititor/Vocal Coach for The University of Southern Mississippi’s 2014 production of Mozart’s Così fan tutte. This document presents topics on the various workings of an opera production: pre-rehearsal preparation, language issues, rehearsal preparation, selection of singers, and production issues. It offers practical solutions to overcome various challenges a small university may encounter. Smaller university opera programs were surveyed regarding their adaptations ...
Scottish Demotics And Russian Soul: Liz Lochhead’S Adaptation Of Chekhov's Three Sisters, 2018 Queen Margaret University, Edinburgh
Scottish Demotics And Russian Soul: Liz Lochhead’S Adaptation Of Chekhov's Three Sisters, Ksenija Horvat
Studies in Scottish Literature
Explores theatrical issues and theoretical approaches to translating, adapting and staging Chekhov's classic play Three Sisters, through adaptations by the Irish playwright Brian Friel and (briefly) the Scot John Byrne, and then discusses more fully the adaptation by Liz Lochhead, premiered at the Royal Lyceum Theatre, Edinburgh, in 2000.
Did Hollywood Take Theatre "By Hook Or By Crook?", 2018 Missouri State University
Did Hollywood Take Theatre "By Hook Or By Crook?", Catherine S. Wright
MSU Graduate Theses
Hollywood and Theatre have been partners in producing entertainment for over 100 years. The relationship was fruitful for both parties, but Hollywood moguls and playwrights battled over ownership of the work and crafting of its creative nucleus, story and character. Theatre was the dominant entertainment right before the rise of motion pictures. Once Hollywood’s talkies closed the curtain on silent films, playwrights had a high creative worth to movie makers. In the cinema, story and dialogue were essential for its survival and growth. Playwrights were courted by the Hollywood studio heads but were not offered equal partnership as they ...
Review Of Charlotte Lennox: An Independent Mind By Susan Carlile, 2018 University of Regina
Review Of Charlotte Lennox: An Independent Mind By Susan Carlile, Alexis Mcquigge
ABO: Interactive Journal for Women in the Arts, 1640-1830
This article reviews Susan Carlile's recent biography of Charlotte Lennox, Charlotte Lennox: An Independent Mind. Because much of Lennox's life story, and many of her works, remain mysterious to contemporary readers, Carlile's work highlights some unique and important aspects of the life of a - at least in the eighteenth- and nineteenth-centuries, a celebrated literary minds. Carlile's work is an important and necessary addition to the study of women's writing in the period, and contributes a great deal to those studying the works of Charlotte Lennox.


Disclaimer: I was offered a free viewing of this movie, but I declined. I did choose to share the information about it in case others were interested. No compensation was given.
Opening in theaters Friday, February 20, 2015 is “McFarland, USA”. This Walt Disney movie is based on the 1987 true story. “McFarland, USA” follows novice runners from McFarland, an economically challenged town in California, as they give their all to build a cross-country team under the direction of Coach Jim White (Kevin Costner), a newcomer to their predominantly Latino high school, with whom they ultimately bond to build not only a championship cross-country team but an enduring legacy as well.
Have you seen the movie trailer yet? If not, spent a few minutes watching it. I am sure you will feel like I do after viewing it that this movie is worth going to see as soon as it opens in a theater in your town. “McFarland, USA” is rated PG and opens in theaters everywhere on February 20th!
I also wanted to include some fun facts about the movie “Mcfarland, USA” courtesy of Walt Disney Studios Motion Pictures. Keep reading and at the end you will find some movie posters designed by acclaimed artist Fernando Reza.
- “McFarland, USA” is inspired by a 1987 true story, in which an unlikely band of inexperienced, under-equipped, young Latino runners with exceptional determination rise to become cross-country state champions under the leadership of their coach, Jim White. Over the years since then, the McFarland High School cross-country teams have won nine state championships and the small school is considered a powerhouse in the sport.
- Coach Jim White is retired now, but if you go to McFarland, chances are you will see him out there on his bike, keeping up with the kids every evening with a lot of his original team running alongside as well. White retired in 2002 after teaching in McFarland schools for 40 years and coaching for 25 years.
- A number of the original runners on the championship 1987 cross-country team became educators in the McFarland school district. The former teammates are not only working in their hometown, but also raising their families there and actively supporting the cross-country teams of today by coaching, helping out with the meets and practices and donating goods or money so the teams have what they need.
- Three out of the seven young actors on the team in the movie are from the McFarland area—Sergio Avelar who plays Victor Puentes and Michael Aguero, cast as Damacio Diaz, are actual runners and Ramiro Rodriguez, as Danny Diaz, was a champion soccer player.
- Ramiro Rodriguez had no intention of auditioning when he agreed to drive his cousin to the casting tryouts for “McFarland, USA.” He landed the role of Danny Diaz after being pestered repeatedly by executive producer Mario Iscovich to audition.
- Sergio Avelar is a bona fide runner and a member of the McFarland Track Club. He has been running since 2001 and considers himself a “decent runner.” One of his coaches in middle school was actually Thomas Valles, the real-life person represented by the role that Carlos Pratts plays.
- Actor Rafael Martinez, who is by nature soft-spoken and polite, admits that he cut school in order to audition for the movie. Needless to say, having won a role, he has no regrets.
- Prior to the start of principal photography, director Niki Caro organized an informal gathering for the on-screen White clan that proved insightful for her and the actors. In pre-production she assembled the actors together—Kevin Costner, Maria Bello, Morgan Saylor and Elsie Fisher—and had them play Monopoly as a family unit. The interesting exercise kick-started a family dynamic that lasted for the entire shoot.
- Kevin Costner, who plays Coach White, was a great hit with the young actors. He quietly mentored them and offered advice if they wanted it but for the boys, listening to Costner’s stories and watching movies with him in his trailer was a highlight. They felt so comfortable with the famous movie star that they even nicknamed him “KC.”
- Like the real McFarland team, all seven young actors had to train to become champion runners. Although some had more track and field experience than others, all of them took their drills very seriously. Mark Ellis, the coach hired to train them for the film, would have it no other way and the team evolved over time. But training them wasn’t as simple as merely putting shoes on their feet. Every morning at 8 a.m. the runners showed up for practice, which was literally running and more running to build up endurance.
- In the script, the character Thomas Valles, played by Carlos Pratts, is a natural runner with prodigious talent. But the reverse was true for Pratts, who zealously prepared for the cross-country scenes and in the process, became a runner. In addition to drills with the film’s running coach, Mark Ellis, Pratts worked out with personal trainer Brian Nguyen. Nguyen famously got Mark Wahlberg into boxing shape for “The Fighter” and did likewise for Pratts.
- The production took the cast and crew to some of the most beautiful spots in Southern and Central California, from Lake Castaic to Malibu to the Griffith Park Observatory, in addition to the fields and neighborhoods of Bakersfield and McFarland.
- There were some unique cinematic opportunities in the filming of the movie, especially the embankments of almonds covered in protective plastic that served as training hills for the team. The expanse of these weird mounds across the
landscape was visually arresting and certainly emblematic of McFarland, home to Blue Diamond Almonds.
- Classic lowriders are featured in “McFarland, USA” in several scenes. Lowriders are custom cars fitted with hydraulic jacks that allow the chassis to be lowered almost all the way to the road. Lowriding was very big in California’s Central Valley in the mid-’80s with Bakersfield being one of the lowriding epicenters of the area. Lowriding is often stereotypically depicted as gangster-related in film but the reality is that these car clubs are essentially about family and community and the cars are lovingly treasured.
- Director Niki Caro took particular interest in the “hero-car” lowrider vehicle— and not just in the service of the movie. The car actually belongs to Caro and she likes to drive the 1970s Chevrolet Caprice, which was customized to the movie’s specifications. The beautiful classic features an iconic chain steering wheel and a mural on the hood that is in the likeness of the owner’s girlfriend in the film, Lupe. The painting is in the style of the Virgin of Guadalupe, which is an ongoing visual theme in the movie.


Barry Jenkins’ dramatization of the James Baldwin classic is a spellbinding, incantation to young love set against the backdrop of a racially intolerant Harlem of the seventies.
Nineteen year old Tish played by the wide eyed and earnest Kiki Layne, falls in love with twenty two year old Fonny played by the handsome and creative Stephan James and it soon becomes crystal clear why Jenkins has cast these two newcomers in these roles. The story of love is central and it’s a masterstroke that these two new talents allow us to believe the story and focus on it completely without considering the actors who are playing it.
The score composed by Nicholas Britell is lush and evocative, immersing you in the joy and sadness of the tormented couple who must navigate the world anew once Fonny is arrested for a crime he did not commit. This collaboration – between the composer and director is a powerful touch of genius. Harking back to the world created by Spike Lee and Terence Blanchard in their acclaimed film Mo’ Better Blues, the jazz oozes sensuality and unashamed emotion and it is hard not to get caught up with the world they are in.
As in Baldwin’s novel, Shame, is itself a theme in the film. In the film we see Tish’s initial fragility when she falls pregnant with Fonny’s child, as an unmarried mother, and has to reveal her predicament to her family and then his. We see her weakness turn to strength as she is supported by the unwavering love of her family in dealing with her trauma in the face of the disgust of Fonny’s strict religious family. When asked by Fonny’s Mother, ” Who is gonna be responsible for this baby?” Tish answers defiantly, “The father and the mother!” Her fire and intensity in taking on Mrs Hunt shows us she is already changing and growing before our eyes.
In Beale Street Jenkins’s artistry continues to overflow. Just like his Oscar Winning and breathtakingly beautiful “Moonlight” we get the same emotional feels. The story of our young lovers plays out with slow enduring close ups allowing us to make deep connections at powerful moments. When Tish has to tell her mother, Sharon, played by Emmy award-winning Regina King, that she is having Fonny’s baby the anguish is palpable. King’s eyes and a simple arching of her head indicate she already knows what is coming and the repetition of her reaching to put the needle on the record player hint that this tune has been played before. Tish’s longing and fearful eyes staring deep into the camera as she reveals her secret, hit me so hard it left me with tears streaming down my face.
The film design is also powerful with faithful attention to detail in the set and fashions of the times. Jenkins paints a dreamlike portrait of the seventies with oranges, yellows and reds and contrasts the hypnotic Harlem backdrop with the stark, black and white world of violence and injustice that strives to pervade it.
Jenkins uses superb editing to seamlessly move from the colourful seventies present to black and white race hate archive and back to the washed out world of the prison penitentiary where Fonny is forced to reside. This technique pulls us in and out of the dream, in and out of love with our characters as they struggle to maintain their relationship despite the injustice of the circumstance that they find themselves in.
With romance and heartache aplenty, if you’re looking for love this Valentine’s day spending an evening on Beale Street would definitely be enough to get your soul stirring.
If Beale Street Could Talk is out in Cinemas all over the UK now.
Michelle Brooks is a Writer, Producer and Founder of the Diverse West London Production Company Showpatrol TV.


For sure everyone of us has gone to a movie house or a cinema before, right? Movies have been popular for as long as we could remember. It is simply one of the most affordable forms of entertainment.
Most of us watch movies in boring, stock-standard movie theaters, but that’s not how it has to be. The theater itself can affect how you enjoy a particular movie. With that being said, most of the theaters nowadays are able to offer an environment that can provide just the right amount of comfort.
Did you know that there are movie theaters out there that offer more than just comfort? Some of them can make you feel like royalty, while some can give you an experience you would never forget. Here are the 14 COOLEST Movie Theaters Around The World.
These cool cinemas will show you just how much more awesome of an experience watching a movie can be, trust me!
1. Olympia Music Hall in France
2. Hot Tub Cinema in London
3. Sci-Fi Dine-in Theater of Disney’s Hollywood Studios
4. Parisian Theater in Paris
5. Kurshumli An In Skopje, Macedonia – Creative Documentary Film Festival Makedox
6. Electric Cinema in Notting Hill
7. Arena in Pula Croatia
8. Fox Theater in Detroit, MI
9. Puskin Art Cinema in Budapest, Hungary
10. The Bijou Theater in Bridgeport
11. Cineteca De El Matadero in Madrid, Spain
12. Orinda Theater in California
13. Urania National Film Theatre in Budapest, Hungary
14. Regent Cinema in Brisbane, Australia


My head is spinning. I’m watching a documentary on PBA, Klansville USA. The film focuses briefly on a 1965 Klan march in Salisbury, North Carolina. A commentator appears on screen, a black man who was a police officer at the time — Price Brown Jr. I have never met him, or his mother or father or siblings or children, but I recognize the name immediately. He is my third cousin, once removed, the great-great-grandson of my matrilineal ancestor, Margaret McConnaughey.


Terri and her siblings react to the remarriage of their mother after their father’s death a year and a half earlier. Nominated for an Academy Award Short Subject Documentary; Best Documentary Short- Cleveland International Film Festival. (HBO 1998)
Terri and her father travel to Poland to find out what happened to family members during the Holocaust. Best of Festival- Birmingham Educational and Film Festival; Bronze Apple- National Educational Film & Video Festival (WETA 1990).


This is the trailer for „Kiss me first“ – a co-production of Channel4 and Netflix that I worked on a Lead Lighter and Compositor for Axis Animation:
The show consists of 6 episodes of approx. 40min each, of which about 10 minutes is fully CG created. I came to the project early 2017, developing the looks and creating the master setups for the scenes. Once the rest of the team arrived my time was split in half, leading the members of my team and producing shots on my own. It was a great experience to work with these people and solving the numerous challenges this project entailed.
Update: At the end of June 2017 the project also finally arrived on Netflix.
Here’s some screengrabs from IMDB of shots that I worked on:


Shooting the new short film, Ed and the Elephant, playing Ed for director Nina Mahesh.
Cast as the lead in a short film.
Table read of a new Web Series, cast as one of 3 leads. Shooting to begin early 2017.
Performing as the Diction Coach and Rod in Singin’ in the Rain at North Shore Music Theatre in Beverly, Massachusetts, directed by Richard Stafford. Performances from Aug. 16th-28th.
Performing as Uncle Ernie in The Who’s Tommy at Forestburgh Playhouse from July 6th-31st, and directed by Robin Levine. Booked Singin’ in the Rain at North Shore Music Theatre.
Booked The Who’s Tommy at Forestburgh Playhouse.
Freelancing with Brandon Cohen at BAC Talent Management.
Airing March 18th: Co-Starring role opposite Charlie Cox on the Netflix series, “Daredevil”. (Season 2, Episode 5)
Performance of Kids on Leashes, a series of short plays written by Christopher Sloan, in NYC.
A workshop of Christopher Sloan’s series of short plays.
Performing as Milo Tindle in Sleuth, opening October 7th and running through October 31st at Allenberry Playhouse.
Rehearsals begin for Sleuth at Allenberry Playhouse in Pennsylvania.
TV shoot for a Co-Starring role in a Netflix series, to be announced at a later date.
Cast to cover the three male lead roles in a production of Sandy Rustin’s farce The Cottage at the John W. Engeman Theatre, running through September 6th.
Performance of John Minigan’s The Maltese Walter at Classic Stage Company on August 5th at 8pm, as part of the Sam French OOB Festival.
Booked a Co-Starring role on a Netflix series...To be announced later.
Cast as Walter in a short play, The Maltese Walter, for the Sam French OOB Festival.
Thom & Gerry premieres at Cannes 2015. I have a supporting role in this short film starring Richard Herd and directed by Nate Hapke.
Playing the lead role of Alfie Byrne in A Man of No Importance at the Arvada Center through May 17th.
Film shoot for an Untitled Short Film about two brothers at their wits’ end, directed by Frank Sun.
A Man of No Importance begins rehearsals at the Arvada Center, and starts previews on April 24th. Opening Night is April 28th.
Booked the role of Milo Tindle in Sleuth for Allenberry Playhouse. Performances begin October 7, 2015.
Cast as Alfie Byrne in A Man of No Importance for the Arvada Center in Denver. Performances begin April 24, and run through May 17th.
Cast as a lead in a new Untitled Short Film about two brothers, directed by Frank Sun.
Madison Square Garden debut as “Christmas Who” in Dr. Seuss’ How the Grinch Stole Christmas, playing in NYC.
Performing as “Christmas Who” in Dr. Seuss’ How the Grinch Stole Christmas, playing at The Chicago Theatre in Chicago.
Dr. Seuss’ How the Grinch Stole Christmas rehearsals begin for the Big League tour heading to Birmingham, AL, Chicago, IL, and Madison Square Garden in NYC.
Shooting a supporting role in a short film called Thom & Gerry, directed by Nate Hapke.
Primary Stages’ staged reading of Louise Schwarz’ Theories of the Pole, directed by Seth Soloway.
Filming the lead role in a trailer for a feature film called Stand Up for Bastards, Aug. 22-24th.
Booked the role of Konstantin Treplev in The Seagull, directed and adapted by Dudley Stone.
Pittsburgh Civic Light Opera’s production of CATS (Rum Tum Tugger) running from July 17-27th.
Performing lead roles in two pieces for The Puzzle: Marble’s Theatre Festival on June 26th. Playing Dan in Paul Lewis’s “Timmy Perlmutter Goes Flying” and Edgar in Raymond Fast’s “Monster".
Playing the lead in a reading of a new musical called Tickets, Please!, written by Al Tapper and Tony Sportiello, and directed by Nancy Robillard. Performances on May 16th at This Theatre, 154 W. 29th St. 2nd Fl at 1:30p and 5p.
Airing April 3rd: Co-Starring role on CBS’s “Elementary” opposite Jonny Lee Miller.
Booked the lead in a new musical called Tickets, Please! (Wojcik/Seay Casting)
Booked: Pittsburgh Civic Light Opera (Telsey + Company Casting)
“Elementary”: booked and filmed a Co-Starring role opposite Jonny Lee Miller on the CBS series.
Booked and shot a Print Job for a Pharmaceutical company.
Played Lysander in a reading of A Midsummer Night’s Dream.
NOV 2013 - JAN 2014
Spamalot, playing the role of Patsy, at Florida Studio Theatre in Sarasota.
Performed in a reading of The Fabulous Lipitones, written by Mark St. Germain.
"Boardwalk Empire": My co-star role opposite Steve Buscemi airs Oct. 13th!!
Season 4, Episode 6 ~ The North Star (opening scene)
Filming the love interest in a new, short film called "Relative Density".
Found out a short film I played the lead in, "Ode to Joy", was an Official Selection at the Shanghai International Film Festival.
Beginning rehearsals on Oct. 22nd, for a production of Monty Python’s Spamalot at Florida Studio Theatre in Sarasota, FL. I’ll be playing the role of Patsy.
“Visiting Hours”, the short film I played a lead role in, is premiering as an Official Selection at the Williamsburg International Film Festival on Friday, September 20th, at Williamsburg Cinemas.
A reading of Dan McCormick’s play, The Pen and the Paintbrush.
“Visiting Hours” is now an Official Selection of the Williamsburg International Film Festival!
Screening in Los Angeles upcoming for “Visiting Hours”! This short film I acted in was selected by HollyShorts Film Festival to be part of a screening event later this year!
Playing Rum Tum Tugger in CATS at North Shore Music Theatre in Massachusetts...performances Aug. 20th-Sept. 1st.
Playing King Arthur in Spamalot at Forestburgh Playhouse in NY...performances July 16th-28th.
Shoot Co-Starring role opposite Steve Buscemi for Season 4, Episode 6 of “Boardwalk Empire”.
Starring role in a staged reading of “The Devilman”, by Adam Seidel, as part of The Puzzle: Marble’s Festival of New Work.
Perform “Taking the Plunge” as part of The Davenport Ten-Minute Play Contest.
Booked a Co-Starring role on Season 4 of “Boardwalk Empire”.
Singing “Signed, Sealed, Delivered” with Anika Larsen and Sherz Aletaha for “Seth Rudetsky’s Big Fat Broadway” on Sirius/XM Satellite Radio’s On Broadway show.
My episode of “Person of Interest”, playing Trent Russell, re-airs on CBS.
Performing in Broadway Backwards VIII on March 18th at The Palace Theatre on Broadway. (The annual event raised a record-breaking $347,060 for BC/EFA and The Center.)
New York Classical Theatre’s Workshop Presentation of Malvolio’s Revenge, starring as Malvolio. Upcoming Off-Broadway run to follow, beginning January 2014!
World Premiere play, America’s Brightest Star closes at The Railroad Playhouse in Newburgh, NY
Producer reading of Neil Simon’s Laughter on the 23rd Floor, as Kenny Franks
Shooting a lead role in the independent film, The Waiting Room, written by Dominique Johnson and directed by Sarah Paige
Opening Night of the World Premiere play, America’s Brightest Star at The Railroad Playhouse in Newburgh, NY
Industry Reading of The Tiger Play (playing Rajah the Tiger), written by Anne Phelan and directed by Tamara Fisch
Rehearsals begin for the World Premiere play, America’s Brightest Star, written by Alex Goldberg and directed by Seth Soloway
Voice-Over for the character of “The Alchemist” for new video game, Quintus
Wrap-up shooting on CBS’ Person of Interest (episode: Bad Code)
Begin shooting a Co-Starring role on CBS’ Person of Interest
I ♥ Bob performances at Joyce SoHo through July 29th
CLICK HERE to read the New York Times review!
I ♥ Bob rehearsals begin for Joyce SoHo
Rum Tum Tugger in Cats at The Gateway Playhouse:
CLICK HERE to read the Broadway World review!
CLICK HERE to read the New York Times review!
Performed in the Easter Bonnet Competition at Broadway’s Minskoff Theatre
Played Cole in a reading of Jesse James: Dead or Alive
Bob Krakower’s Advanced On-Camera Class
Performing in Broadway Backwards VII on March 5th at the Al Hirschfeld Theatre. (The benefit raised a record-breaking $329,000 for BC/EFA and The Center)
Disaster! the Musical (written by Seth Rudetsky & Jack Plotnick) extends at the Triad on 72nd St.
Jake in the new musical, Disaster! at the Triad Theatre in NYC.
Lead role in the short film, Ode to Joy, directed by Jing Wang.
Bob Krakower’s On-Camera class
Shot the lead in a short film, entitled Something in Between, directed by Yao Lv.
Performed in a reading of Disaster, the Musical, written by Seth Rudetsky and Jack Plotnick.
Called in for Long Wharf and The Public Theater.
"Kevin Loreque is a one-of-a-kind teacher that truly uses the art within each person to create a performance. There is no right or wrong. It is about being true to yourself, your own personal story, and allowing yourself to connect to your piece in a very individual way. This brings truth to every performance. Kevin gave me confidence in my own creativity which allowed me to trust and use my instincts. I was able to go to auditions knowing that what I had to offer was great! I felt fulfilled as every audition/performance truly came from a place that was completely my own. I never have to be something that I am not."– Sarah Katherine Gee - Grinch 1st Natl. Tour, Mamma Mia Natl. Tour (Lisa), West Side Story Euro/Asia Tour (Anybodies), Awesome 80's Prom,
"Kevin is a fantastic actor, with a great depth of emotion! I always recommend him to actors who are looking for a terrific coach with a kind and gentle soul."– Jack Plotnick - Award-winning actor, director and performance coach. Gods and Monsters, Meet the Fockers, Reno 911, Drawn Together, The Mentalist, etc.
"I have worked with Kevin both as a coach and as a cast mate. Kevin always brings a positive, professional warmth to his work and he inspires the same elements in his students. This happened for me as I was preparing for an audition in which I felt ill-matched for the role and not confident in my preparation. After a session with Kevin, I felt confident and excited. With his help, I ended up booking the job- the role of Zac Finn on "As The World Turns!"– Nicholas Galbraith - As The World Turns (recurring), South Pacific Broadway National Tour
"Working with Kevin has been a most joyful experience. Not only a consummate professional but his attention to detail and creativity was impressive to achieve the intricate movements of my students. He brought out such amazing character in my students and the success of the routines at competition were a testament to his work. He is a wonderful artist and a great person to work with. My students and I are looking forward to working with him again in the future!"– Christine Mignone, Bedazzle Dance Studio Inc., Staten Island, NY


When Lee Min Ho was recently interviewed about his role in “The Heirs,” the interviewers asked him about the passionate kissing scene he had with Park Shin Hye in “The Heirs.”
Park Shin Hye has already spoken about that scene, saying that she was startled when the director urged Lee Min Ho to actually kiss her.
“I was really surprised,” she said. “During that kiss scene, I grabbed Lee Min Ho’s shirt.” But as temporarily uncomfortable as it may have been, her surprise made the scene more interesting and effective. And it seemed to fit in with their relationship in which he was more physically aggressive.
But how did Lee Min Ho feel about the kissing scene? Was he in on the fact that they were actually supposed to kiss?
No. He did not know beforehand. He was as surprised as she was but he recognized the importance of following the director’s guidance. Kissing her then felt right.
“Since the kiss was the culmination of all the events and emotions leading up to it, there was no other alternative than to do it for real,” he said in an interview with Korea’s Daily Sports. “I did regret that no one told Park Shin Hye beforehand. Usually actresses are given an idea of what will happen. So I think Park Shin Hye was caught off-guard by how it played out.”
But being a veteran actress, Park Shin Hye understood that the scene required a passionate kiss. Lee Min Ho complimented her on her professionalism and the effort she put into all of her scenes.
“She’s younger than I am but she has more experience,” he said. “Honestly, I am not so good at talking to actresses about acting or offering them support. I just follow my feelings and I was grateful that she went along with what I did.”
Park Shin Hye was actually the youngest actress the 26-year-old actor has worked with. Gu Hye Sun, his “Boys Over Flowers” co-star is three years older. Son Ye Jin, his “Personal Taste” co-star is 31. Kim Hee Sun, his “Faith: The Great Doctor” co-star is 36, while Park Min Young, his “City Hunter” co-star is only a year older than he is.
He loved acting with 23-year-old Park Shin Hye, who he has modeled with in the past.
“I think she’s a terrific colleague and consider her a younger sister,” said Lee Min Ho.
A younger sister? Fans were maybe hoping that Kim Tan and Cha Eun Sang would continue their romance into real life, but it’s nice that they’re good friends and respect each others’ acting skills.


"My work behind the lens as a photographer, and in front of the camera as an actor has taught me that the goal of an image should not just be that it is flattering, but that it speaks." - Toranj Kayvon
Headshots and PR images are for actors and business professionals who require imagery that captures their confidence, a glimps of their talent, and their approachability.
"For Actors I believe that two types of imagery are important. The first type are professional headshots as per industry standards to showcase the actor in their best, most natural and authentic way. Whether you are new or experienced in front of a still camera, we will work together to inspire the best energy from you.
The second type of imagery that I love doing for actors, is what I call my "Screen Presence Portraiture". For me as an actor it's important that my images capture not just how I look, but my inner life. I believe every actor needs this type of imagery because it showcases an actors ability to exude their inner world and emotions through their eyes. Acting doesn't require dialogues, and in Screen Presence Portrait sessions I work with my fellow actors to capture their on screen talent so that they have impactful images to use on their social media, resumes and PR. Screen Presence portraiture is also a space where I get to play more with my talent and bring in some allure and glamour for some shots. In this space we can also play with different emotions to capture imagery that has the emotive feel of a movie still.
Whether we are shooting professional headshots, or Screen Presence Portraiture, the most crucial aspect of my captures are my actor's eyes because that is where the personality and emotions are.
I extend the same importance to eyes and body language to business professionals, because when you are the face of your business, our goal is to capture imagery that speaks and expresses your best without any dialogue. Our brains are designed to read certain subtleties of face and body language subconsciously that determine whether we trust someone, or don't, whether someone is confident, or not and more. With my training and education in body language and emoting, I work with my clients to create images that represents them in their most confident, warm, and approachable manner."


On the final day of the festival we watched the play of the life story of Buddha. Acted, directed and choreographed entirely by practicing Kadampa Buddhists, the play captures the dignity, wisdom and supreme kindness with which Buddha lived his life, inspiring us all to do the same.
As venerable Geshe-la says, the play is not ordinary. Usually we can only hear or read Buddha’s teachings, but with the play we can directly see how Buddha lived his life and let this teach us.
After the play, Gen-la Dekyong, the NKT General Spiritual Director, shared some final words of advice. She said what particularly touched her from watching the play this year was Buddha’s promise to Angulimala, ‘I promise you will accomplish realisations’. Gen-la said that is what we have received at this year’s Festival.
Then, it was time to leave the festival, carrying the wisdom we had learnt back into our daily lives to maintain our inner peace and bring happiness to our families. This year, more than ever before, people leaving the festival were heading in their hundreds to various post festival retreats to deepen their experience even further!


United Notions Film was established by award-winning filmmakers Violeta Ayala and Dan Fallshaw with the motto of challenging the status quo. They first began working together after travelling to Mauritania in 2005 where they made ‘BETWEEN THE OIL AND THE DEEP BLUE SEA’, an investigative documentary about international corruption in the oil industry. In 2006, they went to the Sahara desert and shot ‘STOLEN’, a feature film that uncovered racial-based slavery in a UN-monitored refugee camp. The film sparked worldwide controversy when it premiered at the Sydney Film Festival 2009. ‘Stolen’ screened in 80 film festivals including Toronto and IDFA, won sixteen awards and aired on PBS. Questioning the media’s racism in Norway, in 2015 they made ‘THE BOLIVIAN CASE’ that premiered as a Special Presentation at Hot Docs, it was nominated for Premios Platino and Fenix (two of the most prestigious awards in the Spanish speaking world) and distributed by Ibermedia across Latin America to an audience of 625 million. In 2017, they trekked over the Bolivian Andes shooting a protest of people with disabilities and made ‘THE FIGHT’ distributed by The Guardian Shorts, winner of the Doc Dispatch Award at Sheffield Doc Fest and Best Short at the International Human Rights Festival in Sucre, Bolivia. Their latest feature ‘COCAINE PRISON’ shot in a Bolivian jail for four years will premiere at the Toronto International Film Festival 2017. United Notions Film is supported by PBS, Latino Public Broadcasting, Open Society Foundations, Sundance, MacArthur Foundation, Tribeca, Chicken & Egg, Bertha Doc Society, Puma Britdoc, IDFA Bertha, Fond Sud Cinema, CNC, Strasbourg Film Fund, Screen NSW, Screen Australia, The Norwegian Film Institute, Señal Colombia, Amongst Others.


March/10/2013 Filed in: Commercials
Click to play the BLACK STAR BEER commercial!
One of the cleverest ad campaigns I have been involved with was for Black Star Beer in 1992. A "Make-Believe History" was created for the newly started brewery by the Wieden & Kennedy agency, directed by Alex Proyas. The ad featured a montage of pretend commercials from the past, presented by announcer John Corbett (of Northern Exposure fame). My contribution was to animate Zippy The Cap, an iconic talking bottle cap character, supposedly from the year 1950.READ AND SEE MORE...
February/19/2013 Filed in: Moviemaking
Running from vampires in the sewer. Note the pink and green eighties lighting.
Having moved to Los Angeles with the dream of becoming a professional stop-motion animator, I initially found it very difficult to get my foot in the door of the movie business. I managed to get a few gigs making miniatures as a model maker, but even those jobs were hard to come by for a newcomer. Then the opportunity came to work on my first feature motion picture, starting at the very bottom... the sewer! Okay, in actuality I was hired to build a sewer, as part of the construction crew on the horror movie VAMP in 1986.
Taking a break in the nearly finished Vamp sewer set.READ AND SEE MORE...
January/05/2013 Filed in: Sculpting
Frank Zane and Lisa Lyon, examples of classic bodybuilding physiques! CLICK TO PLAY
Some may call bodybuilding a sport, but it can also be an art form. Bodybuilders literally sculpt themselves by making conscious decisions about where to add and where to subtract, accomplishing their goal with focused weight training, exercises, and diet. The objective of their efforts is to reach the physical ideal, which is certainly subjective depending on the eye of the beholder.
When I was a very young man I attended the 1979 Mr. Olympia competition, and filmed many of the highlights with my trusty super 8 camera. In that event, the bodybuilders essentially gave stage performances as living breathing sculptures. Frank Zane, arguably the greatest bodybuilder ever, won the contest for a third straight year. There was also a unique guest poser, pioneering female bodybuilder Lisa Lyon. The show represented the end of an era, within a few short years the world of professional bodybuilding experienced BIG changes. More on that, but first some background on the featured stars of this movie clip.READ AND SEE MORE...
July/19/2012 Filed in: Special FX
CLICK TO PLAY Cup-O-Noodles commercial with Saber-Toothed Tiger!
Since the invention of motion pictures to this very day, the goal of many imaginative filmmakers is to combine animation with live action. One of the most successful methods to achieve that effect is the chroma key technique. This process removes a color background, usually blue or green, by electronically cutting out the foreground subject, which then is composited over a different image. Chroma key works exceptionally well with stop-motion animation, and Chiodo Bros. Productions in Burbank, CA are masters of the procedure. In the nineties I was an animator on numerous Chiodo Brothers projects, for example this Cup-O-Noodles commercial featuring a saber-toothed tiger.READ AND SEE MORE...
June/01/2012 Filed in: Animation
CLICK TO PLAY the Night Scorps animation sequences!
In 1994, animation legend David Allen (1944-1999) hired me to animate gigantic scorpions for the feature film Oblivion. The film was a bizarre space-western, the original "cowboys and aliens"! It was produced by Full Moon Entertainment, which was a very busy studio with many movies in production. At that time, David was running the Full Moon special effects department and rarely doing any actual hands-on animation. In fact his main concern was planning for his upcoming Primevals movie, which was his dream project. He trusted his crew to create the work for other films such as Oblivion, under his overall supervision. I teamed up with Joseph Grossberg, who was in charge of the visual effects camera work and lighting. My task was to bring the giant alien scorpions, called Night Scorps, to life via stop-motion animation.READ AND SEE MORE...


I’ll admit—I’m not a huge fan of the Christopher Nolan-era Batman gadgets. They’re a little too realistic (i.e. military-grade) for my preferences, which often err more on the side of the fantastical. Of course, Nolan’s Batman movies are much more realistic than any of Tim Burton’s, Batman Forever or Batman and Robin, so it makes sense. I’ve just always liked how ridiculous the Batmobile can look, especially the George Clooney-driven version with the wings and the rocket booster:
Looking at Christian Bale’s Batmobile, which is referred to as the Tumbler (which I just spelled Tumblr; I obviously need to find more offline hobbies.) in the Dark Knight trilogy, one can see how this universe’s Wayne Enterprises has ties to the military.
It’s very tank-like, with not a lot of windows, a muted color scheme and a whole lot of artillery. In addition, in The Dark Knight Rises (TDKR), many of the Tumblers we see are painted in camouflage.
Other vehicles in TDKR include the Batpod, which is used in the movie mainly by Anne Hathaway’s Selina Kyle.
This vehicle is probably my favorite. It’s crazy maneuverable and super quick. The way the back wheel can turn the “bike” in any direction makes it perfect for a Bat (or a Cat) on the run.
New to the movie ‘verse in this, the last movie of the trilogy, was the Bat—definitely not the most inspired name, but I suppose Lucius Fox had other things on his mind.
Part helicopter, part hovercraft, part jet, part tank (again with the military theme), the Bat is most definitely “not a car.”
I’m trying to avoid major spoilers for anyone who hasn’t yet seen the movie, so I’ll just say, out of all of the gadgets in TDKR, The Bat certainly comes through best in the clutch.
The non-vehicles in TDKR play lesser roles, but they are no less impressive. The Electro Magnetic Pulse (EMP) rifle Batman (may I call you Bruce, Mr. Wayne?) uses to shut down—LITTLE SPOILER ALERT—Bane’s crew as they’re running from the Stock Exchange comes in real handy. It’s not exactly realistic—yet—but one of the coolest (and most frightening) things about the Dark Knight bat gadgets is that they could be in the not so distant future. (To be clear, EMP pulses are quite real; however, the power has not yet been harnessed in handheld form.) Bruce also used a similar, even smaller device in one scene to mess with some paparazzi’s cameras.
I’d also consider many of the the costumes in TDKR gadgets in their own right. Selina Kyle’s outfit, particularly her headset and spiked boots, comes in handy when she’s both fighting and thieving. Batman’s utility belt is an absolute classic, with built-in grappling hook, Batarangs, etc., and his cape, with that crazy snap-taught fabric, is Wayne Enterprises technology at its best.
Even Bane’s mask is gadgetry—it’s a (ridiculous) voice modulator!


It’s a terrific 142 minute documentary feature that goes into absolutely every detail of the career of Kubrick, with new footage from the archives that has never been seen previously. The film starts with a look at Kubrick’s childhood and initial interest in photography that brought him towards cinema. The documentary takes a look at all of the director’s films, giving an equal focus to everything from the first — Fear and Desire towards the final — Eyes Wide Shut. Narrated by Eyes star Tom Cruise, the documentary features interviews from many, many people from the director’s past, from Malcolm McDowell to Sydney Pollack to Cruise to Martin Scorsese and Steven Spielberg. The documentary even talks about the projects that the director had in development, such as A.I., which was recently directed by Steven Spielberg. The amazing thing about the documentary is the behind-the-scenes footage that has never been seen before. Combined with the interviews with friends and family, the feature opens up a previously unseen, warmer side of the director — telling us more about the creative process and personal life of the director that was never really shared before. There’s some especially funny stories at times, especially one shared by Sydney Pollack, who didn’t know what to expect from working as an actor on Eyes Wide Shut — and thought he’d be done with his part in a week. A Life In Pictures must have taken an enormous amount of work and effort to complete, not only to get the interviews together, but to find all of the footage and rare material that has gone into the documentary. It generally gives an equal look towards all of the director’s works, and I’m sure that even the biggest fans of the director will likely find some new tidbits and information within this superb feature. —A Guide To Current DVD Review
Stanley Kubrick’s films were landmark events — majestic, memorable and richly researched. But, as the years went by, the time between films grew longer and longer, and less and less was seen of the director. What on earth was he doing? Two years after his death, Jon Ronson was invited to the Kubrick estate and let loose among the fabled archive. He was looking for a solution to the mystery — this is what he found.” —The Guardian, Citizen Kubrick
A French documentary about Stanley Kubrick and Eyes Wide Shut. Many people discuss the director’s films: Frederic Raphael, Terry Semel, Jan Harlan, Diane Johnson, etc.
A short 14 minute documentary on legendary director Stanley Kubrick (“2001”, “A Clockwork Orange”, “The Shining”) covering his early career through his short works, through “The Killing”, “Spartacus”, “Paths of Glory”, and “Lolita”, to “Dr. Strangelove”. Includes commentary on his work and exclusive photos, footage, and interviews.
This 1996 documentary profiles the work of director Stanley Kubrick and was broadcast to accompany a season of Kubrick films on Britain’s Channel 4.
Rare Dutch TV documentary about Stanley Kubrick. Features behind the scenes footage of ‘2001: A Space Odyssey’ as well as a very insightful interview by Kubrick at the premiere of the film. An interview with proposed star of the unmade ‘Aryan papers’, Johanna ter Steege, who talks about how Schindler’s list effectively caused Kubrick to cancel his own Holocaust epic and Malcolm McDowell talks about working on ‘A Clockwork Orange’ whilst in Venice in 1997. Interviews: Stanley Kubrick, Peter Delpeut, George Sluizer, Harry Kumel, Johanna ter Steege and Malcolm McDowell.
Today this special really has no meaning beyond that of a nostalgic one. Due to the untimely death of Stanley Kubrick in 1999 The Ban was lifted and the film can now be shown in Britain. Even worse is the bulk of the youth today do not even get the film. Like The Return of ACO special this remains a look back at The Ban which at the time of the special was around it’s 18th anniversary. Overall the special just seems like it was taking a shot a Kubrick, to make him look silly for banning it, in the hopes to get him to lift The Ban. It’s amazing to me that they do show a clip of the Billboy fight complete with the nude girl on regular TV. One of the highlights of the special is the inclusion of two rare interviews by actors you rarely see talk about the film. Miriam Karlin who played the Cat Lady and Steven Berkoff who played the CID man. This is the first time I had seen the two speak on camera about ACO and it made the whole thing very worthwhile. Once again Kubrick’s friend Alexander Walker was on hand to discuss the film. The other highlight was a first attempt at filming some of the 21st chapter. Tony sits in their homemade Korova set reading the paper as the narration from the book is played and when Alex talks about a wind-up toy one is shown that even has a bit of a droogie style to it. It is a fun look at what could’ve been if Kubrick felt as attached to the 21st chapter as I am.
In conclusion it is way too short, but does cover the all the bases. An interview with Malcolm is greatly missed as well as any official comment by the Kubrick family. Even at the end the host says Kubrick won’t even say why he has banned the film so at the time it was all still a mystery. I have to disagree with Walker when he says the film is like a musical. One scene does not a musical make. If he was talking about ACO the play that is another story. As they say it is good as far as it goes even trying to show the futility of the ban. The host is shown reading the book on a bus and going to France to see the film in the theater where it is always playing as well as going into a store and buying the video. This shows how easy it is to obtain the forbidden fruit and bring it back home. He admits the film struck a nerve more with the British than anywhere else upon its’ release and that is why they need it back. It seems a bit childish and harsh to call Kubrick out to explain why he banned the film, after all, it wouldn’t change anything and it wasn’t until after he died we found out. —Alex D. Thrawn
Follow Stanley Kubrick as he creates his savage and brilliant Vietnam film, hewing closely to the theme that dominated his creative life for four decades - the duality of human nature. Poised between good and evil, mankind was, in Kubrick’s view, a complex creature equally capable of unspeakable savagery and heart-melting tenderness. Full Metal Jacket would make his case in vivid, blood-soaked Technicolor. Through interviews with Kubrick’s collaborators and cast members, including Vincent D’Onofrio, Lee Ermey and Adam Baldwin, this documentary reveals how Kubrick’s brilliant visual sense, astute knowledge of human nature, and unique perspective on the duality of man came together to make Full Metal Jacket an unforgettable cinematic experience, taking its place in his “war trilogy” alongside cinematic landmarks Fear and Desire and Paths of Glory.
30-minute documentary Making A Clockwork Orange.
Stanley Kubrick didn’t like giving long interviews, but he loved playing chess. So when the physicist and writer Jeremy Bernstein paid him a visit to gather material for a piece for The New Yorker about a new film project he was writing with Arthur C. Clarke, Kubrick was intrigued to learn that Bernstein was a fairly serious chess player. After Bernstein’s brief article on Kubrick and Clarke, “Beyond the Stars,” appeared in the magazine’s “Talk of the Town” section in April of 1965, Bernstein proposed doing a full-length New Yorker profile on the filmmaker and his new project. For some reason, Kubrick accepted. So later that year Bernstein flew to England, where Kubrick was getting ready to film 2001: A Space Odyssey. Bernstein stayed there for much of the filming, playing chess with Kubrick every day between takes. When the piece eventually ran in The New Yorker it was appropriately titled “How About a Little Game?” One thing Bernstein learned about Kubrick was that he loved gadgets. He had a special fondness for tape recorders. In the profile, Bernstein quotes the filmmaker’s wife Christiane as saying, “Stanley would be happy with eight tape recorders and one pair of pants.” So when it came time to do the interviews, Kubrick took control as director and insisted on using one of the devices. “My interviews were done before tape recorders were commonplace,” Bernstein later wrote. “I certainly didn’t have one. Kubrick did. He did all his script writing by talking into it. He said that we should use it for the interviews. Later on, when I used a quote from the tape he didn’t like, he said, ‘I know it’s on the tape, but I will deny saying it anyway.”
Kubrick talked with Bernstein on a range of topics related to his early career. In the nearly 77 minutes of audio preserved in the recording above, Kubrick discusses his bad grades in high school and his good luck in landing a job as a photographer for Look magazine, his earliest film work producing newsreels, and all of his feature films up to that point, including Paths of Glory, Lolita and Dr. Strangelove. He talks about his working relationships with Clarke and Vladimir Nabokov, and his views on space exploration and the threat of nuclear war. The exact date of the interview is difficult to pin down. Sources across the Internet give it as November 27, 1966, but that is certainly incorrect. While it’s true that Kubrick gives the date as November 27 at the beginning of the tape, Bernstein’s profile–which includes material from the interview–was published on November 12, 1966, and Kubrick made corrections to the galley proofs as early as April, 1966. The interview was apparently conducted in multiple takes starting on November 27, 1965 and ending sometime in early 1966. Filming of 2001: A Space Odyssey commenced on December 29, 1966 (a month after the taped conversation begins), and near the end of the tape Kubrick mentions having already shot 80,000 feet, or about 14.8 hours, of film. —Open Culture
“2001: The Making of a Myth”, an exquisite 43-minute documentary produced in 2001 which wonderfully covers the movie’s themes and technique. Introduced and narrated by James Cameron, the piece includes new interviews with author/screenwriter Arthur C. Clarke, members of the crew and cast (not just the obvious like Keir Dullea, but even a space stewardess and two apes), and critics. They all shed lots of light, from interpretations to production tales.
Stanley Kubrick allowed his then-17-year-old daughter, Vivian, to make a documentary about the production of The Shining. Created originally for the BBC television show Arena, this documentary offers rare insight into the shooting process of a Kubrick film. This version of the documentary has commentary by Vivian Kubrick.
Steven Spielberg talks about the making of A.I and the Chemistry he had with Stanley Kubrick.
An interview with Steven Spielberg about Stanley Kubrick. This is the uncut version of the interview, aired on British television. The interview is excerpted in the Eyes Wide Shut DVD.
Documentary excerpt detailing the production of Stanley Kubricks film Barry Lyndon.
A concise look at some of the more bizarre visual aspects of The Shining. Through interviews with collaborators, current filmmakers and authors, we’ll examine how Kubrick used his unique brand of visual storytelling to convey madness, evil, and the power of the supernatural without relying on dialog or conventional exposition. As much as any film he ever made, The Shining illustrates Kubrick’s talent for using the language of pure cinema to tell his stories.
Lost Kubrick: The Unfinished Films of Stanley Kubrick. Narrated by Malcolm McDowell, this documentary examines the films Stanley Kubrick developed but didn’t live long enough to make.
A behind-the-scenes documentary about the making of one of the classics of modern cinema. Including interviews with many members of the cast and crew of this story about the scramble by the heads of state to head off a rogue general’s attempt to launch a nuclear war, this film gives fans a wealth of new information on the work and effort that went into bringing the film to fruition.
Stanley Kubrick was a man obsessed with many things, mostly banal in nature. In his final years, he’d collect stationary, just plain stationary, and compile archives of it at his home north of London. This is chronicled in Jon Ronson’s brilliant documentary Stanley Kubrick’s Boxes. What was left out of that film though was Kubrick’s greyish-blue fur-trimmed jacket. By no means am I an expert on Kubrick but I always considered this jacket his most distinctive material presence. Personal iconography, especially within the world of cinema, is a celebrated tradition. Alfred Hitchcock’s profile, Charlie Chaplin’s moustache, Audrey Hepburn’s little black dress; these are all things that are immediately identifiable as signatures of their respective personas, often emphasised or singled out in attempts at imitation. With Kubrick? Well the majority of people wouldn’t be able to pick him out of a line-up despite being able to tell you he was a very famous director.
I understand the mythology behind Kubrick is already overpopulated with conspiracy theories and crackpot hypotheses so I’ll try my best to avoid adding to it. My only question lies with where the jacket is now. I always wondered what happened to it. Kubrick was a man who never threw anything away, and that’s why Ronson’s documentary was fascinating. It filled in so many minor details about an enigmatic genius, but unfortunately, it left out the one question that I’ve had since I first became slightly more than a casual Kubrick fan.
From various behind the scenes photos, I worked out that Kubrick wore the same jacket over a minimum 28 year span while shooting on the set of at least five different movies; A Clockwork Orange(1971), Barry Lyndon(1975), The Shining(1980), Full Metal Jacket(1987)and Eyes Wide Shut(1999). it has been present at iconic moments in film. It’s a relic in and of itself. This jacket is a piece of clothing that has lived through cinematic history, and yet, it’s never discussed. Not once in all the documentaries, the soft-profiles, the critical essays, they never mention the jacket. The LACMA exhibition that opened last year had every major piece of Kubrick memorabilia, right down to his glasses, but still had no jacket.
Whether if there was just one jacket, or he simply purchased several of a certain style is unknown. There’s a lot that remained unexplained about Kubrick and that’s what makes him so captivating. He is a man who died before all questions could be answered. Speculation of hidden codes and secret messages are rife within the culture of his fandom. In Thomas Allen Nelson’s book Kubrick: Inside a Film Artist’s Maze, he quotes the director in saying "There’s something in the human personality which resents things that are clear, and conversely, something which is attracted to puzzles, enigmas, and allegories."
If I could ask Stanley Kubrick right now what happened to the jacket, I’m not sure he’d want to give me a straight answer. I think I like that. If I had to guess where it is, I’d say he was probably buried in it; surviving as just one of many secrets he took to the grave.
I wrote an essay-diary of sorts on my experience working as a script supervisor in Monte Hellman's 2010 film Road to Nowhere for the September 2009 issue of Cahiers du Cinéma. RTN made many of 2011’s best films of the year list, including Jonathan Rosenbaum’s. My text was part of a dossier on Monte which includes essays by Brad Stevens and Nicole Brenez. My sincere thanks to Nicole, curator at the Cinémathèque Française, for giving me the opportunity to share my experiences working with a master.
One of world cinema’s most distinct and idiosyncratic filmmakers, Apichatpong has a mellowness and warmth that is a perfect reflection of his approach to film: he gives free reign to the visual possibilities of filmmaking by allowing himself to be moved by cinematic moments instead of imposing them. La entrevista está en la pagina 3. Enjoy!
I interviewed the German director Florian Henkel Von Donnersmark shortly before winning an Oscar for Best Foreign Film for The Lives of Others. Lively, charming and super-smart, we engaged in a conversation of his film that veered away from the typical pre-Academy Award fever, resulting in a mellow discussion on how he approached his remarkable debut.


Murderous women: killing for lust
Dr Julia Shaw and the Höxter House of Horrors:
It sounds like something out of a horror movie, but this story really happened. A couple from Höxter regularly invited young women over to abuse and kill them for pleasure.
For years, Angelika W. and her ex-husband tormented women in the “horror house of Höxter”, luring them there with a personal ad.
After the death of two of their victims, a coincidence leads to the couple’s arrest. In court, Angelika W. described, without regret, 66 methods of torture that she used on her victims. But how did a girl with a seemingly normal childhood mutate into an ice-cold sadist? This is exactly what Dr. Julia Shaw, an international renowed criminal psychologist, is examinating in the documentary “Murdering women: killing for pleasure”, as she tries to get into the head of the perpetrator. One thing is certain: women kill differently from men. (Source: TVNOW)
EXPLORING THE SOUL OF HUMANITY.


By: Jeff Huber, Leasing Coordinator
So, here’s the deal. I like movies. But who doesn’t, right? I mean, who doesn’t have Netflix? (Actually, I don’t, but I beat myself up about it if that makes you feel any better about it.) It’s almost unsettling when you meet someone who doesn’t care for movies in general. Typically, I don’t believe them. I mean, it’s an industry born and bred in the States. It’s part of our heritage; it’s part of our DNA. Dare I say it; the idea is un-American. YOU tell me, what bothers you more: Communists or people who don’t enjoy movies? I think I just proved my point. I think.
Of course, some people prefer “the outdoors” or “reading books”. It’s a waste of time if you ask me. If I can’t view my nature from a letter box framed by the likes of Terrence Malick, I don’t want it.
I fear that I’ve already said too much…*sob* I have a confession… *sob* *sob*…I like the artsy fartsy stuff, and classics too… Don’t get me wrong, I like gratuitous violence in my movies from time to time, but it isn’t my bread and Bergman (confession #2: I’ve never seen a movie by Ingmar Bergman, I just wanted some wordplay).
So, if you’re looking for something other than today’s Hollywood fare–whether you’re adventurous, pretentious, or an old soul about your movie tastes–Grand Rapids really is a great place to get a serving of what you’re looking for! There’s a surprising number of venues for that kind of thing if you know where to look.
Without further ado, here’s where to look for Indie/Classic/Artsy-fartsy movies in GR:
Tuesday Movie @ Wealthy Street Theatre
What could be better than a Tuesday filled with a classic movie in a classic theatre? If you happen to find yourself with time on your hands at 8pm, consider stopping by the ol’ Wealthy Street Theater for a flick. The movie fare is a wide variety of crowd pleasers and cult classics. I saw Fight Club there and loved it. It’s a quaint theater with plenty of old theater charm.
Extra perk: Do you like beer with your popcorn? CMC Members get bar privileges. Learn what that acronym means and how to be one here.
Founders Film Series @ Celebration! Cinema North
Following the calendar week, on Wednesdays you can find legit classic movies at your local Celebration! Cinema North (for those who are directionally disinclined, you may have been to this theater if you’ve seen anything in Imax lately).
I’ve been pining to go to one of these, they sell Founders beer in the screening area itself during the movie, and the tickets themselves are only $2 (21+ only). Honestly, I can hardly believe it’s a real thing; if someone were to design a way to lure me into a trap, I don’t think they could think of a better scheme.
However, there is a caveat to this recommendation, the current series is over, BUT Founders and Celebration! keep doing this with new movies. I’m in full faith that we are only in a temporary hiatus between series. If I’m wrong, then I’ve wasted your time. You’re going to have to deal with that one day.
“The Cheap Theater,” aka: Celebration! Woodland
If you haven’t heard the term before, then you’ve heard it now. Celebration! Woodland is the theater at Woodland Mall that plays movies that aren’t quite so new to theaters but aren’t quite out on video yet, and they do it for cheap. (just hum the words Cheap movies, seen dirt cheap to AC/DC’s “Dirty Deeds”)
But there aren’t just stale Hollywood flicks for cheap, there’s fresh Indie films that you likely wouldn’t find anywhere else! Especially around Oscar season, many of the movies that you will see nominated for Best Picture will be playing there. Regular tickets for these are $6 for College students/ $9 for adults. Check it out!
Indie Films @ UICA
Now that we’ve made the transition to Indie side of GR’s offerings, we have now arrived at the Urban Institute of Contemporary Art. You may have noticed the scrolling Movie posters in the window next to their entrance, this is because there is a theater down in the depths of the UICA on the lowest floor of the building–complete with concessions.
As you know by now, The Cheap Theater has the Indie’s too. However, if you’re looking for the road less traveled, something with less accolades, or even something a little bit weird and/or unsettling, this might be the place for you to look. Of course, the movies vary and they play classics, and host other events here from time to time. Tickets are $8 for non-members.
Movies in the Park @ Ah-Nab-Awen Park
It’s hard for me to rank the best place to see a movie, and I know that I wrote that Terrance Malick “I don’t need real nature” line up the page, but there something magic in watching movies in the outdoors, and Movies in the Park does it right! For those of you who haven’t, Movies in the Park is the wonderful event at Ah-I-Can’t-Pronounce-It Park in downtown GR. They play classic movies for FREE on a big screen and hundreds of people attend. There’s food vendors, and you can bring a 6-pack (just stop to the tent with the 21+ wristbands), and they even give out free movie posters made specifically for the screening in exchange for filling out a survey. Neato! Here’s a peak at this summer’s movies:
- Wizard of Oz (June 3)
- Men in Black (June 17)
- A League of Their Own (July 8)
- The Mask of Zorro (July 22)
- Edward Scissorhands (August 5)
- Double Feature: Ferris Bueller’s Day Off & a to-be-determined Voter’s Choice movie (August 19)
So, those are all my GR movie secrets. Be blessed in your movie watchings. Ya dig?


X-Men: First Class is a new prequel to the successful X-films triliogy. Set in the sixties, it details the early relationship of Charles Xavier and Eric Lensherr, and the first gathering of mutants. The movie is already being haled by some reviewers as the greatest super-hero movie ever, and it is, indeed, pretty damn amazing. Michael Fassbender and James McAvoy are in particularly good form as Eric and Charles. Their bromance is both believable and well played, to the point that their inevitable falling out (not really a spoiler, right? I mean, you KNEW that was going to happen) is tragic in all the right ways. The super-powered battles are fantastic without being too unrealistic. I will probably own the movie when it comes out on DVD as I could quite easily watch it again.
As a life-long fan of the X-Men, seeing some of this stuff done so well on screen was practically nerd-gasm inducing.
So why am I left feeling let down and a bit disappointed?
Warning, lots of spoilers contained below the cut!


Cobra non è, directed by Mauro Russo, will be released on Amazon Prime on April 30th. The film is distributed by 102 Distribution and produced by Giallo Limone Movie S.r.l.. The main actors: Gianluca di Gennaro, Denise Capezza, Nicola Nocella, Federico Rosati e Roberto Zibetti.
After The End
Teatro Sannazaro in Naples, from December 21st to January 2nd. (more…)
BABY 2 Premiere
On Netflix from October 18th.
Denise Capezza in BABY 2
Natalia doesn’t come from the rich-Rome described in the first season of the Netflix series, but she comes from the suburbs. Her ways aren’t really bourgeois … Sincere and uninhibited, she will destabilize the characters that revolve around her, managing to make some masks fall. Behind her femme-fatale nature, however, lies a great fragility.
San Valentino Stories
There are those who say that Naples is the city of love, suspended between legend and reality: the idea of the actor and director Alessandro Siani was born from these assumptions. He thought three stories, three different visions, for three young directors. The film is produced by Run Film with Rai Cinema and in collaboration with the Film Commission Regione Campania and will be distributed by Optima Entertainement.
GOMORRAH 3 Preview
“Koala” is in the official section of “Alice nella città” (Panorama Italia), the short film section of the “Festa del Cinema di Roma 2017”. On October 30 at 8.30 pm at Cinema Admiral. Get ready, the koalas are coming!


An entire generation grew up watching Disney’s The Jungle Book cartoons and if you did so in India, you probably can’t help but hum its title track, Jungle jungle baat chali hai pata chala hai, chaddi pehen ke phool khila hai… Although it seems like a story for children, Disney’s new film The Jungle Book will appeal to adults as well, thanks to its mature storytelling and some nostalgia from its cartoons.
Much as we enjoyed watching The Jungle Book, the film constantly reminded us why everyone needs to read the book it’s inspired from. Stories from Rudyard Kipling’s The Jungle Book and The Second Jungle Book serve as a loose base for Disney’s film. If you liked the film for more than just its special effects, you will find a far richer world in the book.
As is expected from a Disney film, the entire focus is on Mowgli’s adventures in the Seonee forest. While the boy is loved or accepted by most animals, his nemesis Shere Khan the tiger wants him killed. From there on the film chronicles Mowgli’s struggle for survival. That, in our opinion, departs from the essence of the book and it is a change for the worse.
Kipling’s original story is more about an ensemble cast of animals than Mowgli himself. Not only is his writing excellent, Kipling’s fables paint a vivid picture of the Seonee forest where all animals abide the Law of the Jungle. In the movie on the other hand, Mowgli’s attachment to his brothers from the wolf pack hardly gets screen time. This is close to the original cartoon, and an absence that was actually addressed in the animated TV show – and as a result, despite the exotic setting and characters, the movie lacks the depth of the original text.
Akela, the chief of the wolf pack, is just a prop in the film, quickly displaced by the arrival of Shere Khan. In the book Akela is threatened by members of his own pack who look to take his place as the clan chief. We see a tiny bit of this in the film, before Mowgli announces his decision to leave, and as a result, we don’t get to see Akela’s character. He knows he’s growing old and that he will be killed and replaced by one of his own kind. The bond between Mowgli and Akela is completely glossed over in the film, as is Mowgli’s passionate defence of his blood-brother Akela. Spoiler alert: Shere Khan doesn’t kill Akela in the book. In the aftermath of this story, Mowgli starts crying. Being one brought up in the jungle, the boy doesn’t understand what he’s feeling, and asks Bagheera if he [Mowgli] is dying. The panther explains that Mowgli is shedding tears as men do but if you were to watch the film, you wouldn’t wonder how alienated Mowgli is from humankind thanks to his upbringing in the jungle.
Baloo, the bear, painstakingly teaches Mowgli all about the law and respecting various inhabitants of the jungle. In the book Mowgli learns that the Jungle People don’t like to be disturbed and how not to offend them. He learns what to tell the bats when he disturbs them among their branches in the day and what to say to the water snakes before jumping into their pools. Baloo also teaches him the Strangers’ Hunting Call, where Mowgli must take permission from other animals to hunt on their territory.
Baloo isn’t a lazy, one-dimensional honey-craving creature in the book. He is the one who shapes the man-cub Mowgli into a law-abiding citizen of the jungle. Mowgli spends time with various animals and learns all about the jungle. Baloo the teacher is delighted to have a student who can learn so much. Other students, such as wolf cubs, would run away as soon as they learnt the part of the law that concerns their species. This forms the base of the plot of Mowgli’s adventures in The Jungle Book. Without Baloo’s training, Mowgli’s character is but a shadow of himself. Sadly Baloo in the film is a mere plot device written to highlight Mowgli’s intelligence.
While the film has some spectacular special effects and good storytelling, it lacks some crucial elements of the original story. King Louie, the enormous orangutan who leads the Bandar-log (monkeys), doesn’t exist in the books since the book is based on an Indian forest and orangutans aren’t native to India. In fact, a crucial part of the book hinges on the fact that the monkeys don’t have a king and don’t follow the Law of the Jungle.
That is where Ka the rock snake steps in – in the book. She isn’t the hypnotising villain seen in the movie either, although the battle to rescue Mowgli from the Bandar-log is just as spectacular in the book. The book has an entire story devoted to Ka, and how Baloo and Bagheera use their expert negotiating skills in order make her help them storm the fortress of the monkeys.
Mowgli is not a part of all stories from The Jungle Book, and we hope that one day Disney will make a movie about other fascinating stories from the book. Who can forget the way the selfless mongoose Rikki-Tikki-Tavi risks his life to take on a family of deadly snakes in order to save the human inhabitants of a house in the forest. Darzee, a tailorbird, is a nice side character in this story and also an illustration of Kipling’s keen observation. The bird sews leaves to build its nest and is known for its loud call. Its distinctive nest and call are a big part of the story. When you make a film that focuses on one character, delightful things like Darzee tend to go missing.
Other great stories include The White Seal, which is set in an ocean, Toomai and the Elephants, about a boy who has a special bond with elephants. These are among many other stories that deserve visual retelling, but barring that, the book itself is a fantastic read. If you liked the film but haven’t yet read Kipling’s The Jungle Book, now is a good time to immerse yourself in the author’s ecological paradise.


Former BBNaija star, Erica Nlewedim, has disclosed how it feels like to an Erica after her stay in the BBNaija house.
According to Erica, the reality show gave her some exposure and fame that helped her gain major ambassadorial deals with major companies in the country. She made this known during an interview with Latiza Magazine when she had the opportunity to cover their front page.
Erica also mentioned that growing up as the only child of her parents, she learnt how to survive and also be an independent woman at a young age.
Although Erica did not win the BBNaija reality show because she was disqualified from the show, she has been able to stay afloat in the industry. She has bagged several ambassadorial deals with reputable companies in the country.
Erica also started her acting career after a long break from the movie industry.
See the post below;


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Write something about yourself. No need to be fancy, just an overview.


Pauline Adamek is a Los Angeles-based arts enthusiast with twenty-five years' experience covering International Film Festivals and reviewing new Theatre, Film and Restaurants.
The cast of the Fiasco Theater production of “Into the Woods,” which plays April 4 through May 14, 2017, at Center Theatre Group/Ahmanson Theatre. For tickets and information, please visit CenterTheatreGroup.org or call (213) 972-4400. Media Contact: [email protected] / (213) 972-7376. Photo by Joan Marcus.


Click on the photo below for tickets or more details
Click on the photo above for more details
Our Next Event
Sutter Creek’s Velvet Rope Film Festival is an international film festival which garners high quality submissions worldwide. The festival will begin Friday September 30 and run through Sunday October 2, 2016.
The 2016 festival will feature 44 feature films, documentaries, shorts and animated projects from across the world, all shown at the historic Sutter Creek Theatre. Our mission is to create a world-class festival that celebrates the many forms of the film industry, by showcasing films that educate, enlighten, inform, and most of all, entertain.
The Sutter Creek Velvet Rope Film Festival will offer master class seminars and filmmaker panels where amateur and professional filmmakers can discuss and advance their skills in the art of filmmaking. There will also be musical entertainment in the park on all 3 days. We truly look forward to treating you to an event you won’t soon forget!
CLICK HERE FOR A SCHEDULE OF THE ENTIRE FESTIVAL
CLICK HERE FOR A SCHEDULE OF INDUSTRY PANELS
CLICK THE LINK FOR A LIST OF DESCRIPTIONS OF THE FILMS IN THE ORDER OF SHOWING FOR THE FESTIVAL:
CLICK THE LINK FOR A LIST OF DESCRIPTIONS OF FLIMS BY CATEGORY:
We have one day and all event (3 day) passes available below, as well as tickets for individual showings.
The schedule is in 2 hour blocks, individual tickets can be purchased for each block for $9 per block – so if there is one full length film in a 2 hour block, that block (1 film) is $9, if there are 3 short films in a 2 hour block, that block (3 films) is $9.
A One Day Pass is $45 – Allows the holder all access for the day. All Pass: $120 – Allows the holder all access for the entire festival, except Awards Show and Dinner and/or Private parties.
HERE ARE LINKS TO TRAILERS FOR MOST OF THE FILMS BELOW:
Buy tickets here or at Heart & Soul 42 Main St. (in the theatre building) PLEASE NOTE CASH OR CHECK ONLY AT HEART & SOUL – NO PLASTIC – ALSO NEW HOURS FOR HEART & SOUL – Sun-Tues 10-4; Wed-Sat 10-5.


Oh, violence! Violence!
This film is not for the squeamish. However, I can't help but feel that it wasn't as violent as people were professing. Maybe I only feel that way because all I read said that anyone and everyone would be appalled at how extremely and graphically violent a movie it is. It's kinda like when someone goes on and on about how good a movie is making you inherently disappointed from the high expectations.
That got me thinking about violence in film/music/literature. I am not usually phased by it while it upsets many others. I guess it has something to do with being exposed to violence very early in my childhood. My mother would take me to the movies because she did not want to go alone so we would watch mostly what she wanted. What she wanted was big budget, blow 'em away, Michael Bay type action movies. Also, I was curious about horror movies and she would let me rent pretty much anything I wanted. I don't know if I ever was offended by the violence in these films. I can't really think of a time when violence was even noticeable to me.
As I began to meet more and more people from different backgrounds, I realized that I was the minority. Other people's parents did not even allow them to watch MTV let alone violent movies. I never even noticed MTV was at all violent sans a Nine Inch Nails video or two. When I mention many of the films I enjoy that aren't even in the horror genre these people say that they could not take the violence. These same people can watch movies like 300 which is on every top 10 list of most violent films I could find. What is the deal? Reservoir Dogs made them cringe but Sin City was fun. More people die in Sin City. The villains are completely depraved. There are grizzly images of women with chopped off heads and a guy/demon getting eaten by a wolf. I'll admit that Reservoir Dogs has a lot of blood and people get shot. The ear removal torture scene is a lot to take in. But I think that Saving Private Ryan- which is universally liked- is just as much if not more violent.
So what makes a movie violent? Body count? The graphic nature of the killings? These people who are averse to violence justify their preferences saying that movies like Kill Bill, Sin City and 300 are "cartoony violence." While it may be gruesome, there is no vestige of emotion towards the characters that are getting whacked. It is disconnected. It is the in your face very personal violence that bothers them. Gritty torture scenes are certainly not for everyone. I understand why they would turn people off. It is the humanization of the victims that are being killed that they say really bothers them. But is that even okay? People are still shown being killed but it is fine because it is done in a cartoonish way or they are not major characters. Something to think about.
The one movie that really bothered me with its violence was The Passion of the Christ. It is very graphic and personal, seeing Jesus' hands nailed to the cross and seeing the wounds on his body being created by whips. It's a bloody and very gory movie, much more so than any of the horror movies I've ever seen. I understand Jesus was tortured severely but do we have to see scene after scene after scene of it. Over two hours of increasingly brutal images! I get it already! Please move the camera away and at least give me a break from Jesus getting the crap kicked out of him.
I guess I am desensitized. Nothing really phases me anymore and I'm not sure if that is good thing.


Meanwhile — as Galactic Man talked with his wife in Virginia, and Superfreak introduced himself as a resurrected David in Boca Raton — Anne sat on a couch in her dorm room, fiddling with a blaster. She was currently using a pair of tweezers to get a piece of dirt out of the circuits.
The blaster’s power was off, but it was still a pretty stupid thing to be doing.
She fiddled with the device while the TV played a rerun of Real Superheroes of Miami.
Currently the show was featuring Katherine, this dumb vampire-slaying bitch who totally wasn’t a superhero. She was a former ex-vampire herself, and there was a lot of debate about this, but vampires and metahumans were two wholly non-co-existent types of people.
Of course, Katherine had an interesting personality (as well as interesting boobs, which is the real reason why Anne was so intrigued whenever she came on). So the producers had let her onto the show.
Katherine crept through a sepulchre, stake in hand. A vampire leaped out of the shadows, one pale arm grabbing her wrist to prevent him from stabbing her — the other arm wrapping itself around her neck.
“Katherine,” the vampire said, his voice ghoulish, “you must be aware that you can’t escape your past.”
“Grab me tighter, daddy,” Katherine whispered.
“I’m not your…” The vampire loosened his grip, showing an equal mix of concern and confusion. “Is this a sex thing for you?”
Katherine laughed, breaking free of the vampire’s now-loose grip. She spun around and stabbed the vampire in the gut, only for him to quickly turn to dust.
“HA!” she yelled, doing a nice, flashy fist pump.
Anne grumbled, turning off the TV. “Can’t escape the past? Fuck the past. I’m gonna beat the shit out of the past. Galactic Man thinks he can just… David was all like… All these motherfuckers… Fuck ‘em.”
No matter how she angled the tweezers, they weren’t big enough to fit through the tiny space the dirt had slipped into. This frustrated her immensely — just like the past several weeks had been frustrating, waiting for a call back from Jennifer, only to hear nothing. She messed with the tweezers and messed with the tweezers, abandoning logic and just trying to jam the little metal things into the even littler hole.
Until finally, blissfully, the phone rang.
It was Metahuman Affairs. It was Jennifer.


[Anime and Hentai] Tropical Kiss - Complete Series - Scene 2
The first half of the episode again contains no sex, and the two find their way back to the pool. There's even some big watergun fight going on (this show is like a romcom with sex). Eventually they return home, and they do have sex again but a lot of it is skipped over. The next sex scene however is on the beach, and they decide to have sex under water to hide it from their friends (lol). She then says she has to go on a trip, but ends up returning before the end of the episode.