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A Short History of the Canadian Film Industry.
May 4, 2001.
You have to read on a bit to understand the subject matter of this month's Friday Feature, but if you are looking for a hint, try thinking of Hollywood.
A Short History of the Canadian Film Industry
By John MacDonald (email@example.com)
Here's a little Hollywood trivia for you. Have a look at the movie titles I have selected below and see if you can figure out what they have in common. These movies range from 1933 to 2000:
"The Decline of the American Empire"
"The Blues Brothers"
"Phantom of the Opera" (1943)
"Sea of Love"
"Cider House Rules"
"Honey, I Shrunk the Kids" (the trilogy)
"The Blackboard Jungle"
"Planes, Trains and Automobiles"
"2001: A Space Odyssey"
"Indiana Jones and the Temple of Doom"
"Back to the Future" (the trilogy)
"Judgment at Nuremberg"
"King Kong" (1933)
"Star Trek, the Motion Picture" and six succeeding sequels
"Buffy the Vampire Slayer"
"The Big Heat"
"It's a Mad, Mad, Mad, Mad World"
"Twilight Zone, the Movie"
What these have in common is that they all feature Canadian talent -- either the screenwriter, the director, the producer, or an actor or actress was a born Canadian. This list represents only those Canadians working in the motion picture industry. Imagine how many more are working right in front of your eyes, or behind the scenes, in television productions.
Why has Canada's film industry been so quiet when compared to that of the United States, or even other nations that churn out movies at incredible rates? Countries like Russia (and the Soviet Union before it), China, India, Great Britain, France, Spain and Australia are all known for having bigger budgets, larger citizen support, and a richer history. Why is that? Why is it that a large percentage of Canadians are glued to their television sets each winter and spring to watch the Golden Globe Awards and the Academy Awards, while hardly anyone watches the Genie Awards (which just happen to be our country's equivalent honour to the film industry and its players)? We have to go way back to find these answers, so let's start at the beginning.
Although Canada is the world's second largest country in terms of geography, the United Kingdom (which is just half the size of the Yukon Territory) has almost twice our population. We are also one of the richest nations in terms of per capita income, but our sparsely-populated land has not exactly been a haven for the motion picture industry. In fact, we have been referred to as producing one of the least significant outputs among the developed nations! One important reason is our close proximity to the United Sates, which has a population about nine times ours. This has exerted a marked influence on all aspects of our Canadian culture and economy, including the motion picture industry.
Our dependance on American "backing dollars" (or capital) and American products has inhibited the development of our film industry almost from the start. Canada decided early on to concentrate on documentary production and almost abandon its potential film market to the exporters, distributors and exhibitors from the United States and, to a lesser extent, Great Britain. This is one of the reasons Hollywood was such an attraction in the early years to those Canadians wishing to "make it big" down south. (In fact, as early as 1900, the Canadian Pacific Railway set up a film unit to produce "shorts" aimed at encouraging immigration.) Commercial motion picture production was slow to emerge as a result, and it was not until 1914 (during the silent film era) that Canada's first feature film, "Evangeline" (based on the Henry Wadsworth Longfellow poem of the same name), was brought to the "big screen". Feature film production continued with the occasional release through the 1920s, but our vulnerable local industry suffered a major setback during the switch to sound (the "talkies"). In the early 1930s the success of "The Viking", a romantic drama about seal hunting in Newfoundland, turned out to be an isolated triumph for our production companies. Although this movie enjoys an amazing amount of praise, video rentals, and is rated 8.4 out of 10 at the Internet Movie Database Web site, the dominance of Hollywood continued uncontested.
In 1939 the appointment of John Grierson (from the British documentary movement), as the Canadian Film Commissioner and head of the newly-established National Film Board (NFB) of Canada, provided a tremendous driving force to establish Canada as one of the world's leading producers of documentary films. During World War Two the NFB produced two notable documentary propaganda film series in "Canada Carries On" and "The World in Action", while also providing numerous military training films, cartoons, and educational, industrial and agricultural "shorts". It was a hugely productive and exuberant period that saw the development of such talented filmmakers as Raymond Spottiswoode ("High Over the Borders" ), Stuart Legg ("Has Anybody Here Seen Canada? A History of Canadian Movies 1939-1953"), George Dunning (born in Toronto, Ontario, director of many animated features as well as the Beatles' "Yellow Submarine"), and Norman McLaren (who was associated with more than 100 films from the 1930s until his death in Montreal, Quebec, in 1987).
After the war ended in 1945, the excellence of the NFB's productions continued despite the departure of John Grierson. However, feature films were still only being produced sporadically -- the few that were released were rarely shown outside of Canada and were poorly attended by Canadians due mostly to competition from American and British films and stars. Talented young directors like Norman Jewison ("In the Heat of the Night", "Fiddler on the Roof", "Moonstruck"), Arthur Hiller ("Man of La Mancha", "The In-Laws", "Outrageous Fortune"), Silvio Narrizano ("Georgy Girl", "Choices"), and Sidney Furie ("The Ipcress File", "Lady Sings the Blues", "Superman IV") were driven away to other countries due to apathy at home. One film did, however, enjoy a degree of success beyond our own borders, although a Canadian/American co-production: "The Luck of Ginger Coffey" released in 1964 by Irvin Kershner.
In a belated but much-welcomed effort to challenge the predominance of foreign-made feature films, the Canadian Film Development Corporation was established by an act of Parliament in 1967. Its intent was to promote feature productions and encourage film makers through investments, grants and loans. By 1970, the annual production of feature films had risen to more than two dozen compared to only three in 1960. Still, despite the talents of such directors as Paul Almond ("Final Assignment", "Captive Hearts"), Claude Jutra (mostly French-titled movies), Williams Fruet ("Cries in the Night", "Bedroom Eyes"), and Eric Till (known for his direction of television series including "The Streets of San Francisco", "Fraggle Rock" and "The Hitchhiker", along with television movies like "Getting Married in Buffalo Jump"), the Canadian feature film industry in the 1970s was generally portrayed as mediocre. The only film that had won a measure of success was Ted Kotcheff's "The Apprenticeship of Duddy Kravitz" in 1974.
Canadian film during the 1980s and 1990s finally broke through its historic stagnation. David Cronenberg's horror pictures and Denys Arcand's art-house hits "The Decline of the American Empire" and "Jesus of Montreal" became increasingly marketable to international audiences. Unfortunately, much of this success occurred in small doses and beyond the commercial mainstream, meaning the all-important final result of the equation, money, was still absent from any of these realized successes. Female film makers such as Lea Pool (French-titled films), Cynthia Scott ("Canada Vignettes: Holidays" and "Canada Vignettes: The Thirties"), Gail Singer ("You Can't Beat a Woman!" and "Destiny in Space"), and Patricia Rozema (the television series on classical music called "Yo-Yo Ma Inspired by Bach" and the one-hour production of "Bach Cello Suite #6: Six Gestures"), achieved considerable distinction during this period of growth. Immigrant film makers such as Atom Egoyan from Egypt ("Exotica" and "The Sweet Hereafter") and Deepa Mehta from India (with her "Fire", "Earth" and "Water" series of productions) also added their own cultural influences to Canadian productions. Canada also established itself at this time in the field of avant-garde productions from such artists as Guy Maddin (now over 16 movie credits including last year's highly acclaimed "The Heart of the World), Michael Snow (with over 20 film credits between 1956 and the 2001 release of "Corpus Callosum"), and Jean Pierre Lefebvre (with almost three dozen writer or director credits since 1967). These factors, along with the generous support of the NFB and provincial governments, had created a new vitality previously lacking in Canadian film.
In recent years Canada has contributed to the industry in many other ways including regional film festivals, of which Toronto's annual gala is among the largest and best organized and attended in the world. Vancouver and other areas of British Columbia continue to attract the attention of Hollywood as a venue for the production of American film and television, which benefit from lower costs, the abundance of local talent that emerges every year, and new panoramic scenery that can double for almost any place on Earth. Yes, Canada may have finally turned the corner in competing with its foreign competitors, albeit nearly a century late. We have some catching up to do, but by all indications we are headed in the right direction.
As a bonus, here is a little bit of movie trivia. Born Lois Hooker in Toronto on Valentine's day 1927, she changed her name to Lois Maxwell and went on to star in over 30 films, including 14 from the James Bond series. Who was she? None other than the original Moneypenny, playing opposite Sean Connery and Roger Moore. Also, did you know that Jay Silverheels (born Harold Smith at the Six Nations Indian Reserve in Ontario), the man who played Tonto, the Lone Ranger's partner, was a Canadian? Finally, Jack L. Warner (born Jack Eichelbaum in London, Ontario) and his three brothers Harry, Albert and Sam, formed Warner Brothers Studios. It's amazing! The more I research, the more Canadian connections I dig up.
== PREVIEW ==
On Sunday I profile speed-skater Gaetan Boucher, list a whole bunch of people also born during the week, tell you something about an unlucky artist, dispell a myth about the four-minute mile, and profile Virginiatown, Ontario.
I hope you enjoyed the read. Please visit today's resources (linked to below) to find pictures of Canadian performers, including Lois.
== LINKS AND RESOURCES ==
FactsCanada.ca -- http://www.factscanada.ca
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The (optional) prompt given for today was to write a poem in the form of a “to-do list” but to choose an unusual person or character. For example, what’s on the Tooth Fairy’s to-do list? Or on the to-do list of Genghis Khan? Of a housefly? Your list can be a mix of extremely boring things and wild things. For example, maybe Santa Claus needs to order his elves to make 7 million animatronic Baby Yoda dolls, to have his hat dry-cleaned to get off all the soot it picked up last December, and to get his head electrician to change out the sparkplugs on Rudolph’s nose.
I’ve chosen one of my favourite Shakespearean villains: Iago, from the play ‘Othello’. Iago is a wonderfully Machiavellian creature, always plotting and scheming to bring others down. If you ever get the chance to see the 1995 Kenneth Branagh film version in which Branagh himself plays Iago, he conveys this wonderfully well through the metaphor of a chess board, manoeuvring pieces into position as he rattles off one of his soliloquies describing how he will destroy the other characters’ lives. I’ve combined all of his soliloquies into one big fat ‘To Do’ list.
Iago’s To Do List
Put money in my purse…
Roderigo has a trusting nature – ‘twill
Work to my advantage.
Thus do I ever make the fool my purse.
The Moor did give my promotion to Cassio –
Curse him for that! I’ll be avenged.
He’s sweet on Desdemona, old
Brabantio’s only daughter, and ‘tis thought
An elopement has been planned.
I’ll rouse the old man from his bed this night
And Roderigo will fill his mind with images so foul
‘Twould make a doxy blush.
‘Your daughter and the Moor
Are making the beast with two backs!’
Curse the thought of her!
Sweet Desdemona, why
Didst not choose me to taste thy charms?
Othello’s old, and – how shall I say’t? –
Not one of us.
The better shall my poison work on him.
But oh! my lips do yearn to taste her still.
I’ll sow discord betwixt the two of them.
How so? Now let me think anon.
The self-same Cassio who took
The post I wanted cannot hold his drink.
He’ll be disgraced and then I’ll set him on
To Desdemona to implore her help.
He hath a daily beauty in his life
That makes me ugly – but we’ll see
If Cassio’s so pretty with a sword
Thrust through his heart…
Five lives ruined – and ‘tis not yet dawn.
All in all, I’d say a good day’s work.
One thought on “NaPoWriMo 2021 – Day 9”
This was a fun read!


alias - alias -alias
The actress April Bowlby played the role of Alan's girlfriend Kandi.
In this series "Kandi" is a kind of an actress, who played the role of "Jane Risotto" which might be a sidekick to detective "Jane Rizzoli" played by the actress Sasha Alexander, who played earlier the role of "Kate" in the series NCIS.
For further research try imdb.com
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On March 19th we, at the Meridian Trust, were delighted to be invited to a very special screening at the British Film Institute, London. Filmmaking duo, Ritu Tsering and Tenzing Sonam have been committing their skills to promoting the Tibetan ‘voice’ in the world since their work with The Meridian Trust in the early 1980s. Working together for more than 30 years they are known for their award-winning documentaries, video installations and feature films that tell the small individual stories behind recent events in Tibetan history. Their dedication to the medium of film story-telling is exemplified the Dharamshala International Film Festival, which they founded in 2012, and which is now one of India’s leading independent film festivals
Their latest offering, ‘Sweet Requiem’, tells the story of Dolkar, who fled Chinese forces alongside her father when she was just 8 years old. Now 26 and residing in a refugee colony in Delhi, she has an unexpected encounter with a man from her past which brings to the surface long-suppressed memories, propelling Dolkar on an obsessive search for the truth.
As we have come to expect from this illustrious and talented couple, the film was a stunning visual experience – the story was told against the backdrop of beautiful cinematography, taking the audience on a journey many miles from the brutal city landscape surrounding the Barbican in London and it delivered, with a complex story full of skillful subdued tension.
A wonderful experience followed by a full Q and A session, we, at the Trust, will always be grateful to the talent they brought to our programme archive and wish them great success with this important feature film; a poignant reflection on an ongoing but all too often forgotten refugee crisis.


From 1999 to 2006, I tuned in to every episode of “The West Wing” starring Martin Sheen. It was one of the smartest shows I’ve ever watched with a superb cast and excellent writing. Like every television show, it had its ups and downs. Its detractors felt it was too idyllic and -- being an Aaron Sorkin product, like “The Newsroom” in more recent years -- too preachy.
But, sometimes, we need an idyllic representation of how we’d like our government run or, at least, how our leaders should behave. We need to be reminded of how things ought to be so we can strive for them. Sometimes we need to be preached to so we can remember the goals for which we ought to be reaching.
While “The Newsroom” was great (if short-lived) and I enjoyed it, it was Sorkin’s successor to his own program from the other side of the political-media relationship.
I’ve been searching for a direct successor to “The West Wing” -- a show which, once again, provided a look inside the Capitol Beltway with wit, gravitas and grace, with a good dose of the older show’s optimism thrown in.
CBS’ “Madam Secretary” is that show. The program is the brainchild of Barbara Hall, whose TV pedigree includes “Northern Exposure,” “Chicago Hope,” “Judging Amy,” “Joan of Arcadia” and “Homeland.” The show’s executive producer is Oscar winner Morgan Freeman -- he of “The Electric Company,” “Glory” and Christopher Nolan’s Batman trilogy.
There is definitely a Hillary Clinton-Madeline Albright vibe behind the main character, Secretary of State Elizabeth McCord, played by Téa Leoni. Yet -- despite Leoni gushing in interviews about getting to know and getting advice from Albright -- the words “Democrat” and “Republican” have yet to be uttered in any of the show’s 16 episodes.
Leoni heads up a terrific cast, herself one of the strongest leads of either gender I’ve seen on a prime time drama of any genre. Yes, she’s a 49-year-old who looks 30 and has somehow retained the fun spark folks saw in a couple of 1990s sitcoms and movies like “Bad Boys” and “Fun with Dick and Jane. But she’s also completely believable as a former analyst (and university professor) hired by her former CIA boss-turned president (the stately Keith Carridine) after the preceding secretary of state, Vincent Marsh, dies in a plane crash.
It’s the whole “I’m not a politician” thing -- a great husband who’s also a former National Security Agency spy turned professor (Tim Daley), cool kids (Katherine Herzer, Evan Roe and Wallis Currie-Wood) and a horse farm -- and it works.
In this first season, there is an overarching plot of trying to figure out exactly what happened to Marsh. For those who haven’t watched the show yet, let’s just say the plane crash probably wasn’t an accident.
This is intermingled with various diplomatic crises: an unapologetically Benghazi-like episode, disputed islands between China and Japan, genocide in an African country, and a political standoff in Texas over extraditing a Mexican drug lord, just to name a few.
And you can’t have a show without personal crises, too: the McCord’s son gets in trouble at school, Elizabeth’s diplomatic work causes a rift with one of her daughters, a couple of McCord’s staffers are romantically involved and so on. While there’s some contrivance going on, these subplots are reminders these are human beings, too. They’re fallible even as they represent the ideal of how we hope principled people would work at the State Department.
“Madam Secretary” airs on Sunday nights. That’s not a big TV night in the grand scheme of things, but the show is all but owning the evening. That’s, hopefully, a good sign people are discovering what I have: “Madam Secretary” is terrific television with characters you quickly come to love and cheer for as you squirm a little over what they have to go through.
Cast-wise, it’s nice to see actors we normally think of in comedy settings getting the chance to sink their teeth on solid drama while still bringing a much-needed light-heartedness to the weighty matters on screen. In addition to Leoni and Daly (“Wings”), there’s Bebe Neuwirth (“Cheers”) playing Nadine Tolliver, McCord’s chief of staff -- who happened to have a 6-year-long love affair with Marsh.
There’s also some stage and musical talent on the show, including one with a very-close-to-home South Carolina connection: Patina Miller, who plays McCord’s press coordinator, Daisy Grant, hails from just up the road in Pageland. On Broadway, she’s starred in “Sister Act” and “Pippin,” for which she earned the Tony Award for Best Actress in a Musical. On TV, Miller’s been on “All My Children” and she has a role in parts 1 and 2 of The Hunger Games - Mockingjay movies.
The most recent episode of “Madam Secretary” was likely the best of the season so far, wrapping up a good chunk of the Marsh mystery, while leaving one aspect open for the last few shows of the season. The episode not only touched on the mystery, but how McCord uses (in a good way) her personal relationships with other diplomats to prove the U.S.’s good intentions, her relationship with her family and how her being an outsider has actually won a number of people to her side as the season’s flowered.
So, if you’re looking for your new “West Wing,” “Madam Secretary” is definitely it. Even if not, check it out anyway. You might find yourself happily surprised.


Pulgasari, certainly among the most infamous cultural exports of North Korea, is an altogether different beast than any other film produced by North Korea. While Godzilla was born of the Japanese’ commentary on nuclear energy, Pulgasari was born of North Korea’s commentary on class struggle. The film is unusual in the North Korean cinematic canon for both its fantasy subject matter and visual dynamism. Owing to director Shin Sang-Ok’s long career as a revered South Korean — before he became a North Korean — director, the film calls upon a wealth of flashy camera techniques and more appealing art direction than most previously produced North Korean films. The soundscape, too, is more complex. The synthesized score is at once a product of its time and evocative of traditional Korean melodies.
What is the story line of Pulgasari?
The film is set in feudal Songdo (today, Kaesong) Korea, where the virtuous peasants are terrorized by a tyrannical governor who seizes all of their iron tools and utensils. A blacksmith is jailed when he refuses to turn the tools into swords for the governor’s army. In jail, he sculpts a glob of rice into a small figure of a horned creature. “Because I made you with the last of my true heart,” he tells the sculpture during an emotional monologue, “please save humanity in my place.” The blacksmith dies and his daughter Ami finds the sculpture in his hand.
To read about the North Korean Film Studio Click here
Later, Ami pricks her finger while sewing and a drop of blood lands on the sculpture, which comes to life and eats Ami’s sewing needle. From there, it consumes all of the iron in sight and grows into a giant monster, Pulgasari. Pulgasari fights alongside the farmers to take down the wicked governor. However, Pulgasari outlasts its usefulness, and, after devouring the enemy’s weapons, he begins to scarf down the farmers’ tools. Ami hides in a large bell and is consumed by the monster which causes Pulgasari to explode. Some have suggested that Shin hid within Pulgasari a criticism of Kim Il Sung; the once champion and liberator of the people was now depriving his people to enrich itself.
Is it just a Godzilla rip-off?
While the film is often mocked as a so-bad-it’s-good Godzilla rip-off, it actually has more legitimate ties to Gozilla than many knock-offs. Shin hired Toho Studios hot off the heels of Godzilla 1985 to design Pulgasari. Kenpachiro Satsuma, who donned the monster suit in Godzilla 1985 was also hired to portray Pulgasari on screen. Satsuma and 15 Toho technicians first worked on the film at Beijing Dian Ying Studios and then in North Korea where they were housed in a mansion that purportedly belonged to Kim Jong Il.
How good is it?
Not only did Satuma later say that he preferred the Pulgasari suit to the one used in Godzilla 1985, he later told an audience at the 2014 Bib Wow Comicfest: “When people saw Pulgasari, people from Toho were actually saying it was more entertaining than Godzilla, 1985…” Satsuma later wrote a book about the experience called North Korea Seen Through The Eyes of Godzilla. Unfortunately, it has yet to receive an English translation.
For Pulgasari, the Toho technicians employed the same photographic tricks of scale used in Godzilla 1985, though to lesser effect. The titular monster, Pulgasari, is the only skyscraper-scale beast in the film, so we have little reference for a true sense of his size. More problematic yet, being a period piece, there is no towering skyline for us to compare him to. He is typically seen lumbering among plastic treetops or against a bright blue sky, which fails to capture his intended size in the same way as a lizard ravaging a cardboard Tokyo.
However, the inverse is pulled off beautifully. Pulgasari begins his life small enough to fit inside the palm of our protagonist’s hands, and a scene early on where he sparks to life in her sewing box works rather convincingly. The scene is achieved using an oversized set of the box for the monster to interact with while Ami looks on in disbelief, complete with enormous scissors and needles for scale.
Cinematography of Pulgasari
Pulgasari makes generous use of long zoom lenses, the camera always lurching into characters as they deliver dialog or trade blows. It taps into some of the raw kineticism of a Shaw Brothers production, with shaky handheld camerawork and brisk edits punctuating the action, capitalizing on the chaos between cuts to energize the battle scenes. This does lead to some confusing, nonexistent geography in the large-scale battle sequences pitting Pulgasari and the peasant army against the governor’s minions, though this isn’t an uncommon gripe in monster movies originating from any country.
What do North Koreans think about the film?
The film was a huge hit in North Korea. One of my guides in North Korea’s rural North Hamgyong province told me that when the film was released in 1985, he had to stand in the back of the theater in order to see it. Though Shin Sang-Ok’s name was subsequently scrubbed from its credits, with credit going to his assistant director Chong Gon Jo, and many North Koreans will discuss Pulgasari, it is seemingly unavailable today inside the DPRK. We owe the fact that copies still circulate to Japanese distributor Raging Thunder which released the film on VHS and in select theaters in Japan in 1998. When I contacted the man behind Raging Thunder’s release, the eccentric Fumio Furuya, he was hesitant to discuss his involvement. “Yeah, I did distribute that movie,” he said. “But the movie had already been…subtitled by someone else and I was just asked to distribute it. So, I wasn’t actually digging North Korean stuff…I mean, I’m not saying I don’t wanna do it. But it’s just that I don’t know enough to be interviewed and Japanese media might go against me if I do that.”
Watch Pulgasari for free online with English subtitles HERE.
Justine Martell is the co-founder of film location specialists Pioneer Media.


On March 15th, 2011, The Belfry Theatre sponsored the staging of “The Middle Place,” a play that aptly depicts the life of youths staying in a youth shelter. Using a process called “verbatim theatre,” the play used the voices of real youths staying in a youth shelter to express the pain and trauma of such a situation on their lives. The play was an initiative of Project Humanity and has toured in Toronto, Ottawa, Victoria and Calgary. The play’s major purpose was to bring to light the blight of over 65,000 homeless Canadian youth. The proceeds of the March 15th evening were donated to the Threshold Housing Society. The Society expresses its gratitude to the Belfry Theatre, Project Humanity and the wonderful cast of actors who performed this important play.


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MIAMI, FLORIDA- After announcing that he was going to be cast as Walt Disney in a new biopic, fans and critics alike were wondering what method actor, Daniel Day Lewis, would do to get ready for filming. Daniel Day Lewis has been known to dive into a role with 100% commitment as seen when he worked as a oil driller for four months to prepare for his role in "There will Be Blood" or when he beat up random homeless people in New York City to prepare for his role in "The Boxer". Some feel that he has finally crossed the line from method actor to sexual predator as he was caught by Florida Police trying to lure children into his van. He was quoted, while being pushed into a patrol car, saying "I'm just getting into character, was Walt Disney not a notorious pedophile?" His manager had an official statement saying "While Daniel is known for taking extreme measures in order to get into character; he is not known for doing much research before a role, as seen in his presumption that Walt Disney was a pedophile." This is not the first time Lewis has under researched a role, during filming of "Gangs of New York" Lewis thought he was playing a run of the mill butcher before realizing that "Bill the Butcher" was just a nickname for a gang leader and murderer. As it stands right now Lewis is facing attempted child abduction charges just three weeks before filming starts. This run in with the law is not only hurting this movie as Paramount Pictures have reconsidered casting him as Adolph Hitler for "precautionary measures".
Jimmy Rippert is co-founder/Co-CEO/Unpaid intern of Delusional Suspects. Follow him on twitter @Fishboyjim or don't, but please do.


by Lee Hull Moses
I think I’ve told you before that at one point in my life – a lifetime ago, now – I wanted to be a filmmaker. I wanted to make documentary films about interesting people, and I wanted to write screenplays that told good stories. (For awhile, I was working on a project called The Great Jesus Movie. It’s probably a really good thing my career took a different direction.) That’s probably why I have come to look forward to our August movie series every year, this month when we take a look at a different film each week and see what it has to say to us about the practice of our faith.
Don’t get me wrong, I love the written word, the way a few marks on a page, arranged in just the right configuration, can convey truth and beauty and inspire us to action. But there’s also something about film that captures our imagination in a completely different way. Word and image and sound all come together and bring a story to life and invite us in. A good movie includes all kinds of talents, too: musicians and actors, editors and sound technicians, camera operators and directors.
This week, I’ve been particularly taken with the talents of Julia Roberts, who plays the mom in Wonder, our movie of the week. Her performance captures what it means to be a mom (an unrealistically beautiful and wealthy mom, but still). You can see in her face the longing she has for her children, that they be safe and loved and happy. You can see the tension in her shoulders as she gets pulled in so many directions, trying to keep all the parts of herself together. You can see in her eyes the guilt she carries for the mistakes she’s made and the pain she carries from all she and her family have been through together. It’s a beautiful bit of acting in a whole film of beauty and grace.
We’ll talk about that on Sunday, along with some other good stuff from the movie, and we’ll hear some ancient words of scripture that come to life as well. I hope you’ll join us this week, and in the weeks to come. Here’s what we’re up to for the rest of this series:
August 12: Wonder
Here’s the trailer.
You can also check out the original book by R.J. Palacio.
August 19: Come Sunday
This is a Netflix original movie, so if you don’t have Netflix, you can also listen to this podcast, which tells the same story and was the inspiration for the film. (This is also the only movie in our series that isn’t particularly kid-friendly.)
August 26: Moana
You can find this just about anywhere these days. Or ask some five-year-olds, and they’ll probably be able to perform it for you.
September 2: Wonderstruck
This is an Amazon movie (here’s the trailer), but you could also check out the really amazing original book by Brian Selznick.


Wednesday, December 28, 2016
Carrie Fisher Taught us To Never Apologize for Being Ourselves
By Joe Parello (@HerewegoJoe)
There is no way around it: 2016 was a kick in the gut for American pop culture.
Still, despite the passing of numerous legends of sport, film and music, none hit home harder with me than yesterday's news of Carrie Fisher's death of a heart attack at the age of 60.
Like most, I was introduced to Fisher as the iconic Princess Leia in the original Star Wars trilogy, and I don't think there's any question that Fisher's portrayal of the galaxy's most beloved princess changed American cinema and pop culture forever.
With a blaster at her side and no time to waste, Fisher turned the clichéd "damsel in distress" trope on its head, refusing to be captured without a fight, mouthing off to the most feared baddies in the galaxy, and seizing control of the situation when her would-be rescuers ran out of ideas.
Of course, Fisher was much more than just Princess Leia. She was an ally for those dealing with mental health issues, as she openly discussed her battle with bipolar disorder, and urged people dealing with mental illness to seek help, rather than live in shame and self-medicate.
She did much of the same for those dealing with addiction, as she was never one to shy away from discussing her battles with drugs and alcohol. Above all, Fisher was unapologetically herself, and encouraged us to be the same.
In an industry where women are judged almost entirely by their looks, Fisher gained weight, lost weight, changed her hair, and had the audacity to wear glasses and age. Still, using her famous wit, she turned away critics who both sought to shame her for no longer being 22, and those who looked to slut-shame her for an outfit she wore in a movie over 33 years ago.
While fighting the contradictions and double-standards all women must deal with (you need to be beautiful, but don't, like show it off or anything), Fisher remained in control of her story, her truth and her body. She didn't let a bunch of guys who jerked it to her in the 80s make her feel bad for being a human 60-year old, and she taught us to never apologize for being us.
She sure didn't.
As we look back on Fisher's life and work, her memoirs will certainly be discussed a great deal, and how could they not? In them she recalls, in great detail, many of the toughest battles of her life, her less than ideal upbringing and (spoiler alert) affair with Harrison Ford on the set of the original Star Wars.
If nothing else, you have to admire the self-control of keeping that one a secret for 40 years. If I bumped into Harrison Ford in a restaurant tomorrow and he shook my hand, I would blast that story out on at least three different forms of social media.
People will also discuss her minor roles in "Blues Brothers" and "When Harry Met Sally," and ability to poke fun at her past roles in her one-woman show, and during appearances on a plethora of outlets.
But, let's be honest: Fair or not, most of us will remember her as Princess Leia. That comes with the territory when you play an iconic character in one of the most beloved film franchises ever created, but in this case, I actually think it is fitting.
Fisher put so much of herself into the character, that it's often hard to know where she ended and Leia Organa began. And, most importantly, Leia, like Fisher herself, was a complete person, not a princess archetype.
Leia had feminine and masculine traits, was tough, smart, funny, vulnerable, bratty, inventive and relatable. She was always in control, but liked to dress pretty sometimes, and that never made the male characters think any less of her, because she was such a boss. She had a romantic interest in Han Solo, but it didn't define her. If anything, Solo's courting of her was a far bigger part of his character than it was Leia's.
When Jabba the Hut demeaned her by putting her in a gold bikini, she choked that giant slug out, and when Han Solo, the coolest guy in the galaxy, was in over his head, it was Leia who came to his rescue.
Though it ultimately undid the happy ending of the original trilogy, we also got to see the continued evolution of Leia, from Princess and diplomat, to General Organa in the latest installment of the series, "The Force Awakens." In that film, and in the yet-to-be-named Episode VIII, we see an older Leia continuing to fight, just as Fisher continues to inspire, even after her untimely death earlier this week.
It was announced yesterday that Fisher had already finished filming her scenes for Episode VIII, and that General Organa is going to play a large role in the story. While re-writes are now inevitable, the film will at least give her fans one last chance to see her work, and say a surreal goodbye to the character and person they've come to know and love over the course of 40 years.
If I have a daughter, I think Leia Organa will be one of the first fictional characters I introduce her to and, at some point, I'm sure she will learn about the amazing woman who brought Leia to life.


Each year, one lucky Digital Production student’s screenplay is chosen to be made into a film. This year, that lucky student was me. We were given $1,000 from pre to post production to bring Pam’s Coopers to life, and it was a rollercoaster ride from the beginning.
For as long as I can remember, I’ve wanted a career in film but was never sure what part of the film industry I wanted to tap into. I started off as an actor, quickly realizing I was more fascinated with what goes on behind the camera than in front; unfortunately after all the acting classes, auditions, and agents. I then tried screenwriting and producing, both of which I enjoy, but neither of which I had the full creative power I craved. So, I took a look at directing. Sure I could direct tiny short films with my friends, but a set full of actors, a crew, a strict budget, and a tight and shifting schedule seemed extremely intimidating; until I directed Pam’s Coopers.
My classmates and I auditioned 12 actors, having to make executive decisions based upon acting ability, appearance, and personality, three things of which are surprisingly hard to come by. Once the actors were set in place, it was time for all of the prep work. This included scouting a location, renting/learning how to use the equipment, scheduling which scenes would be filmed on certain days (accommodating the actors’ schedules, our schedules, and the sun’s of course), and endless practice runs and shot lists. Those few weeks of pre-production flew by and before we knew it, it was show time.
Walking onto set the first day of filming was so natural. There was no stress, no tension, it was like I stepped into Narnia. I was in such a serene state of mind, everything sort of just fell into place, and none of it would’ve been possible without my crew. Everyone knew their roles and was very comfortable in them, and it didn’t hurt that we were friends. We worked like clockwork, we all had distinct jobs whether it be lighting, sound, or cinematography, and depended on each other to function properly. Patience became our virtue as it took at minimum about 15 minutes to set up each shot, run through the scene with the actors, set up lighting, and tell Harry to stop eating so that we could roll sound. In just 48 hours, the crew went from being friends to being a family: we woke up at the crack of dawn together, we spent hours setting up equipment together, we laughed through our triumphs, took long deep breaths through our failures, and we really saw the amazing talent we have and bounced off of that good energy.
My first cast was also extremely influential in my experience. I was able to talk to most of them before filming, more about life than anything else, so by the time we started rolling there was already a bond between us that made our interactions almost instinctive. We adapted to each other’s process, and by the end of the shoot, I could give them one or two word notes and they’d completely give me what I wanted in the next take. It was really interesting for me to learn the difference between directing 11 year old twins and a man in his late 20s. We joked around all the time: before takes, after takes, during breaks. The laughter brought a level of comfort to the set that made crises conquerable and our jobs doable.
Sure Pam’s Coopers was definitely a learning experience filled with hurdles and curve balls that made me want to pull my hair out. Sure I couldn’t feel my feet after a 10 and 13 hour work day back to back. But I’ve never laughed as hard, felt as tranquil, and as part of a family as I did those two days of filming, and I would do it all over again in a heartbeat. I’ll definitely screenwrite, produce in the future, but directing is my niche and I can’t imagine myself in a greater position.


Ch. Afterglows Rapunzel
Yes, I'm a Movie Star, but I do all my shopping at Orvis!
Breed: Sealyham Terrier
Age: 9 Years
More: Sealyham Terriers are a very rare and vulnerable breed, but they were once the most popular dog in Hollywood. Owned by screen legends including Elizabeth Taylor, Cary Grant, Gary Cooper, and Alfred Hitchcock. Rapunzel and her sister Cinderella were featured in the 20212 movie "Hitchcock" with Anthony Hopkins and Helen Mirren. Rapunzel has retired from acting and the show ring after being a breed ambassador at AKC events. She lives in Scottsdale, Arizona and does all of her own shopping at her local Orvis store.Vote


Megan has had a career on Broadway that spans over 15 years. Her Broadway credits include Mamma Mia, Les Miserables, and the original Broadway company of Mary Poppins, where she played the role of Winifred Banks. She has also traveled across the United States and Canada on numerous national tours including Cameron Mackintosh’s North American premiere of Martin Guerre, where she played the role of Blanche, various productions of Joseph and the Amazing Technicolor Dreamcoat as the Narrator, and Mamma Mia. She also played the role of Mary Poppins in the Broadway First National Tour as well as the Central American Premiere of Mary Poppins at the famed Auditorio Nacional in Mexico City.
Select regional credits include the role of Millie Dillmount in Thoroughly Modern Millie at Music Theater of Wichita, Blanche in Martin Guerre at The Guthrie Theater, Gloria Thorpe in Damn Yankees at Lyric Theater of Oklahoma, The Narrator in Joseph and the AmazingTechnicolor Dreamcoat at Papermill Playhouse and Pittsburgh Civic Light Opera.
In addition to her theater career, Megan performs in concerts throughout the U.S., is on the voice faculty of Western Connecticut State University, and teaches privately in Westport, CT. Megan holds a BFA in Musical Theater from the University of Central Oklahoma.


One of my guilty pleasures lies in one of the most diabolical human beings alive. There is only one 6’4” Italian who can beat thousands of thugs with his numerous martial arts skills, the one the only, Steven Seagal. He is a man of many faces, forms, and professions. Going everywhere from being an astute paleontologist who has to risk his life to recover ancient artifacts to a renegade cop whose daughter has been stolen from his own home. Steven Seagal’s movies, everything that is wrongly brilliant and lame about them, are my guilty pleasures.
I saw my first Steven Seagal movie when I worked at a books and music store called Chapter 11 a few years ago. My friends and coworkers Michael, Thom, and Eric shared the love of Steven Seagal, and I did not quite understand. At this point in my life, I was getting through the whole “too cool for school” syndrome, and just couldn’t see how it was cool to enjoy a movie that didn’t have an amazing artistic direction. I took myself way too seriously. One day they asked me over to enjoy a film, which to this day is still my favorite of his, 1991’s Out For Justice. They tried to explain to me how the movie wasn’t good, but that it was awesome. I still didn’t understand so I just started to watch. In the beginning of a film, our man Steven and his partner are waiting in a car for a drug deal to go down that they are about to bust. Across the street Steven sees a pimp beating up one of his “hoes”. Because of his noble heart he abandons the bust and runs over to beat the crap out of the pimp, only to end up throwing him into a car windshield. When this happened and the opening credits rolled I found myself slipping into a comfortable and happy place. It all slowly started to make sense, Steven Seagal’s movies are horrible, but so ridiculous that they are amazing. By the end of the movie, I understood completely.
Steven Seagal is a delicacy that only so many people can respect and enjoy. It’s like acquiring a taste for a fine wine or dark chocolate, except the other way around. It’s a ridiculously bad delicacy. A current example, is everyone’s semi-recent interests in the exploitation of Chuck Norris. Chuck Norris jokes, that are kind of funny, a few bad movies, and Walker Texas Rangers episodes are all it takes for these kids. Are these kids really Chuck Norris fans though? Can they truly appreciate how bad he is, know it, and own it. I call them all out because I don’t think they do. The thing about Steven Seagal is that he is the “underdog” of the bad action stars, if you will. He does all of the things Chuck Norris, Jean-Claude Van Damme, and Sylvester Stalone do, but more over the top and with more love. This man takes his career and cheesiness to new highs and lows with every film. His martial arts are more interesting and farfetched. His ladylove scenes are steamier ten fold. The plots to his movies get more and more ridiculous, and are even graced with such renowned stars as Tommy Lee Jones, DMX, Gary Busey, Kurt Russell, and none other than, Michael Caine. Steven Seagal is just simply “where it’s at”. He's like listening to Master of Puppets when you are driving really fast, listening to "Every Rose has it's thorns" at a strip club, or listening to AC/DC period. Not only are Steven Seagal’s films cheesy and bad, but also they have the worst playfully racial moments at times, making them somewhat wrong, but whatever. These are the epitome of my bad tast.
Steven Seagal’s films are directed at one particular group of people, because surely no one else would buy into them. They are directed at the group of men that are in between their late 20s and early 40s that like to live vicariously through all of his amazing antics. These are normal dudes that used to watch these movies with their frat brothers, and dream they could be as badass as Seagal. It makes sense, Steven Seagal is this average, overly tall, awkward, and slightly overweight guy that goes around and beats up thugs that he towers over. This is every common middle-aged man’s dream. Tell me what middle-aged bored man, doesn’t dream that when he walks into a convenient store to get milk only to see a gang of Asians holding the place up. Then not only be outnumbered, but to beat the crap out of every armed Asian man in sight. This in itself is amazing. I personally cannot identify with this public. They are in no way people I could hang out with, or spend any more than 10 minutes with really. I will say that I do share the fantasies of being Seagal in those necessary situations. For me, Steven Seagal is not someone I envy, or think is a God. I merely enjoy the over the top ridiculousness of his movies. Mine is an enjoyment at a distance, rather than right at the TV.
In the end, Seagal is completely harmless. I love him as a paleontologist and as a cop gone bad. Everyone needs a good dose of Steven Seagal in their life, whether they think they need it or not. As for all of you trendy kids, see Hard to Kill, Out For Justice, and Under Siege, and it will round house kick the Chuck Norris out of your ass.


Scarlett Johansson has sued Walt Disney Co. over its controversial release strategy for “Black Widow,” in a move that escalates simmering tensions between high-level Hollywood talent and the media companies using their movies to grow streaming services.
In a complaint filed Thursday, Johansson accused Disney of breaching its contract by debuting the big-budget Marvel Studios superhero movie on Disney+ and in theaters at the same time, a move that her representatives say hurt her compensation.
Johansson’s filing said Disney broke a promise to give “Black Widow” a full, exclusive theatrical release “in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel.”
A Disney spokesperson said there was “no merit whatsoever to” Johansson’s filing.
“The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic,” the Disney representative said in an emailed statement. “Disney has fully complied with Ms. Johansson’s contract and furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20M she has received to date.”
The suit, filed in Los Angeles Superior Court and reported earlier by the Wall Street Journal, could be a watershed moment for talent who feel they have been cheated out of money by studios that decide to release their films simultaneously on streaming services and in theaters, a practice that upended the way Hollywood’s biggest names are paid.
Multiple stars and directors have pushed back on media companies that placed their films on streaming services during the COVID-19 pandemic, instead of giving them a months-long exclusive release in theaters, which is typical for big Hollywood movies.
Directors and actors were furious, for example, at Warner Bros. and WarnerMedia for funneling their 2021 movies to HBO Max at no extra cost for consumers, but such disputes have largely been resolved through negotiation rather than in court. WarnerMedia paid more than $200 million to talent up front to compensate for filmmakers’ loss of traditional profit participation, known as “back end.”
Johansson’s compensation for the Marvel movies is based largely on the box office performance of the films, according to the actress’ complaint. Before the pandemic, blockbusters like Marvel movies usually are released in theaters exclusively for about 90 days before they’re available for home viewing, a strategy meant to maximize box office reciepts.
But with the pandemic still ongoing, Disney decided to release “Black Widow” both in theaters and on Disney+ for $30 for subscribers. It made similar moves for releases such as the live action remake “Mulan” and the villain origin story “Cruella.” The company released Pixar’s “Luca” on Disney+ for no extra cost to subscribers, who pay $8 a month.
Disney is using movies and TV shows from its biggest brands, including Marvel and Star Wars, to boost subscriber counts for Disney+. The success of the streaming service helped keep Disney’s stock price at high levels, even as the company suffered financially from closures and capacity limits at multiplexes and theme parks.
“Black Widow” opened respectably with $80 million in domestic box office grosses during its first weekend in theaters, but fell off quickly in later weeks. Movie theater owners blamed the same day release for spurring piracy and cannibalizing box office sales. Disney said the movie generated $60 million in grosses from Disney+ during its initial weekend. It has not reported Disney+ sales since.
The suit said Johansson was concerned about such simultaneous releases on Disney+ even before the pandemic. According to the complaint, her representative extracted a promise from Marvel that “Black Widow” would receive a “theatrical release,” taken to mean that the film would be only in theaters for a period of time.
In May 2019, the complaint said, Marvel’s chief counsel confirmed to Johansson’s lawyers that “her whole deal is based on the premise that the film would be widely theatrically released like our other pictures. We understand that should that plan change, we would need to discuss this with you and come to an understanding as the deal is based on a series of (very large) box office bonuses.”
The complaint said Johansson wanted Disney and Marvel to make good on its promise the way that Warner Bros. did for talent such as Patty Jenkins for “Wonder Woman 1984,” but that Disney “largely ignored” her entreaties.
“It’s no secret that Disney is releasing films like ‘Black Widow’ directly onto Disney+ to increase subscribers and thereby boost the company’s stock price — and that it’s hiding behind Covid-19 as a pretext to do so,” said John Berlinski, an attorney for Scarlett Johansson, in a statement. “But ignoring the contracts of the artists responsible for the success of its films in furtherance of this short-sighted strategy violates their rights and we look forward to proving as much in court.”
Berlinski continued, “This will surely not be the last case where Hollywood talent stands up to Disney and makes it clear that, whatever the company may pretend, it has a legal obligation to honor its contracts.”
It remains to be seen whether other filmmakers and actors will file similar suits or keep their pay disputes private.
Simultaneous releases and shortened theatrical windows became common during the pandemic, which broke longstanding traditional practices between studios and theaters. Universal released “The Boss Baby: Family Buisiness” in theaters and on Peacock on the same day.
Bloomberg News in May reported that “A Quiet Place II” director John Krasinki and star Emily Blunt wanted more money from Paramount Pictures after parent company ViacomCBS decided to put the film on Paramount+ 45 days after its theatrical release. However, they have not filed a lawsuit. The film was a box office hit despite the shorter window.
Disney’s next big-budget movies “Jungle Cruise,” starring Dwayne Johnson and Blunt, is being released in theaters and on Disney+ for $30 this weekend.


New Fringe venue The Depot will screen short film delights from The Shorts Film Festival throughout the Fringe season.
On Sunday, February 17 The Depot will screen eight short films from the film festival including previous winners and judges’ picks. Included is Frank Woodley’s Chicken of God, as well as Jackie’s Spring Palace. The screenings begins at 9pm.
Throughout the Fringe The Depot will show South Australian short films from previous Shorts Film Festivals. Called SA Shorts Sunset Sessions the films will screen at 9pm each night.
Located at Franklin St’s old bus depot, The Depot opens tonight (Friday, February 15) and will feature live music and entertainment as well as vintage markets and street food for the duration of the Fringe.
111 Franklin St
Friday, February 15 to Sunday, March 17


Movies In The TEFL Classroom: Write The Dialog Activity
“That cake you brought to the staffroom…it was delicious.”
“Why, thank you. It’s my mother’s recipe.”
“I’ll have to get it from you.”
One of my favorite add-ons to a film lesson – and this tends to work best with very high level students, or when you have a lot of time – is to let students watch a scene of a movie without sound, make some guesses about what’s happening, and write the dialog themselves. If there’s enough time to practice, you can play the scene, still without sound , and have the students “act” it out by reading their own lines.
This does take time (I find that writing any dialog tends to take more time than I expect), but can be an interactive add-on to a tv show or movie shown in class – it can just be fun for students to show what they know and their creativity or sense of humor.
If you will have time to do this, give them a form to show how many times each person speaks, and even this will provide some indication of time length. You could also add in a key word or two to help with ideas, but this is not really necessary; the point is not for them to guess the exact dialog. The point is just for them to use their imaginations and come up with something reasonable or even funny in English.
This works very well with the final scene of the Friends episode above, with Chandler and his bad date/Rachel’s boss talking. One group of students had Chandler “coming out of the closet” to the bad date so he could avoid going out with her again. This has also works marvelously with an Indiana Jones scene, where Indy and his father are tied up, back to back, by Nazis and start a fire as they try to get away. The cake recipe dialog at the beginning of this post was written by some high advanced students as a quiet conversation between two bad guys.
Don’t expect them all to have a clever sense of humor, and keep in mind that it takes time to come up with dialog at all and more so to fit the timing of the movie…but if you’ve got time it can be a creative and fun way to wrap up a movie showing.


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Please note that Reading of Men's Lives is SOLD OUT. An in-person waiting list will begin at 5pm on Friday, June 17.
In conjunction with the current exhibition, Radical Seafaring, the Parrish Art Museum is presenting a staged reading of Men’s Lives by Sag Harbor playwright Joe Pintauro, based on the book by Peter Matthiessen. The reading, produced by Stephen Hamilton and Emma Walton Hamilton, who will direct, celebrates the 25th anniversary of the play. Featured in the cast are J. Stephen Brantley (Popeye), Matthew Conlon (Courtney, Fisherman, Senator), Stephen Hamilton (Peter), Diana Marbury (Alice), Cashus Muse (Nate), Joe Pallister (Lee), Josh Salt (William), and Harris Yullin (Walt). Jenna Mate (stage directions) is the production stage manager and assistant director.
Men’s Lives, which had its world premiere in 1992 as the opening production of the Bay Street Theater in Sag Harbor, NY, tells the story of the East End baymen’s struggle as their centuries-long tradition of making a living on the water becomes threatened by economic and legal challenges, pollution, and overfishing. The plot pits a way of life against the interests of affluent summer residents and New York State, which under pressures from the powerful sports- fisherman's lobby, outlaws haul-seining—a technique the Native Americans taught the baymen’s ancestors, and the only remaining method of catching saleable fish.
Playwright Joe Pintauro is the author of Snow Orchid, (Circle Rep, London Gate), Beside Herself (Circle Rep), Men's Lives (Bay Street Theatre), By the Sea, a collaboration with Terrence McNally and Lanford Wilson (Bay Street, Manhattan Theatre Club), Salvation (London's Gate), Cacciatore (Hudson Guild), Raft of the Medusa (Minetta Lane, Cherry Lane), The Dead Boy and Cathedral. Novels include State Of Grace and Cold Hands. Pintauro is the recipient of the John Steinbeck Literary Humanitarian Award and Guild Hall’s Life Time Achievement Award.
Emma Walton Hamilton, with Stephen Hamilton and the late Sybil Christopher, was a co-founder and co-artistic director of Bay Street Theatre, and served as dramaturg for the original production of Men’s Lives. Walton Hamilton later became the theatre’s Director of Education, creating the Kidstreet program for Young Audiences and helming the Young Playwrights Program in area schools. She also began writing children’s books in partnership with her mother, Julie Andrews, co-authoring more than 30 books. Walton Hamilton currently serves as the Director of the Children’s Literature Fellows program for Stony Brook Southampton’s MFA in Creative Writing and Literature, and executive director of their Young Artists and Writers Project (YAWP). She is co-writing and executive producing Julie’s Greenroom -- a new preschool program for Netflix. Emma and Steve live in Sag Harbor and have two children, Sam and Hope.
Stephen Hamilton’s recent directing credits include The Night Alive, All My Sons (with Alec Baldwin and Laurie Metcalf), Art, Uncle Vanya, The Cripple of Inishmaan, and RED at the John Drew Theatre in East Hampton. Other credits include the world premiere of Gross Points (with Alec Baldwin) at Bay Street Theatre, and The Furies by Neil LaBute at 59 E.59 Street in NYC. In his seventeen years as Bay Street’s Executive Director, he oversaw more than 50 productions including Jon Robin Baitz’ adaptation of Hedda Gabler, Sandy Wilson’s The Boy Friend, and new plays by Paula Vogel, Lanford Wilson, Cynthia Ozick, Terrence McNally, Marsha Norman, Christopher Durang, and Rick Dresser. Hamilton has performed as an actor Off-Broadway and in regional theaters including Lincoln Center Theatre, Circle in the Square, Soho Rep, The Actor’s Studio, Ensemble Studio Theatre, Capitol Rep, Alliance Theatre of Atlanta, and the Arizona Theatre Company. He currently serves as Director of Southampton Theatre Conference, Stony Brook Southampton and coaches privately from his studio in Sag Harbor.
Reading of Men's Lives


Chariots of Fire
Main School Production
Thursday 30th and Friday 31st January 2020
7.30pm - Rhoda McGaw Theatre, Woking
Stage Adaptation by Mike Bartlett
Based on the Enigma Productions Limited Motion Picture
By arrangement with Twentieth Century Fox Film Corporation & Allied Stars S.A. Panama
Screenplay by Colin Welland
Based on the extraordinary true story of Eric Liddell and Harold Abrahams, "Chariots of Fire" is an Olympic tale of hope, honour and belief.
It is the 1924 Paris Olympic Games.
A devout Scottish Christian runs for the glory of God.
The son of an immigrant Lithuanian Jew runs to overcome prejudice. These two young track athletes live for the beautiful purity of running and who prevail in the face of overwhelming odds.
This family-friendly production will take full advantage of the superb facilities of the Rhoda McGaw Theatre, Woking. Featuring a cast and crew of over 80 pupils, it will, undoubtedly, be the highlight of the dramatic calendar at Reed's this year!
Tickets are £12 each or £40 for a group of four and can be booked by completing the form below.
This amateur production of “Chariots of Fire" is presented by special arrangement with SAMUEL FRENCH LTD.


Okay, taking a short little break from studying here to announce... *drumroll* ...that the role of Effie Trinket has been scored by...
A Ms. Elizabeth Banks!
At first, I didn't know whether she could pull off our bubbly busybody, Effie, but at second glance, I think she could, with some effort. The only movie I remember her from is The Uninvited, and she played a fairly creepy role in that film. Anyways, just wanted to share for anyone who didn't know.
Back to hittin' those books!


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MPAA Rating: R
Run Time: 112min.
Theatrical Release Date: 07/19/2013
Status: In Theaters
Distributor(s): New Line Cinema
Director(s): James Wan
Starring: Vera Farmiga , Patrick Wilson , Ron Livingston , Lili Taylor , Hayley McFarland


I had my first encounter with Bollywood tonight. The film was Dhoom:2 and it was amazing. It's an epic film, the story of a criminal mastermind (and master of disguise) and the cops who are after him. It was filled with action, drama, comedy, a love story, musical numbers, and special effects. That soundtrack! I actually found the best thing to listen to after that movie, and it turned out to be mashups from thehoodinternet.com. The film was mostly in Hindi, but there were often phrases, or sometimes just single words in the middle of a phrase in English. Overall, this movie was grossly over-the-top, but I loved it.
This is the first musical number. The criminal mastermind is the one in the wife beater and green scarf.


Michele is a trained and professionally experienced actor and director with many successful theatre productions to her credit. She has exuberance, an ability to connect with people, and an eye for detail. If you’re looking for someone who understands a great wedding ceremony to help you bring out those moments of intimacy, joy, solemnity and celebration for you and your loved one on your special day, she can guide and support with a calm and confident hand. Unconventional settings, rainbow relationships and custom ceremonies are all welcome – let’s create a wedding ceremony together that’s as unique as you are! Michele is licenced in both Ontario and Quebec.
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© 2009-2021 All Seasons


Kanpachi's appearance is similar to that of the Shovel Brigade's. He has an ovular head and is seen with his ears at his sides. He is dressed in blue attire and carries a brown fishing rod.
Kanpachi is first seen fishing in the village Reservoir. When interacted with, he mentions how Sue Sakamoto was found in the reservoir and that she appears to hate everyone in Mimiga Village. He sees her as "a Mimiga, same as the rest of [the village]."
Some time during Quote's expedition in the Sand Zone and Labyrinth, Kanpachi is captured by Misery and sent to the Plantation along with the other Mimiga. Quote encounters him in the Rest Area, and is the only Mimiga willing to speak to Quote regardless of the orders not to talk with humans. Kanpachi immediately recognises Quote from Mimiga Village and explains that he was on his way out to go fishing. He leaves the Rest Area and heads to the bottom of the Plantation, close to the Teleporter Room.
When Quote meets up with Kanpachi for the second time in the Plantation, he allows Quote to take the item that he caught and put in the bucket. This allows Quote to examine the bucket and extract the Teleporter Room Key.
After Momorin Sakamoto has finished building the rocket, Kanpachi will be one of the few Mimiga left in the Plantation. He is found fishing in the exact location Quote found him after their conversation in the Rest Area. He complains about the lack of a catch he has been having. Kanpachi's fate is unknown at the end of the game.
Kanpachi has a strong dislike for farming, and prefers to spend his time fishing. He seems to have a laid back personality, and enjoys making his own decisions rather than strictly following the instructions of King, or the Doctor and his goons. He appears to be unaware of the Doctor's plans to cultivate red flowers.
- Kanpachi is one of the Mimiga present on the NICALiS symbol in Cave Story 3D.
- Kanpachi shares the same name as the Japanese word for greater amberjack, a species of fish.
- During Halloween, Kanpachi is seen wearing Darth Vader's armor from Star Wars.
|General||Mimiga Village • Mimiga • Balrog • Bubbline • Cemetery • Ma Pignon|
|Characters||King • Toroko • Mahin • Jack • Kanpachi • Sandaime • Misery • Little Man|
|Enemies||Egg Fish • Pignon • Gravekeeper|
|Items||Map System • Silver Locket • Arthur's Key • Beast Fang • Mushroom Badge • Booster v2.0|
|Interactive objects||Teleporter • Fireplace|
|General||Plantation • Red flowers • Pipe • Rocket|
|Characters||Itoh • Shovel Brigade • Momorin Sakamoto • Numahachi • Kanpachi • Chie • Zett • Megane|
|Enemies||Bat • Orangebell • Stumpy • Midorin • Droll • Gunfish|
|Items||Teleporter Room Key • Sue's Letter • Mimiga Mask • Sprinklers • Controller • Iron Bond|
|Cave Story Characters|
|Protagonists||Quote • Curly Brace • Sue Sakamoto • King • Toroko • Kazuma Sakamoto • Professor Booster • Itoh • Momorin Sakamoto|
|Antagonists||Doctor • Misery • Balrog • Ballos|
|Others||Tetsuzou Kamadani • Jack • Mahin • Kanpachi • Sandaime • Arthur • Cthulhu • Santa • Chako • Malco • Colons • Jenka • Puppies • Chaba • Dr. Gero • Nurse Hasumi • Littles • Chie • Zett • Megane • Shovel Brigade • Numahachi • Ballos|
|Races||Robots • Mimiga • Humans • Cthulhu • Witches • Gaudi • Droll|


Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
Shakespeare, William. “Romeo and Juliet.”
I would happily build a tree house and spend the rest of my days dodging poisoned arrows at lost boys as long as I have you by my side.
Snow White, Once Upon A Time
So when I win your heart, Emma…and I will win it, it won’t be because of any trickery, it’ll be because you want me.
Captain Hook, Once Upon A Time


Hands down, my favorite reoccurring joke.You forgot this one
Gal Gadot Set to Play Wonder Woman in ‘Batman vs. Superman’
Actress Gal Gadot, previously known for her work in the Fast & Furious series, has been cast to play Wonder Woman and her alter ego Diana Prince and will be co-starring alongside Ben Affleck as Batman/Bruce Wayne and Henry Cavill as Superman/Clark Kent in the still untitled ‘Batman Vs. Superman' film set for 2015.
Director Zack Snyder commented:
"Wonder Woman is arguably one of the most powerful female characters of all time and a fan favorite in the DC Universe. Not only is Gal an amazing actress, but she also has that magical quality that makes her perfect for the role. We look forward to audiences discovering Gal in the first feature film incarnation of this beloved character…"
A few months ago, physicist Harold White stunned the aeronautics world when he announced that he and his team at NASA had begun work on the development of a faster-than-light warp drive. His proposed design, an ingenious re-imagining of an Alcubierre Drive, may eventually result in an engine that can transport a spacecraft to the nearest star in a matter of weeks — and all without violating Einstein’s law of relativity.
HOLY SHIT WARP DRIVE IS PLAUSIBLE AGAIN
This never stopped being plausible. My understanding is that Alcubierre’s equations were the concept on which Roddenberry based his warp drives and the theoretical structure necessary was responsible for the design of Vulcan vessels from the beginning.
Why nobody seems to have heard of Alcubierre or the current FTL experiments at NASA is beyond me, and I’m frankly astonished and appalled that this research isn’t drowning in grant money.
The year is 2060.
It’s no longer Thanksgiving. It’s pre-Christmas.
People buy Christmas trees in April.
All children by age 8 are required to work in Toy Shops.
People begin worshipping Santa.
Macys joins the Illuminati and together take over the government.
Furbies and Talking Elmo’s grow minds of their own and murder the masses.
We are doomed.
And now, the weather.
Daniel Radcliffe Brushes Off ‘Fifty Shades’ Snub (x)
I appreciate the very real disgust on his face in the second gif.
i bet rob pattinson just rang him up and screamed don’t do it in the phone
I bet this phonecall happened at 2am with no greeting and Dan knew exactly who it was and why.
I bet Robert Pattinson has made it his mission in life to prevent people from taking shitty roles that will haunt them forever and everyone in Hollywood knows it and now he’s like the Acting Avenger
the Acting Avenger


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Ruben Boogie On is set to host the much anticipated “F Your List | Rising Stars’s” Event which takes place February 22nd, in Avondale, AZ
Ruben has been racking up millions of views for the past few years with his viral videos. He’s known for his internet antics, hilarious stand-up comedy, and several TV appearances such as: Better call Saul, Divorce Court, Comedy Central’s Roast Battle & more. You can even hear him throughout Jim Carrey’s latest movie “Dark Crimes” where he gets to exercise his voice acting skills.
We never know what this guy is going to do next, but we do know he knows how to get a party started.
Don’t miss him February 22nd at Wild Willy’s in Avondale!


Design For Film & Television...
Deirdra E. Govan is an accomplished costume designer for film and television currently residing in the New York City. She has carefully crafted a robust portfolio with over 20 years of professional experience in the film, fashion, and design industries. Her body of work has culminated into an intriguing multidisciplinary approach to visual storytelling with a multidimensional point of view – a true intersection of substance and style.
As a design innovator, Deirdra’s greatest inspirations originate from her time spent traveling abroad and living in Paris, France. Her global experiences and out-of-the-box design sensibilities have informed her craft. Her insights on fashion, history, art, and design thinking are driven by her curiosity of cultural anthropology, the psychology of clothing, the importance of individual style, design activism and social change.
Deirdra’s diverse feature film credits most recently include Netflix’s 1980's hip-hop drama "Roxanne Roxanne" as assistant costume designer, and the soon-to-be-released screen adaptation of the Walter Dean Myers novel, "Monster,” directed by Anthony Mandler. She was the costume designer for the William H. Macy's dramedy, "Krystal,” and the highly anticipated 2018 Sundance birthed project ”Sorry To Bother You,” directed by Boots Riley.
When not creating narratives through clothing, Deirdra's focus is on designing experiential environments. Her most recent design work is on display at "The Equal Justice Initiatives" new "The Legacy Museum" From Enslavement to Mass Incarceration. Located in Montgomery, Alabama, this narrative museum uses interactive media, sculpture, videography, compelling visuals and exhibits to immerse visitors in the sights and sounds of the domestic slave trade and the history of racial terrorism in America.
Her work has been featured in notable publications including The New York Times, Surface Magazine, Haute Living, Time Out Magazine, BuzzFeed, Collider, Ebert.com, and Deadline to name a few, putting her at the forefront as a design and style influencer.
Holding a Master’s of Science in Interior Design from Pratt Institute in Brooklyn, NY, Deirdra also studied at the prestigious Parsons School of Design pursuing her Bachelor of Fine Arts in the undergraduate program majoring in Fashion Design and while simultaneously completing a Bachelor of Business Administration in Strategic Design and Management.
Deirdra splits her time between Atlanta, Los Angeles, and New York and lives with her fiancé and their dog.


We hope you made it
to one of these Knee Deep Screenings:
Rooftop Film Festival
Saturday, July 12, 9pm
On the roof of The Old American Can Factory, 232 3rd Street at the corner of 3rd Avenue (Gowanus, Brooklyn)
True/False Film Fest
Saturday, March 1, 7pm
Little Ragtag Theatre
Sunday, March2, 9am
Reel Gone Roundup
(brunch, hoedown, auction, and Knee Deep!
Big Sky Documentary Film Festival
Thursday, February 14, 7pm
Wilma Theater, 1
Cucalorus Film Festival
Saturday, November 10, 7:30pm
Thalian Black Theater
Paley Center DocFest
The Full Frame Institute Presents Knee Deep
Saturday, October 27; 4:30 pm
Hot Springs Documentary Film Festival
Saturday, Oct 20, 9:20 PM
Thursday, Oct 25, 10:27 AM
Hollywood Film Festival
Friday, October 19, 3:00PM
Mill Valley Film Festival
Sat. Oct 6 , Sequoia Theatre, 12:00 PM
Tue. Oct 9 , Smith Rafael Film Center, 6:00 PM
Camden Film Festival
Friday, September 28, 12:00 PM
Bayview Street Cinema
The Woods Hole Film Festival, Falmouth, Mass.
Monday, July 30, 9:00pm, Redfield Auditorium
The Maine International Film Festival, Waterville
Saturday, July 14, 3:30pm, Waterville Opera House
Sunday, July 15, 6:30 pm, Waterville Opera House
Friday, July 20, 9:30pm Railroad Square Cinema
Full Frame Documentary Film Festival
Friday, April 13, 12:00 PM , Cinema One, Durham (filmmaker attending)
Florida Film Festival
Sunday 3/25/07 2:30pm Regal Winter Park Village
Tuesday 3/27/07 9:15pm Enzian Theater
(filmmaker at The Enzian)
Knee Deep was also selected to
participate in the Emerging
Pictures/Full Frame digital extension of the Full Frame Festival,
making it available to over a dozen
theatrical venues around the country
while the festival was in progress.
Read more at:
Knee Deep held its work-in-progress screening at the Frontier Cafe Cinema Gallery in Brunswick,Maine. Owner Michael “Gil” Gilroy made his beautiful new space available for a great night of film, food, and feedback. If you live anywhere near the Frontier, you owe it to yourself to check out this great addition to Maine’s art scene. http://www.explorefrontier.com/
Heartwrenching and amazing.
Rural Maine, this world is one I know well, and you’ve nailed it.
This story needed to be told. Thank you!
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Really nice how it portrays farm life which is disappearing quickly.
I can’t objectively critique this movie since I live and work on a dairy farm. It broke my heart.
I was captivated! A very sensitive depiction of rural/isolated lives.


There is constantly more guilt and fear inside Macbeth and his wife that they decide to have Banquo killed. Macbeth and his wife attend a banquet in which a ghost appears. Once the murderer notified Macbeth that the deed was done, he observed the ghost of Banquo sitting in his regular seat.
This caused Macbeth to act in a wild manner, making people suspicious of his actions. The use of the supernatural has increased the suspense now that Macbeth is constantly relying on the prophecies of the three witches. Hecate, the Queen of witches is angry with the three sisters for not involving her in their encounters with Macbeth. The witches plan to lead Macbeth to his downfall by making him feel over-confident.
Further on in the play, Macbeth finds his way to the witches' cave and demands to know what lies ahead for him. The three witches predict what he is going to ask and produce the first apparition which is an armed head. The first apparition tells Macbeth to beware of Macduff. Then the second apparition appears a bloody child , and says: This apparition informs Macbeth that no man born from a woman can harm him.
The apparition is saying that he will never be defeated until Great Birnam wood shall come against him to High Dunsinane Hill. Macbeth shall never vanquish'd be until Great Birnam wood to High Dunsinane Hill shall come against him. These apparitions convinced Macbeth that this was his fate and became over confident, and lead him to his death. The use of the supernatural in Macbeth results quite well with the respect of the unknown.
Without the witches, the ghost, the visions, and the apparitions, "Macbeth" would have been a dull and tiresome play. Even today's readers need motivation to read, and this ancient superstition of spirits enhanced the play dramatically.
The following guidelines are designed to give students a checklist to use, whether they are revising individually or as part of a peer review team. Introduction Is the main idea i.
Is the introductory paragraph interesting? Does it make the reader want to keep on reading? Learn more about the different types of essays.
The medieval and renaissance view of the world saw a relationship between order on earth, the so-called microcosm , and order on the larger scale of the universe, or macrocosm. Thus, when Lennox and the Old Man talk of the terrifying alteration in the natural order of the universe — tempests, earthquakes, darkness at noon, and so on — these are all reflections of the breakage of the natural order that Macbeth has brought about in his own microcosmic world. Violent disruptions in nature — tempests, earthquakes, darkness at noon, and so on — parallel the unnatural and disruptive death of the monarch Duncan.
The medieval and renaissance view of the world saw a relationship between order on earth, the so-called microcosm, and order on the larger scale of the universe, or macrocosm. Thus, when Lennox and the Old Man talk of the terrifying alteration in the natural order of the universe nature , these are all reflections of the breakage of the natural order that Macbeth has brought about in his own microcosmic world society. Many critics see the parallel between Duncan's death and disorder in nature as an affirmation of the divine right theory of kingship.
As we witness in the play, Macbeth's murder of Duncan and his continued tyranny extends the disorder of the entire country.
Lady Macbeth is the focus of much of the exploration of gender roles in the play. As Lady Macbeth propels her husband toward committing Duncan's murder, she indicates that she must take on masculine characteristics.
Her most famous speech — located in Act I, Scene 5 — addresses this issue. Clearly, gender is out of its traditional order. This disruption of gender roles is also presented through Lady Macbeth's usurpation of the dominate role in the Macbeth's marriage; on many occasions, she rules her husband and dictates his actions. During their debates over which course of action to take, Macbeth and Lady Macbeth use different persuasive strategies.
Their differences can easily be seen as part of a thematic study of gender roles. However, in truth, the difference in ways Macbeth and Lady Macbeth rationalize their actions is essential to understanding the subtle nuances of the play as a whole. Macbeth is very rational, contemplating the consequences and implications of his actions.
He recognizes the political, ethical, and religious reason why he should not commit regicide. In addition to jeopardizing his afterlife, Macbeth notes that regicide is a violation of Duncan's "double trust" that stems from Macbeth's bonds as a kinsman and as a subject.
On the other hand, Lady Macbeth has a more passionate way of examining the pros and cons of killing Duncan. She is motivated by her feelings and uses emotional arguments to persuade her husband to commit the evil act.
Previous William Shakespeare Biography. Next Major Symbols and Motifs. Removing book from your Reading List will also remove any bookmarked pages associated with this title. Are you sure you want to remove bookConfirmation and any corresponding bookmarks?
Scene 1 Act I: Scene 2 Act I: Scene 3 Act I: Scene 4 Act I: Scene 5 Act I: Scene 6 Act I: Scene 7 Act II: Scene 1 Act II: Scene 2 Act II: Scene 3 Act II: Scene 4 Act III: Scene 1 Act III: Scene 2 Act III: Scene 3 Act III:
Free Essay: Use of the Supernatural in Macbeth In Shakespeare's play The Tragedy of Macbeth, Shakespeare uses an underlying motif of the supernatural to.
Free Macbeth Supernatural papers, essays, and research papers.
The use of the supernatural is very evident in the play “Macbeth” by William Shakespeare. As readers, we are introduced to the world of the supernatural (which was widely believed to exist in Shakespeare’s time) in a number of ways. Read this Miscellaneous Essay and over 88, other research documents. The Supernatural in Macbeth. The Supernatural in Macbeth ShakespeareвЂ™s Macbeth was composed between and Macbeth is the most concentrated of Shakespeare's tragedies.5/5(1).
the Supernatural in Macbeth The supernatural is widely used in Macbeth, and covers major sections of it. It is used to generate interest, and to provoke thought and controversy. At the time the play was written, James the 1st was the English monarch. The Role of the Supernatural in Macbeth The play 'Macbeth' is essentially about a battle between 'good' and 'evil' where the witches represent the 'evil' or 'supernatural'. It is a fast moving historical tragedy with images of evil, disaster, and tragedy all produced as a consequence of ambition.