When you possess your new residence television room set up, you may easily watch films on your television. or perhaps enjoy movies on the players. This is the manner in which you may see movies without needing to think about leasing all of them.
The rates on these gomovies new property entertainment centers differ from one shop to the next. You will intend to do your research and search before you purchase, as this is an expenditure that is going to last you a while.
You are going to also desire to find an area that delivers free of charge delivery, and shipment of the films. This way you perform certainly not must worry about must leave your house to go pick up the items.
When you have your property entertainment center, you will have the capacity to view your films along with your family and friends. You might even want to record motion pictures, and also view them later. as you enjoy all of them on your TELEVISION.
When you have residence entertainment centers, it is quick and easy to deliver your property with you. and watch your films and also music any place you are actually. There is actually no need for you to think about traveling to a movie theater or even house movie theater.
You will wish to think regarding what you prefer if you have actually ever before assumed about obtaining your personal property enjoyment center. You will definitely have the capacity to view your motion pictures along with the Television Set and also play your beloved activity on your personal computer.
Have you been actually questioning just how to see flicks on the web? It used to be you had to count on renting out costly movie houses as well as paying for tickets.
You may choose from a variety of internet sites to view your favorite movies. Some of these sites offer inexpensive or cost-free rentals of their option of films and also various other video recording styles. They have also started providing DVDs of films they have released so you can easily take conveniences of that.
An excellent choice is actually to rent out a motion picture on an on the web film rental site. You can additionally discover unique promotions like unique free of cost rentals time periods or coupons that allow you to conserve funds on your film rentals.
Another really good possibility is actually to get your favored motion pictures online at the ease of your own property. The cost discounts are actually large given that you are going to not possess to spend to rent or even buy flicks at film cinemas.
There are additionally cost-free movie sites that supply films that you can rent for a portion of the expense of paying for a film ticket. There are actually even some internet sites that enable you to stream video clips at the same time.
Whether you are looking to check out motion pictures on the internet or even you like the benefit of seeing motion pictures at home, you may find all you prefer online. There are actually a bunch of options for both complimentary and paid for flick rental web sites, including a number of that provide a number of flick stations to decide on. You may additionally discover plenty of DVDs and Blu-Ray movie choices.
These are actually wonderful options if you are actually attempting to enjoy brand-new launches and also haven’t found your beloved. There are likewise plenty of great options accessible if you love aged movies that you can not discover anywhere else. in this group.
It is actually easy to understand why folks are thus fascinated by the globe of internet video recording and also the option of obtaining access to their favorite movies. It creates it quick and easy to discover a film that is actually ideal for you may enjoy it whenever you wish when you enjoy movies internet.
Lots of people locate that enjoying motion pictures online is much easier than seeing all of them in the theater. They may download and install films to their computers, burn them to disc, or even replicate all of them onto various other media gadgets. Some also choose to rent films coming from a variety of internet sites that they enjoy.
Many people prefer to lease films from their nearby cinema, but that is certainly not constantly an option. It is actually usually tough to discover the amount of time to find a movie in a large cinema at the flicks, specifically if you work shifts or have other commitments.
For this reason, many individuals opt for to browse the web to observe their favorite flicks. If you intend to enjoy flicks for a long period of time, look at leasing flicks or obtaining them online.
There are actually some excellent possibilities around for any person wanting to watch motion pictures. It is actually easy to find all the most recent classics and also motion pictures also.
If you are actually looking for the newest films, try to find sites that use them. Occasionally you can also discover trailers and also updates regarding upcoming movies. Often you can even locate exclusive promos for upcoming movies.
It is really enjoyable to check out flicks on-line and also it is just one of the fastest techniques to locate brand-new films and standards. Regardless of which genre you prefer, you are going to manage to find a number of prominent movies and new releases online.
Whether you wish to lease films on your own or want to install as well as enjoy all of them by yourself home entertainment gadget, you can do so quickly online. Whether you like to watch flicks on a big screen TELEVISION in the home or on a notebook, you can easily find the flicks you really want.


Give your computer a sense of style with the Sex and the City screensaver
We all know Sex and the City, the multiple Emmy Award and Golden Globe award-winning TV series that ran for six seasons - from 1998 to 2004.
Noted as a very influential television show, especially for the fashion industry, it tackled socially relevant issues, often specifically dealing with women in society in the late 1990s, and how changing roles for women affected the four main characters.
For all the millions of fans of Sex and the City, here’s the official screensaver which will bring all the allure of the four stylish women, Carrie, Samantha, Charlotte and Miranda, to your desktop.
It perfectly captures the spirit of friendship, glamor and fun that characterizes Sex and the City.This screensaver consists of twelve screenshots for the cinematic adaptation of the famous TV series with lively captures and romantic moments.


# Natsuiro Kiseki
Childhood, friendship. A simple life, with simple pleasures. *Natsuiro Kiseki* may not be offering anything new, but it certainly knows how to make me reminisce. Despite its nominally present-day setting, the town, the characters and even the plot seems to belong to a simpler time. While there is a supernatural hook, this is actually just the antics of four (female) friends, much like *Azumanga Daioh* or *Minami-ke*, though with a more serious dramatic thread running through it. As odd as it superficially feels, perhaps the closest comparison is *K-ON!* - particularly since *Natsuiro Kiseki*'s nominal plot is about the girls becoming idols.
But enough about other shows. *Natsuiro Kiseki* has plenty to recommend it; the comedy is warm but amusing, the characters friendly, and the setting captures the atmosphere of a Japanese seaside town perfectly. There's nothing original or life-changing here, but it makes a pleasant "cute girls doing cute things" series. Using supernatural events as hooks for individual episodes (the girls flying, one of them turning invisible, two of them being stuck together...) is perhaps a bit lazy - everything this show does could probably have been done in a realistic setting - but the tone is lighthearted enough that magic doesn't feel out of place.
At least, it is for the first half. Towards the end this show takes a more dramatic line, centered on one of the girls (Saki) moving away (we're told this from the start, but it gradually gains more prominence). I'm usually a fan of serious content, but in the case of *Natsuiro Kiseki* the show is actually weakened, largely because believable drama demands a realistic or at least internally consistent setting. I'm also uncomfortable with the emphasis placed on remaining friends forever, when we're talking about middle school students moving to be several hours away from each other; realisticly, Saki would be better off moving on and making new friends than trying to stay part of the other three's gang.
The characters are well sketched, although again not terribly original; Saki is pretty and tsundere, lead Natsumi is honest and straightforward, Yuka is lazy and excitable while Rinko spends most of the time completely out of it. Other characters are largely restricted to single-episode appearances, and the leads have a tendency to pair off as Natsumi/Saki and Yuka/Rinko (to the endless, and slightly wearing, delight of a certain demographic). For a show this short (12 episodes) four characters are enough, but it would be nice to see a little more interaction between other combinations. We get surprisingly little backstory or depth; one episode tells us how Rinko and Yuka got to know each other, and we see the gang as they were a year or two ago - but their dynamics and characteristics seem to be largely the same. This is par for the course for comedy, but I would expect more from a serious drama.
Presentation is good though not outstanding; both character designs and scenery have been given enough detail and attention that neither looks out of place. The characters' emotions and responses to their environment are particularly good, and helped along by the voice acting; music is again good but ultimately nothing special. While the musical plot is mostly a background, we do get an insert song and dance sequence for the finale, and the characters commendably retain their detail while doing this. But as with the show as a whole, everything is nicely executed but nothing more.
This is not a show I can truly recommend; *Natsuiro Kiseki* is too short of originality, and devoid of any standout features. With the weakness of the later dramatic episodes, I can't even say it's consistently enjoyable. But the show as a whole is good fun, and makes for a pleasant diversion if you have the time to spare.
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Italian Man Falls to His Death While Trying to Save His Phone
A young Italian man, Andrea Mazzetto, met an untimely demise as he grappled with the unthinkable
Preventing his phone from plummeting into the abyss
Mazzetto’s story gained international attention
Not only for its shocking nature but also due to the “selfie” that painted a grim precursor to his tragic end
The image showcased Mazzetto’s radiant smile, standing beside his girlfriend against the backdrop of the Italian mountains.


Pushpa 2 Release Date 2023: All movie lovers are looking forward to the release of Allu Arjun’s film Pushpa 2. Allu Arjun’s fans are highly excited about this film. Let me tell you that this picture has gotten a lot of positive feedback from the audience. In this article, we will cover Pushpa 2 Release Date in 2023, movie details, star casting, crew members, storyline, trailer story, etc.
The first film, Pushpa the Rise, was released in 2021, and the sequel, Pushpa The Rule, is set to be released in 2023. In terms of the Pushpa 2 release date, the film will be distributed worldwide in several languages.
Pushpa 2 poster
Here is the poster of Pushpa 2
According to the hype around it, Pushpa 2 will change how people view Indian cinema worldwide. Fans have been impatiently expecting information and updates on the sequel ever since the original installment was a commercial success.
Pushpa 2 release date will be announced before December 2023. The first part of this movie was released after dubbing in Hindi, Tamil, and Telugu.
Pushpa 2 Movie Details: Pushpa 2 Release Date
|Movie Name||Pushpa The Rule (Part 2)|
|Streaming Partner||Amazon Prime Video|
|Theatrical Release Date||December 2023|
|Cast||Allu Arjun, Fahadh Faasil and Rashmika Mandanna|
|Languages||Telugu, Malayalam, Tamil, Kannada|
Damar Hamlin net worth – Is $940,000 in 2023?
Pushpa 2 Star Casting Details:
|Allu Arjun||Pushpa Raj|
|Rashmika Mandanna||Srivalli, Pushpa Raj’s Wife|
|Fahadh Faasil||Bhanwar Singh Shekhawat IPS|
|Rao Ramesh||Bhumireddy Siddappa Naidu|
|Ajay||Pushpa’s half brother|
|Sritej||Pushpa’s half brother|
|Mime Gopi||Chennai Murugan|
Crew: Pushpa 2
Y. Ravi Shankar
|Music Composer||Devi Sri Prasad|
|Cinematographer||Mirosław Kuba Brożek|
|Editor||Karthika Srinivas, Ruben|
|Production House||Mythri Movie Makers,|
|Distributor||E4 Entertainment (Kerala)|
Sri Lakshmi Movies (Tamil Nadu)
AA Films (North India)
Swagath Enterprises (Karnataka)
Anthony Levandowski Net Worth – Between $50 and $100 million in 2023
Pushpa (1) 2021
Pushpa is a 2021 film starring South superstar Allu Arjun and Rashmika Mandanna in lead roles. The story of the film revolves around the smuggling of Red Sanders. Allu Arjun plays the role of a laborer who, despite living in poverty, turns to smuggling Red Sanders in big cities in partnership with a smuggling gang.
Pushpa 1 Story
Pushpa, the character played by Allu Arjun, is fearless and unafraid to fight with gangsters. He wants to take control of everything around him. In the film, he initially joins a gang to make some extra money. His mother is a widow, and he has been denied his father’s name since childhood, hence he is known as Pushpa Raj without any surname.
Pushpa had always aspired to become the leader of the Syndicate gang. He gained the trust of Reddy’s brother through his intelligence. When Pushpa discovered that Srinu was cheating the Reddy brothers and giving them less money for their transactions, he decided to directly sell the red sanders to Chennai. This move angered Srinu, who attacked the Reddy brothers and killed Konda Reddy. However, Pushpa was able to save Jakka Reddy. MP Bhumireddy Naidu stepped in to handle the situation.
In the end, Pushpa and Sri Valli (Resmika Mandana) got married. However, their happiness was short-lived as a new SP named Bhanwar Singh Shekhawat entered Pushpa’s life. Shekhawat was aware of Pushpa’s activities and wanted to take control of him. When Pushpa went to invite Shekhawat to a marriage party, Shekhawat insulted him at the police station.
Pushpa later addressed him as sir and showed reverence. Shekhawat released Pushpa, but later, while holding SP at gunpoint, Pushpa demanded that he remove his uniform so that he might comprehend that, while Pushpa is well-known to everyone and will command respect even while unclothed. Finally, we anticipate Pushpa Part 2 to feature a lot more plot twists and action.
Pushpa 2 “The Rule”: Pushpa 2 release date Allu Arjun: Pushpa 2 Poster
Given that the previous movie ended on a cliffhanger, it appears that audiences are eagerly expecting the arrival of Pushpa 2. Due to Pushpa’s insult, the character SP Shekhawat was depicted as being enraged and seeking retribution. In the follow-up, Jalli Reddy will battle Pushpa, and Srinu Reddy will also seek vengeance for the passing of his man and the destruction of his company.
The sequel to Pushpa will likely be even more thrilling and action-packed than the original. It is crucial to remember that everything here is only conjecture and that the movie’s actual story may vary from what is being discussed online. To be confident of what occurs in Pushpa 2, we must wait for the official release.
Film director Sukumar stated that the film script is locked and they are working on it. Pushpa 2 may be released on 16 December 2023. If it doesn’t get postponed due to sudden changes in the plan.
Pushpa 2 Storyline & Plot
According to the storyline of Allu Arjun’s upcoming film Pushpa: The Rule, the movie will begin where Pushpa: The Rise ended. In this film, Pushpa’s reputation has grown, and he has married Srivalli. His business is also thriving, but a new SP named Bhanwar Singh arrives in the area and develops a dislike for Pushpa. In the next part of the story, the SP will try to punish Pushpa for his past behavior towards him. He will attempt to arrest Pushpa and destroy his business. Additionally, Pushpa may have to compete with Srinu Reddy.
The plot will also feature the Chennai smugglers who purchase red sanders from Pushpa, which hints at the possibility of a third part of the Pushpa series.
Pushpa 2 Trailer Story: Pushpa 2 Release Date in Hindi
The video begins with news of Pushpa escaping from Tirupati jail and being shot eight times before disappearing into Seshachalam forests. Police continue to search for him, but rumors of Pushpa being killed in an encounter reach the public. This leads to protests and riots by his followers in Tirupati who claim that Pushpa helped them with his black money.
Meanwhile, Pushpa is seen alive in the forest. Footage shows him walking with a tiger and striking the iconic ‘thaggede la’ pose while looking at the camera. His followers celebrate his survival. The video ends with a shot of Allu Arjun, wearing his famous printed pink shirt, sitting on a chair surrounded by several goons.
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Pushpa 2 Movie Latest Update: Pushpa 2 Release Date Telugu
Although Pushpa 2’s producers have not yet made an official announcement on its release date, it has been reported that the script has been completed and the production crew is now at work on the film. There have recently been allegations of dialogue from Pushpa 2 sets being released.
Some accounts claim that one of the sentences, intended to signal the approach of the character Pushpa Raj, says, “If the animals of the jungle have taken four steps back, then it signifies the tiger has arrived.” The movie will reportedly have multiple lengthy discussion sequences, with the audience reportedly being particularly impressed by the dialogue in the bush.
Pushpa 2 OTT Platform Release Date: Pushpa 2 Release Date on Amazon Prime
Pushpa the Rule will available on the famous OTT Platform after 40 Days of its Theater Release. So, we can expect the Film’s Digital Premiere in January 2024. If you don’t want to go to theaters, wait and watch only on the Official OTT Platform.
After being released in a number of languages, Allu Arjun’s most recent movie, Pushpa, has had tremendous success throughout India. The movie has made significant profits and continues to excite viewers. The sequel, Pushpa 2, will be released soon, and fans can’t wait.
Details about Pushpa 2’s release date, predicted story and plot twists, and what viewers may anticipate from the movie will all be covered in this article. We’ll also talk about Pushpa’s cast and crew.
Pushpa 2 Release Date trailer
With the teaser, the makers promise a roller-coaster ride. While in the beginning, Pushpa lands in jail, escapes, and later gets wounded in the encounter, he rises back from the dead to ‘Rule.’
When will “Pushpa 2” be released?
The release date of “Pushpa 2” is yet to be officially announced. However, it is expected to release in late 2023 or early 2024.
Who are the lead actors in “Pushpa 2”?
The lead actors in “Pushpa 2” are Allu Arjun and Rashmika Mandanna. Allu Arjun reprises his role as Pushpa Raj, while Rashmika Mandanna plays a new character named Gayathri.
Who is the director of “Pushpa 2”?
The director of “Pushpa 2” is Sukumar, who also directed the first installment of the movie, “Pushpa”.
Will “Pushpa 2” be release in theatres or on an OTT platform?
As of now, it is not known whether “Pushpa 2” will release in theatres or on an OTT platform. However, given the huge success of the first movie in theatres, it is expected to have a theatrical release.
1 thought on “Pushpa 2 Release Date 2023: Story, Star Cast, Trailer, Release Date of Amazon Prime Video”


David Giovacchini will be leaving Stanford for the University of Pennsylvania to head up their Middle East collection in the Van Pelt Library.
After 7 years of bringing his expertise to Stanford, not only in cataloging, but also in Music, Cinema, and Middle East Studies in general, David was more than ready to move on to head up a major collection at an Ivy League library. During his tenure at Stanford, David managed to build our world-renowned collection of Middle Eastern music, film, and cinema memorabilia. He curated an exhibit of Egyptian film posters. At the reception opening the exhibit, the renowned and lovely Egyptian film actress Yusra and her director in the hit film The Yacoubian Building attended. Up until the day of his departure he will be assisting in mini-exhibit of Turkish film posters in the library that will also travel to Washington, DC for the annual meeting of the Middle East Studies Association to accompany several panels on modern Turkish cinema.
We all will miss David's expertise on the Stanford campus. All are invited to attend a farewell coffee in the McDermott Suite on Monday September 19 at 2:00. David's last day at Stanford will be September 29. Please drop by and wish David well in his new position.


Carrie Fisher and Harrison Ford each grew to become superstars as a result of their roles in Star Wars. Ford received over many followers as the smuggler Han Solo, whereas Fisher grew to become an icon to many ladies along with her position as Princess Leia. Outdoors of Star Wars, the two have had very completely different careers, main to at least one having the next web price than the different. Right here is the web price distinction between Carrie Fisher and Harrison Ford.
Harrison Ford and Carrie Fisher grew to become well-known as a result of ‘Star Wars’
Fisher was born to Hollywood royalty as she was the daughter of Debbie Reynolds, star of Singin’ in the Rain. Her first massive position got here in 1975 with Shampoo. As soon as she performed Leia in Star Wars, she grew to become an enormous star as Star Wars grew to become a field workplace smash. Fisher performed Leia in the authentic trilogy and in Disney’s sequel trilogy.
Ford began his appearing profession with many small roles in a number of motion pictures and TV reveals. His first main position was in American Graffiti, which additionally occurred to be directed by Star Wars creator George Lucas. Lucas then forged him as Han Solo in Star Wars and the relaxation is historical past. Regardless of solely being paid $10,000 for the first film, taking part in Han Solo has resulted in Ford making hundreds of thousands.
Harrison Ford has a a lot greater web price than Carrie Fisher
In keeping with Celebrity Net Worth, Ford has amassed a web price of $300 million in his lengthy appearing profession. Fisher’s was rather a lot decrease at the time of her dying, however it’s nonetheless at a formidable $25 million.
Ford has far and away the highest web price of any Star Wars actor. The one actor who comes shut is Samuel L. Jackson, who has a web price of $250 million. Jackson performed Mace Windu in the prequel trilogy, however he additionally has a big filmography with many high-profile roles. Outdoors of Star Wars, Fisher hasn’t been in lots of different blockbuster motion pictures like Ford has.
How did Ford and Fisher every construct their web price?
Star Wars has given an enormous contribution to constructing the web worths of each Ford and Fisher. Outdoors of that franchise, Ford has been in lots of fashionable motion pictures, notably the Indiana Jones franchise. His main position as Indiana Jones has earned him hundreds of thousands and he’s nonetheless persevering with to reprise the position.
Moreover, Ford has been in motion pictures like Blade Runner, Patriot Video games, Air Pressure One, Witness, The Fugitive, Apocalypse Now, and The Name of the Wild.
Fisher wasn’t in as many motion pictures as Ford, however she nonetheless was busy. Fisher had roles in motion pictures like The Blues Brothers, Hannah and Her Sisters, Drop Useless Fred, When Harry Met Sally, and Austin Powers: Worldwide Man of Thriller. She additionally had roles in lots of TV reveals like Intercourse and the Metropolis, Household Man, 30 Rock, and Entourage.
Fisher additionally had success as a screenplay author with Postcards from the Edge, which relies on a semi-autobiographical novel written by Fisher. She labored on a number of screenplays together with Hook, The Marriage ceremony Singer, and Sister Act.


30 Years After The Wall: Eastern German Success Stories
Published on 08/06/2021
We are proud that JPT was selected to be featured in a film an eastern german success stories. The film narrates the stories of 5 companies that are successful in each of the 5 eastern german states 30 years after the wall. View JPT's success story and enjoy a view into our labs! JPT's story is starting at 7'25''.


Roy Dotrice is a Guernsey born actor and Tony Award winner.
Roy Dotrice was born in Guernsey on the 26 May 1923 the son of Louis Dotrice and Neva Wilton who were bakers. After leaving school he worked as an office boy for a fruit merchant, but with the coming of the Second World War he left for England, and joined the RAF. He trained as a wireless operator and gunner before being sent on missions. In 1942 he was plane was shot down over Germany, he was captured and spent the rest of the war in a POW camp. It was in the camp that he received his first taste of the stage - performing in concert parties.
After the war Dotrice began to pursue an acting career, studying at RADA, and met his wife, the actress Kay Newman. They married in 1947, acting together in repertory with the Denville Players. In 1957 he joined the Shakespeare Memorial Theatre (now the RSC), working with some of the finest actors of his generation. He also founded a softball team that included Paul Robeson, Sam Wanamaker, Laurence Olivier, Peter O'Toole Albert Finney, Charles Laughton was the umpire.
He also began to take on roles in film, television and radio which eventually led to him becoming well known in the United States in series such as Beauty and the Beast, and Picket Fences. He also featured in a number of guest roles on both sides of the Atlantic, from Casualty to Murder She Wrote.
He has perhaps achieved his greatest success in theatre, especially on Broadway. He was nominated for a Tony award for his performance in A Life in 1980, and won the Tony for his role as Phil Hogan in A Moon for the Misbegotten.
He continues to act, most recently in White Christmas in 2009-2010.
He and his wife had three daughters -Michele, Yvette and Karen, all of whom have acted at some stage. His wife Kay died in 2007.
Roy Dotrice was made an O.B.E. in the 2008 New Years Honours List.


|1||Treat Her Right|
Backing Vocals – Andrew Strong, Angeline Ball, Bronagh Gallagher, Maria DoyleVocals – Robert ArkinsWritten-By – Gene Kurtz, Roy Head
Backing Vocals – Angeline Ball, Bronagh Gallagher, Maria DoyleVocals – Andrew StrongWritten-By – Bonnie Rice
For Promotional Use Only
1 Duchess Music Corp.
2 Fourteenth Hour Music/Springtime Music
Recorded in England
Original Sound Recordings owned by MCA Records, INC.
℗ 1991 MCA Records INC
℗ 1991 MCA Records, Inc.
© 1991 MCA Records Ltd.
A motion picture soundtrack album with music produced by Kevin Killen and Paul Bushnell was released on 13 August 1991, by MCA Records. The soundtrack features fourteen songs, most of which appeared in various scenes in the film. The Commitments, Vol. 2: Music from the Original Motion Picture Soundtrack. Soundtrack album. Album 1991 30 Songs. The Commitments & Niamh Kavanagh. I Can't Stand the Rain. Посмотреть сведения об участниках альбома, рецензии, композиции и приобрести альбом 1991 Vinyl от The Commitments Music From The Original Motion Picture Soundtrack на for the The Commitments music motion picture soundtrack from Commitments, Vol. 2: Music From The Original Motion Picture Soundtrack Plus 7 Great New Tracks. 5 out of 5 stars 73. Audio CD. What a cracking album. If this doesn't get you up, in front of the mirror, singing into a hairbrush, nothing will. Read more. The Commitments - OST by The Commitments. 30 songs. 1991 year. Format mp3. Download soundtrack for free and listen online. Songs in album The Commitments - The Commitments - OST 1991. The Commitments - Mustang Sally. The Commitments - Take Me To The River. The Commitments - Chain Of Fools. The Commitments - The Dark End Of The Street. The Commitments - Destination Anywhere. The Commitments - I Can't Stand The Rain. The Commitments - Try A Little Tenderness. The Commitments - Treat Her Right. All 55 songs from the The Commitments 1991 movie soundtrack, with scene descriptions. Listen to and download the music, ost, score, list of songs and trailers. The Commitments. Complete List of Songs. Time Played. Add Song 5. Pitiful , The Commitments. Add scene description 5. As a book and film, The Commitments was all about love of music, so it didn't matter if the soundtrack offered workmanlike versions of oldies the band and audience knew by heart: as long as it was done with some, well, soul, the film would work, and the soundtrack would too. Listen to music from The Commitments like Mustang Sally, Take Me To The River & more. Find the latest tracks, albums, and images from The Commitments. The Commitments are a soul band from Dublin, Ireland, formed for the screen version of the book of the same name by Irish writer, Roddy Doyle. Originally a fictional group, the band reformed in 2010. Formed in 1991 by working class music manager Jimmy Rabitte, The Commitments performes a uniq read more. Play jigsaw puzzles for free Home. The Commitments Soundtrack from the Motion Picture, 1991


Christopher marlowe’s dr faustus is a definite member of the tragic need essay sample on doctor faustus audience through fear for their own potential fate. Essay paper on dr faustus significantly, in doctor faustus, and tragedy readings of doctor faustus is often reformulated as a problem of faustus’s fate. Doctor faustus has elements of both showing us the terrible fate that awaits a renaissance man who rejects god but by investing faustus with such tragic. Term essay chew 1 hansel chew asst prof john tangney hl 2002: renaissance literature 4 october 2014 doctor faustus: a medieval tragedy of the renaissance man in christian theology, every being has its place prescribed according to.
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The film is about a grumpy old man Walt Kowalski, played by Clint Eastwood, who lives in a run down neighbourhood where most people are immigrants or come from immigrant famlies. He is unhappy with the people in the neighbourhood and his own family. He gets involved with the family next door after the son tries to steal his Gran Torino. It covers many moral issues around religion and racism. It is a great film, made even better by the good storyline.
I give it 5 out of 5, and would recommend you go and see it while it is still on in the cinemas. To find out more about the film including more that you would want to before seeing it try the Wikipedia article. http://en.wikipedia.org/wiki/Gran_Torino_(film)


The Empire of the Corpses saw release in Japan a year ago. Not too long after seeing a limited theatrical release in the United States, FUNimation released the Blu-ray. Empire is a truly interesting film. It a science fiction thriller with some horror elements. It finds a fine line between telling a realistic story while delving into sci-fi territory. Not only is it a must watch for anime fans; it’s a must watch for anyone who have enjoyed the classic universal monster stories.
Set mainly in an alternate 19th century England, Empire’s plotline is engaging from the start. The narration by John Watson sets the tone for what’s to come. The driving force behind the story is the search for Victor Frankenstein’s notes. This is an excellent backdrop and one could even see the film as a brilliant take on Frankenstein’s Monster. (In this film referred to as “the One.”) Even though Victor is long dead, his presence is felt because he’s the one who discovered how to reanimate a corpse. The military uses this discovery to reanimate the dead for battle. The dead are also used for chores among other laborious tasks. It’s an interesting status quo, and gives the film a Walking Dead feel.
Even though people have managed to bring back the dead, no one has managed to do what Victor did: give the dead a soul. This is the driving force behind Watson’s character arc. He’s managed to bring his friend and colleague Friday back. Watson is desperate to give him his soul; because, while the body of Friday is there, without a soul it’s an empty shell. This might sound well intended, but the ongoing theme is to destroy the notes so that mankind won’t have that kind of power. Watson however when he finally comes into possession of the notes he hesitates, which leads to the deaths of many. People cannot play God, and when they try disastrous results take place.
Watson is portrayed as a man bent on bringing his friend’s soul back, to the point where it consumes him. It’s interesting to watch, especially when the One arrives on the scene for the first time. He questions whether Watson will become like Victor, a haunting message. The writing is fantastic from beginning to end. There are however some things that may have been resolved too fast. The consequences for Watson not destroying the notes were brushed to the side quickly. The scene with Burnaby yelling at Watson that it’s the latter’s fault was excellent, but right after that they’re back to being friends. It’s understandable that Burnaby would put aside his hatred to help Watson stop the One, but the resolution was rather quick.
Speaking of Burnaby, the cast is strong. Burnaby is a great character and without him the film would have been more dreary than it needed to be. Hadaly was good, but the writing needed to develop her better. Her first big appearance is a deus ex machina moment, and then later the plot twist is a little much to take in. If the film had shown a flashback, it would have been better. Her “father” was Thomas Edison, which is fascinating but again the story needed to show her backstory for it to be more effective. Nikolai appears early on. Watson does’t at first trust him, giving the viewer an interesting dynamic. Nikolai made for a nice contrast to Burnaby’s personality. (They were very similar to Fai and Kurogane from Tsubasa.) It was disappointing what the writing did with Nikolai toward the middle act. It was a powerful and effective scene nonetheless. If it wasn’t apparent before, this scene made it apparent: the destruction of Victor’s notes was top priority.
Frankenstein has been portrayed in various ways throughout the years. This version in Empire does the Monster justice. Here we see that he is disgruntled with human beings. All of his dialogue is excellent. From his ominous arrival to the final act, he might be the greatest character in the film. His endgame plan has a classical, tragic appeal to it. He shares the antagonist role with M. M isn’t as interesting, but the writing still makes good use of his ideology, even if the dialogue is just thrown at the viewer in the climax.
The film moves at a great pace. There’s a lot of dialogue, especially in the final act, but there’s a good number of action sequences to balance it out. The soundtrack is standard, but it does have a thematic quality to it. It works well with the 19th century setting. The greatest theme might be the piano melody played by the One. (It sounded like something straight out of a Universal 30’s film.) The ending of the film could have been better. It leaves the viewer confused and unsatisfied. In contrast, the after-credits scene is upbeat and a fun homage. (If you thought John Watson was just a borrowed name, you’re in for a treat.)
Overall, Empire of the Corpses is one of the best anime films from the last decade. The 19th century setting gives the story’s atmosphere a sense of elegance. The biggest aspect is that it’s also a sequel to the Frankenstein story. The driving force behind everything is Victor’s notes, which made for an excellent backdrop. Watson is a likable, flawed character. He’s a human obsessed with bringing back his friend’s soul from the dead, to the point where it jeopardizes the mission. The fallout of being obsessed with this was fascinating to watch. Themes are explored, such as free will. The One is one of the greatest versions of Frankenstein’s Monster. Every scene he was in he commanded a presence. Even though the film could have used an additional 15 minutes to flesh out some things (the explosive climax throws too much at the viewer), it is nonetheless a must-see.


BLUE is more than a film, it's an idea. Ideas have the power to change the way we think, begin movements, and even change the world. One of the most prominent idea of our time today is the Green Movement, which says that the Earth is threatened by the activity, even the existence, of mankind, and that the noble response is to restrict our freedom in order to save the planet. The movie BLUE challenges that idea. BLUE is an independently funded and filmed documentary by director, JD King.
“BLUE will change the radical green direction we've been heading.”
- Curtis Bowers
Director of Agenda: Grinding America Down
“You will never take the claims of 'environmental leaders' at face value again after experiencing BLUE”
- Matt Malkin
"A call to arms for a new generation of informed enviro-skeptics"
- Colin Gunn
Director of Indoctrination and Wait Till its Free
"At last, a film that faces the Green Movement head-on!"
- Philip Leclerc
Filmmaker of Divided
“What I always tell people is… Unless you are so passionate about
filmmaking that you would rather live out of your car than not do it, find
something else to do as a career and do filmmaking as a hobby. This industry is
one of the hardest to break into and be successful. It takes a lot of passion and
dedication for it to get anywhere…”
- Chris Leclerc
Professor of Bible at King school of learning


Who is nicole scherzinger dating currently aaron voros dating
Gordon has wide ranging experience in drama production management both in the UK and internationally.
Thames is headed up by Managing Director Amelia Brown.
The Week The Landlords Moved In challenges landlords to go ‘back to the floor’ to spend one week living in one of their own rental properties.
This transformative series challenges some of Britain’s most successful landlords to spend an eye-opening week living in one of their own rentals.
In recent years, Noemi has worked both within the BBC and independent sector; undertaking development exec roles for BBC Drama Production, Kudos Film & Television and BBC Wales.
Noemi started her career in BBC drama commissioning, before moving into production script editing on Head of Drama, Euston North Hilary Martin is Head of Drama Euston North.
It’s the world’s longest running game show and spawned one of TV’s most iconic catchphrases.
Continuing a rich history extending into four decades, the label is focused on creating ‘talked about television’.Managing Director, Euston Films Kate Harwood is Managing Director of Fremantle Media UK drama label Euston Films.Kate was previously Head of Drama (England) at BBC.She launched Euston North with Simon Judd in January 2017.Previously, at BBC Drama North, Hilary and Simon developed and produced a wide range of shows including BAFTA-winning Head of Development, Euston North Simon Judd is Head of Development at Euston North.
With shows including is now in its 14th season, and returns to TV in the Autumn.


BEAUTY AND THE BEAST
"Be our guest."
Disney's musical spectacular BEAUTY AND THE BEAST comes to the Historic Chodl Auditorium!
A cast of 80 students brings this enchanting fairy tale to life with a sprawling set, out of this world dancing, and gorgeous costumes that have to be seen to be believed.
Based on the award-winning animated film of the same name, BEAUTY AND THE BEAST tells the story of a prince who was transformed into a hideous beast as punishment for being selfish and cruel. The only way to break the spell is for him to truly love another, and be loved in return. But who could ever learn to love a beast?
After many years, fate brings a young woman named Belle to the castle. There, she befriends a whole cast of enchanted objects, and manages to soften and warm the Beast's heart. Meanwhile, Belle is being pursued by the cocky and pushy Gaston, who is determined to marry Belle whether she likes it or not. These two stories collide as we watch petal after petal fall from the enchanted rose, and find out if the spell will be broken before it's too late.
With some of the most popular and catchy songs of all time including "Belle", "Gaston", "Be Our Guest", "Human Again" and "Beauty And The Beast" this family-friendly epic will leave you smiling and humming for days.
We can't wait to see you there!
Chodl Auditorium at Morton East High School (View)
2423 S. Austin
Cicero, IL 60804
|Kid Friendly: Yes!|
|Dog Friendly: No|
|Wheelchair Accessible: Yes!|


Are you a die-hard fan of Tamil movies but struggle to find a reliable source to watch them online? Look no further than Moviesda! This website is the ultimate destination for all Tamil movie lovers out there, offering an extensive collection of films in HD quality. Whether you’re looking for new releases or old classics, Moviesda has got you covered. So sit back, relax and get ready to indulge in the best of Kollywood with Moviesda – your one-stop-shop for all things Tamil cinema!
Introduction to Moviesda
Moviesda is a one-stop destination for Tamil movie lovers. With a massive collection of Tamil movies, ranging from the latest releases to all-time classics, Moviesda has something for everyone.
What’s more, Moviesda offers both dubbed and subbed versions of Tamil movies, so you can choose your preferred language. And with a user-friendly interface and fast streaming speeds, Moviesda is the perfect place to catch up on your favourite Tamil movies.
So if you’re looking for a great place to watch Tamil movies online, be sure to check out Moviesda. You won’t be disappointed!
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There are four different types of Tamil movies available on Moviesda- action, comedy, drama, and romance. Each type of movie offers something different for viewers to enjoy.
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Comedy movies are perfect for a light-hearted night in. They’re full of laughs and will have you feeling good in no time. Whether you’re looking for a classic comedy or something more modern, there’s sure to be a movie that’s just right for you.
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Pros and Cons of Watching Movies on Moviesda
Moviesda is a popular streaming site that offers a wide variety of Tamil movies. While it has a lot to offer, there are also some drawbacks that users should be aware of.
-A large selection of Tamil movies: Moviesda has one of the largest selections of Tamil movies available for streaming. Whether you’re looking for the latest releases or classic films, you’re sure to find something to watch on this site.
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-Poor customer support: If you run into any problems while using Moviesda, don’t expect much in terms of customer support. The site’s team is notoriously unresponsive to user inquiries.
How to Download Tamil movies from Moviesda?
Moviesda is a torrent website that allows users to download Tamil movies. It is one of the most popular sites for downloading Tamil movies, and has been in operation for several years. The site has a large selection of movies, and is updated regularly with new releases.
To download a movie from Moviesda, first find the movie you want to download. Then click on the “Download” button next to the movie. A new window will open with a list of different file formats and sizes to choose from. Select the file format and size you want, and then click on the “Download” button. Your browser will begin downloading the file. Once the download is complete, you can find the file in your “Downloads” folder.
Different Categories of Tamil movies available on Moviesda
Different Categories of Tamil Movies Available on Moviesda:
Moviesda offers a wide variety of Tamil movies for its viewers to choose from. Whether you are looking for an action movie to get your adrenaline going or a romantic comedy to enjoy with your loved one, there is something for everyone on this popular streaming site. If you are feeling brave, you can even check out some of the suspenseful and horror movies available. For those who prefer something more educational, there are also documentaries available. No matter what your taste in movies, you are sure to find something to enjoy on Moviesda.
Alternatives to watching Tamil movies Online
There are many alternatives to watching Tamil movies online. One can watch Tamil movies on television, through cable or satellite providers, or through online streaming services. There are also a number of websites that offer free, ad-supported Tamil movies. One can purchase or rent Tamil movies through online retailers such as iTunes or Amazon Instant Video.
Whether you are looking for a classic Tamil film or the latest blockbuster, Moviesda is the place to go. With its huge selection of movies and convenient streaming options, it’s easy to see why so many people choose Moviesda as their ultimate destination for all things Tamil cinema. So if you’re looking for quality entertainment from the comfort of your own home, be sure to check out Moviesda today!


Isabel Tv series was a three-season Spanish mini-series about Queen Isabel of Spain, who sponsored Columbus' voyages to the New World. It was broadcast from 2012 to 2014. The script and acting were great, but the episodes were too long for my liking (more than an hour each). The first episodes contain very sexually explicit scenes, almost pornographic, so you are warned! As for Columbus, he is incorrectly portrayed as a sneaky person who was cutting backroom deals with the king of Portugal after he discovered America. Because of that, and many, many other inaccuracies about Columbus, I'll give the show 3 out of 5 stars.


In Alexis's blog she has some very strong feelings on Twilight. I also have some strong feelings about the movie and New Moon. In coming into the Twilight movies, my vampire experiance was Buffy the Vampire Slayer. I was a very big fan of that show and knew more than one independent female from that show. When I first so Twilight that background influenced greatly into how I view Twilight.
Bella starts off as a seemingly independent girl. She wears the jeans and drives a beat up truck. In the book she is described as accident prone. Right away that is a weaknesses that seems to be a driving force in getting her mixed up in all kinds of situations. Alexis points out that Edward is constantley swooping in to save her from dumb female decisions. For example she goes off by herself in downtown Seattle and is met with a group of thugs in an alley. Here comes the knight in shining armor Edward in his fast car.
I also notice how he is always emphasizing his strength. He is dangerous and cannot possibly control himself. I have seen New Moon too and the same thing happens with Jacob. Edward leaves and Bella just can't handle things without him. She is rebellious and jumps of cliffs and Jacob comes along to save the day. In this one the focus is more on Jacob who is constantly saying how he can protect her and offer her what Edward can't. Bella can't have her own life without a guy showing her how to live and being her guide.
I have heard the argument that Edward represents and earlier time as well. It seems though in New Moon Jacob is a modern teenage boy but still contains some of those antiquated characteristics. He goes back to the Native tradition that may be a part of that. Also Mike the normal jock is portrayed as being kind of clueless.
It always bothers me too to see that Twilight has become so much of an phenomenon. How much of this has to do with the looks of the males? The actors constantly have their shirts off and are revered off screen. Also I am uncomfortable with the ideas of love that it is sending. I am bothered that Bella is so quick to want to give up her family, and a future to become a vampire. He is really controlling, always knowing her whereabouts, and watching her as she sleeps. Love is not shown as an equal partnership. The female gives up things while the male gains. I too don't want girls believing in these antiquated ideas of romance.
I too cannot think of a real positive role model. The most dominant female is Victoria who is the villain. Why does being dominant and in control make a female character the villain? The character of Alice seems like she could be a more positive role model. Even her thought is under watch from the male vampires. There really is not a true positive role model. I love the video that Alexis posted as I posted it near the beginning of this class. http://www.thedeadbolt.com/news/105536/twilightbuffy_feature.php This shows a good comparison of Buffy and Twilight. Now I am curious about Vampire Diaries. I have not seen that but I wonder where that fits in as I know it is popular too. Buffy had Angel but she could stand up to Angel and kill him when she needed to. I think you saw Angel's side and symphasized with him. She does have Giles as her guide but she also relies on her instinct and actually fights. Willow is shown as a bit weak in the beginning of the series but she grows into a strong female character as well, with the help of witchcraft. What is the appeal of Vampire literature and movie to teenagers? How does this compare with the popularity of Harry Potter and those movies?


My Reel of the week is 2012's "Red Tails" a George Lucas film about the Tuskegee Airman of WWll. It hasn't received much in the way of advertising in my area. It was also relegated to the smallest theater in the cinema. I think George Lucas had to pick and choose where he would spend his advertising dollars . He had no major Studio that wanted to back this film because "movies with an all Black cast have no audience overseas" which is 60% of a movies revenue. So George Lucas took on the film himself and made it truly a collaboration with Black talent in front of and behind the camera (In for a penny in for a pound I guess). It took 20 years but he brought it to the screen.
"Red Tails" is the true story of the first all-Black flight squadron of WWll. It was started after pressure from black newspapers to start the" Tuskegee Airmen Experiment". Because the common belief at that time was that Blacks didn't have the intelligence or bravery to pilot planes and to be of any help to the War effort. The experiment was actually set up to to prove the government right, they were set up for failure. Lukas felt this story, of heroism, perseverance and heart needed to be told. These men who faced racism at home and abroad,still believed in America.
The filming was reminiscent of the War Reels shown before movies in the 1940's. The acting was admirable. Terence Howard who played Colonel AJ Bullard knocked it out of the park. We were shown small snippets of the pilots lives and personalities, enough to care about their fates. The dogfights were exciting, some edge of your seat aerial stunts.
The story of the Tuskegee Airmen is a huge story "Red Tails " scratched the surface,and I thank them for that, Some critics take umbrage at the depiction of the Black pilots drinking and not following orders. We have to be careful to not Whitewash (Hmmmm) true stories about African-Americans,then it does become cartoonish, The truth is the Tuskegee Airmen were just like all the other regiments, scared boys in their teens and twenties facing death everyday, drinking was a part of life during war. The real Tuskegee Airmen were a part of the project from the beginning. They were happy with the finished product, that is good enough for me. My father served in Korea and WWll, were he still alive I know he would have loved "Red Tails".
I wish it would have been promoted more for family viewing (13&up) during Winter break. A great history lesson, but I guess the remake of the 3 stooges will sell big in Europe.


Engel Productions is a film and television production company that pursues creativity as a benefit to humanity. The brainchild of its president, Michael Engel, the company has continuously created outstanding programming fusing traditional film and video with high-end special effects.
From the bowels of the Amazon to Out-of-the-Body Experiences, our team continues to travel the globe in search of enlightening stories that can be presented in an entertaining manner.
Engel Productions just finished shooting a documentary for Captured Time Productions in Costa Rica. It is Michael Engel's second project with director Harvey Hubble V. His first shooting assignment was Loop Dreams which won three Boston/New England Emmy Awards for Outstanding Entertainment Program, Individual Achievement Directing Post Production and Individual Achievement Program Writing.
Engel Productions also created all of the promotional videos for Mineral Essence, a new line of healthy mineral makeup products . The only product in the market that adds powerful antioxidants such as green tea to their products.
Michael Engel's Script "Entering Out" was an official selection of the 2006 Great Lakes Film and Screenplay Competition, a finalist at the 2006 Latino International Film Festival, a semi-finalist of the 2006 Filmmakers International Screenwriting Awards, and recently received a letter of distribution from Warner Brothers Distribution.
In 2007 Michael Engel was awarded funding for his short film "Hall of Past Lives" by the Institute of Spiritual Entertainment of Los Angeles. It will premiere at the 2008 Conscious Life Expo was funded by the Institute for Spiritual Entertainment and will also be shown at the 2008 Beverly Hills Film Festival.
NALIP Member Michael Engel, is President of the Scriptwriters Network, a 501c non-profit organization with over 700 members.


On the occasion of the second edition of the program “Women in Motion”, Kering and the Festival de Cannes yesterday, May 15 they won these prizes to celebrate and encourage women full of talent working in the industry of the seventh art. This year, for their exemplary contribution not only to the film industry but also to the cause of women celebrate this award was to be ex-aequo actresses Geena Davis y Susan Sarandon.
The program is supported by two pillars. On the one hand, the “Talks”: a series of symposia with several guests during the entire duration of the Festival de Cannes in order to create a space for reflection and Exchange around the theme of women in the film industry. On the other hand, the awards “Women in Motion”, two rewards to be delivered each year to an iconic personality and one or several young people full of talent during the Gala dinner of the Presidency.
For ten years, Geena Davis directed research projects on the gender inequalities before and behind the cameras. Susan Sarandon is committed to the promotion and defense of the rights of man through an active militarism and support to various organizations around the world.
Geena and Susan’s contribution to the cause of women became memorable since their participation in the film “Thelma & Louise” that became a cult film worldwide on its own merits, and that it also served to launch a very young Brad Pitt who could see naked.
Both met yesterday on the occasion of the dinner of the Presidency in Cannes, 25 years later interpret the road movie directed by Ridley Scott, It was screened at the Cannes Festival in 1991. A film whose screenplay by Callie Khouri won that year for the best Original Screenplay Oscar and also the Oscar film Best Director and best leading actress.
Geena Davis and Susan Sarandon received the award of Pierre Lescure (President of the Festival de Cannes), Thierry Frémaux (delegate General of the Festival), and François-Henri Pinault, Chairman of the Group Kering. Both actresses were offered the opportunity to choose other talent-filled young girls so they received the second prize in this contest between a list of talents selected for their work throughout the year 2015, and whose names were revealed during the dinner. Namely: Leyla Bouzid, and Gaya Jiji & Ida Panahandeh.
Dinner was served by the French chef Anne-Sophie Pic, the only woman with 3-star Michelin in France, famous in the whole world by their associations of flavors and the strength of their dishes.
Last year the creditor of this well-deserved award were the actress Jane Fonda and independent producer Megan Ellison.


Cyrus and I have been friends for years and I have had the distinct privilege of working with him on several of his film projects including The Day Reagan Was Shot and The Stoning of Soraya M. For the better part of an hour, we discussed his process for preparing to shoot a film, including our workshop process of staging scenes even before the production team has been determined. Here’s what he had to say …
Mark Travis: Different directors have different methods for prepping their films. What’s one thing you like to do?
Cyrus Nowrasteh: It’s not really one thing, but rather a combination of things. Perhaps, most importantly, I feel like I have to get inside the script I’ve written. One thing I’ve learned through this whole process is you can write a script and not really dig out of it everything that’s there. Sometimes you need to sort of re-imagine or re-think it and that happens in the process of workshopping, like you and I have done: re-examining the material and the characters by getting the scenes up on their feet before any casting’s been done, before the production crew’s been assembled, before any of that.
Early in my career, as a first-time director, my preparation focused primarily on camera. It was a beautifully shot movie, nicely lit … and nobody gave a damn, least of all me. That’s the worst feeling, to sit in a screening room and realize you blew it. I told myself never again. So, I took a bunch of workshops – including yours – and decided I needed to focus more on performance and script analysis – I call it ‘live script analysis’ because there are actors there – you’re there, I’m there and we’re all peppering each other with questions and ideas. I call this my ‘pre-prep’. I want to have a pretty clear idea of how these scenes play and what new discoveries there are to be had in the material. The scenes will usually organically become something else, usually something better, but we have to find it. So, I workshop the entire movie, the scenes as written up to that point. We play around with them and I record it all. I start very loose, have the actors read the scene, stage it loosely, see how it all plays out. Then, we ask questions – What does the character want? What’s getting in his way? What’s he doing to get what he wants? We shape it and maybe an hour later it actually starts to play like a scene. Sometimes we’ll find little things that need clarification or tightening in the script, little re-writes. I record all of it, number the discs, and before shooting, I’ll watch the process again. I want to see how we got to where we did.
MT: During the process of workshopping the scenes, what is your experience regarding the effects of staging on a scene, whether in terms of the physical environment or the way the characters relate to one another?
CN: We’re in a visual medium and visual medium doesn’t mean just what you see through camera. It’s how people are interacting within a space. Let’s say we’re shooting a scene, the interior of a kitchen, exterior desert, it doesn’t matter. We’re watching people interacting within a space and how they interact tells a story. How they interact also affects performance. I find that literally putting someone in a particular position, with their back to a person, being approached from the side, or whether there is a one-foot or fifteen-foot distance between characters affects how we interpret the scene. It also affects how the actors interpret the scene and then how they play it. This is something one probably learns in working in theatre, which I have not done, but the principle is the same for film. Staging, coupled with how you decide to shoot the event, basically tells your story to your audience.
MT: Preparing the scene ahead of time creates an authenticity in a scene and actually helps the actors better understand the scene.
CN: Sure. I don’t think we realize how much of visual storytelling is about staging and people interacting. I don’t think that’s even been mined yet. And the thing is, knowing how an event will play out makes determining the camera shots easier, allows you to see how to use the camera to tell the story in a way that we feel like we’re inside the scene, passionately inside the scene, totally engaged.
One of the most gratifying experiences on the whole Stoning of Soraya M. journey was this film festival that very much wanted to show the film. We sent them an advance copy, but a mistake was made: we sent them a version without subtitles. They watched the whole thing, not understanding a word that was said. Later they told me, “We got it. Just by the way they talked to each other and the way they interacted, by their performances.” I workshopped that entire movie including the stoning scene itself. I worked with how people were entering and leaving and facing off with each other. It was all very carefully done in pre-prep. The movie ended up 80-90% as we did it in the workshop. Any changes that were made were usually because of location or those that came from actors’ suggestions that did make the scene work better. If a scene can stand on its feet in pre-prep, imagine how it’s going to be during production – it’s got a real chance to fly.
MT: When you get into production, how do the actors and crew respond to your level of preparation?
CN: I’ll give you an example. On The Day Reagan Was Shot, I had workshopped a scene which is at the front of the movie, takes place in the Oval Office. The President is seated behind his desk, his cabinet members are seated in chairs around the room and in the process of the workshop, we had the main character of the drama, Alexander Haig, standing and pacing. In the workshop we had determined that in his mind, Haig was more capable, more experienced, and smarter than everyone else in the room, so, in his own mind, he was running the meeting. On set in Toronto, I’m shooting this scene with Academy-Award winning actor, Richard Dreyfuss. It’s his first day of work. I’ve started to stage the scene, knowing where I want it to go, where to nudge it because we’ve done all this in pre-prep. I still want to leave it open for talent to make suggestions from their perspective, but it’s pretty much the way we ran it in workshop with Haig pacing. Then Richard asks the question, “Why am I standing and pacing and everyone else is seated?” Remember, it’s the first day I’m working with this actor, this is the first scene we’re doing. I say to him, “Because in Haig’s mind, he’s running this meeting and they’re all seated and looking at him.” From that moment on, I had Richard’s complete trust. He was a gem to work with and he delivered a great performance. I think it’s because I had done the pre-prep, done the workshop, asked the questions and when those questions came up in production, I was in the position to answer them.
Here’s the thing – Directors have to be able to answer those questions whether they’ve written the script or not. What putting a scene on its feet does is mine it out, dig it out further, bring up those questions in a way regular script analysis can’t. In workshop, characters are no longer just letters and names on a page. They’re real people interacting with one another in a room.
MT: In pre-prep, you’re experiencing the scene, the scene is telling you what it’s about.
CN: Yes. The scene is telling me, the actors are telling me, whoever I’m workshopping with is telling me. We’re discovering together that there’s more here than meets the page. I have found it of immense benefit. It also gives me more confidence as a director. My senses are sharper as a result of workshopping. I hope I never make a movie without it. It immeasurably enhances performance. Let’s face it, making a movie is about time management. We’d all like to have 2-3 days to do a scene, but we don’t have that kind of time. This process really helps that.
MT: You and I collaborate a lot. We’ve workshopped 3 or 4 projects together. Not all directors are open to collaborating with other directors. What’s your experience with being open to other opinions or interpretations of scenes during the workshopping process?
CN: Well, look. It’s about sharing ideas and I’m the beneficiary. I get to take all the good ones and use them. If you’re working on a project and you’re open, you’re going to get some good ideas. I’m careful who I select, though. Collaboration of this nature requires people who are fully engaged, generous, and won’t get upset if I don’t go with their ideas. I’ve spent more of my career as a screenwriter-for-hire. You don’t survive as a screenwriter-for-hire if you’re not willing to incorporate other people’s ideas or at least be willing to consider them. What I’ve found is that other people have really good ideas, which make you look better. It’s part of the process. At all stages of production, including pre- and post-, your film is going to change because it’s being shaped by all these people and ideas. I teach young filmmakers at Chapman University this: Your film isn’t going to be what you started out to make, how you pictured it in your head. You have to allow this process to happen. One of those ways is to keep your eyes and ears open to what the actors, cameramen and production designers bring.
MT: What final words of wisdom or advice do you have for someone reading this interview?
CN: Bring actors in and stage the scene, put it up on its feet, go through the workshopping process. If you don’t know any actors, get your friends. It is so beneficial and will so enhance your film. I do this with my Chapman students. I hand them some pages, set the stage, and we’ll find the scene together. The energy is palpable. It’s great. Ultimately, that’s what we’re doing as filmmakers – bringing scenes to life.


A few years ago when we saw the film The Cats of Mirikitani, my husband and I didn’t imagine we’d ever get to meet the artist Jimmy Mirikitani featured in the film, although we wanted to. Well, thanks to a film screening of The Cats of Mirikitani at the Wing Luke Museum of the Asian Pacific American Experience on June 28th, we had the honor of finally meeting Mr. Mirikitani who recently turned 92 years old. Jimmy flashed his signature peace sign to remind us to “make art, not war,” serenaded us with a song in Japanese, and captured our hearts with his gentle smile and kind eyes.
We were also able to thank The Cats of Mirikitani director Linda Hattendorf and producer Masa Yoshikawa and hear their personal stories (like that Ms. Hattendorf still resides in the same apartment shown in the film – who isn’t curious about New York apartment stories, right?). During the Q&A, my husband shared with the audience members that his father was born in Manzanar and was therefore deeply moved by this film, and in turn artist Roger Shimomura also opened up to us about his family’s internment camp story.
The Cats of Mirikitani is important on so many levels. It’s important for the Asian American community to have not just a presence in films but a strong voice and point-of-view. It’s important for people to support lower-budget films and the independent spirit. It’s important for those of us who grew up in Asian families where our parents and grandparents didn’t want to speak about their painful pasts to see and hear stories that help us to better understand the complicated layers behind our family stories from their perspective.
And most of all, to me, The Cats of Mirkitani is a powerful example of human connection. Director Linda Hattendorf changed Jimmy Mirikitani and his family’s lives; he in turn changed hers. But what if she had just walked past him thinking he was just another homeless New York street artist? His story is so rich, yet we would never have been enriched by it if she just went about her business like most people do. This film gives me the hope and desire for us to all connect with each other more, to help each other more without expectations, to facilitate positive change in each others’ lives, to be less exclusionary, to be less disparaging, to not look down on homelessness, to find empowerment and give each other strength stemming from hurtful events, and to be more open, loving and connected.
Thank you Jimmy, Linda, Masa, and film crew for sharing this important story. Thank you Wing Luke Museum for giving us a place where we can come together to share, celebrate, learn, and connect. For more photos of Jimmy Mirikitani at Wing Luke Museum (non-amateur like mine), see these from PhotoMura Images.


Wacky Doodle – Always whipping it out and masturbating, the one thing he wants is to finally find his lost towel.
Penelope Vagina – Wacky’s love interest, the only thing she is interested in is swooning over people who aren’t Wacky.
Marco Daniels – Totally is a dick who Wacky hates. He wants to have intimate relations with Penelope, even though he doesn’t deserve to.
Prick McKenzie – Person who bullied Wacky as a kid and is now a Dragon that Wacky must defeat so that he can finally claim Penelope as his property.
Yogurt Kunt – Girl who rejected Wacky and is now just a giant biznatch who Wacky doesn’t like. She wants to pretend she doesn’t love Wacky, even though she obviously does, and only left him because she was intimidated by how great he was.
Towel Master – Wacky’s best friend, who’s always there for him no matter what. Wacky loves TM and always wants to be with him over the company of any other person ever, living or dead. Towel wants to love Wacky, but he can’t feel emotion because he is a towel.
So basically the plot is that they all have to fight and shit in an arena that’s actually in Outer Space. I’ve developed this idea over 82 years, so I know it’s really good. Wacky basically finds out that Prick is cheating in the fight, because he’s a dragon and that’s not allowed. He then beats Prick, and then Penelope tears her clothes off at the very sight of him as the ultimate victor. Then Marco is like oh no and starts to try to get intimate with Penelope Vagina, but Wacky fights him to the death and wins and the Prick, who is a dragon, is now on Wacky’s side. Yogurt tries to defeat Wacky, but Wacky seduces her and then she and Penelope have a threesome while Prick the Dragon watches. Then Towel Master comes and cleans everything up and then they go home and live happily ever after.
So what do you think? Pretty amazing, right?


My 7 year old daughter loves acting and drama and for the last 3 years she has participated in the Creative Drama & Dance class held at Dramafun in Sandwich. She and I both absolutely love Courtenay Harrington-Bailey, who is the founding director and teacher. She is amazing with the kids and always puts on a great performance with the children at the end of the session. In addition she produces “Broadway Jr.” productions three times a year with her children’s theatre company. We went to the most recent show in December called A Ghost Tale for Mr. Dickens. The almost all kids cast brought us back in time to the Victorian streets of London where the characters Jack and Annie helped save Charles Dickens from his past and the memories that haunted him. I certainly felt like I was at a Broadway show!
If you have a chance I would suggest checking out their next big show, Mary Poppins Jr, which will run on Saturday, April 7 @ 2pm & 7pm and also on Sunday, April 8 @ 2pm in the Mashpee High School Auditorium. Tickets are $15 a person, kids 4 and under are free.


The story of “Dracula” written by Bram Stoker has inspired numerous films. The character of the vampire Count, in fact, became very popular over the years and today we can count more than 200 movies featuring Dracula in a major role.
The first motion picture adaptation of Stoker’s book was made in 1922 by German director F. W. Murnau: it’s the black and white silent film “Nosferatu: A Symphony of Horror“, where Dracula (named Count Orlok) is played by Max Schreck. Stoker’s estate sued the authors for copyright infringement and won. In 1979, “Nosferatu” was remade by Werner Herzog, that used for the iconic character the “real” name Dracula.
In 1931, Tod Browning made one of the most famous versions of the story, a true classic starring legendary actor Bela Lugosi as Dracula. In 1958, Hammer Films produced a new version of the story, “The Horror of Dracula“, starring Christopher Lee as the vampire Count and Peter Cushing as Professor Van Helsing. Lee played the same role in many other movies, such as the 1969 “Count Dracula” by Jesus Franco.
In 1992, Francis Ford Coppola produced and directed the utimate tribute to the novel with his “Bram Stoker’s Dracula”, starring a terrifying Gary Oldman, Keanu Reeves, Winona Ryder and Anthony Hopkins. This version adds many details to the story, explaining for example how Dracula (the historical Vlad Tepes in this case) became a vampire. In 1995, Mel Brooks directed “Dracula: Dead and Loving It”, a comic parody starring Brooks as Van Helsing and Leslie Nielsen as the Count.
In November 2012, Italian horror director Dario Argento will release “Dracula 3D”, starring Thomas Kretschmann, Rutger Houer and Asia Argento.


Dimteng Ti Lawag
Magsaysay, D.M. (2018). Dimteng Ti Lawag, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.
Dimteng Ti Lawag follows the story of Althea, a 6-year-old girl and her mother Susan as they cope with the sudden loss of the father, Ramon, a local fisherman. Althea, being very close to her father, can’t fully grasp the concept of death or a disappearance and believes that her father sailed off into the sun.
Grounded on the concepts of Grief and Loss, the film aims to explore the process of Mourning, especially within families whose breadwinner has a high-risk occupation (e.g. fishing), following J.W. Worden’s belief that healing requires active participation (“tasks”) from the bereaved individual. The film uses the narrative style of Magic Realism to portray the point of view of a child going through the mourning process.
Keywords: Grief, Loss, Mourning, Fishing


David Hare’s Page Eight, which premiered at the Edinburgh Film Festival (on 18th June) before being shown soon after on BBC2 (28th August), presents us with the opportunity of looking at some aspects of television’s role in commissioning feature-length film that has the option of theatrical exhibition, partly using Hare’s own, frequently vented, opinions on the subject as a sort of medical test of the success of the blood-infusion. A political spy thriller starring Bill Nighy and Michael Gambon as agents of the British intelligence services, Page Eight is Hare’s first directorial effort for 14 years (since The Designated Mourner in 1997), and was described by Andrew Pulver of The Guardian as “something of a major event”, with the rider “even though it is aimed at TV transmission, rather than cinema release”. This phrase is a reminder that the television premiere can never be as newsworthy as a theatrical release, despite the huge audiences that television can reach. For one commentator, the fact that the film is seen as a major event is simply a statement on what they perceive to be the sorry state of this year’s Edinburgh Film Festival (despite the film’s star-studded cast). Clearly cinema still possesses all the attributes of prestige that television lacks, despite (or even because of) television’s resurgent emphasis on what we might term serial spectacle (The X Factor and Strictly Come Dancing) or the fact that the British film industry as we know it today would not exist without money from television.
The review also points up the fact that we still lack a critical tradition of reviewing films which are shown for the first time on TV. This has wider significance, as film criticism in the national press has historically represented a springboard for overseas sales. This cannot be provided by television criticism as long as it is not taken seriously by the majority of national newspapers. Would Page Eight have received as much attention if it had not been shown in Edinburgh? To be fair, Page Eight received significant publicity from the Beeb (in the form of trailers and an extensive article in the Radio Times) as Hare’s return to the medium as writer-director. The film also featured as the first of a kind of screenwriter double-bill on the night it was shown (on BBC2) , as it was followed by The Hours (the film of the Michael Cunningham novel, adapted by David Hare and directed by Stephen Daldry). As Mark Lawson observed recently, however, the impression gained was of
…a clever and interesting piece of scheduling that failed because the presentation and publicity parts of the operation didn’t understand why it had been done….Hare’s name was not mentioned by the continuity announcer; only actors’ names were invoked – Nighy, Weisz and Gambon for the TV play, Nicole Kidman for the movie. The listings page in Radio Times also gives no writer credit for The Hours.
It is interesting and telling in itself that Lawson refers to Page Eight as a TV play rather than a film. Another issue which has emerged from reviews and comments about the film relates to whether it is truly topical for the film to examine the implications of intelligence information having been received through American rendition, or whether it is already ‘out of date’ due to the exposure that this controversial issue has already received in television current affairs and documentaries. The way in which Ralph Fiennes’ performance as Prime Minister is clearly modelled on Tony Blair reinforces the notion that the film revisits ‘recent history’. As an otherwise positive review in Variety notes,
No one will be very surprised by Hare’s suggestion that the U.S. runs black sites for the interrogation of renditioned suspects on foreign soil, or that the British premier [sic] might put his belief in “shared values” with his ally ahead of his duty to obey his own country’s laws.
The same review notes that there is nothing terribly new or urgent about Page Eight, despite a car-radio news report of the Arab Spring in one scene, which was “presumably dropped in late in the day to signal contemporary relevance”. We can pose the question here of whether Hare’s film is judged rather harshly on this count due to the fact that it is political and topical rather than contemporaneous, or due to the expectation that the television film, with its ‘fast turnaround’, and immanent insertion into the television schedules (amongst news and documentaries), should reflect what is happening in the world at the time in which it was made. The same review noted rather witheringly that, as an “upscale British period drama” the film will suit the up-market Brit-drama outpost PBS Masterpiece, where it is to receive its premiere in the US.
Nevertheless Page Eight might symbolise a ‘major event’ of another sort; another sort of milestone in Hare’s career. It is also a rapprochement of sorts between him and the BBC, which part-financed the film. Page Eight was commissioned by BBC Two Controller Janice Hadlow and Ben Stephenson, the BBC’s Head of Drama Commissioning. For David Hare, it represents evidence that Hadlow, the former BBC Four Controller, has a commitment to “turning BBC Two back into what it once was – the channel where you can see new British drama and documentaries” (see the Q&A with Hare in the Herald Scotland).
Hare has often chided the BBC for its concentration on news-gathering at the expense of original drama, and the consequent privileging of fact over imagination. In 2008, Hare launched a stinging attack on what he perceived to be the Corporation’s lack of support for the television play, furious at the failure of representatives of the BBC or the press to attend David Rose’s career retrospective at the National Film Theatre in July that year. (For more on David Rose, see Justin Smith’s blog article here, and the video of Rose in conversation with Jeremy Isaacs at the NFT here, which took place in April 2010 when Rose received a BFI Fellowship for his contribution to television and film). In Hare’s article (for The Sunday Times, 25th August), he paid tribute to Rose’s distinguished career nurturing talent and producing drama for the BBC and for Channel 4 (as Head of the English Regions Drama at BBC Pebble Mill between 1971 and 1981 and Commissioning Editor for Fiction at C4 between 1981 and 1990), and decried the absence of the single play in contemporary television:
Even in the days when single plays were allowed on majority channels, drama was identified as a conspicuous source of mischief and expense. How could anything which cost so much be so infuriatingly unpredictable in quality? Little wonder, then, that controllers chose to steer their investment away from individual stories that could never be repeated into long-running series with familiar characters and cliff-edge endings that would keep the ratings ticking over nicely.
Now Hare believes that the BBC is emboldened by the success of nuanced and complex drama series imported from abroad like Mad Men and The Killing to put more resources into ambitious drama, although he is concerned that the BBC should not seek to directly imitate these examples. BBC Films is now an established major player in the British film industry, but it is actually a relatively recent arrival on the scene. The BBC’s historical emphasis on studio drama and protracted negotiations with trade unions and exhibitors, determined that BBC’s move into film-funding was a slow and rather tortuous process. That the BBC should have its own filmmaking arm was almost inconceivable 30 years ago. When Hare’s directorial debut Licking Hitler, made in the Pebble Mill Drama Department (Birmingham), was first shown on BBC TV in 1978, it got an audience of eight and a half million, which Hare notes is unimaginable today for a single drama lasting 75 minutes. Nevertheless, on the occasion of its first broadcast BBC executives in London were more concerned with criticising the on-screen credit “Written and Directed by David Hare”, which was thought to be indulgent, ‘auterist’ and not in-keeping with the Corporation’s public service remit. This attitude was also a reflection of the view that investment in film was too expensive compared to what could be achieved in television studios, which led the BBC to believe that the future of television drama resided in the studio. When Channel 4 was launched it took the opposite view. Jeremy Isaacs invited David Rose to become the channel’s first Commissioning Editor for Fiction, and the new channel committed itself to commissioning original drama on film (with the possibility of limited theatrical release, as exemplified by the Film on Four strand); and as a publisher-broadcaster which commissioned work from independent production companies, it had no investment in ‘bricks and mortar’ studio facilities. As Hare observed at the time of the release of Wetherby in 1985,
When I insisted at BBC Birmingham on calling Licking Hitler a film, it was thought to be quite controversial because at the time they just didn’t recognise the category of ‘television film’. Thanks to Channel 4 that’s now changed, and indeed it’s Film on Four which has given the Channel much of its identity to date.
In fact, David Hare can claim a little credit for Channel 4’s eventual attainment of a groundbreaking agreement with exhibitors and distributors whereby films financed partly or wholly by television could attain a “theatrical window” and be shown on television after a reasonable length of time had passed. In 1981 Jeremy Isaacs had been met at the Channel 4’s temporary offices in Old Brompton Road by a ‘delegation’ consisting of Hare, Stephen Frears (the director of Hare’s screenplay Saigon: Year of the Cat), Richard Eyre, Ann Scott and Simon Relph, who argued that their films should have a theatrical release before being shown on television. This was desirable for filmmakers for a number of reasons. Having invested so much time nurturing an idea from script to screen, they felt entitled to enjoy the fruits of their labour with a live audience (on a large screen, uninterrupted by commercials). However optimistically, writers and directors were also seduced by the possibility of box-office returns, and saw television rights as the ‘end of the line’ in terms of the film’s profitability. In general the notion of the ‘made-for-TV movie’ was seen as far less attractive than films which were ‘amphibious’ (which could accrue cinema and television audiences). Having accepted this proposition, Isaacs and Justin Dukes, the Managing Director of Channel 4 had to spend a great deal of time negotiating with exhibitors to arrange a crucial exception to the rule whereby no film could not be shown on television until 3 years had passed since its theatrical release. The compromise reached exempted truly low-budget work from this rule. For Channel 4 the theatrical window was typically not a profitable venture but one which would reap rewards in terms of recognition and kudos.
In the recent interview with the Glasgow Herald linked to earlier, David Hare spoke of how he found the 1980s British film industry a dismal, dispiriting and hierarchical place, implying a stultifying atmosphere of embittered technicians and restrictive practices. Oddly enough, in dialogue with Clemency Burton-Hill for an Independent article in September of last year, Hare had celebrated the permeability between film and television, and the spirit of enthusiasm and open-mindedness that have prevailed making films in the 1980s;
In those days, the early 1980s, TV and film were interchangeable. Stephen Frears made something like 25 films for television. Jeremy Isaacs went to found Channel 4 and decided that to make the channel distinctive he needed a policy of enlightened patronage. David Rose, his Head of Drama, came to people like me, Mike Newell, Stephen Poliakoff, Derek Jarman, Stephen Frears, Richard Eyre, and said: ‘We won’t have a channel unless you make films for us – we’ll finance them and show them on TV’. Wetherby  was made on a huge wave of enthusiasm; you had people like Judi Dench and Ian Holm playing parts which were insignificant compared to parts they could have played on stage, TV or film, but they did it because everyone was excited about British film. They saw it as something important. People are much more calculating now. That spirit has gone.
Why such a disparity? Obviously we have to take into account the obvious fact that the recent interview was conducted at the time of the premiere, and the other interview conducted before shooting began. It is more tempting to look back on a golden age when work seems to have dried up. Perhaps the recent, collaborative experience of making the film has induced him to now look askance on the more confining aspects of an earlier era. More importantly it seems that Hare was talking about, on one hand, working in the ‘traditional’ British film industry; and, one the other, working on the borderland between television and film, where cross-fertilization was taking place between the two industries. In this case this disparity can be explained in terms of the difficulty in determining how wide or deep an impact on film culture we can attribute – within the terms of a historical overview of the 1980s – to the agency of Channel 4 in particular. During this period Channel 4 upheld an enlightened and permissive attitude in commissioning new drama, and sought to break down some of the barriers between the respective industries. There is no doubt that the film industry was, to some extent, revitalized by Channel 4, due to the fact that feature films were now being made by new and emerging medium-sized independent companies (in addition to the established ‘players’), or by established producers, writers and directors from theatre or television backgrounds who were finally able to realize long-cherished, feature-length projects thanks to the Film on Four strand.
In a recent interview for this project, Peter Ansorge, who worked at Channel 4 initially as a script editor and later as Commissioning Editor for Series and Serials, observed that there was always an open, enthusiastic and creative mood on the set of a Film on Four or Channel 4 drama production during the 1980s and early 1990s, which wasn’t always the case at the BBC at the time (although the Corporation’s camera crews and technicians were incredibly talented and experienced, they were often resentful due to their feeling that they were taken for granted or overworked). To give a specific example, in a recent interview for the Arts Desk David Leland (writer and director of the Channel 4 funded Wish You Were Here) described how, in looking for inspiration for how to shoot their film Made in Britain in 1982 Alan Clarke had taken him to the cutting room where Stephen Frears was editing Walter (the first Film on Four, screened on Channel 4’s opening night). There they viewed a sequence in which the cinematographer Chris Menges had created a “lived-in texture and depth” through the use of Steadicam (then a very rare piece of equipment) and what he termed ‘available light’ (shooting on location in office buildings).
So to what extent did this wave of excitement and innovation transfer to the screen, and to the audience? At the outset of Channel 4, when challenging and vivid films such as Walter and Angel were broadcast relatively quickly after being made, there must surely have been a degree of excitement amongst the audience about the prospect of Channel 4 acting as a new ‘home box office’, at least amongst the cinephiles. However, it could also be argued that, on occasion, Channel 4 later came to be the victim of its own success, as the extended theatrical windows for some of the later films deflected attention away from the importance of the television premiere. Chris Dunkley, television critic of the Financial Times, wrote in 1987 that the Film on Four films were often highly original and rewarding, but amounted to ‘very little’ as television occasions;
Indeed, the better they are, the more fuss will have been made of them before they reach the small screen, and the less television impact they have. Ironically BBC2’s “Screen Two” tends to be more exciting than “Film on Four” precisely because the BBC’s union agreement prevents their films being shown in cinemas.
Dunkley here returns us to the notion of the ‘newsworthiness’ of the theatrical release – compared with the televisual premiere – with which we started. According to Dunkley all the excitement provoked by the film’s theatrical release had dissipated by the time of its television screening. This perhaps highlights the broadcaster’s need to develop public loyalty to a particular strand or season over an extended period of time. The large audience for Licking Hitler can partly be attributed to its recognition of the Play for Today strand in which it was broadcast, a strand which had existed since 1970, and which was a continuation of the Wednesday Play (initiated in the early 1960s). With the later box-office success of (Channel 4 funded) films like Four Weddings and a Funeral (1994) and Trainspotting (1996), more substantial delays were incurred before such films could be broadcast on television. This led to a dwindling of interest in how films perform on television, and ultimately to the Film on Four season (as a regularly scheduled fixture on Channel 4) being curtailed altogether and replaced by a standalone film channel (Film4). But that’s another story…For now I can say that I look forward to the television premiere of Page Eight.
 Charles Gant, ‘Film Reviews: Page Eight’, Variety, 2011 <http://www.variety.com/review/VE1117945486/> [accessed 21 June 2011].
 David Hare, ‘David Hare on How the BBC Killed the TV Play’, The Times (London, 25 August 2008) <http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/tv_and_radio/article4590364.ece> [accessed 21 June 2011].
 David Hare, quoted in Julian Petley,”The Upright House & The Romantic Englishwoman: A Guide to the Political Theatre of David Hare”, Monthly Film Bulletin, March 1985.
 We can also note that Jeremy Isaacs had invited David Rose to join him on Channel 4 on the strength of his work at BBC Pebble Mill, and foremost in his mind, as revealed in his professional memoirs of the period (Storm Over Four) were Hare’s television plays Licking Hitler and Dreams of Leaving (1980).
 David Hare, ‘David Hare: The Sort of Films I Write Have Collapsed’, The Independent (London, 24 September 2010) <http://www.independent.co.uk/arts-entertainment/films/features/david-hare-the-sort-of-films-i-write-have-collapsed-2087663.html> [accessed 21 June 2011].
 Peter Ansorge, interviewed by the project team on 7th June 2011.
 Chris Dunkley, ‘The Isaacs Formula at Work at Channel Four’, Financial Times (London, 8 April 1987).


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