I Am Not Interested in Fetishizing the Form
Shai Heredia, member of 25 FPS's Grand Jury, talks about the festival program she curated, the history of Indian experimental documentary film, her work and politics.
Shai Heredia, filmmaker and curator, is the founding director of Experimenta, the moving image art biennial of India. Her films in collaboration with Shumona Goel – I Am Micro (2012) and An Old Dog’s Diary (2016) – have been exhibited widely to critical acclaim, winning several awards, including the Grand Prix at the 25 FPS festival. She has curated for film festivals and art venues worldwide. Based in Bangalore, Heredia teaches at the Srishti Institute of Art, Design and Technology.
Shai was the Grand Jury member at the 25 FPS international experimental film festival in Zagreb, Croatia. We seized the opportunity to discuss her festival program The Jury Presents: A Bit of That India, the history of Indian experimental documentary films, her own films and of course – politics.
KP: Traditionally, grand jury members at 25 FPS have their small program in which they show films that influenced their work. You decided to show us four very different Indian experimental documentaries. Why did you choose these films?
I was conscious of the fact that I would be showing films to a new audience who didn’t know much about Indian cinema so I decided to include a mix of four experimental explorations that resonated with my own filmmaking and curatorial practice. From animation (Pramod Pati’s Abid) to crazy experimental ethnography (S.N.S. Sastry’s This Bit of That India, available on YouTube), Ruchir Joshi’s film Tales from Planet Kolkata, a critique of representation and post colonial identity, to Priya Sen’s Noon Day Dispensary, a vérité insight into the health care system which is quite radical in its one-take form, a moment opens out into a dramatic narrative so to speak. So I thought that this arc would take you through different kinds of socio-political ideas.
KP: Why did you choose to focus on documentary films in your program?
I’m interested in the documentary form. My engagement with Films Division of India through a research project that I started in the early 2000s has been significant in both rooting and expanding my practice. At Films Division there was a collective of filmmakers in the 1960s and 1970s who were making some super experimental films, but in 1975, when the prime minister Indira Gandhi declared a state of emergency, their work was shut down and the films were abandoned in the FD archives. Since I started digging out these films I began to show the work at Experimenta and to a wider international audience.
FD was important for its experimental practice before 1975, but also, during the 1990s in the pre-digital age, it was the only place for funding experimental films. If you wanted to make a film, you needed 35mm film as that was our national cinema format. Unless you were making feature films within the industry, you needed state funding. FD, as a public institution, supported many experimental filmmakers who later became famous. They all explored documentaries. It was this context that allowed experimentation with the short format – to gain practice, you wouldn’t make a feature film, but a short film with the FD support.
KP: So what is Films Division? Is it a collective or a formal institution?
It was initially a British institution, called the Film Advisory Board. They made British newsreels in India. After India gained independence, it was renamed the Films Division of India and it basically worked this way: filmmakers would travel across the country, shoot footage and bring it to the production house in Bombay where films were edited (often different films contained the same footage). When films were finished, they were sent back out across the country and projected in 1000s of cinemas before the feature films. These films were used to construct the idea of a nation, because India is huge and diverse, different parts speak different languages. You had to construct the idea of India as a nation to bring all these parts together. That was the agenda, but also a way in which many experimental documentary films were seen by thousands of people across the country.
KP: But if Films Division was used for propaganda, how did its filmmakers produce such unconventional experimental films?
It was because Jean Bhownagary, the chief producer of Films Division, was very progressive and supportive of experimenting. He was a visionary, he was into cinema, he saw film as an art form, so he supported filmmakers who were actually creating subversive work, and the films were very often very critical of the state. When I show these films to my students today, they are shocked. For example, Explorer by Pramod Pati (1968), a stop-motion piece, has a close-up of text that says "Fuck censorship". My students are shocked that the state supported such films as today a radical image like that would be impossible to put out there.
Anyway, after Films Division was established, its employees, even bureaucrats, began to make films. FD even started an exchange program: one artist called Akbar Padamsee received funding to set up a space, the Vision Exchange Workshop, where he invited other artists like painters and sculptors to work with this new medium. They made some films, few of them are now accessible, but it opened the door for other artists to come to Films Division and start to explore the form. Again, that was happening in the 1970s. Bhownagary supported this, but after 1975 it began to peter out.
KP: Filmmaker Amrit Gangar claims that Indian experimental cinema is not "experimental". He suggests a different term, calling these works "cinema of prayoga". What does it mean? And what do you think about it?
Amrit Gangar is trying to create a certain formal theory that is rooted specifically in the Indian art historical context. However I don’t fully understand how his theory differs from other similar Western theories. Prayoga actually means "experimental". Anyway, to me cinema of prayoga is essentially about constructing a new canon. But I’m not interested in that. My practice is all about critiquing and resisting the canon.
KP: Why do you find it important to resist the canon? And how do you do it?
I grew up at a time when my only role-models were Ritwik Ghatak and Satyajit Ray for example. But I refused to accept that those were the only filmmakers doing radical work. We are such a cinema-rich country, for example there are so many unknown women who were making films. So I started spending time at Films Division and National Film Archives to find and show these films, speak to people, meet filmmakers. That’s also what kick started my curatorial focus with Experimenta. It became important for me to create multiple histories and resist the singular history that had been constructed by bureaucrats and academics.
Over the years I have shown amazing films like Chhatrabhang by Nina Sugati SR (1975). I found great films in the archive of Arsenal Institute for film and video in Berlin, which is much more accessible than archives in India which are highly bureaucratic and really gendered – I would basically need to be accompanied by a man with a beard to get access. I didn’t want to deal with this, so I started to work with the archives abroad – they had films which found their way there through festivals, I think. Arsenal had a print of Pattabhi Reddy’s Samskara (1970) that was filmed in Bangalore where I live now. We brought this print to Bangalore to show and discuss with the local community and artists who made the film in the 1960s. That’s what I’m interested in, not fetishizing the form.
KP: Yes, fetishizing canon films is very common, even in alternative film circles.
A lot of my relation to cinema has come from my exposure to the Western avant-garde and I have a great deal of respect for this context, but I think it can also be really oppressive for young practitioners. They think: "I have to make films like this and only then can my work be experimental!" So it has become a genre, which is a contradiction in terms. It’s experimental film – it cannot be defined, it’s about exploration!
KP: Indian experimental films are also clearly influenced by Western cinema. Joshi’s film Tales from Planet Kolkata directly mentions Godard and Pasolini. How were Indian filmmakers linked to the West?
There is an interesting project by writer and curator Shanay Jhaveri about foreign filmmakers in India such as Pier Paolo Pasolini and Jean Renoir. He was researching transnational relations that existed through film. I think Indian artists were very interested in the cinema of the world. That’s why festivals and film societies were very important. We’ve always been exposed to films from the West, especially Eastern Europe because our socialism was constructed on the basis of the Soviet model. Our film institute and FD were inspired by Soviet institutions. We also had strong relations with socialist countries through the Non-Alignment Movement. FD authors were also coming to the former Yugoslavia and showing their films. There was always a dialogue – not so much with America, but definitely with Europe, especially socialist countries.
KP: How did the state support films during socialism? And how is it now during capitalism?
As any socialist state, India was actually encouraging culture and risk-taking. It wasn’t an insecure state. Of course, there were parameters within which you had to function, but India was open, progressive and it stuck to the values of democracy, until Indira Gandhi became insecure, started getting fascist ideas and declared a state of emergency from 1975 to 1977. But during the 1980s there was support for developing and producing art cinema... The state took this seriously as a part of its identity. That has changed as we are now in the full capitalist era. The state supports art house films, but not like before, it’s often as co-production with foreign funds. The production has become hyperindustrialized. Festivals used to provide a cultural experience, but now they function primarily as a market. And the state is participating in the market, facilitating the industry, which is obviously quite problematic. But we do have contexts like Netflix now which opens up a space for young filmmakers to make fresh and new stuff.
KP: Croatian filmmakers are often told that they should rely on the market to get their film funded. How does experimental cinema fare at the huge Indian market?
Ha ha, the market is not interested in experimental film! Experimental film exists in its own universe. It’s about community and distribution through film festivals. The market has no relation to it at all. Some of my closest friend make major feature commercial films, we respect each other, but our work is not connected in any way.
It is important, though, to stay open to a wider public. As a director of Experimenta, the biennial of experimental films, I’m interested in developing a sensibility, a sense of politics, a critical sense towards the world around you. So Experimenta is not only for filmmakers and artists, but we have lawyers, scientists, engineers, the general public... It is really open and people enjoy it. We have pretty large audiences – it took years to build this audience, of course.
KP: Together with Shumona Goel you directed two short experimental films, I Am Micro (2012) and An Old Dog’s Diary (2016). In both films you discuss the relation between art and wealth. An Old Dog’s Diary is a film about the famous Indian painter Francis Newton Souza. In the film he poses a question: "Do you need art if you don’t have bread?" Well, do you?
It’s a tough question! And I think it is essential for every artist in India to consider. You step out onto the road, and you are surrounded by poverty and class discrepancies. This is a perennial question that we are confronted by. And I think it’s important to talk about it even if there’s no definite answer. It’s something that we feel and experience every day.
I have a strong sense of art as labor. It took us many years to make these films because both of us have full-time jobs and full lives. So we are also processing this luxury we have to make the work we make. There is a struggle, for sure, but it is still a luxury. It is tough, we navigate through lots of stuff, sometimes we invest our own money, our struggles are very present in the films. For example, we like to shoot on film because it is a medium that we studied. We would find it hard to shoot digitally, simply because we’re not familiar with the medium. Aesthetically, we feel celluloid images are also softer, which we like. So we said to ourselves that we will shoot on film which was more complicated and time consuming. Our 10minute films take at least 3 years to make...
Our films are also a critique of the culture industry. I Am Micro is a critique of a particular idea of art cinema which manages to create outsiders even within that space. An Old Dog’s Diary reflects on FN Souza who was extremely famous by the end of his career, but he was still an outsider because his subjects were radical, like sexuality and Christianity. At the end of the film we hear the auction process as Souza becomes a commodity.
KP: Why did you decide to make a film about Souza? And how did you decide to make a film about a painter – in black and white?
We just like black and white! And we were commissioned to make a film about Souza. Frankly, Shumona and I were not that interested in his paintings. Sure, we love those from the Gentleman series that we have in the film, but our film was not about Souza as a painter. When we were asked to do a film about him, we were unsure. He seemed like an interesting artist, but he was very famous, like the Picasso of India. And then I went to an archive in London and found texts that he wrote, which were really powerful. Then we realized we have something interesting to work with.
We didn’t want to make a biopic, really. Both films are actually about us. Everything we selected revealed more about us. Souza had a lot of amazing essays, but we selected what we actually wanted to say and included it in the script. Souza is a mad artist, but his texts were very poetic, tragic and deeply philosophical. When some people saw the film, they said that "this is not who he was". But he wrote it! It is just that we weren’t projecting a common idea of the persona of Souza.
KP: You started Experimenta in 2003. In 2007 you moved the festival from Bombay to Bangalore. Why?
Because I got a job there! Also, Bombay is a commercial capital and a home to mainstream film production. If you want to start something there, it’s open, but it’s hard to sustain it, especially a festival of experimental cinema in this industrial context. In order to get money you would need to invite famous and influential people, but I didn’t want to do a festival that needed industry validation. So moving to Bangalore was better because the city is big and very open – it does have its own cinema industry, but not of this kind of oppressive scale as Bollywood is in Bombay. Bangalore is very interdisciplinary, it has many scientists and artists working together, which makes our audience very mixed.
KP: We talked a lot about 20th century in India, but nowadays India is in a very different, disturbing state. Could you tell us more about the current Indian political situation?
I try to use every forum possible to talk about this subject because people don’t understand how bad it is. The situation in India today is tragic and sad. Where to start? During the 1990s there was essentially a genocide in the state of Gujarat in India, Muslims were massacred. The entire country was horrified by this genocide. The chief minister of Gujarat at that time is now the prime minister of India. He belongs to the BJP party, who’s overarching organization is called the RSS. Nathuram Godse, who assassinated Mahatma Gandhi, was a member of the RSS. Need I say more?
This government has started changing democratic institutions and systems with a vengeance. They have decimated one of our major academic institutions. They are changing historical narratives in the textbooks. They are currently identifying and marking migrants. They have just created a Gaza-like situation in Kashmir. Fundamentally, their whole idea is to create a homogenous Hindu state, which is problematic and stupid because the basic premise of Hinduism is plurality – Hindus believe in the existence of multiple gods. That’s how secularism was able to exist in India, in a flawed way no doubt, but it is a constitutional principle that everyone respects... well at least until now.
But the reality is that this party was elected by a vast majority of people in India. People want a so called ‘strong leader’ and these politicians are very good at using social media and news to control the narrative. And there is no opposition. The main opposition was the Congress Party, very significant after gaining independence, but now it has just destroyed itself. Meanwhile, the economy is wrecked. So the situation in India is very scary. That’s why my introduction to the festival program seemed a bit cynical: "It’s a tragic situation, but enjoy the films!"


Become a star presenter: lessons from 5 great film directors
Part 2. Akira Kurosawa: “If it is not interesting, it simply isn’t interesting.”
Preparing to pitch a Venture Capital? An interview for your dream job? Or simply trying to select the best pics for the holiday photo album? Removing all unnecessary elements may well be the most important step to creating a memorable story. Read what legendary filmmaker Akira Kurosawa has to say about it.
“No matter how much work the director, the assistant director, the cameraman or the lightning technicians put into a film, the audience never knows. What is necessary is to show them something that is complete and has no excess. When you are shooting, of course, you film only what you believe is necessary. But very often you realize only after having shot it that you didn’t need it after all. You don’t need what you don’t need.
Yet human nature wants to place value on things in direct proportion to the amount of labor that went into making them. In film editing, this natural inclination is the most dangerous of all attitudes.
The most important requirement for editing is objectivity. No matter how much difficulty you had in obtaining a particular shot, the audience will never know. If it is not interesting, it simply isn’t interesting. You may have been full of enthusiasm during the filming of a particular shot, but if that enthusiasm doesn’t show on the screen, you must be objective enough to cut it.”
Read more on great film directors.
Quotes taken from Kurosawa, Akira. Something Like an Autobiography. Translated by Audie E. Bock, 1983.


Kannan is a British–Sri Lankan documentary filmmaker. His work focuses on stories throughout Asia and has appeared in The Guardian, The New Yorker, Upworthy, Engadget, TechCrunch, Buzzfeed, AOL Studios, and broadcast on the BBC and Al Jazeera English. His films have screened at international film festivals and art galleries, including The Tetley, Leeds (2019); Dhaka Art Summit (2018); Edinburgh Fringe Festival (2016); Rubin Museum of Art, New York (2015); and Neuberger Museum of Art, New York (2014). Kannan is a director at the Los Angeles based production company, Stateless Media that produces its signature shortreals for online platforms. Kannan studied Psychology at the University of Cambridge, and International Human Rights at the University of Oxford, focusing on media. In 2015, he was a visiting lecturer at Cornell University, teaching a course on media representations of the Sri Lankan conflict. Kannan is also a qualified media lawyer.
Kannan is based in Colombo and London and is available to work internationally.


We're Getting Mutants in the MCU - The Loop
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Osomatsu-san, Such As It Was is the twenty fifth and the season finale of the first season of Osomastu-san.
- The Sextuplets
- Totoko Yowai
- Matsuyo Matsuno
- Matsuzō Matsuno
- Nyaa Hashimoto
- Several other unnamed characters
|This article section is incomplete. You can help out the Osomatsu Wiki by expanding it.|
- The scene in which Jyushimatsu is holding Ichimatsu is a reference to one scene from the 1995 anime, Neon Genesis Evangelion.
- The episode's ending theme combines the first ending with the second ending, and is sung by all of the cast.


Caitlin is a television researcher, story producer, and writer, based in Vancouver. She has a master’s degree in Journalism from UBC and made the leap from newspaper and magazine reporting to documentary work in 2005.
Her work includes the Emmy-nominated episode of Dan Rather Reports, Green Scare on HD Net, research and story producing for ID channel’s Very Bad Men, and The Devil You Know, researching for Kink on Showcase, and casting work for Confessions: Animal Hoarding for Animal Planet.
She has also worked for development teams at Omni TV, Paperny Films, and Lark Productions before becoming Head of Development at TysonMedia in January 2021. Caitlin prides herself on her ability to find the stories worth telling and finding the right people to tell them.
Laura Wheeler is a senior-level Business Affairs Executive with over 20 years of experience in television, film and digital media, working with independent Canadian production companies, U.S studios and international partners. Laura has been responsible for the business affairs at every stage of a project, from acquisitions to development and from production to post-production on hundreds of hours of scripted, unscripted series, documentaries and animated programs.
Laura is experienced in all matters relating to broadcasters, distributors, funders, talent, tax credit agencies, labour unions (US and Canada), legal, contracts, marketing and publicity.
Shivam has been working in Post Production for four years. Before moving to Vancouver he was an Assistant Director in Bollywood.
He has worked as an Assistant Editor, Editor, DIT and Colourist on contemporary dance videos, short films, and commercials. One of his many goals is to Write and Direct feature films.
Jamie has been an Assistant Editor for three years. He has worked on commercials, corporate videos, and on CityTV’s Veracity.
In his free time he enjoys creating animations, short films, and music videos for local bands.
Alex recently moved to Vancouver from Edmonton in June of 2021 to pursue a longtime dream of working in the film industry.
After a short time working as an on-set production assistant, he began looking for a role where he could learn the ins and outs of the post-production and development side of the industry. Tyson offered him the opportunity to do just that, and Alex has been working at Tyson Media in a flex position.
His work with Tyson Media has allowed him to explore everything from video editing software to camera operating; while also working closely with Tyson, assisting him on different productions.
Connect with Tyson and he will get back to you. He’d love to hear from you!!!
Tyson Media Office
409 - 611 Alexander Street


Hello and Go Eagles!
Are you curious what the winter 2024 High School Drama Club production is? Are you ready? Well, I can tell you that it is NOT “Where the Wild Things are” or “Death Becomes Her”.
This year’s production will be:
“The Addams Family”
- Theater 101 will be a basic theater course
October 11, from 7:00 – 8:15 PM
- Headshots will explain how to take a professional looking headshot photo.
October 12, from 7:00 – 8:15 PM
Merritt Holloway will lead both workshops.
Auditions will be held in the Klopping Theater lobby on:
- October 16, from 3:45 – 5:30 PM
- October 17, from 6:30 – 9:00 PM
- October 25, from 3:45 – 5:30 PM
- October 26, from 6:30 – 9:00 PM
Here’s the link to audition, type in: tinyurl.com/csddrama2024 or scan QR code from this video
Auditions and rehearsals are starting earlier this year, because the performances, which have traditionally been held in March, will be moved up to February 2024.


Thank You To Our Generous Supporters
Student filmmakers of all experience levels (all are welcome, you don’t need to be Jewish to apply!)
New or previously created documentaries or narrative short films running 3-10 minutes in length, including credits.
Must reside in the Chicagoland area/suburbs (this includes parts of WI and IN) or participate in a JCC Chicago program (including Camp Chi and Springboard).
Submission due date Dec. 2, 2019; decisions on winners Feb. 7, 2020.
Celebrate the Jewish experience or reflect Jewish Values of love, compassion and repairing the world.
Two $500 prizes awarded to first place entries in both High School and College/Post Graduate categories. Additionally, both films will be screened in a theater at the 7th Annual JCC Chicago Jewish Film Fest in 2020.
Winner High School Category – Children in the Holocaust
Winner College/Graduate School Category – Beyond the Barrier
First Runner up – Ribbon


WE ARE CLIQUE ARTISTS
We Are Clique Artists is a film featuring ten artists that work inside of the Clique Art community. The documentary dives in the lives of the artists, the inspiration for their work, and why this artistic community sits so much higher than the rest.
The film is dedicated to every artist in this community, big or small. Finding inspiration is a lifelong struggle, and it is a pleasure knowing we can all find it in the same place.
Consisting of over 220 Clique Artist logos and signatures, this shirt is a symbol of the community we have created and the artists we support.


May be most of you don’t get what I mean and may be some of you will wondering, who is this woman and why I called her bitch. Don’t worry, be patient. Now, I am going to introduce her to all of you.
Sharon Vonne Stone (born March 10, 1958) is an American Golden Globe- and Emmy-winning actress, producer, and former fashion model. She came to international attention for her performance in the 1992 Hollywood blockbuster film Basic Instinct. She was nominated for an Academy Award for best actress for her role in Casino, won a Golden Globe for her role in Casino, and has won an Emmy Award.
Yes, she is a Hollywood actress. And guess what, this was what she said to the media… Read this news…
BEIJING (AFP) - US actress Sharon Stone has sparked a storm of criticism in China after suggesting the earthquake that killed at least 67,000 was bad "karma" after Beijing's policy in Tibet, state media said Wednesday.
Stone, 50, made the remarks at the Cannes Film Festival last week, leading to pledges by some Chinese cinemas not to show her films again, and reportedly motivating a cosmetics chain to remove advertisements with her image.
"I'm not happy about the way the Chinese are treating the Tibetans because I don't think anyone should be unkind to anyone else," Stone said in Cannes, according to footage widely available on YouTube.
"I've been concerned about how should we deal with the Olympics, because they are not being nice to the Dalai Lama, who is a good friend of mine," she said.
"And then all this earthquake and all this stuff happened, and I thought, is that karma -- when you're not nice that the bad things happen to you?"
Now you know why? That bitch said that the China victim deserved for the earthquake. I seriously feel like giving her a big slap… For those who can reach to slap her, please slap one more time and count on me. What the hell… She going to get a big one… There are millions people suffer from this earthquake, every country in the world is concerning about the victims, billions of kind people is donating their funds to China, yet, an idiot bitch was criticizing the victims. I know that you are rich, and I know that you are a Hollywood actress, a star, but show some respect to those victims, at least.
These are the movie that she was acting in…
- 2008-Five Dollars a Day-waiting release
- 2008-The Year of Getting to Know Us-waiting release
- 2007-Alpha Dog
- 2005-Broken Flowers
- 2004-A Different Loyalty
- 2003-Cold Creek Manor
- 2000-Beautiful Joe
- 2000-Picking Up the Pieces
I do not like and I never curse anyone, but I really hope that I can curse her and that curse will come true.
Dear God, please forgive me for saying this. But at the same time, please punish those heartless people, so that she will understand what it means by “Karma”.
Want to watch what she said? Click this… http://www.youtube.com/watch?v=TrZQ0gEr4Mc&feature=related


Award-Winner Fiction: Gay & Lesbian
The intimate and dramatic confessional of a gay ex-cult member as he battles substance abuse in his desperate search for love on the darker avenues of Hollywood
Simon Says on Facebook
and gritty, Poe's story about the search for self-discovery is a sobering
testament to the author's own personal journey through Rev. Moon's
Unification Church, which makes the story resonate that much more." - Publisher's Weekly
"A coming of age story of finding what
really matters, Simon Says is a choice read, not to be overlooked." - Midwest Book
"Simon Says is a journey of self-destruction, self-discovery and ultimately, redemption. And while Poe depicts a familiar story of downward decline, his novel has more complexity than the traditional "downfall tales" we've come to know. While Poe's Simon begins at a low point--the reader knows almost from the start that he's destined for a fall--there is also an inevitable and heart-warming rise that makes this a book worth reading." - Rebecca Nichloson for IndieReader
A gay man escapes the cult of Reverend Sun Myung Moon after ten years and becomes a successful movie distributor in Hollywood. But the deep self-loathing that brought him to the Reverend Moon’s congregation leads him down a dark path of drugs and broken relationships until one final, traumatic moment defines whether he will live or die. A profound journey of self-discovery and acceptance, William Poe’s latest novel is a probing look into the darker reaches of the human psyche.
Simon Powell has spent ten years of his life as a member of the cult of Reverend Moon. Unfulfilled, he breaks free of the Unification Church and returns home to Arkansas only to be rocked by the death of his father. In desperate need of feeling grounded, he ventures to Hollywood and reconnects with a former lover and the lawyers he once hired to defend Reverend Moon on income tax evasion charges. Before long, however, he splits with his lover and embarks on an unending series of soulless, drug-filled nights and broken relationships. Just as his money is running out, however, he gets an interview that just might get his life back on track.
Quickly becoming a successful movie distributor, Simon’s drug problem merely spirals into the dark abyss. Cocaine gives way to crack as he spends money faster than he can make it to feed his drug and sex habit. But they both fail to fill the void deep inside and his life careens hopelessly out of control. Finally convinced to enter rehab, the continued abuse for being gay drives him towards one final, desperate decision that will leave his life hanging in the balance.
Exploring the struggle of reintegration into society of a gay man after years of self-denial and repression, Poe’s newest is a fascinating portrait of cultism, drugs, the Hollywood gay scene, and the motion picture industry. A masterpiece full of an aching longing and desperation, Simon Says is a troubling, provocative, and ultimately triumphant look into addiction, recovery, and our need to be loved.
Gay man battles religious cult, drug addiction in new novel
William Poe draws on his own experience with recovery and Reverend Moon’s Unification Church to portray the life of a young man in over his head in “Simon Says”
SILVER SPRING, Md. – In “Simon Says” (ISBN 0615559573), William Poe writes the fictional life of a man whose destiny has not been so different from his own. For nearly a decade, Simon Powell was a follower of the Reverend Sun Myung Moon and his cultish and highly controversial Unification Church. After breaking with the church, protagonist Simon returns to his home in Arkansas where he is haunted by the personal struggles that forced him to leave, including his drug addiction, his inability to accept himself as gay and a painful breakup with a lover.
While out drinking at a gay bar, Simon runs into a former church counselor who reveals that Simon’s ex-boyfriend Lyle is out in Hollywood living with Sandra, a lawyer who defended Reverend Moon on tax evasion charges. Against his better judgment, Simon returns to California to seek out Lyle and Sandra. They were his only friends outside the church, even though they turned him on to cocaine. In Hollywood, Simon quickly begins to ramp up his cocaine use, picking up men in seedy hustler bars and taking up work for a shady European film distributor.
For a time, Simon seems to develop a real relationship with a stable man named Thad, but this too proves to be an illusion, and after their breakup, Simon tailspins into freebasing crack and laundering money for his boss through corrupt film deals. At a desperate end, he flees to New York, only to quickly lose himself in an orgy of sex and violence. With nowhere else to run, he returns to Arkansas for a fresh start.
In the conservative South, however, he is ostracized by group members for being gay and is driven to the very ends of despair. To make his way out, Simon will have to draw upon inner resources he never knew he had and friends and family who must push past their prejudices to save him. With its examination of religious cults, Hollywood’s gay scene, drug addiction and the seedier fringes of the motion picture industry, “Simon Says” is a novel cinematic in scope and timely in its themes and message.
“Simon Says” is available for sale online at Amazon.com and other channels.
Phone: (240) 478-0232
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In recent years, the use of they/them pronouns has become more accepted and visible in our culture. This has been reflected in the film industry, with filmmakers creating stories that explore non-binary gender identities. This article will look at how they/them pronouns are used in cinema and the way in which non-binary identities are represented in film.
Exploring They/Them Pronouns in Film
The use of they/them pronouns has been growing in popularity as a way to refer to individuals who do not identify as either male or female. This has been reflected in film, with filmmakers creating stories that explore gender identity in a variety of ways. In some films, they/them pronouns are used to refer to characters who identify as non-binary, while in other films they are used to refer to characters who do not explicitly identify as such. Either way, they/them pronouns are increasingly being used to create more inclusive stories in cinema.
Representation of Non-Binary Identities in Cinema
The representation of non-binary identities in film has been growing in recent years. Movies such as Boy Meets Girl, The Rocky Horror Picture Show, and Tangerine have all featured characters who identify as non-binary and use they/them pronouns. These films have helped to normalize non-binary identities and create a more inclusive representation of gender in cinema.
In addition to the portrayal of non-binary characters, there have been a number of films that explore gender identity in a more nuanced way. Films such as The Danish Girl, Moonlight, and The Miseducation of Cameron Post have all featured characters who do not explicitly identify as non-binary, but whose gender identities are explored in a thoughtful and meaningful way.
The use of they/them pronouns in film is an important step towards creating a more inclusive representation of gender in cinema. By exploring non-binary identities and using they/them pronouns, filmmakers are helping to create stories that are more reflective of the diversity of the gender spectrum. As more filmmakers create stories that explore gender identity, it is hoped that they/them pronouns will become more widely accepted and seen as a valid way of expressing gender identity.


Sylvester Stallone and Jason Statham in The Expendables 4 first look
Consumables 4 filming is well underway and Sylvester Stallone has the behind-the-scenes photos to prove it.
Just months after confirming the arrival of a new cast member, Stallone reunited with Consumables Original Jason Statham, telling fans they are having a “good” time on set.
Clearly excited to be back in his Barney Ross gear, Sly shared two on-set photos of himself and Jason taking a break from filming on Instagram. “Having a great time at work with my great friend Jason on the new CONSUMABLES!!! “, added the actor.
Hopefully Jason doesn’t have another near-death experience this time around.
Related: Consumables 4 – release date, cast, plot and everything you need to know
The fourth installment of the ultimate action franchise has been a long time coming, with the third Consumables film released in 2014, four years after the premiere.
Having already walked away from another sequel, Stallone has confirmed he’s back as an elite Ross mercenary in 2018. Statham returns as Lee Christmas, while Dolph Lundgren and Randy Couture are also from return as Gunner Jensen and Toll Road, respectively.
While it’s not yet known if Arnold Schwarzenegger will return as Trent ‘Trench’ Mauser, Consumables fans can at least expect three new characters played by Power‘s 50 Cent, Transformers‘Megan Fox, and furious 7 star Tony Jaa.
Related: Sylvester Stallone Teases Consumables 4 update with a behind-the-scenes photo
Following the latest casting update, Millennium Films boss Jeffrey Greenstein has promised an “star-studded and action-packed” addition to the Consumables series.
“To keep it fresh and fun, we’ve added some exciting new stars to join the veterans,” he added. “Popcorn entertainment is guaranteed.”
Details of the plot are currently thin on the ground, but according to Hollywood journalist, Consumables 4 will see Statham’s character take over from Stallone as the leader, teasing, “Sources say in this outing Statham will be the one with the bigger gun.”
The Consumables trilogy is available on Blu-ray and DVD.
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Bad Asses (also known as Bad Ass 2: Bad Asses) is a 2014 action film starring Danny www. chaoji365.com Trejo and Danny Glover, written and directed by Craig Moss. The film is a sequel to the 2012 film Bad Ass, and was released on DVD during spring 2014.
Since we last saw Frank, he followed his dream and opened a Community Center in East Los Angeles where he mentors young boxers, not only in the ring, but in life. When his prized student, Manny, gets in over his head with a bad crowd and winds up dead, Frank and Bernie team up, finding themselves ensnared in one life-threatening


Posted: October 8th, 2009 | Author: admin | Filed under: Doctor Who, Halloween, Torchwood, Weird Costumes | Tags: best doctor who costumes, best Dr. Who costumes, Blink, blue box, Captain Jack Harness, Cat people, cat woman, child's dalek costume, children dalek costumes, Cyberman costume, Cybermen, Cybermen costume, Cybermen costume female, Dalek costumes, David Tennant, Doctor Who costumes, Doctor Who Episodes, Doctor Who fans, Doctor Who female costumes, Doctor Who male costumes, Dr. Who, Dr. Who costumes, Dr. Who fans, exterminate, fantastic, female dalek costumes, Gridlock, Gwen, Judoon, Justice is swift, male dalek costumes, Ood, Planet of the Ood, The Doctor, The Family of Blood, Tom Jones, You will be like us | No Comments »
Oh. Who can’t love The Doctor? Who better to inspire ‘FANTASTIC!‘ costumes? Here are some of our favorite Doctor Who costumes.
These Daleks ‘exterminate’ the competition–children, men and women.
Cybermen – “You will be like us…”
This one comes with a pretty cool story--and more pictures at http://community.livejournal.com/dw_cosplay/150843.html
The Doctor in his / her many forms…new and old…
Planet of the Ood…
Cat People (Episode Gridlock–where they are in traffic for years)
Image Source: http://www.squidoo.com/artvixn
The Judoon “Justice is swift.”
(Left to right: Doctor Who, Gwen from Torchwood, the Scarecrow from the “The Family of Blood” Episode, Captain Jack Harness, Another version of the Doctor)
And we saved the best for last, the Angel from Blink (one of the very best episodes!). This lady did an absolutely amazing job on this costume. You can click on her photo to go to her page where she explains exactly how she made it and the story of doing so.


BPW Geelong - It just makes sense. Women in film
Film producer, Leanne Tonkes, began her working life as a sound engineer for Australian bands such as Eurythmics, Pseudo Echo and Hunters & Collectors - in an era when women within the industry were very uncommon. As a producer of television commercials for 15 years and now feature films and television, Leanne strongly believes we need more female role models in both genres.
Leanne is passionate about her industry, but also recognises the significant gender imbalance - an issue she is hoping to bring to the table at the Indian Film Festival of Melbourne by conducting a Q&A session.
Her film company, Sense & Centsability seeks brave, entertaining and emotional stories with a focus on content that appeal to female audiences. The company strives to work with new and established talent and seeks to create content that will attract a worldwide audience. The company is Leanne's vehicle for telling the stories she is most passionate about.
Recently returned from Cannes Film Festival, we look forward to Leanne sharing her experiences and stories with us.


For the record, I just want to say that (hey I suddenly remembered that) I made a promise to this little dude back when he still could not utter a single syllable and that promise was that I will take him to the mall where we will watch a movie together. Almost three years later, without a clue that I was fulfilling a promise, I took him to see Despicable Me. I don’t know if he had any idea that more than two years ago, I said we’d watch a movie someday. But perhaps, when I said that to him, he instinctively knew that it was something he will like because he grinned at me like good ol’ happy baby. This trip we had weeks ago was his first time to watch a movie on the big screen and he was quiet in the theater the whoooooole time. His hands were clasped together on his lap, believe me! And he only spoke one or two questions throughout the duration of the movie. My inkling is that his mom threatened him to keep him behaved the whole time. And by the way, he went without his mom. It was just me, a girl friend of mine whom he hardly knew, and him.
Fast forward to weeks past, he was still telling his mom about it, “Auntie and I watched a movie. There were fruits. There were hats. There was ice cream. And they sang Despicable Me. And they danced.” (He calls the song at the last part of the movie, “Despicable Me.”


Hannibal sure isn’t pulling any punches with the promos this week; the opening scene from the upcoming premiere was released a few days early.
The second season of the hit crime show Hannibal draws ever-nearer, and fans have been served a number of delicious teasers.
According to casting calls from Backstage.com, professional off-broadway company, TheaterWorks, is in the market for a musical based on The Lightning Thief, the first book in the Percy Jackson series.
It looks as if the musical will feature older actors in the main roles, like the film adaptation. Percy himself will be an actor 18 or older, but, according to their descriptions, still be portraying the 12 year old described in the books.
It’s finally here! After a great collection of behind-the-scenes looks, set pictures, and a resounding approval by John Green, the Fault In Our Stars trailer arrived on Wednesday.
As much as I enjoyed all of the excitement (the name of the book/film was a top trending topic on Twitter), I was also reminded of the book itself: not as something to recommend or promote, as I’ve been happy to do, but as a story.
November 23rd was a miracle day. Worth all the hashtags, trailers, and sneak peek reveals.
I sat in a roomful of more than 20 people huddled around a TV, laughing and screaming and clapping. Sitting with that group, surrounded by Gallifreyan symbols and cardboard Daleks, I realized the 50th anniversary wasn’t about the special episode. It wasn’t about the War Doctor or David Tennant or how many times they could bring back the fez. It was about Doctor Who, all of Doctor Who, and what it means to the people who love it. It’s about everyone it’s touched, every single one of those 77 million people all tuned in at the same time. The dad laughing at the bantering Doctors. The eight-year-old hiding from the Zygons. The overexcited blogger screaming at the sight of Peter Capaldi. The college girls dressed in bow ties at the cinema showing. The lifelong fan who falls out of his chair when he sees Tom Baker. A great assembly of fans of all ages, each who love Doctor Who in their own special way
The first tea I ever liked was the John Watson blend, a discovery I made on Adagio after discovering a strategic Tumblr promo. Saturated as I was at the time with oversteeped and unsweetened Lipton, my image of tea was limited, to say the least. Oh, those were the days. Now I own more loose tea than T-shirts, and my ever-expanding tea drawer brings me joy.
This love of tea combined with my recent foray into the world of Hannibal inspired me to try blending tea for myself. What started out as a weird little idea I thought I would do just for kicks became an unusual exercise in understanding the characters I was attempting to portray.


Film Essay A Bronx Tale “A Bronx Tale” is a film about directed by Robert Di Nero about a boy named Calogero an Italian American male, and his life as he grows up in a town occupied by the mob in the 1960’s. Calogero has two strong influences in his life. They are his father Lorenzo a proud middle class bus driver and a mob boss named Sonny. In the film there are three scenes that.
A Bronx Tale Analysis Essay; A Bronx Tale Analysis Essay. 837 Words 4 Pages. Allie Passaretti Mr. Schmitz Ethics in Criminal Justice September 13, 2012 A Bronx Tale Analysis In the movie A Bronx Tale, young Calogero witnessed a shooting outside his house. The cops show up at his house later that day to question him. The police officer had Calogero go to where the police had a line of men who.
A Bronx Tale is about a young boy, from an Italian family, growing up in the city in the 1960's. The young boy is Calogero. He witnessed a killing by a man named Sonny who was the boss of a group like the mob, who usually hung out in the bar on the corner of Calogero's street. They killed a man that was taking a parking spot from the guy that knew Sonny. Calogero was questioned, and he didn't.
People quote A Bronx Tale all the time because the magic of the film is in the way these two men talk to Calogero. One man is a hard-working family man, devoted to his wife and kid. The other is a gangster making his way up the crime ladder. But when they talk to Calogero one on one, they talk intimately. They forget all that is wrong with their lives when they look at this boy’s face and.
A Bronx Tale is a 1993 American crime drama film directed by Robert De Niro and produced by Jane Rosenthal, adapted from Chazz Palminteri's 1989 play of the same name. It tells the coming of age story of an Italian-American boy, Calogero, who, after encountering a local Mafia boss, is torn between the temptations of organized crime, racism in his community, and the values of his honest.
Writing an essay on a bronx tale? Locate sources to use in your essay and our free citation generator to cite them in APA, MLA, or Chicago (latest versions).
A Bronx Tale. Film Essay. The film “A Bronx Tale” centers on the life of a boy named Calogero on his journey from childhood, to adolescence, to a young adult. Calogero, later nicknamed “C” grew up in a community with prevalent gang behavior and the violence that accompanies this lifestyle. From a young age “C” was fascinated with the life of various members of the mafia especially.
A Bronx Tale Analysis essays In the movie, the 1960's are portrayed with reality as the viewer is taken to East 187th Street in the Bronx, New York. The Fordham neighborhood shown is highly populated by citizens of Italian decent, and a strong cultural social bond exists in the streets. Chil.
A Bronx Tale There are many issues of conflict in American society. In the movie, A Bronx Tale, lives a community that deals with these conflicts.. A Bronx Tale is about a young boy, from an Italian family, growing up in the city in the 1960's.. The movie A Bronx Tale was a very excellent movie.. Another lesson about the conflicts that I like was the Bronx Tale.
A Bronx Tale It s 1960 in New York City in the middle of the bronx. Living at East 187th Street is the family of Calogero (played at age 9 by Francis Capra and at age 17 by Lillo Brancato). Calogero s father Lorenzo believes that a man should make an honest living to support his family and.
A Bronx Tale Summary Essay. B. Words: 296; Category: Automotive; Pages: 2; Get Full Essay. Get access to this section to get all the help you need with your essay and educational goals. Get Access. Gangster Sonny is the big man in Calogero’s Bronx neighborhood. A shooting witnessed by Calogero is the starting point of a lasting bond between the gangster and the small boy. Father (bus driver.
A Bronx Tale is a very funny movie sometimes, and very touching at other times. It is filled with life and colorful characters and great lines of dialogue, and De Niro, in his debut as a director, finds the right notes as he moves from laughter to anger to tears. What's important about the film is that it's about values. 88. ReelViews James Berardinelli. De Niro successfully varies the tone.
Stuck on your essay? Browse essays about A Bronx Tale and find inspiration. Learn by example and become a better writer with Kibin’s suite of essay help services.
A Bronx Tale (1993) Plot. Showing all 6 items Jump to: Summaries (5) Synopsis (1) Summaries. A father becomes worried when a local gangster befriends his son in the Bronx in the 1960s. —Murray.
A Bronx Tale Essay, big friday college tours university of south carolina, ielts exam results uae live tv, math competition books book. Completed Orders: 3106. Text our world-class forum to benefit A Bronx Tale Essay from the vast experience of several top-tier essay tutors. Verified and well-qualified essay tutors for your subjects. Get Started. How to Write an Argumentative Essay with.Runtime:121 minutes SUMMARY: This drama filled tale is about Calogero Anello (nicknamed C) as a 9 year old living in the Bronx which is full of crime, gangsters and racially motivated segregation. Cologero is fixated on the local italian gangsters. After witnessing a murder committed by the leader of the local mob Sonny, Calogero is questioned by police and asked to point out who is responsible.In A Bronx Tale Calogero not only needs both Sonny and Lorenzo but he is caught between them. They both have two almost exactly opposite ways of viewing things, neither completely wrong nor right. Since he was a child Calogero looked up to his father yet he still couldn’t help but try to mimic Sonny. They were sort of a ying and yang of life. Calogero wanted the best of both of those worlds.


Avatar is a 2009 American epic science fiction film written and directed by James Cameron, and starring Sam Worthington, Zoe Saldana, Stephen Lang, Michelle Rodriguez, Joel David Moore, Giovanni Ribisi and Sigourney Weaver. The film is set in 2154, when humans are mining a precious mineral called unobtanium on Pandora, a lush moon of a gas giant in the Alpha Centauri star system. The expansion of the mining colony threatens the continued existence of a local tribe of Na'vi—a humanoid species indigenous to Pandora. The film's title refers to the genetically engineered Na'vi-human hybrid bodies used by a team of researchers to interact with the natives of Pandora.
Development on Avatar began in 1994, when Cameron wrote an 80-page scriptment for the film. Filming was supposed to take place after the completion of Cameron's 1997 film Titanic, for a planned release in 1999, but according to Cameron, the necessary technology was not yet available to achieve his vision of the film. Work on the language for the film's extraterrestrial beings began in summer 2005, and Cameron began developing the screenplay and fictional universe in early 2006. Avatar was officially budgeted at $237 million. Other estimates put the cost between $280 million and $310 million for production and at $150 million for promotion. The film was released for traditional 2-D viewing, 3-D viewing (using the RealD 3D, Dolby 3D, XpanD 3D, and IMAX 3D formats), and "4-D" viewing. The stereoscopic filmmaking was touted as a breakthrough in cinematic technology.
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- Title: GoodFellas 1990
- Release Date: September 12th, 1990
- Genre: Drama
- Runtime: 02:25:00 mnts
- Studio: Winkler Films
- Plot: The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age and climbs the ranks of a Mafia family under the guidance of Jimmy Conway.
castcredits plus additional information about the film goodfellas stylized as goodfellas is a 1990 american crime film directed by martin scorsese it is an adaptation of the 1986 non warner bros goodfellas 1990 is director martin scorseses stylistic masterpiece trailer for martin scorseses film starring robert de niro ray liotta joe pesci lorraine bracco paul sorvino frank sivero tony darrow mike starr 1990 r 2h 25m this gripping gangster opus follows real goodfellas 1990 soundtracks on imdb memorable quotes and exchanges from movies tv series and more watch full movie goodfellas 1990 online free henry hill and his friends work their way up through the mob hierarchy for two days after i saw martin scorseses new film goodfellas the mood of the characters lingered within me refusing to leave it was a mood of guilt and regret martin scorsese explores the life of organized crime with his gritty kinetic adaptation of nicolas pileggis best as far back as i can remember i always wanted to be a gangster to me being a gangster was better than being president of the united states so says henry hill in
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Final preparations for 'The Winslow Boy'
Enniskillen Amateur Dramatic Society is changing tack from comedy to drama of the highest calibre for their annual production at Ardhowen Theatre which this year sees the society put on three performances of Terence Rattigan’s ‘The Winslow Boy’.
Directed by Helen Stuart and Barbara Johnston ‘The Winslow Boy’ has a cast of 11 and this week the actors are being put through their final paces, and a few dress rehearsals, in preparation for this weekend.
Barbara Johnston explains that in conjunction with Rattigan’s centenary, which was last year, a number of his plays are being performed in London’s West End and up and down the country.
Ms Johnston explains this is not the first Rattigan play at EADS have put on, having previously performed ‘A Bequest to the Nation’.


Words without action are empty. So many people talk about improving the community but do move past their front door. My hope is that the words I write translate into action in the community. Tonight bears one such attempt. HBO, the St. Louis Sports Commission, Vetta Sports, and Saint Louis Athletica are hosting the premiere of the HBO Documentary Film Kick Like a Girl. The film is the story of an undefeated third grade girls’ soccer team that eventually competes in the boys’ division. Kick Like a Girl explores the real-life gender issues of sport and life and relates them to sportsmanship and teamwork. About 200 boys and girls along with their parents will watch the film. After a brief discussion, they will be able to participate in an interactive soccer clinic run by the Saint Louis Athletica Women’s Professional Soccer Team.
HBO, Vetta Sports, and Saint Louis Athletica have been incredible partners. They each hold a great passion for the community and it will be on display tonight at the Vetta Sports Soccerdome in Suburban St. Louis. I am sure the film and subsequent discussion will inspire a whole host of topics for this blog. Kick Like a Girl makes its worldwide premiere on HBO tomorrow, May 28th at 6 p.m. Eastern / 5 p.m. Central. Please check listings for other show times on HBO and HBO Family. Until next time…
Be a Good Sport!


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Anthology Film Archives
Anthology Film Archives is an international centre for the preservation, study and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, S...
BFI - British Film Institute
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Fame & Fortune, published by Sources, features awards, fellowships and scholarships available to Canadian journalists. For each award, information is provided about the eligibility requirements, the deadline for application...
The Filmmuseum is Holland's museum for cinematography. The museum's collection of films covers the whole of the history of cinema from the very first silent films, dating from the late 19th century, up to the latest contemporary d...
J. Paul Getty Museum
The J. Paul Getty Museum seeks to further knowledge of the visual arts and to nurture critical seeing by collecting, preserving, exhibiting and interpreting works of art of the highest quality. To fulfill its mission, the Museum c...
MoMA Museum of Modern Art
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National Film and Sound Archive
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National Media Museum
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World Intellectual Property Organization
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Canadian Film Encyclopedia
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Fame & Fortune Online
Comprehensive listing of awards available to Canadian journalists.
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Free speech must remain free; regardless of how nasty the message may be. This is a story about the peservation of free speech and the abuses of copyright law.
Il Posto - Wikipedia article about Ermanno Olmi's film
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A photo shop owner and her grandson join forces to save the shop and the nearly one million negatives that document Israel's defining moments.
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The Cultural Industries in Canada
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The Oxford Handbook of Film and Media Studies
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24-hour French-language channel focusing on high quality local and international documentaries, movie classics and biographies
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Making a film is, mostly, a really rewarding experience but a challenging one for many reasons. It’s not just about the writing of the script, the casting and raising the finance – a huge Catch 22 in itself, you can’t finance without cast, cast don’t want to commit without finance – and the physical making of the film. A huge amount of work goes into getting it ready for release. If you write and direct it can also be an incredibly long process. From pitching the idea to Pippa Cross at Granada Film to its US release took over six years. If you’re like me, during that period you then go through periods of thinking it’s simply the best movie that has ever been made – how could anyone not like it – to thinking it’s absolutely shockingly bad and should never be seen by anyone.
After we had finished post production there was quite a buzz about the film. Four Weddings and a Funeral was released that summer and was a huge hit. This turned out to be both a blessing and a curse for us. We fine cut the movie, scored it with very little money – even manged to persuade Mick Hucknall to let us have the track Stars for this tiny film – and were done. Then we showed it to the American distributors.
I was really excited, I was in Los Angeles in an old time screening room at the bottom of Rodeo Drive, about to show it to Russell Schwartz head of Gramercy Pictures, who released all of Polygram’s pictures in the States. Michael Kuhn the head of Polygram Film was also there and had already given the movie his blessing. There was also a young film director in the room, about to shoot his first feature, who wanted to have a look at Jean-Yves’ lighting. His name was Wes Anderson.
At the end of the screening Schwartz had a face as long as La Cienega Boulevard. “How are we going to market this film? I have no idea how we’re going to do it.” I didn’t know it at the time, but this is the default, first reaction of any distributor. They’re basically getting their excuses in early in case the release doesn’t go well. “We should test it.” Was what he said next. And so a few weeks later I was sitting in a bar opposite a cinema in Santa Monica where a line had formed round the block to see the movie. It was odd. As I scanned the line I was convinced there were a load of people in it that weren’t the right audience for my film. I asked, absurdly, if I could weed the queue out and get rid of some people. The Americans looked at me like I’d lost my mind and then remembered that I was English and so put it down to some sort of national eccentricity and ignored me. The screening went quite well, judging from the response in the cinema and the scores on the cards. There was a focus group afterwards which I found, like most filmmakers, a little difficult and annoying. These guys obviously felt they were amateur film critics and talked about the film as such – character arcs, jeopardy, subtext, amount of screen time given to tertiary characters. I’d thought focus groups were supposed to be just ordinary cinema-goers, but there was definitely something seasoned about this “seen it all before” group. I lost interest when one of them said he’d enjoyed the movie but it hadn’t changed his life. What? This guy obviously had high expectations of movies. Did he really expect to have a life-changing experience every time he went to the cinema? He must’ve been disappointed on a weekly basis.
Test screenings are a strange, but I think valuable, tool. Stanley Kubrick once complained about them, saying “Why should I give a fuck about what a milkman in Indiana thinks about my movie?” to which he was told, “If it was just the one milkman Stanley you might have a point, but the fact that it’s fourteen hundred milkmen in Indiana, all feeling the same thing, might make you want to reconsider.” We scored well but there was a fairly consistent note coming from the cards. The first third of the movie felt a little long and the problem was probably early on. Interesting I thought, but the movie’s finished. It’s neg cut. It’s dubbed. What are we supposed to do? “We need to take some time out of the beginning,” said Schwartz. “But we can’t,” I bleated. “We can,” said Kuhn, “don’t worry about it.” Okay I thought. I could trim a few seconds here and there, maybe take a minute out of the first thirty. “So you need to take four minutes out of the first twelve,” said Schwartz. I laughed. Funny guy. What did he really want me to do? No-one else was laughing.
It seemed huge at one o’clock in the morning in Santa Monica but when I sat down back in Pinewood with Lesley Walker (she was now cutting Mary Reilly) we managed to find it. Did I miss it? Yes, to begin with. Was the movie better for it? Absolutely. So back to LA for another test. This time in Costa Mesa south of Los Angeles. The screening went well. No comments about the beginning being slow. The scores had gone up, we were in the high eighties in the top two boxes which is what the film is judged by. (The top two boxes say something like “Would you definitely recommend this movie to a friend?” and “Would you recommend this movie to a friend?”) So all was good. But outside Schwarz had the La Cienega face again. “We need to re-score the movie.” I couldn’t believe it. I really liked the score and just felt he was being picky now. Kuhn asked me to meet in my hotel, the Sunset Marquis, back in Los Angeles. We sat at two in the morning discussing the movie and he said that as a director, particularly a writer-director, the time had come where I had to listen to others. I felt I’d done this throughout the process to be fair. But his point was that they were just trying to give the film its best chance. There was no axe to grind here.
So we went about trying to find another composer. It was an interesting process. I met some of the best and finest composers in Hollywood. My favourite being Thomas Newman who really liked the film but just couldn’t do it in our time-frame. Another I liked was ridiculously expensive (his fee also included the aviation fuel for his jet) and we ended up rescoring the original score with an American orchestrator working with Simon Boswell, the original composer. The best solution all round I felt.
In terms of releasing the movie, the normal pattern was that America would go first and the UK follow. A small release in the US to build word of mouth and then go wide. The UK would then follow on from, hopefully, the American success. We knew it wouldn’t be a movie for the critics or festivals. It was a feel-good audience movie which traditionally built slowly on word of mouth. We were set for a spring release in the States followed by the UK in the summer or Fall. Then Schwartz started to prevaricate. We were initially going to release on 800 screens, a mistake in my view (too big), but then he changed his mind and put it back from spring to October. In the light of this Polygram UK decided to go in June of that year anyway and not wait for America.
At this point we were trying to get the final prints ready. The process in those days seems positively prehistoric compared to how it’s done digitally these days. Then it really was hit and miss and we missed a lot prior to release. The first time I noticed this was when I went up to Manchester to show the movie at Jules Burns’ invitation – he was now the managing director of Granada – to all my friends and former colleagues at Granada TVwho had played such an important part in my development. So we screened it in a cinema about ten days before the release. The print was absolutely shocking. I couldn’t believe it. Something had gone terribly wrong. My friends were too polite to say anything. Then when we had the premiere things got even worse. Jean-Yves had shot the movie on Kodak 35mm but the print for the premiere had been made using Agfa stock, presumably because it was cheaper. I had never seem J-Y angry before, but he was that night. A couple of days later we were in Technicolor together, checking the grade and he then insisted on doing the grade for the DVD release as well. He was such a perfectionist and I think he was a little disappointed in me for letting this happen. But there we are. The rest of the prints for the release were done on Kodak.
So the movie opened that summer in the UK and did pretty well. Not a massive release but we were the number one movie in London and the number two in the UK narrowly behind a US movie with had three times as many screens as us. Then we had a heatwave in about our third week of release. This would be great news in the US, as people flock to the cinemas to cool down in the air conditioning. But we do the opposite in the UK. We don’t go to the cinema when it’s hot. In fact we stay away. Only in the rain do we seek the shelter of our local cinema. So that dented our momentum a bit. But I was still pleased. There is nothing quite like the experience of buying a ticket for your own movie at a full West End cinema and sitting there among the audience when they laugh for the first time.
I must say something about reviews though. We had a mixed bunch, as expected, but one thing really annoyed me. We had a really nice review in the Sunday Times which was great. In the ST they then list the movies with a short summary/review by a completely different critic every week. It’s not a shortened version of the good review, it’s a new one. The bloke who did the listing didn’t like the film and had the gall to say that he was amazed at its success at the box office. He then said he thought that the audience must have been confused with Richard E Grant and Hugh Grant who had just got into trouble being arrested with a prostitute in Los Angeles. This critic suggested that the notoriety Hugh had attracted to himself had in turn attracted audiences to go and see our film thinking he was in it. Aside from this being grossly insulting not only to Richard but the UK cinema-going audience, it was patent rubbish. So I wrote a note to this critic saying that I thought a critic of his age and experience should surely know the difference between good word of mouth and a blow job. My agent prevented me from sending it which I regret to this day. The problem was the same newspaper that had given it a good main review then proceeded to print a derogatory listing for ten weeks! It just didn’t seem fair.
So October came and went and the film still hadn’t been released in the US. A decision was then made to release it in the spring of the following year, when all the buzz from the UK release had evaporated. It was also decided that it would only be test released in two small markets on the first weekend but with the advertising a major release would have been given and see how it fared. I thought this was a terrible idea. But I had no say. The day before the release I was sent to Cleveland to open the Cleveland film festival. It wasn’t even going to be released in Cleveland at that time, but I went. It was in a huge shopping mall and demand was such that it was now being shown not in the one cinema but on three screens simultaneously with just under a thousand tickets having been sold. The organisers, and I, it has to be said, were thrilled. I introduced the film in all three screens at staggered times then afterwards there was a huge buffet where I simply didn’t have a chance to eat because everyone wanted to shake my hand and meet the director of the next “number one movie in the US.” It was fantastic.
The next morning I did the local breakfast TV show and then headed for the airport. Russell Schwarz phoned me in the car to congratulate me on the success of the previous night. I flew back to LA and six hours later Russell called me in the car again on the way back to my apartment. The numbers in the two markets hadn’t done as well as they’d expected. But it was only six in the afternoon I protested, things could get better. They won’t he said. Well maybe it’ll have more success in other states. No it won’t he told me. That’s it. We’re done, I’m afraid. I couldn’t believe it. It wasn’t even twenty four hours after the success of Cleveland and my movie was already dead. The first day wasn’t even over yet. Surely the success of Cleveland counted for something? Apparently not. It was all over. It wouldn’t be released any further. It was brutal. I was shocked and dumbfounded. (A postscript to this is I met Russell a few years later at a meeting in New York where he was now head of distribution for USA Pictures. They wanted to finance a new script of mine called PERSONAL SHOPPING. As I walked into the room he stood up, gave me a big hug and said “What is it with these English Directors? You completely fuck up the release of their first movie and yet they come back for more!” So fair play to him.)
The movie continued to play in LA for a few weeks. Then something happened which still makes me smile. I think it’s a classic summing up of Hollywood and the vagaries of Tinseltown. Rachel, my daughters, and their grandmother flew out to Los Angeles for a couple of weeks. The first night we moved into the actor Anthony Andrews’ house high in the Hollywood Hills, above Sunset Plaza Drive, Rachel decided we needed to go out and buy some food. So we drove to Gelsons. As we drove down Sunset Boulevard in our convertible – of course – Rachel looked up and saw JACK AND SARAH on the marquee of the Laemmle 5 cinema. She smiled, welled up a little and said how proud she was. There it was. My movie up in lights on Sunset Boulevard. How wonderful. Take a good look I joked, it won’t be there for long. We went shopping in Gelsons for about forty five minutes then got back in the car. We pulled up at the lights alongside the Laemmle 5 and Rachel took another look at the cinema billboard and, you’ve guessed it, JACK AND SARAH was gone. It had been removed in the time it took to do a grocery shop. That was a life lesson in the transience of success in Hollywood right there.
But my career was launched in the States, just not in the direction I thought it would go as it transpired. Things were good. My new script had now attracted Mel Gibson as its executive producer. His star was still high at this time as he hadn’t yet disgraced himself. Everything was great. Even despite screwed up release of the movie all was going according to plan. Then I met Judy Davis.


Prepare to be happy! A children's book can grow and change, but the original is still there to enjoy, also. 1. Mary Poppins by P.L. Travers is a great children's book. 2. Disney made a classic kids' movie out of it with delightful songs by the Sherman brothers. 3. Cameron Mackintosh and Disney made a wonderful musical out of it, too. I saw it in New York this week. 4. A scene from it was recorded at Disney World which is exuberant and ridiculous and fun. Watch it on YouTube here (where you can see it larger) or see it below. 5. What a lot of joy and talent! It all started with a children's book.


Lawrence of Arabia.
At a recent viewing of Lawrence of Arabia (the restored long version), I espied our own OMAR Sharif playing Sherif ALI opposite Peter O'Toole's T. E. Lawrence.
Sharif is charismatically gorgeous in this film, and this is reason enough to love the film, but there's a reason why it won seven Oscars. It's a masterpiece, and for my money, David Lean's magnum opus.
Puzzlemakers have every right to claim Sharif as one of their own . . . one of crossword's own. OMAR has saved many a grid, thank you very much. But Sharif's ALI has been around since 1962, and yet I don't think it's used much, if at all, in contemporary puzzles.
LOA offers good cluing material for crossword workhorses like LEAN, EPIC, ALI, ARID . . . not to mention unusuals like JARRE and AQABA. And if one needs cluing angles for quicksand, mirages, oases and sandstorms . . . Lean has provided the context, thanks to his masterful cinematography.
David LEAN won the Oscar for "Best Director" that year. Though he supposedly disliked actors and would have thrown sand in their faces if given the opportunity, he sure knew how to pick 'em. Omar Sharif, Peter O'Toole (unknown, prior to LOA), Anthony Quinn, ALEC Guinness are among the heavyweights in this cast.
The star of the film is the magnificent desert. In the end, I s'pose there is a love story: Lawrence loves the desert, which he adoringly describes as "clean." So romantic!
Maurice JARRE (composer of Dr. Zhivago's "Lara's Theme") won an Oscar for the score, whose sweeping theme stays in your head for days.
Any word with a free-standing "Q" (not followed by a "U") my oasis in a difficult construction session. Good news for puzzlemakers: AQABA is a major player in LOA.
It's the subject of one of the greatest lines in filmdom, when Lawrence appeals to Ali to make a difficult journey. He points to the desert and says: "Aqaba is over there. It's only a matter of going."


New article up for Newcity Magazine! For this one, I got to talk with the playwright Lucas Neff, most well known for his part on the TV series “Raising Hope.” He told me a bit about his new play “The Last Duck.” I also got to talk with the director of the play, Marti Lyons.
New article on Newcity Magazine! I interviewed some of the company members of the new Chicago theater company (re)discover theatre. We talked a bit about their first show, “Hamlet,” which opens this weekend. You can find it here.
Newcity Magazine posted another of my stories. This is an interview with Remy Bumppo’s new Artistic Director Nick Sandys. He tells us how he was able to take the reins mid-season after the previous Artistic Director announced that he was leaving. Check it out here!
Newcity Magazine has published another of my articles. This article is about the play “Motion,” written by Ronan Marra, is about the behind-the-scenes workings of the NFL. I interviewed Marra about what prompted him to write the play. I also interviewed the director Aaron Snook and one of the actors, Meredith Alvarez. Check it out here!
Another of my articles was published at Newcity. This article is a preview of the Shattered Globe Theatre’s staged reading of the play “Judgment at Nuremberg” at the Illinois Holocaust Museum. I was able to talk with one of the actors, Nigel Patterson, and the artistic director, Roger Smart. The play is based on the final trials at Nuremberg of judges that helped the Nazis.


Hamlet Kennedy is your typical eighth grader who just wants to fit in. Unfortunately, her family makes that incredibly difficult. Her parents are obsessed with Shakespeare and his works and act as though it’s still the Elizabethan era, and her seven-year-old sister Desdemona is a genius being taught college-level courses by tutors. Things just go from bad to worse, however, when Dezzie needs to take some classes at Hamlet’s school, and then Hamlet’s History and English teachers announce they’re going to be learning about Shakespeare that year, giving her parents a reason to take too much of an interest in her schoolwork.
The Total Tragedy of a Girl Named Hamlet is a lighthearted read filled with realistic and quirky characters. While the majority of readers will not be able to identify with Hamlet for having a genius younger sister and parents who are so enthusiastic about Shakespeare that they collect everything Shakespeare (action figures, key chains, etc.) and build models of the Globe Theatre, they will be able to identify with Hamlet’s feelings of being overshadowed by her sister, and want to fit in at school to the point of trying to be invisible and hiding their true self. She is incredibly easy to relate to in this manner, as well as her being embarrassed by her parents, that it was easy to remember my own feelings when I was that age.
With Hamlet’s parents being so interested in Shakespeare, and Desdemona being a child genius, there are plenty of references to the Bard (especially his play A Midsummer Night’s Dream), and different people the targeted age range might not be familiar with, such as Stephen Hawking, and Madame Curie. As an additional nod to Shakespeare, the book is divided into ‘acts’ and even includes small ‘scenes’ within the story that still allow you to get inside Hamlet’s head. Even the acknowledgements are made to look like a cast listing.
You can read the rest of my review at my blog: http://readerlymusings.com/2013/11/20/book-review-the-total-tragedy-of-a-girl-named-hamlet-by-erin-dionne/


Ready Willing and Abell Casting
Alistair Abell has been an actor since 1992 – classically trained with a BA double majoring in Theatre/Economics at St. Lawrence University in NY State. He's been performing Voice-over work since 1994 and began casting and directing voice-overs in 1996.
Alistair has currently cast, directed and produced over 1000 commercial VO’s, over 750 film and television roles as well as holds over 2000 voice credits himself. When he finds time over and above all this he directs Walla and ADR for most of the major film sound houses in Vancouver.


The Alberta Premiere of the Hooping Life is just around the corner!
Flowlab and Infinity Hoopdance are proud to present the first Alberta screening of The Hooping Life Documentary on February 11, 2012. To celebrate this occasion, we have organized an event for the hooping community including a series of afternoon workshops, followed by a hooper showcase, a screening of the documentary “The Hooping Life” and a rocking hoop jam to follow. The Avenue Theatre has become a venue of choice for prop spinners in the Edmonton community, and we are excited to share in an evening of inspiration, creativity, and celebration with every hooper in our community.
The workshop schedule is now up – check it out! Local and international instructors will be on hand to teach and inspire your personal hoop practice in a number of styles and concepts. Alberta Hooping Life Workshop Schedule
Tickets for the event are now on sale through Eventbrite, or by contacting myself at 780-953-7669 or firstname.lastname@example.org, or Nina at email@example.com.
Don’t miss out! This is going to be an amazing event!