Welcome to the second part of Bring Three, an interview series, where each guest brings three things connected to their interests and occupation. In this part, I welcome Oskar Šubic, a filmmaker, and director at SOOS film production – who will soon release their new short film, Obljuba (Promise).
Welcome, Oskar, what have you brought today?
Firstly, I brought my Rubik’s cube. I brought it because solving it is quite relaxing for me, and even when I’m tired, I can just forget the world around and it’s just me and algorithms. I also brought my notepad, in which I write my ideas. I always have it with me wherever I go – it is a way for backup if my memory fails. The third item is a film slate, which we use on our film set to synchronize sound and picture. It also has a symbolic meaning, as the team must be synched just as well as picture and sound in order for a successful project.
How would you describe your approach to problem-solving, and in which ways is it similar to solving a Rubik’s cube?
Solving a Rubik’s cube presents a problem, an unknown situation, similarly to real life – you have to bring it to the point where you know what you have to do, essentially bring the Rubik’s cube to the point where you know which algorithm to use in order to complete it. Similarly, in the film industry, you have to be able to reach the point where you can identify the problem and use the approach that is best in order to solve it.
Staying calm is an important characteristic of a good director. Do you make films in a more stressful, strict timeline, or try to stay relaxed at all times?
I think that’s a good question for my team. I’m not always relaxed, as I often feel the pressure of finishing an important scene on time. But I think that the atmosphere on set is very important. I always try to make the situation simple for my co-workers, but it’s not always possible. In some situations, you have a busy timeline or shots that have to be shot in fifteen minutes, for example a sunset scene, when the shot depends on natural lighting. In those situations, you have to be a bit more strict.
How important is it to follow film-making rules (like cube algorithms) throughout the making of a film, and what could go wrong if you just went with the feeling?
It is the same situation with cube algorithms and film-making rules – you have to know all the algorithms, all the film rules, but you don’t have to follow them. Film rules are made to be broken. Similarly to that, you don’t need to think about algorithms when you’ve already mastered the Rubik’s cube. You just solve it, because you imagine where all the pieces are. That’s it – if you are a good filmmaker, you know all the rules, and you don’t follow them.
Were the scripts of the last year’s Ita Brina and your current film taken from real life scenarios, or were they just inspired by them?
My personal opinion is that every story is inspired by the people around you, but I believe that not every story that inspires you is appropriate to be told literally. You have to adapt the story for the screenplay, to make it more appropriate for filming. But yes, both stories were inspired by real people, real events… Actually, every one of my films is inspired by true events, because I’m not a big fan of fiction personally. Films are made by people and I believe that they should be made for people. I think every single person must be able to find some sort of message in a film.
Do you have a specific script-writing or film-making receipt?
No, because every film is a unique journey – in a way, it is similar to cooking. If you make two different dishes with the same receipt, they will often differ from one another. Therefore every movie is its own experience, a journey, and you are learning something new from every project. There is no possible way to be prepared, and you never know what awaits around the corner.
I was surprised by the amount of organisation in the making of your latest film, Objuba (Promise). Participant consents, shot catalog… How do you keep a record of so much information?
It wouldn’t be possible without a great team. I want to mention Lara, she’s the producer and script supervisor, and also Jure, the director of photography. We are the center of the team, and we worked together through the entire pre-production, which took three months in order to organize and prepare everything. The project was quite big, as we had about eighty people on one set, which was quite a challenge, concerning the organization. But I think it was great all and all, what was your experience?
I was also on the large set and was quite surprised that you brought food, drinks and took care of the organization (even the parking) that well. People were having fun even though they had to sit for the same shot over and over again, and you made everything run smoothly, so I think you did a great job.
When we have a lot of people together, it is quite necessary to keep the atmosphere relaxed. Because at the moment you start yelling at your co-workers and actors, the project will not turn out that good.
Your film Ita Brina won the silver award at last year’s Muvit 6×60 film festival, how did your film-making process and teamwork change since then?
Well, I think the main difference is that now, we have a bigger team. Also, the making of Obljuba (Promise) was more complex and took longer to film completely. An interesting thing about Muvit is that you have only sixty hours to complete the film. Not sleeping, working 24/7, actually 24/60 (laughs), you don’t have time to doubt your ideas. It’s different because you use your instinct to solve problems. But in the making of the current film, we had a lot of time to think about our ideas and challenges. On the one hand, you have limited time, but plenty of it on the other hand. But sometimes, you react better in situations where you are under pressure.
There is a great team behind every single one of your movies. What is the vision for the future of SOOS moving pictures?
Yes, that is true. But the team you mentioned consists of filmmakers and “film watchers”. There is no film without such team behind it. Our vision is to be an active part of the Slovenian film industry and to show people that Slovenia is a film country and that we can produce great films. I hope that youth from Slovenia will recognize this and start supporting our work. We promise that we will make great films for you, just go to the cinema and watch them!
You’re applying to study film in Prague, Czech Republic, what kind of films can we expect to see from you in the future?
As I mentioned before, I like making people’s films. I like topics that we don’t talk much about. I hope I will stay on this path, and I’ll try to discover as much about the people around me as possible, and try to present those stories to others. The school I’m applying to – FAMU, in Prague, Czech Republic, is my mission for next year. In January, I have the entrance exams. My wish is to be successfully enrolled in the faculty. I think it would be a whole new world for me, but we’ll see how it turns out.
Oskar, thank you for joining me, and I wish you the best in achieving your film-making career. This wraps up the second part of Bring Three. If you liked it, be sure to check out the SOOS Film production website and find out more about their content at https://www.soos.si/.


PREV: THE INSEPARABLES UPDATE ON 10 OCTOBER 2019,STARLIFE MONDAY UPDATE ON THE INSEPARABLES 14 OCTOBER 2019,STARLIFE Mannu tells that his behen dabbu became more understanding and she tells she loves him, and he too tells her.. Virat thinks about VirMan moments and sings a song. Mannu too thinks too herself that she is feeling weird.
THURSDAY UPDATE ON THE INSEPARABLES PREV:WEDNESDAY UPDATE ON THE INSEPERABLES 9 OCTOBER 2019, STARLIFE Viren apologizing to Swamini Bua on Virat’s behalf. He asks Virat to apologize immediately, however Virat is adamant and does not apologize leaving everyone else shocked once again. As he turns to leave, he sees Manvi who has tears in her
WEDNESDAY UPDATE ON THE INSEPERABLES 9 OCTOBER 2019, STARLIFE Prev: MONDAY UPDATE ON THE INSEPARABLES 7 OCTOBER 2019, STARLIFE, Virat chops off all his hair. Viren and Jeevika bangs the door hard from outside…Maanvi is shocked to do anything. Finally, Viren breaks the door lock and enters the room to find virat’s hair chopped off
MONDAY UPDATE ON THE INSEPARABLES PREV: FRIDAY UPDATE ON THE INSEPARABLES 4 OCTOBER 2019, STARLIFE Virat walking in the corridor and Swamini calls out to him and hands him a file to urgently deliver to Dadaji. Virat firmly says he will do it, but after giving juice to Manvi. Swamini is upset at his behavior.
FRIDAY UPDATE ON THE INSEPARABLES, STARLIFE PREV: THURSDAY UPDATE ON THE INSEPARABLES 3 OCTOBER 2019,STAR LIFE Maanvi decides to confess her love in front of virat but when she finally makes her move she remembers about her disease. She realises that her life is itself unpredictable…her disease may not get cured…and she should not get
THURSDAY UPDATE ON THE INSEPARABLES PREV:WEDNESDAY UPDATE ON THE INSEPARABLES 2 OCTOBER 2019, STAR LIFE Jeevika being carried off by the “kidnapper” in some dark area. He puts her down and Jeevika starts shouting at him, telling him that she is Mrs. Viren Vidhera, wife of famous criminal lawyer and he will put him in
WEDNESDAY UPDATE ON THE INSEPARABLES STAR LIFE PREV: TUESDAY UPDATE ON THE INSEPARABLES 1 OCTOBER 2019,STAR LIFE Virat says, : You are not my Partner for today or tomorrow but for a Lifetime”. Maanvi gets emotional and hugs him tight. She slowly starts losing control and the hug becomes intense. She starts to feel virat
TUESDAY UPDATE ON THE INSEPARABLES,STAR LIFE Prev: Monday Update On The Inseprables 30 September 2019, Starlife Maanvi And Jeevika are seated inside the hospital corridor with virat standing beside them. Virat and Maanvi exchanges angry stares with each other. This irritates jeevika and she asks them to continue talking with each other. A Lady Doctor
Monday Update On The Inseprable 30 September 2019, Starlife. Virat and Manvi teasing each other. As usual Virat kind of flirts with Manvi and just then Virat’s phone rings. It’s a girl calling from him old college for a reunion party. Virat appreciates the invite but does not accept it since he cannot leave Jeevika
Coming up this October, here comes The Inseparables October Official Teasers 2019 Starlife Tuesday 1 October 2019 Episode 188 Jeevika signs the legal forms before Maanvi is taken to the operation theatre for a test. The doctor lets her stay by Maanvi’s side during the procedure. Viraat holds on to Maanvi’ s hand while she


Free LEGO® The Lord of the Rings
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While in MN this past week I saw a few movies (who doesn't love redbox $1 rentals?!)
I love Vince Vaughn and the movie is set in Chicago. It was funny and more serious than silly, I thought. Definitely worth a $1 rental!
Hilarious! A few awkward/dirty moments but that was to be expected. Also worth the $1 rental.
It looked/sounded better than it was. We started it and about thirty minutes in we turned it off. It was more like a documentary than a movie with a plot. At least it was only a $1 rental :)
I am not really into the sci-fi/fantasy films but this movie wasn't so bad. A $1 rental was just the right price :)
Have you rented any movies lately?


It's fun to imagine what the lives of celebrities must be like. Not all celebrities are the same, though. Some seem like they lead very elegant lifestyles while others seem to lead a life of nonstop partying.
The EDM scene has blown up recently and one of its leading men is Diplo. But what is his life really like? Is it really as extravagant as we are led to believe?
In Viceland's first scripted series, actor James Van Der Beek will star as EDM DJ Diplo in a show titled, "What Would Diplo Do?"
Diplo, himself, will be an executive producer of the show, but will not appear in the episodes.
The series is inspired by Diplo's personal stories and parodies his life as a successful EDM DJ. Van Der Beek, who is best known for his work in Dawson's Creek, first played Diplo in a promo video back in 2016 that was used to promote The Mad Decent Block Party tour.
Another familiar face is comedian Bobby Lee who is best known for starring on Mad TV.
The show will premiere August 3 on Viceland. Check out the trailer below.


"Virtually anything significant that Bergman ever said about a film will be found in these pages."
About this book
The Ingmar Bergman Archives presents no less than the totality of Bergman's life work. As such, it is not a book to be read just once, but rather it is a companion for a lifetime's worth of viewing. It covers not only his films but also his lifelong stage career and his numerous productions for television. With more than 1,000 illustrations, it charts his life from the entries on his birth in his parents' diaries to the final days on his Baltic island, Faro. Virtually anything significant that Bergman ever said about a film will be found in these pages. Entire interviews are reprinted, including those with Bergman's actors.


Regardless of the trade and industry, there are always some individuals that are overlooked. The entertainment industry is no different, so there are several underrated directors. They earn this title because of several reasons, and it can have a disastrous effect on their career. Naturally, the audience won’t be interested in watching their movies, even though they may be missing a lot. Here is a list of some directors whose work you should investigate.
1. Will Gluck
Will Gluck has earned the name of just another rom-com film director, and many people have never even heard about him. Some of his best-known movies are Friends with Benefits, Easy A, and Fire Up!. Surely you have seen at least one of these since the cast includes some pretty famous celebrity names, such as Mila Kunis, Justin Timberlake, and Emma Stone. Yes, these movies are quite predictable, but no one can deny that the scripts are funny and that they make people laugh. What’s more, these have also allowed the audience to see the comedic side of their favorite actors or introduce them to new artists whose careers they will follow in the future.
2. Scott Cooper
If you enjoy watching modern westerns, you have probably seen Hostiles. The film came out in 2017, and both critics and the audience highly praised it. Christian Bale and Rosamund Pike portrayed the main roles, but it seems that no one was very interested in learning more about the writer, producer, and director, Scott Jason Cooper.
Even though he is still at the beginning of his career, Cooper also produced the 2009 drama movie Crazy Heart. For this work, he was nominated for the award of the Most Promising Director at CFCA Award the same year, as well as several others for Best Screenplay.
3. Bryan Singer
We are not saying that Singer is an underrated director, but instead that he isn’t a household name. The truth is that he is currently one of the best professionals who can transport everyone’s favorite comic books into adored movies. You don’t believe us? Well, Singer directed several X-Man movies that went on to earn billions of dollars. What’s more, he is also the director of the 1995 mystery thriller film The Usual Suspects. The movie won numerous awards (two Academy Awards), and today it is considered to be of the greatest films of all time.
4. Michel Gondry
Yes, this French director is well-known in Europe, but this is not the case when it comes to the US. This is a bit odd since he won an Academy Award back in 2004 for the film called Eternal Sunshine of the Spotless Mind. Surely, you have explored the story of two people who have had their memories of each other erased. The movie is a mix of science fiction, psychological drama, and romantic comedy. Alongside this, Gondry also directed many music videos and ads in his career. Some of the most popular celebrities he worked with are The Rolling Stones, Lenny Krawitz, Sheryl Crow, Gary Jules, and others.


A prolific actor and brilliant entertainer, highly versatile, funny and sometimes cynical, André DUSSOLLIER has been working in film and theatre for over 40 years.
After a brilliant arts degree, at 23 years of age André DUSSOLLIER entered the Paris Conservatory of Dramatic Art and in 1972 was awarded his first acting prize.
He then spent a year at the Comédie Française where he developed his classical repertoire, before being called on to work with the big directors like François TRUFFAUT, who opened the doors of cinema to him, but also Claude LELOUCH, Claude CHABROL, Eric ROHMER, Francis VEBER, Alain RESNAIS...
The 80s was the time André DUSSOLLIER achieved popular success, when he played, in particular, in Three men and a cradle, a cult film that came out in 1985, which introduced him to the general public. Furthermore, the multi-faceted actor remains faithful to the auteur films he will never abandon.
"Thanks to fiction, film, theatre, our own lives are put in the spotlight and hugely enriched.
Along with Pierre ARDITI and Fabrice LUCHINI, André DUSSOLLIER is one of those rare French actors who fill theatres every night.
Twice Cesar winner for best supporting actor (A heart in winter and The Officers' Ward), winner of a Cesar for best actor (Same old song), winner of the Moliere for best actor in 2015, André DUSSOLLIER was also awarded the Magritte d’honneur at the 7th Magritte du Cinéma Awards, for his prestigious career.


January 17, 2014 -- The annual spring film series at the Wyo Theatre will run from February 16 to April 6, with such noted films as “Dallas Buyers Club,” “Nebraska,” “Philomena” and “12 Years a Slave”, which have all been nominated for a number of Academy Awards this year, including Best Picture. All film showings are on Sunday nights at 7 p.m. at the Wyo Theatre, 309 S. Fifth St., Laramie.
Advance tickets for the series cost $20 for a package which includes three tickets and a Wyo Film Society membership card. This is the minimum purchase allowed, and the membership card must be included in every package. The membership card allows the card holder to purchase more film series tickets for the discounted price of $5 each instead of the $6.50 price for non-members. Advance Spring film series tickets are now on sale at the Wyo Theatre Box Office (open 6:30 to 7:30 p.m. each night at 309 South Fifth St.).
Unlike the past few film series, this one will go ahead regardless of advance ticket sales. Nonetheless, if this series is not financially successful there is a good chance this will be the last such film series at the Wyo Theatre for the foreseeable future, so lets try our best to make this a success.
We can use all the help we can get selling advance tickets and getting the word out to the people of Laramie, particularly those people on the University of Wyoming campus.
Following is a schedule of films, followed by synopses, film ratings, running times and links to reviews.
February 16 -- Dallas Buyers Club: A small time hustler and drug dealer in Dallas is told by doctors he has AIDS and has only a month to live. He sees this situation as a business opportunity and makes the most of it. Years later, he is still outwitting the doctors and the FDA. The film stars Matthew McConaughey and Jared Leto, who both won Golden Globe awards and Screen Actors Guild awards for their performances in this film. Both actors are also nominated for Academy Awards. The film is also nominated for Best Picture this year. Rated R, running time 117 minutes.
February 23 -- Nebraska: An old man confronts his troubled past in Nebraska on a mistaken quest for a sweepstakes prize. His son finds out a lot about his father along the way in the town of his childhood. This film is nominated for a best picture Academy Award this year. It has won 10 film awards and was named a top 10 film of the year by the National Board of Review. Rated R, running time, 110 minutes.
March 2 -- All is Lost: A man alone on a sinking yacht struggles for survival as everything that can go wrong does go wrong. Robert Redford, the only actor in the film, was named actor of the year by the New York Film Critic's Circle. Rated PG-13, running time 106 minutes.
March 9 -- Philomena: An elderly woman, played by Judi Dench, travels from England to America with a journalist to try to find her son, who was taken from her by authorities years ago. This film has won 11 awards and is nominated for four Academy Awards, including Best Picture. Rated PG-13, running time, 98 minutes.
March 16 -- August: Osage County: The lives of the strong-willed women of the Weston family, whose paths have diverged, are brought back together in Oklahoma where they grew up by a family crisis, including the dysfunctional woman who raised them. Meryl Streep and Julia Roberts both received Academy Award nominations for their performances in this film. The film won six awards, including film of year at the Capri Hollywood film festival. Rated R, running time 121 minutes.
March 23 -- 12 Years a Slave: This film is based on the dramatic true story of Solomon Northup, who is kidnapped in Washington, D.C. in 1841 and sold into slavery. This is the most acclaimed film of 2103, winning over 60 international awards, including Golden Globe Award for Best Motion Picture - Drama. It was named movie of the year by the American Film Institute and was nominated for nine Academy Awards. It is considered a favorite to win the best picture award. Rated R, running time 134 minutes.
March 30 -- Inside Llewyn Davis: A singer struggles to survive winter and the tough folk music scene in New York City in 1961, while searching for a lost house cat. Written and directed by Joel and Ethan Coen, with T-Bone Burnett as executive music producer. This film won 29 international awards, including a grand prize at the Cannes Film Festival. It also won a best film award from the National Society of Film Critics and was named the Movie of the Year by the American Film Institute. It was also nominated for two Academy Awards. Rated R, running time 104 minutes.
April 6 -- Labor Day: A wounded, escaped convict goes home with depressed single mom Adele and her son Henry. Mother and son gradually learn the convict's true story as they become a united family on the run from police. The film stars Kate Winslet, who received a Golden Globe nomination, and Josh Brolin. Rated PG-13, running time 111 minutes.
The Laramie Film Society is conducting a poll of the greatest films of 1964.
When movies reach their 50th anniversary, the time is ripe for an evaluation of their merits. With an eye on creating discussion of classic films, the Laramie Film Society, beginning this year, will conduct an annual poll on the greatest films celebrating their golden anniversary.
This year, we will examine the films of 1964— a year that saw such now-classic films as: My Fair Lady, Fail-Safe, A Shot in the Dark, Night of the Iguana, Dr. Strangelove, Marnie, Goldfinger, A Hard Day's Night, Seven Days in May, Topkapi, The Umbrellas of Cherbourg, and Mary Poppins.
Criteria for selection may include: entertainment value, influence on later movies, endurance in popular culture, artistic cinema technique, and re-watchability.
Anyone interested is encouraged to vote for the top films of 1964. See this web page: http://lfsmoviepoll.wordpress.com/ for more information about voting.
To vote, pick any ten movies released in 1964 and rank them in order #1 to #10 and email your list to: LFSmoviepoll@gmail.com [include your name and your list (in order)] Each #1 film will received 10 points, #2 film 9 points, and down the list... with your #10 film getting 1 point.
We request that those voting only do so if they've seen at least 20 films from 1964. A list of films from 1964 is available at this web site: http://lfsmoviepoll.wordpress.com/, along with a list of 1964 films available from local libraries, or rental stores.
Vote today! Please vote now: then take some time to review the films of 1964 — watch movies you've never seen and review your favorites — you can change your vote any time between now and the deadline.
Voting ends May 1, 2014. Results to be posted shortly thereafter. The #1 film will be screened locally. Happy voting!
Despite the rain, the Laramie Film Society presented “Easy Street,” “The Goat” and “An Eastern Westerner” during Jubilee Days. The films were shown on July 12 during the Jubilee Days Street Dance on the north wall of Ken's Music Box near the intersection of Second and Grand. Thanks to the Music Box for letting LFS use its wall. Thanks to the Cross Country Connection for letting us use electricity so LFS could plug in its projector. Thanks to the LFS volunteer Glenn McLellan who helped us get set up and help carry everything away afterwards.
"Easy Street," released in 1917 is one of Charlie Chaplin's early comedy classics. This 19-minute Mutual studio silent film pits the diminutive Chaplin, who plays a policeman, against a huge street thug played by Eric Campbell. Chaplin also wrote and directed this film. Chaplin creates humor from the unlikely subjects of poverty and violence in some mean city streets.
“The Goat” is a classic 1921 comedy. It is about a man (played by the legendary Buster Keaton) who is mistakenly identified as a murderer in newspapers and posters. He desperately dodges the police, and a variety of other pursuers, displaying incredible acrobatic skills and ingenuity. This film was selected by the Motion Picture Academy of Arts and Sciences as one of Keaton's two best short films (the other was "The Boat"). Keaton, a legendary movie actor, writer and director, also co-directed and scripted this film with Malcolm St. Clair. Keaton (1895-1966) was one of the true comic geniuses of film, with a brilliant career that spanned decades. His acrobatic physical style of comedy is similar to that of Charlie Chaplain, Harold Lloyd and Jackie Chan.
“The Goat” is the first film purchased by the Laramie Film Society. "Easy Street" was purchased in the summer of 2004. In the past we have rented all of the films we have shown. By shopping around on the Internet, LFS found a source of 16 millimeter films for a reasonable price. We can buy a film for about the same amount of money it costs to rent one.
“An Eastern Westerner” is a 1920 film starring Harold Lloyd, one of the biggest stars of silent films. The print we bought in 2010 is essentially the second half of this 20-minute film (which is O.K., because it is the funnier half and we got it at half price). The first half of the film takes place in a large city, probably New York. The half of the movie we have takes place in a town in the west populated by bad guys and crooked card sharks. There is also a group of hooded riders who look a lot like the KKK, menacing people in the town. The nimble Lloyd outsmarts the bad guys and gets the girl, of course.
The Laramie Film Society holds free silent film showings at the Eppson Centers for Seniors occasionally. One such showing was "The Goat" on August 6, 2007 at 5:30 p.m. at the Center. The showing was a big success. The audience of mostly seniors enjoyed the show. About 30 people attended the showing.
"The Goat," a 25-minute silent film starring Buster Keaton, was originally shown in downtown Laramie during the Jubilee Days Street Dance. "The Goat" is a 1921 comedy about a man (played by Buster Keaton) who is mistakenly identified as a murderer in newspapers and posters. He desperately dodges the police, and a variety of other pursuers, displaying incredible acrobatic skills and ingenuity. The LFS has also shown “Easy Street,” starring Charlie Chaplin, at the senior center. Send me an email if you want to set up a showing of either of these films or “An Eastern Westerner,” our other silent film, starring the legendary Harold Lloyd.
The IRS has determined that the Laramie Film Society is exempt from federal income tax as described in section 501 (c)(3) of the tax code. The LFS received the determination letter in mid-February.
This is a final determination. Since we have a reasonable assurance that our application was filed before the deadline, all donations to LFS dating back to September 5, 2000 should be eligible for deduction from federal income taxes. Donations are only allowable as deductions to the extent that the donations are gifts. LFS memberships and LFS t-shirts, and LFS movie ticket sales are not really eligible because people receive consideration for those purchases.
The complete IRS determination letter can be accessed by clicking on this link. This determination letter has been scanned into text, so there may be some typos. E-mail me (Robert Roten) so I can fix any typos you might spot. My e-mail address can be found on my web page Laramie Movie Scope. A copy of IRS Publication 1771 which outlines the rules for charitable donations was included with the decision letter. This short, two page document is well worth reading if you plan to donate anything to any non-profit organization. I was unable to scan this document into a text file, but I found a copy of it on the Internet (it is not available at the IRS site for some reason). A copy of Publication 1771 is included with the copy of the decision letter linked above. To read it, click on this link.
The 501 (c)(3) application for recognition of exemption (forms 1023, 8718, and 872-C) was delivered to the IRS office in Kentucky at 9 a.m. December 28, 2001, according to the UPS Internet delivery tracking system.
The delivery was three days before the deadline (the end of the 15th month from the date of incorporation). That means donations to LFS back to the date of incorporation (Sept. 5, 2000) should be tax-deductible. I have one copy of the application and I have made two others so that LFS Secretary Lynn Hamblin and Treasurer Casey Woods can keep them on file. I will also keep a copy on file. By law, a copy of the application must be kept on file for public inspection for three years.
The application uses form 872-C to "consent fixing period of limitation upon assessment of tax under section 4890 of the Internal Revenue Code." The reason for including this form in the application is that it is required when seeking an "advance ruling" rather than a "definitive ruling" on our tax- exempt status. Rather than making an advance ruling, however, the IRS chose to make a final ruling, so that form was evidently not needed. Who knew?
The Laramie Film Society was established as a Wyoming not-for-profit corporation in September of 2000 after the Wyo closed. It held its first general meeting and appointed a Board of Directors, with well-known Laramie film critic and writer Robert Roten as Chairman. The LFS was formed both to preserve the theater and to promote the appreciation of cinema in general in Laramie. While the LFS is in no way connected to the current group managing the Wyo Theatre, the LFS is very interested in making sure the theater stays open.
January 26, 2001 was a busy day. The Wyo Theatre reopened that day (featuring "Charlie's Angels," "Unbreakable" and "102 Dalmatians"), and the Laramie Film Society showed "All About My Mother" (Todo Sobre Mi Madre) at the Laramie Plains Civic Center that same evening. We talked this over with Randy Pryde, a partner of the company leasing the Wyo. He indicated the theater's opening was a little uncertain at that time (more on the Wyo below), so we decided to go ahead with our movie as planned. The LFS movie, the Laramie premier of "All About My Mother," winner of the 1999 Academy Award for best foreign film, was a big success. LFS, with the help of four sponsoring organizations attracted 150 people, five times the turnout of our previous feature, "A Christmas Story." We probably outdrew "Charlie's Angels." LFS feels the success of this show, despite the competition from seven other movies at the Fox and Wyo, and despite the fact that our movie was already out on video, vindicates our belief that there is a strong market for high quality films in Laramie.
LFS showed "A Christmas Story" at the civic center theater on December 15. The December showing was the first featuring a sound system donated by Dr. Charles Ksir, dean of the UW College of Education. It was also the first LFS film shown at the Civic Center. The sound system worked well, being a vast improvement over our previous sound equipment, but it was generally felt there was too much "boom" in the sound reproduction. LFS technicians reduced the bass and boosted the treble for "All About My Mother." "A Christmas Story," also has a number of lines of dialogue spoken by Darren McGavin which are intentionally garbled to indicate he is swearing.
LFS used a rented projector (which did not work well) in its first film and a borrowed projector (which worked very well) for second film. Now LFS owns three Bell and Howell 16 millimeter projectors. Two of the higher quality projectors will be used for showing the films and the third is a backup unit in case of a projector breakdown. New, these projectors cost over $1,000, but most have been devalued because of the popularity of digital video projectors. LFS purchased two newer Bell and Howell 2585 projectors for about $80 apiece from Ebay. During the showing of "All About My Mother" a projector bulb burned out. Projectionist Casey Wood (also a board member) quickly switched projectors, using our spare, and the show went on. The only thing that slowed us down was the burned out bulb. It was so hot we had to let it cool a bit before we could replace the bulb. LFS later purchased a number of spare projector bulbs.
"Duck Soup" and "A Christmas Story" were rented from Swank Motion Pictures for about $125 apiece, not counting shipping. "Duck Soup" was shown at our first fundraising event, "Soup and Cinema," held Dec. 3, 2000, from 4-7 p.m. at the Alice Hardie Stevens Center. "All About My Mother" cost $400 (from a different distributor) plus $40 for shipping and handling, so we found some sponsors to cover part of the costs. LFS also raised the admission price $1.50 for this film, to cover a portion of the higher costs. We also paid $50 for renting the Civic Center Theater for two hours, so our total costs for showing this film was about $500 (all labor is volunteer), versus about $200 for our first two films. We lost money on "A Christmas Story" due to a low turnout. That was partly due to the fact that "A Christmas Story" is shown a lot on television, there was a snow storm that evening, and the Laramie Daily Boomerang failed to run an advertisement for the movie that day LFS had contracted for.
Since "All About My Mother" was about three times as expensive as the previous LFS film (which we lost money on), we sought sponsors to help us offset the high cost of the film. We'd like to thank the sponsors of "All About My Mother." Sponsors included The Unitarian-Universalist Fellowship, custodian of the Matthew Shepard Fund; La Radio Montañesa: Voz de la Gente; University of Wyoming Women's Center, and the University of Wyoming Office of Multicultural Affairs (Hispanic Programs).
The Laramie Film Society coasted along for 10 years after the Wyo Theatre reopened, promoting the annual spring and fall film series. Laramie Film Society members Robert Roten, Nancy Sindelar (who also heads of the Wyoming Peace, Justice and Earth Center) and Lynn Hamlin, started a summer film series at the Albany County Public Library in 2007, which has continued to the present. Donations from this group, and donations by attendees at the film series have helped to pay for major upgrades in the library's audio-visual systems.
The owners of the Wyo Theatre discontinued the fall film series in 2011 due to a lack of attendance. LFS offered to sell advance tickets for the next film series in an attempt to revive it. The owners (Rocky Mountain Resort Cinemas) agreed to revive the annual film series if we could sell 500 tickets in advance. LFS sold 1,300 advance tickets for the 2011 spring film series. With this kind of community support, and LFS selling advance tickets, the annual fall and spring film series have continued at the Wyo Theatre.
The Wyo Theatre was built around 1928 according to business listings in the Polk City, County and State directories from that period. The theater, at 309 S. Fifth St. in Laramie, was originally named the Crown Theater. It is one of the oldest continuously operating movie theaters in Wyoming.
J.G. Burbank, the former manager of the old Empress Theater (it was later renamed the Fox Theater) on 112 South Second Street (that building was recently demolished) was listed as the original owner of the new Crown Theater. He owned the theater for many years. In 1950, the name of the theater was changed from the Crown Theater to the Wyo Theatre , according to the web site Cinema Treasures.
When the name of the theater was changed to the Wyo, the exterior of the theater was remodeled. Architect Charles D. Strong drew up the plans for the remodel, giving the building an Art Deco look, according to Cinema Treasures.
The Burbank estate sold the theater to Carmike Cinemas, one of the largest theater chains in the country, in 1996. It was later sold to Trans-Lux Corporation. Rocky Mountain Resort Cinemas purchased the theater in 1999 and still owns the property.
The theater operated as a first-run theater for over 70 years showing new films from Hollywood. It was common practice for years in Laramie for movie theaters to show new films weeks or months after they had opened in larger cities. Film rental costs are lower after a film has been in release for a few weeks. That practice changed over time as mass marketing of movies on television made it more profitable to open movies simultaneously all over the country, including in smaller cities like Laramie.
The theater last showed first run films in 1999. The interior of the theater was remodeled that year by the Trans-Lux Corporation especially for the Laramie premiere of the blockbuster film, “Star Wars Episode One: The Phantom Menace.” At that time, the Laramie Boomerang reported that “The theater is now equipped with new, larger, more comfortable seats, a new Dolby® four-channel digital sound system, a brighter projector light, a new screen, new draperies and new carpeting, among other improvements. The sound system has speakers on all four sides of the auditorium, with 13 12-inch speakers behind the screen, along with some 16-inch sub-woofers for a visceral bass sound quality.”
After 1999, the Wyo became a “mid-run” theater, opening films months after those films opened in larger cities, while the competing multiplex Fox Theater in Laramie remained a first-run theater, opening films on the same day they opened in larger cities around the country. Often, the Wyo runs the same movies that had previously been shown at the Fox. The Wyo attracts families with its lower ticket and concession prices.
The Wyo also offers films not shown elsewhere in Laramie, independent, documentary, foreign and “art” films, which are shown on Sundays during annual spring and fall film series. It also has a low-cost matinee film series for children in the summer.
Since 1989, the Wyo has shown over 450 independent, art and foreign films, such as “Billy Elliot,” “Chocolat,” “Love Actually,” “An Inconvenient Truth” and “La Vie En Rose.” These are the kinds of films that most theaters don't bother to show. Often, they are not shown because these kinds of films are not widely distributed and there is no major marketing campaign to support them.
Over the years, the theater was leased by a number of different movie theater companies, including Mann Theaters, the Commonwealth Theater Group, Carmike Cinemas, Trans-Lux Cinemas and finally Movie Palaces, Inc. and the Bijou Inc. partnership of Casper Wyoming.
The theater closed briefly in 2000 after Trans-Lux gave up its lease on the theater. Later, Movie Palaces and Bijou stopped using the theater on May 18, 2001. Rocky Mountain Resort Cinemas (RMRC) bought all the equipment purchased for the Wyo by Bijou-Movie Palaces, and assumed full management of the theater. RMRC continues to own and run the theater now.
The movie theater business model changed in the late 20th century to favor multiplex theaters over single screen theaters like the Wyo. One of the factors in the change was the end of dual projector systems, which required constant operator attention to change film reels, start and stop projectors and thread film through the projectors during the movie.
These dual projector systems were replaced by a single projector system in which all the reels of film were spliced together at the theater, then broken apart again for shipment. The complete film was wound onto a large horizontal rotating platter, about four feet in diameter. The film was drawn off the platter, run through the projector and then fed back onto the platter again. This system required little attention once the film was started. With this system, a single projectionist could run a number of movies simultaneously at a multiplex theater, resulting in reduced labor costs for projection.
With this technical innovation, multiplexes became more profitable than single-screen theaters. Multiple movies could be shown at a single location while labor costs for projection, ticket sales and concessions could be consolidated for cost savings. The old projection worker unions were broken and wages were cut to a minimum. With the advent of digital projection systems, labor costs were cut even more.
Television advertising became the preferred method for advertising films. Years ago, local theaters promoted their films with large newspaper advertisements. Now that national television advertising campaigns dominate the movie business, local newspaper advertising for movies has virtually disappeared. That means local theaters have lost any independence they once had. They usually show movies that are supported by a lot of advertising, regardless of the quality of the movie.
All these changes have left the Wyo Theatre with the biggest screen in Laramie, at over 30 feet wide. Laramie's other movie theater, the Fox, was originally a large single-screen theater, but has been remodeled over the years into a multiplex with a six smaller screens in relatively small auditoriums. The Wyo Theatre is over 6,200 square feet in size with 325 seats. It has, by far, the biggest screen and the most seating capacity for a single show in Laramie.
The Wyo Theatre also has the look of an older theater with art-deco trimmings on the outside of the building and murals of cowboys on the inside. The sidewalk in front of the theater is painted yellow and brown, the colors of the University of Wyoming sports teams. The name Wyo Theatre is shared with another theater in Wyoming. Sheridan also has a Wyo Theater. According to the web site Cinema Treasures, there once was a Wyo Theatre in Cheyenne at 1612 Carey Avenue.
Although the Wyo Theatre has a long history in Wyoming, it's future appeared to be very uncertain until this year. The owners of the Wyo Theatre, Rocky Mountain Resort Cinemas. Because of the age of the theater and its obsolete projection equipment, it was feared the theater might close. But the owners put in a digital projection system which greatly improved the picture and sound quality. Then a new, local owner, WyoLaramie LLC, stepped in to take over the theater with plans to fix up the building and make the theater better than ever.
For more about the new owner's plans for the Wyo Theatre, see the Wyo Theatre's Web Site. We wish the new owner success and we hope do our part to help make the theater successful in the future.
You can join LFS by sending $15 to the Laramie Film Society, along with a self-addressed stamped envelope to: The Laramie Film Society, 3019 Pope Springs Road, Laramie, WY, 82070. Donations to LFS can be sent to the same address. Donations are tax deductible.
If you have trouble subscribing to the e-mail list via the Web links above, you can also subscribe to the announcement list by sending a message to firstname.lastname@example.org. You can subscribe to the discussion list by visiting this website http://groups.google.com/group/laramie-film-society-discussions?hl=en. If all else fails, e-mail Robert Roten (address at bottom of page) and ask him to send you invitations to either list.
Web space for this site provided by LARIAT,
Laramie's Community Network and Internet Users' Group.
Web page design by Brett Glass. Photo of the Wyo Theater by Robert Roten (E-mail at )


A long time ago, around about 1986, in a town far, far away (okay, Bunbury to be precise) the world was three years past experiencing the original Star Wars Trilogy, and a young child had been born. George Lucas and his empire, Lucasfilm, were now household names and Harrison Ford had been catapulted into a future as one of Hollywood’s A-list megastars. Star Wars captured the imaginations of people around the world, and redefined the expectations of science fiction cinema. Not even Lucas himself would foresee the legacy he had created. Fast forward to 1993, to a small mining town in north-east WA, where that now 7 year old boy was putting on the VHS tape of A New Hope that his mother had recorded the night before. I had no idea what to expect and to what extent that tape would impact my life in the following years. I could not comprehend that I’d watch those tapes at least 3 times a year, buy nearly every Star Wars video game, read nearly every Star Wars novel, collect innumerable Star Wars memorabilia and, on one fateful trip to Canada, have Han Solo and Chewie emblazoned in ink on my shoulder.
Nearly 40 years and 6 Star Wars films later, the world is on the cusp of continuing the stories of Luke, Han and Leia, and being introduced to an all new trio of heroes fighting the good fight against the Sith in The Force Awakens. As with Lucas casting relatively unknown actors in the respective roles for A New Hope, director JJ Abrams has taken a similar approach with casting John Boyega as Finn, Daisy Ridley as Rey and Oscar Isaac as Poe Dameron. Even antagonist Kylo Ren is played by a veritable unknown, Adam Driver. According to Abrams, the puppets, life-size props, and on-location filming are back for The Force Awakens over the spectacular, though ultimately flawed CGI that characterised Episodes I-III. This criticism is perfectly exemplified in a line from the 2009 film Fanboys, “You gotta keep the flaws. Crappy effects, real puppets. That’s what makes it so good, ya know?” The hype over the notion that Abrams, a ‘true fan’ of the movies was intent on bringing back the magic of the original trilogy has possibly reached tipping point. The initial scepticism, at least what I noticed, about a Disney-backed Star Wars VII seems to have dissipated. Even I felt chills hearing Mark Hammill echo his famous line from Return of the Jedi in the teaser for Episode VII; “The Force is strong in my family. My father has it. I have it. My sister has it. You have that power, too”. It may seem like I have been suckered in by false Disney promises, but as it stands, Darth Vader wouldn’t find my lack of faith disturbing.
I am, however, not the only Star Wars fanatic in Perth. I wanted to find out exactly how others, both old fans and new, were planning on spending December 17, 2015, the opening night of The Force Awakens.
The last Star Wars opening night I attended was 2005’s Revenge of the Sith, where I attempted to ‘Jedi Mind Trick’ the candy bar staff into giving me a free ice-cream and admired the levels of authenticity of the numerous Jedi robes and Sith cloaks.
I spoke with Kerrie Fulker, a local cosplayer who has recently watched all 6 movies in succession. “I’m super excited for this movie. I’m actually really new to this fandom and only watched the movies in the last 6 months. But I easy went from a 0 to 110% fan. Now I’m into the books and comics. I’m really excited to go see the movie with all the other Star Wars lovers and be a part of the hype!” As a long-time fanboy, it gladdens me to hear that the movies still can inspire and draw newcomers in. I expected Kerrie may even dress up for the occasion too, “The 6 of us plan to dress up and I will be making Mara Jade. Even though she won’t be in the movies (Luke’s wife may be a bit old by then haha) I still think she’s awesome.”
When Disney took over the Star Wars franchise they null-and-voided all Expanded Universe characters and storylines, including that of Mara Jade Skywalker. What surprises me most about the modern Star Wars fans, especially newcomers such as Kerrie, is that they’re happy to recognise all characters, canon or not. I suspect that following the premiere of The Force Awakens we will see many more Rey and Finn cosplayers. In terms of what to expect, I will admit to having been hooked by the trailers. I am, however, trying to remain objective. I don’t want to expect too much, just in case.
Who am I kidding, I cried watching the trailer and I’m sure I will love the film no matter what. But I am wondering, why isn’t Luke in the trailers…Is he missing? Do they have to find him? Is he chilling with Yoda?!” Kerrie says. I am with her on this; where is Luke Skywalker?
The fans are clearly prepared, but what of the venues? I approached Event Cinemas Innaloo to see how they were faring with the advent of The Force Awakens. Tickets to the midnight screening were sold out within minutes of me purchasing my seat. The official media release for Event cinemas, statewide, reads “After a few hours ticket pre-sales for Star Wars: The Force Awakens have eclipsed all previous pre-sale records at Event Cinemas. 1,200 tickets were sold in the first minute growing to 10,000 tickets in 10 minutes with 30,000 tickets sold to date”.
Amalgamated Holdings Limited managing director David Sergeant says “We anticipated the ticket sales for Star Wars: The Force Awakens to break records, however the pace in which this film has achieved this is remarkable”. In comparison, ticket sales on the first day exceeded those of The Twilight Saga: Breaking Dawn – Part 2, Harry Potter and The Deathly Hollows Part 2 by over 3000 tickets. In just 4 hours, sales for The Force Awakens tallied more than the entire pre-sale campaign for The Avengers. The figures aren’t entirely surprising; Event Cinemas Innaloo alone is running 8 midnight screenings and another at 3am. I have to hand it to those that will be exiting the cinema around 6am.
So, how will I be spending December 17? I will be at Event Cinemas, armed with a lightsaber and a camera, wearing a blatantly over-the-top fanboy t-shirt and attempting to mind-trick punters into a photo for Lost Magazine. May the Force be with you.


Produced by John-Michael Queant
Nathaniel Burmeister - Vocals
Keenan Dorn - Guitar
Elijah Hansen - Bass Guitar (Electric)
Nathan Hansen - Drums, Percussion Instruments
August King - Keyboards
John-Michael Queant - Guitar, Keyboards, Vocals
Tracking Engineer - John-Michael Queant
Mixing Engineer - Matt Huber
Mastering Engineer - Thaddeus Moore
Artwork by Brad Phillips
Photography by Oliver King
With an E Street-inspired saxophone lead and an arrangement straight out of Quincy Jones' playbook, "Cooler" is The Graduating Class leaning into the nostalgia of the 80s. The track features punchy drums, cascading synths, crisp rhythm guitar, and the aforementioned blazing sax line. "Cooler" also marks the Graduating Class' first foray into production, as the band recorded the song themselves in the basement of a shuttered music venue.
Lyrically, "Cooler" tells an all-too-universal story about working up the courage to ask someone out; the song's setting is reminiscent of a scene from a John Hughes movie. According to songwriter/producer John Queant: "'Cooler' is about the inner monologue in a person's head as they're trying to ask someone out. I imagined a scene from a cheesy movie, where a total bombshell walks into the club, everyone's jaws hit the floor, and the record skips a beat. The song's narrator is just trying to work up the courage to ask them to dance."


If you're a Jane Austen fan, you might be up for this film. Maybe. Its more of a romantic comedy. There is always Jennifer Coolidge for a laugh add Brett McKenzie from Flight of the Conchords and more laughs.
Yet Jane Seymour gives a seriousness to the movie. After all, she's giving up her home for those to experience the Jane Austen life. But the bad thing is, unlucky in love Kerri Russell's Jane didn't get the deluxe package on her Jane Austen vacation.
Of course, Jane's home is a museum of Jane Austen stuff. She's promised her pregnant and married film that she will move on if she doesn't find the romance she's looking for. Of course, we do think she's found something on the roleplaying visit, but he's not one of the actors, but the guy who does all the odds and ends around the mansion..none other than Brett McKenzie. Of course, there is JJ Fields as the Mr. Darcy type.
JJ might make you think of Tom Hiddleston, a little, and he does make a fine Mr. Darcy. In real life JJ Fields is Neve Campbell's significant other.
Anyway, the movie does have its Austen adventures as in trying to figure each other out. Georgia King does her best to be the competition.
Its isn't terribly silly, but its not amazingly funny, either.
Still, I'm glad I watched it. Naturally, somewhere there is a happy ending.
STORYLINE: Austenland is a romantic comedy about 30-something, single Jane Hayes, a seemingly normal young woman with a secret: her obsession with Mr. Darcy-as played by Colin Firth in the BBC adaptation of Pride and Prejudice-is ruining her love life; no real man can compare. But when she decides to spend her life savings on a trip to an English resort catering to Austen-crazed women, Jane's fantasies of meeting the perfect Regency-era gentleman suddenly become more real than she ever could have imagine.


Painting Practice are currently looking forÂ Junior Pre-vis AnimatorsÂ to join our team in Cardiff, Wales. The project is a high-end TV adaptation of a best-selling book series, with innovative and complex design & VFX components.Â
3D Character Animators required. Preferable additional experience includes: video editing (Premiere Pro), storyboarding and 2D animation.
An interest in cinematography, directing for film, modelling and rigging are all desirable attributes.
2D Animators with storyboarding experience and an interest in 3D are also encouraged to apply.
At PP Wales we work in Cinema 4D, so it would be useful if you are well versed in this software.
Visit our websiteÂ www.paintingpractice.comÂ to view the work of our award-winning studio.
Please forward your CV and showreel to Edith Chappey -Â firstname.lastname@example.org


Bring down the planetary shield and prepare to receive the podcast.
This podcast contains adult language and spoilers for Rogue One, the rest of the Star Wars movies, Star Wars Legends stories including Darksaber, Death Star, the Han Solo Trilogy, and the Thrawn Trilogy, and the movie and graphic novel Watchmen.
0:00 – Of course, there’s a lot more to Donnie Yen’s career than the Ip Man trilogy, for example, the beautiful chess house fight sequence in Zhang Yimou’s Hero.
1:40 – I sometimes write a short summary like this for a movie I intend to talk about, to make sure I’ve got the whole thing straight in my head. PK will be relieved to know that we probably won’t include them in podcasts anymore.
6:16 – Made it! With time to spare!
7:01 – I’m referring to this thing, the planetary shield generator destroyed by AT-ATs in the Battle of Hoth, as depicted in the film The Empire Strikes Back.
7:32 – Also, planetary shields can withstand Star Destroyer bombardments. If they couldn’t withstand Star Destroyers crashing into them, that would be the obvious first step in any planetary assault.
12:32 – I didn’t make it up!
15:18 – That’s from DOOM: Repercussions of Evil.
16:52 – Reports I’ve heard since this recording suggest that “everyone dies” was always the ending director Gareth Edwards intended – but he initially believed Disney would force him to change it. Although the film’s first writer, Gary Whitta, wrote a happy ending in which Jyn and Cassian survive in an escape pod, it never got as far as shooting before Disney approved the grim finale we see. (That hasn’t stopped some news outlets from stirring the shit with deceptive titles.)
18:57 – Cassian’s ruthless commanding officer, General Davits Draven, is played by actor Alistair Petrie. You might have seen him as a member of Hugh Laurie’s entourage in The Night Manager, or as the Major that BBC’s Sherlock saves in “The Sign of Three.”
24:46 – Darksaber was brought to you by Mr. Kevin J. Anderson.
24:53 – PK the Hutt lives!
25:11 – Baze Malbus was played by Jiang Wen.
29:23 – You might remember Ben Mendelsohn from his villain turn as John Daggett in The Dark Knight Rises.
33:20 – Tarkin’s voice was provided by actor Guy Henry, who also stood in for the character during shooting. Princess Leia’s stand-in was actress Ingvild Deila, but her voice was taken from an outtake of Carrie Fisher’s performance in A New Hope.
34:57 – According to The Truce at Bakura, the crew complement on the Death Star was approximately one million people. There’s no mention, however, that any civilians were aboard.
35:29 – PK’s talking about Mirith Sinn.
36:48 – We do, indeed!
38:11 – For starters, you might try Wookieepedia’s page on the Death Star plans.
39:00 – You can view this masterpiece here.
45:17 – A little while ago I mentioned Bevel Lemelisk as the Death Star engineer, but now I say Qwi Xux. The simple answer is, it depends on which book you read. Another answer, adopted in Darksaber, is that they worked together.
51:05 – Saw Gerrera first appeared in the fifth season of The Clone Wars animated series. He went on to appear in episodes of Rebels set before the events of Rogue One – in the latter case, with Forest Whitaker reprising the role.
52:42 – Leia was disguised as an Ubese bounty hunter named Boussh. According to Shadows of the Empire, Leia was provided with the disguise by the Black Sun crime syndicate, after Boussh had a disagreement with Black Sun that resulted in them having his clothes and him not needing them anymore.
1:03:52 – I assume when PK says “realistic urban warfare,” he’s not talking about Live and Let Die anymore.
1:12:05 – That was a reference to Star Trek VI: The Undiscovered Country, in which the Klingon homeworld’s moon, Praxis, explodes due to excessive energy mining. Writer/director Nicholas Meyer intended the incident to parallel the Chernobyl nuclear meltdown: an environmental and economic disaster that would force a rival power to the negotiating table.
1:17:13 – Actually, Darth Vader snap-hisses it up in the final minutes of the movie.
1:17:35 – One of my favorite new features in Dungeons & Dragons 5th edition is the Trinket Table, a list of 100 weird, worthless items for your character to start with. Whether your trinket turns out to be a key plot item or just a personal keepsake is up to you and the gamemaster.
1:19:15 – It’s been confirmed that Darth Vader’s lava palace is on Mustafar – the Rogue One novelization has Krennic specifically ordered to Mustafar for his meeting with Vader. PK has a theory that the lack of a scene-setting subtitle was deliberate, that Vader’s palace will feature in a future movie, possibly Episode VIII, and its location was not called out to avoid spoiling that appearance.


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The Romantic Italian Heartthrobs and How They Made American Women Swoon
Part 1 of 2: Marcello Mastroianni
by Cookie Curci
In my opinion, the two most romantic and dynamic Italian leading men, imported from Italy, were Marcello Mastroianni and Rossano Brazzi. Just saying and hearing their names titillated American woman......and when these actors emoted on the big screen...well, it was like every adult female in the audience believed it was for her eyes only.
In 1961, when Photoplay magazine asked its readers to vote for their favorite new Hollywood actor, Italian born stars Marcello Mastroianni and Rossano Brazzi finished first and second, respectively, on a list that included Italian Americans Frank Sinatra and Dean Martin. During the 1960s, when much of the film industry was in the doldrums film directors and stars, imported from Italy, attracted audiences back to the movie houses. These internationally famous superstars created an enviable image of the cool, good-looking jet setter.
Marcello Mastroianni, with his tall, dark and handsome good looks just naturally filled the roll of the bon vivant man of the world. American movie fans adored his on screen persona. While his rakish smile and devil-may-care attitude, appealed to American men, who envied his unencumbered lifestyle? But it was Mastroianni's sensitive, romantic, nature that attracted his faithful female followers.
Mastroianni was born in 1924, in Fontana, Italy, but his family would soon move to Turin and then on to Rome. The Italian star's real life may have been more exciting then some of his movie rolls. As a young man, serving in the military during W.W.II, Mastroianni was captured and sent to a German prison camp. He managed to escape and hide in Venice at the home of friends and relative. After the war Mastroianni tried his hand at acting. His breakthrough film came in 1960, when Federico Fellini cast the sexy actor as an attractive, journalist in the jet-set film, La Dolce Vita (1960) This film would prove to be the genesis of his "Latin lover" persona.
When asked about his famous role in this Fellini film, the actor is said to have told interviewers that he was hired because Fellini thought he had a "terribly ordinary face."
Mastroianni was never one to take his star status seriously. In fact, he couldn't understand why some method actors made working in films so much work. "I just do what comes naturally," said Mastroianni, "no preparation, no hours of studying, and it's always turns out to be more fun than work."
Mastroianni starred in a series of films with the equally famous and romantic leading actress, Sophia Loren. One of the most memorable films was Ieri, Oggi, Domani (Yesterday, Today and Tomorrow) (1963). These films proved to be Italy's most popular paring of a male and female star in the 20th century. Award winning Costumes by Christian Dior enhanced these films, which exploits the enormous appeal of both stars. When asked by a reporter why he rarely portrayed mobsters in his films, Mastroianni answered with a wink, "I'm a lover, not a fighter." He more than lived up to that reputation.
Marcello Mastroianni was wed to Flora Carabella since 1948. However, at his bedside when he died were his long time, extra marital amore, actress Catherine Deneuve, and their love child Chiara. It seems this Latin lover's personal life was not far from the on screen romantic characters he portrayed.
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About the branch
The RPL Film Theatre screens the best of world cinema – up to 15 films a month. The Film Theatre has “something for everyone” and is the only cinema in the city to consistently present critically-acclaimed contemporary and alternative cinema: Canadian, foreign and independent films and documentaries.
For more than 50 years, Regina Public Library (RPL) has played a pivotal role in the cultural life of the city of Regina and surrounding areas. In the mid-60s, interest in a permanent venue for film enthusiasts grew into a program at the Library – a co-operative effort between the local Film Council and the National Film Board of Canada. A landmark year for the cultural, multi-cultural and surrounding business communities was 1975, the year the RPL Film Theatre was officially launched.
Follow the RPL Film Theatre on Facebook at RPL Film Theatre for all the greatest updates on movies.


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Girl, Boy, Bakla, Tomboy is kind of a tricky film. The title puts the idea of differing sexualities right up front, but the movie isn’t really defined by that idea. It’s instead a fairly dramatically grounded family drama about a son feeling abandoned by his father, augmented by a good deal of Wenn Deramas’ typical absurdist humor. The film runs a tad long for what it is, its emotional climax taking place in the middle of the movie. But solid production values and strong, committed performances keep the film chugging along.
Years ago, Pia (Maricel Soriano) gave birth to quadruplets. The siblings were split up when her husband Pete (Joey Marquez) left for the States, and his domineering mother brought a couple of kids along. The quadruplets grow up not knowing of the existence of the other pair. But the secret is revealed when Peter (Vice Ganda) needs a compatible liver to save him from Hepatitis. He and his sister Girlie (Vice Ganda), along with their dad, travel to Manila to find their siblings Mark and Paying (both played by Vice Ganda). But when they find them, it turns out that Mark has been harboring a lot of resentment, and as the only compatible donor, he sets out to make sure that his far more affluent siblings get a taste of what his life was like.
The film doesn’t really make a big deal out of the individual sexual orientations of each of the characters. There are maybe just a couple of scenes that really capitalize on the differences between them. But the film is really much more about family, and bonds that unite siblings even if they don’t really know each other. The film finds its emotional grounding in the character of Mark, who upon seeing his father and his US-grown siblings, releases his pent-up frustration with his much harsher upbringing. The film gets pretty silly, but it nails its more dramatic moments.
The problem is that the film doesn’t actually have a lot of plot to tell. The film largely finishes its main dramatic arc by the halfway point of the film. The rest of the film is mainly concerned with far less interesting subplots, none of which the film resolves to any satisfying degree. The film’s flair for the absurd keeps things from just falling apart, and the solid technical package keeps all of it watchable. But it does wear thin after a while. The film just runs out of things to talk about, and basically just starts repeating itself.
Vice Ganda does a pretty good job playing the four main roles. The comedian mostly sticks to the established schtick through most of the comedy, a lot of it drawn from elaborately composed insult humor. But he finds something real enough in the dramatic scenes. Also great in the film is Maricel Soriano. There might be no better actress to have in a comedy. All her humor is grounded in her character. The humanity she imbues in the scenes transcends the outright silliness of some of these conceits. The set up for this movie doesn’t make any at all, but Soriano really does sell the pain that her character went through.
Girl, Boy, Bakla, Tomboy is a really solid offering. Its last half gets a little tedious, and the ending wraps things up a little too neatly, but as a whole, the movie does have heart. It is oddly resonant when it starts exploring the rift that formed between these siblings, transcending the easy jokes of the premise to deliver something a little more human. I’m certain that the title has already turned a lot of people off, but the film is more than its title.


Jenny McCarthy said actor Steven Seagal sexually harassed her during a 1995 audition.
The former Playboy model recounted her encounter with Seagal during a tryout for "Under Siege 2" on her Sirius XM radio show Thursday.
She said she was alone in the room with Seagal when he asked her to sit next to him on a couch. After she declined, Seagal asked her to take her clothes off even though the part required no nudity, she said. McCarthy said she walked out of the audition, but Seagal followed her and warned her not to tell anyone.
McCarthy told the same story to Movieline in 1998.
A representative for Seagal didn't immediately return a request for comment Friday, but a Seagal spokesman has denied the accusations to The Daily Beast.
This isn't the first sexual harassment allegation against the actor. On Wednesday, actress Portia de Rossi accused Seagal of unzipping his pants during a movie audition.
Actress Julianna Marguiles recently opened up about meeting with Seagal in his hotel room when she was in her twenties about three decades ago. She said he showed off his gun and offered to give her a massage.
U.S. & World
E! News has reached out to Seagal for comment on both de Rossi and Marguiles' allegations.
--NBC’s Teddy Grant contributed to this story.


Dear friends as you will all be aware Sir Sean Connery recently passed away. at 90 years of age.
A fantastic actor, he appeared in many James Bond movies and if you are an avid fan as I am you will appreciate how popular he was.
Sean was born in the same City I was born. Edinburgh, he was born a short distance away from where I lived, a very affluent part of the City.
I would just like to say rest in peace mate, you gave us a lot of thrills as Mr Bond, and all your other acting roles, a credit to Scotland, be at peace now .#rip #sirseanconnery #jamesbond #actor #scottish Click To Tweet


Forty-four years ago this month, I fell in love with high-brow cinema. I already loved the movies and probably wanted to see the biggest film of the year, Rocky, during our Thanksgiving film outing. Tickets to see the Italian Stallion were hard to come by and as a result, we ended up in the small theater watching Network. I feel like I am still living it.
In case you are not familiar, Network tells the story of Howard Beale, a past-his-prime anchorman for the struggling UBS network. Corporate raiders backed by the ultimate 1970’s villains, the Arabs, mean to bring changes to the UBS newsroom. Beale react to his imminent firing by going off the deep end, much to the delight of a growing audience. The executive producer, a world-weary news veteran and Beale’s best friend, tries to protect the anchor from making a fool of himself. The up and comers at UBS have other ideas and decide to cash in on their apocryphal mad man.
Adhering to the philosophy that those who comment on films should never reveal the ending, even if it happened four decades ago, we will not discuss the film’s resolution. Suffice it to say the film deserves its reputation as a masterpiece, ranking 66th on the American Film Institute’s Top 100 American movies list. (Rocky clocks in at #78, so it was win-win situation). The film received 10 Academy Award nominations and won four, including three of the four acting categories as well as Best Original Screenplay for Paddy Chayefsky. Tragically, Peter Finch’s Best Actor Oscar was delivered posthumously. Faye Dunaway took home the Oscar for a female lead based on her portrayal of a rising executive willing to go to absurd lengths for ratings.
Finch’s iconic “Mad as Hell” scene and Dunaway’s reactions to the newsman’s rage cemented their awards. Movies are about the suspension of disbelief. For 1976, the industry judged that Peter Finch and Faye Dunaway helped us “disbelieve” better than any other actors when they convinced us that television news would be willing to capitalize on crazy ideas that played to emotion rather than reason; that it was more important to push viewers’ buttons than to report actual news. Were Finch and Dunaway to reprise their roles today they would give great performances, but no awards would come their way. We do not need to suspend our disbelieve to see a newsroom operating the way UBS operated; we can just turn on the television.
In 1976, we could not imagine Walter Cronkite, David Brinkley, Frank Reynolds or John Chancellor acting remotely like the crazed Howard Beale. Paddy Chayefsky could. Paddy happened to be friends with John Chancellor. With the basic idea for the film ruminating around his head, Paddy asked Chancellor whether it wold be possible for a network anchor to go insane on national television. Chancellor gave a straight answer: “Every day.” Chancellor’s response was all Paddy needed to hear to complete his magnum opus. Paddy spent close to a year with an all access pass to the CBS newsroom and Cronkite, an effort that found its reward in a realistic portrayal of a modern newsroom.
The more important element to the screenplay was Chayefsky’s portrayal of what was going to happen as opposed to what was happening. His insights were multiple. First, that journalistic ethics provided no match for profits. Second, that the population was aggrieved in a deeply unsettling way. Third, that the marriage of those two facts would produce a free for all that could not be turned back.
Here we are 44 years later and “I am as mad as hell” plays across the channels constantly. The loudest voice wins. For the very few things that broadcasters refuse to air, we have streaming services as an outlet. In the movie, people rushed to their windows to yell the catch phrase. Today it is dinner table conversation or, better yet, the stuff of social media posts. It is actually easier that way, we can save the wear and tear on our throats by hitting the all caps key.
While I deeply admire the craftsmanship of the film, I have no idea why it resonates so strongly with me. My default outlook is optimism, the movie is as bleak as it gets. The only thing close to a hero the movie offers is the executive producer character played by William Holden. Holden, who also received a best male lead nomination, fights the good fight. But he loses. If you cannot tell, I hate that he loses in the movie and I hate that we have lost our reverence for fact-based news in real life.
By the time Chayefsky wrote the screenplay he was a cynic of the highest order. My question is whether the success of his predictions justified that cynicism. Built into the writer’s criticism of the news industry is a more subtle and more important truth. If the news industry was willing to abandon principles for money, that willingness reflected a market demand for Howard Beale’s histrionics. The consumer is always right. So who is to blame for the fall of fact-based journalism?
In 2019, seniors averaged four hours a day watching television. People aged 25-34 spent half as much time consuming what the networks were selling. The last month has been nothing but glorious weather here in Waco. So maybe Howard Beale was right after all. If we Empty Nesters are dissatisfied with life; if we have rage that must be dealt with, then we do need to rise up. Get up off the couch and march to the set with channel changer in hand. Then turn the thing off and go for a walk. ‘They” will hear you clearly and much better than any all caps post you can send.


Reading the Rainbow (LGBTQ+ Film Literacy Project)
Reading the Rainbow will be discussing LGBTQ+ representations within a few different films and TV shows, discussing what good representation looks like, how the language of film works and highlighting resources for LGBTQ+ young people to keep themselves safe online.
The events are at 17:30 PM on Tuesday 15th, 22nd and 29th of June and will be delivered remotely. Young people can book free tickets here: Newport Live | Events
Please also see below an education pack for the film The Half of It which contains exercises on identity and identifying unhelpful LGBTQ+ stereotypes.


Wow…I have not seen a film that charmed me so much perhaps since the first time I saw Love Actually. And I must say, I loved this one more. Maybe because it was an English major’s fantasy, and maybe because it was so lightheartedly existential, but I truly adored it. I am talking about Midnight in Paris and if you haven’t seen it, you better rent it soon because it is a delight.
The story features some of my favorite actors — Rachel McAdams, Owen Wilson, Kathy Bates, and a new favorite, Marion Cotillard. It is just delightful and tells the story of an engaged couple (McAdams and Wilson) visiting Paris while Wilson’s character (Gil Pender) works on a book. McAdams (Inez) is the ever-spoiled, shallow shrew of a woman whose judgmental and sardonic parents complete her ever-insulting thoughts.
Gil Pender is fun-loving, the ultimate example of a disheveled, scattered artist, and a perfect Woody Allen personification. (Allen directed the film) And each night at midnight, Gil is mysteriously and miraculously transported to the era of his beloved idols — Hemingway, Stein, Fitzgerald, Picasso…and on. It is as magical as it is mysterious and absolutely captivating.
As a lover of literature, the very thought is tantalizing and Allen directed it in such a way that it fulfills that desperate itch we can never scratch of imagining what it must have been like to live among such greats.
The film has its twists and turns, of course, moments of witty snippets littered throughout. But it also has a moment of epiphany — of recognizing that the present is never the “golden age” that you think a prior era must have been. Which jolts us back into our present worlds — the lives we live outside of enjoying a film such as this — with the reminder that sometimes the present is not all that bad…
Please go see this movie! It is a winner!


Why You Should Write Comic Character Monologues
It’s good for your writing to do something different once in a while
Are you finding it harder to write right now? Is it writer’s block or do you feel pressured to write something significant? Could it be that you’re tired of writing the same articles, essays, and non-fiction that you always write?
You try different ways to express yourself. However, making a video of your #isolationlife or aTik Tok where you lip-sync to For Your Love isn’t inspiring you creatively and is doing nothing for your writing.
To help you get over the writing blahs; you need to mix it up. The best thing you can do is to write something that pops.
A popular genre of writing is the comic character monologue. Out of necessity, actors and writers are putting their creative energies into these writing small, one-person sketches that they can do by themselves.
Comic character monologues can be a stand-alone bit or set pieces to a larger work. Think of sketch shows like SNL, MadTV, Key & Peele, Dave Chappell Show, In Living Color, and Kids in the Hall — all have some kind of character solo bits.
If you saw either of the recent Saturday Night Live: At Home episodes, you may have noticed that there were quite a few character monologues and that they worked well within the confines of social distancing.
Now is the perfect time for relatable, hilarious, character monologues because they’re self-contained, versatile, and they can spark you creatively in a way that inspires you to get out of your comfort zone.
There are many benefits to writing character monologues even if you’re not associated with any sketch show. They’re a great way to work on creating memorable characters, improving your humor writing skills, generating material for yourself, and expressing your funny side.
What are comic character monologues?
You may think that you’ve never seen one but sketch shows, playwriting festivals, and scripts for T.V. and film are full of them.
A monologue is one person speaking — usually to someone invisible. We know that they’re talking to their neighbor, their doctor, or even a customer at a strip club by what information that’s given to us in the piece.
A character monologue is one where there’s a fully fleshed-out character. They’re not there to provide support for another character — this character has the spotlight all to themselves.
And when there’s only one person as the focus; it makes the writing, as well as the performance, stand out.
Some people may get confused between a character monologue and a stand-up comic who does characters.
When a stand-up comic is doing their routine, they may act out a character as a way to deliver their jokes, but a joke-delivery-system isn’t comic character monologue. If the stand-up chose to do their whole act in character, it would depend on the content of the monologue if it was a comic character piece.
Stand-up comedy tends to be based on a set-up and punchline format whereas the humor in a character monologue, it’s the character who provides the humor in what they do or say.
These kinds of comic characters may be outrageous, eccentric, and bizarre, but there’s always a kernel of realness to them.
We laugh at and with these characters because we recognize their humanity.
One of the highlights of the recent SNL: At Home was the sketch where Kate McKinnon played Barbara DeDrew of ‘Whiskers R We’ and her cat played all the cats that Barbara was trying to get adopted.
Since cats aren’t considered professional actors, this sketch can still be categorized as a character monologue.
There were no other actors in the scene with her, it was one location, and it didn’t look as if it was overly technical to shoot. Although there were jokes, a lot of the humor came the details and quirks of the character.
Throughout McKinnon’s time at Saturday Night Live, she’s done many hilarious characters but usually in scenes. When it’s just her, it’s even funnier.
Wacky characters have always had a place in sketch comedy. Once someone creates a character that resonates with people; they can use it again and again — whether in sketches or solo projects.
Sometimes the fact that someone is performing a monologue may not be obvious. Think about when a guest comes on SNL’s Weekend Update, even if they have a small dialogue with the anchors, characters such as Opera Man, Carrie Krum, Stefon, or Michael Che’s neighbor Carrie Ann are all doing monologues.
Character monologues are a staple of sketch shows but they aren’t limited to them. You could put together a one-person show of only your comic character monologues, use one as an audition piece, write a one-act play based on the monologue, or put a series of them up on your YouTube channel.
It’s good to have a character monologue in reserve that you can use at a moment’s notice.
You can write a character based on yourself, a family member, a famous person, or an entirely made-up person.
Make it clear who your character is talking to, give them a strong point-of-view, and be sure to add in some quirks and habits that make them unique.
When you have a written comic character monologue in your portfolio, there are so many things you can do with it.
If your interests are only in writing, you turn it into a one-act play, make it part of another larger piece, give it to someone else to perform, or turn it into a short piece of fiction.
If you’re a performer as well as being a writer, you can shoot it and put online, write a few more and turn them into a theatrical show, or use it to audition for a sketch show.
The takeaway is that if you’re sheltering in place and you want to do something different that will inspire, not just you, but other projects as well, then write a comic character monologue.


Margot Robbie will star as Barbie in an upcoming film from Mattel and Warner Bros.
Mattel | Warner Bros.
Mattel CEO Ynon Kreiz is not trying to make use of upcoming theatrical releases simply to promote toys. He needs them to face on their very own.
Talking with CNBC’s Julia Boorstin on the Evolve International Summit on Wednesday, Kreiz spoke in depth in regards to the upcoming Barbie film starring Margot Robbie and Ryan Gosling. He referred to as the characteristic movie a “cultural occasion.”
“Barbie may be very far more than a toy,” he stated. “And greater than a doll. Barbie is a cultural icon, a pop icon. And this film is absolutely shaping as much as be what we consider, would grow to be a societal second.”
The Barbie movie is one among greater than a dozen tasks that Mattel has on the docket, all a part of its bigger technique of transitioning from a producing firm making gadgets, to an IP firm that manages franchises.
Sure, Mattel nonetheless makes toys, however within the final 4 years, since Kreiz has taken the helm as CEO, the enterprise has overhauled the way it thinks about its merchandise and the way it engages with its customers.
A part of that course of is being extra concerned within the leisure content material centered round its largest and hottest manufacturers. Mattel is working intently with Warner Bros. on the Barbie movie and introduced on Oscar-nominated filmmakers Greta Gerwig (“Woman Chicken”) and Noah Baumbach (“Marriage Story”) to put in writing the movie, with Gerwig directing.
Margot Robbie and Ryan Gosling on rollerblades movie new scenes for ‘Barbie’ in Venice California. 27 Jun 2022.
Mega | Gc Photos | Getty Photos
“The method that may be very completely different, very distinctive, not one thing that you’ve got seen earlier than, goes to be very thrilling,” he stated of the movie, which is presently in manufacturing.
The opposite piece of the method is making high quality content material, not simply movies and TV exhibits tied to toy strains.
“Do not attempt to promote toys,” he stated. “We all know that in success, if individuals watch the film, and there is excessive engagement, good issues will occur. We all know promote toys, the place the chance is absolutely about high quality leisure, primarily based on our IP.”
“Barbie” is ready for launch in July 2023.


Zuboo was a demon only seen in Amon: Apocalypse of Devilman OVA. He changed form many times and had highly psychopathic behavior.
Amon: Apocalypse of DevilmanEditZuboo is first seen near the beginning chasing down the young Devilman Yumi, whilst disguised as a salaryman. He corners her and reveals his demon form, but he is almost immediately ambushed my Miko another Devilman.
Zuboo changes form and quickly gets back on his feet and starts to smash Miko against a wall while Yumi watches, terrified. With Zuboo preoccupied with attacking the two Devilmen, he fails to notice Akira slowly walking towards him. Before Zuboo can react, Akira punches him in the face. Enraged Zuboo changes form again into a large ball and tries to run Akira down, but Akira strikes the demon again, sending him flying around. As he charges into him, Akira strikes Zuboo in the chest, with the demon using his elastic powers to bite Akira's left shoulder. Suddenly, Zuboo begins to rotate, then Akira absorbs the demon into his fist, ending Zuboo for good.


Loved Snow White when it was touring in the UK? Can't wait for it to tour to the US? Now you can buy the script for your own home comfort! Available from Oberon Books.
Loved Snow White when it was touring in the UK? Can’t wait for it to tour to the US?
Now you can buy the script for your own home comfort!
Available by clicking here at Oberon Books.
‘Director Alex Byrne and his effervescent cast of actor/musicians ensure that barrel-loads of laughter spill over from every scene’
—The Stage ★★★★
“The six part cast tell a mystical story full of invention, drama and silliness, while also making up a fabulous band performing genuinely funny and harmonious original songs.’
—Stage Talk Magazine ★★★★
“Snow White is up there with the best; a show that bubbles over with entertainment for both adults and children, carried through by this tightly knit ensemble’s inherent warmth, wit and charm.”
—British Theatre Guide
“With Snow White they have created a warm, jolly and timely reimagining, with something for everyone to enjoy and think on”
“Go and see it if you possibly can. It’s well worth the journey.”
—The Fine Times Recorder
“[…] you’re guaranteed a fun and quirky experience right from the start.”
—This City Mum
“Snow White‘s perfect alchemy of music, magic, myth and mirth, […] will captivate the little ones but has enough winks at the adults and teens to keep them happy too.”
—Muddy Stilettos Somerset
“@tftheatres #bristol what a superb show #SnowWhite is truly brilliant production, funny and entertaining for both young and older folk!@steffimd_j is truly great as wicked step mother. Lots of fun, love it!” @Tina_Hallett_ (Twitter)
What a clever piece of theatre @tftheatres really beautifully performed and brilliantly written. Gently pokes fun out of the Bristol left whilst embracing friendship, forgiveness and inclusion. Very poignant speech about fear and hate.
“#SnowWhite by @NIEtheatre and @tftheatres is a well crafted, funny show with a big heart! It dares us to love, forgive and make merry even in the face of senseless, ego-driven cruelty. Excellent ensemble performances from all. It hits all the right notes for a #Bristol #Christmas”
“Spent this afternoon at NIE’s Snow White and we all (group of 3 kids, 3 adults) were absolutely enthralled by this ingenious, hilarious thought-provoking production. Felt like the rest of the audience loved it too.” @simongurr
“Group of us went to see Snow White this evening & had a great time. Funny, clever, charming – with a timely message. Brilliant! Loved it.”
“Brilliant show enjoyed by all 3 generations in our party (5 to 77 years!). Congrats to @NIEtheatre & @tftheatres”
“I loved ‘Snow White’ by @tftheatres and @NIEtheatre – A super festive and fun show with such a talented cast, fantastic music and beautiful design. It was made even better with a hundred enthusiastic school kids in Snow White is a co-production with Tobacco Factory Theatres and Cambridge Junction.”
“Fantastic afternoon with the whole family for @NIEtheatre @tftheatres #SnowWhite in Bristol – a tribute to the talent and ingenuity of all involved.”
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