In an interview with the Pixar Director, Brad Bird by Hayagreeva Rao, Robert Sutton, and Allen P. Webb for McKinsey Quarterly, Bird issues some sound advice on the intersection between creativity and business.
When I entered Disney, it was like a classic Cadillac Phaeton that had been left out in the rain. It was this amazing machine that was beautiful but old and getting a little decrepit. Still, they had the best system on earth at that time. They had the best talent. The movies were still well executed, if uninspired.
But Disney at this time was pared down. They were making one film every three years rather than a film every year or year and a half, as they had at Disney’s height. Walt had been gone for more than a decade, and the old guys were leaving. The company’s thought process was not, “We have all this amazing machinery—how do we use it to make exciting things? We could go to Mars in this rocket ship!” It was, “We don’t understand Walt Disney at all. We don’t understand what he did. Let’s not screw it up. Let’s just preserve this rocket ship; going somewhere new in it might damage it.”
Walt Disney’s mantra was, “I don’t make movies to make money—I make money to make movies.” That’s a good way to sum up the difference between Disney at its height and Disney when it was lost. It’s also true of Pixar and a lot of other companies. It seems counterintuitive, but for imagination-based companies to succeed in the long run, making money can’t be the focus.Speaking personally, I want my films to make money, but money is just fuel for the rocket. What I really want to do is to go somewhere. I don’t want to just collect more fuel.


Filmmakers Collaborative Academy Marlborough 2022
Marlborough Youth enjoyed the unique opportunity to participate in a Summer Filmmaking Camp at WMCT-TV. The program was led by teachers from the non-profit, Filmmakers Collaborative, which offers similar workshops to students across Massachusetts. The short films produced by the students will also be entered into a Youth Film Festival this Fall! We are extremely grateful to Marlborough Public Schools who funded this program in its entirety. Did your child enjoy participating in this special workshop? Would you like to see more Youth Programming exploring Filmmaking and News Production at WMCT-TV? Let us know in the comments below.


Wednesday, 15 September 2010
If These Walls Could Speak: Inch Kenneth
Duration: 9 mins
Independent short documentary film completed September 2010
A white Victorian mansion is the sole habitation on a remote Scottish island called Inch Kenneth. During the Second World War the house was occupied by the legendary Mitford family. Through the memories of the last surviving Mitford sister, Deborah, this evocative short film offers a glimpse into the mansion's mysterious past.
Posted by Simon Morris at 07:18


Instant Dramatic Story Ideas “The Thirty-Six Dramatic Situations” by Mike Figgis Book Review
https://amzn.to/2Y46mnC – Whether you are a writer, a film scholar, director, producer, or just want to know more about developing compelling characters for stories, check out “The Thirty-Six Dramatic Situations” by Mike Figgis. Even if you are stuck and have writers block or feel like none of the ideas you are currently will work for your story, this book is virtually guaranteed to help you get out of a slump.
Mike Figgis includes examples of the 36 primary dramatic situations combining conflict and character relationships from modern films along with his interpretation of what’s happening. This book is available on Amazon Kindle which means you can have an almost instantaneous resource to help you generate dramatic story moments for your story! (Or if you want to just read about some drama, or if you are studying it) Disclaimer: As an Amazon Associate I earn from qualifying purchases.
Pingback: Instant Dramatic Story Ideas “The Thirty-Six Dramatic Situations” by Mike Figgis Book Review – Learn From Great Books – Chance and Confidence


2012 Audition Dates
You can be a part of a HART production! HART (The Haywood Arts Regional Theater) is a semi-professional, community theater which offers paid positions to professional and semi-professional actors in leading or specialty roles and volunteer opportunities in all roles to community theater actors.
Professionals and Semi-Professionals
Actors who define themselves as professional or semi-professional are expected to have considerable experience on stage and/or training in theater from a college theater program. Actors in this category may be students pursuing a degree in theater, actors who have theater degrees and actors who have appeared on stage in the region in leading roles or character roles over a number of years. An actor in this category is expected to present a professional audition – a prepared monologue (not necessarily from the show being cast) sheet music for an accompanist if it is a musical audition, and an 8x10 photo with attached resume. Actors not prepared in this way may audition as community theater actors.
Community Theater Actors
Actors who define themselves as community theater actors are offering to donate their time on stage as volunteers. They may be cast in any role including leading parts. Actors in this category may, or may not have experience and/or training. Experienced actors may simply be electing to donate their time and talent. Inexperienced actors are joining the company and learning the craft in process. When auditioning community theater actors will be asked to cold read from the script. They are not expected to have photos or resumes but should try to bring sheet music or recorded accompaniment if auditioning for a musical.
Anyone in the cast traveling from outside of Haywood County may apply for a gas stipend to help defray some of the expense of commuting to the theater.
Comps and T-Shirts
Every member of the cast receives one production T-shirt and One comp ticket to the show. Actors may be asked to help post posters but are not expected to recruit audience. One of the final dress rehearsals is open to friends and family. In addition friends and family may volunteer to help as ushers and at concessions to see the show for free.
HART is unable to compensate professional and semi-professional actors at a level which truly recognizes the value of their talent, training, or time in the way a fully professional company may. The level of compensation generally ranges from $10 - $30 per performance, depending on the size of the role, and the actors experience. This is negotiated with the director who has to cast within a budget. This limited compensation is offered primarily to help define the role as “professional” on a resume, and to acknowledge the value of the actor’s training and experience.
HART on occasion employs actors who are members of Actors Equity Association under a Special Appearance contract. Due to the expense these actors are usually brought in one week before tech and are expected to be able to step into a role with very limited rehearsal time. Contract terms are negotiated individually but Equity performers are expected to be available as needed during their contract.
Anyone interested in working backstage or on the crew should also come by during auditions to get involved.
Audition dates are subject to change. Any changes will be posted here or you can call 828-456-6322 for more information.
AUGUST: OSAGE COUNTY
By Tracy Letts
:: Directed by Steve Lloyd
Large cast numerous roles all ages
September 23 & 24 at 6:30 p.m.


High on the Carpathian Ridge is where Donnie discovers his destiny. And it is here we start the story. A story that values the importance of life's decisions and the soul's quest for morality. Jake Gyllenhaal is perfectly cast as the boy named Donnie Darko who begins to have visions of a creepy man rabbit named Frank. The first of these encounters takes place on October 2, 1988. While sleepwalking, the rabbit tells Donnie the world will end in exactly 28 days, 6 hours, 42 minutes and 12 seconds.
Director Richard Kelly has created a thought-provoking period piece, that is very open to personal interpretation. The film has a colorful and varied cast that rotate around Donnie's and his ascent out of modern purgatory. While living in the comfort of suburban Virginia, and attending a private high school, Donnie could be in any teen drama. But Kelly frequently flips the story over, and exposes the dark underbelly of human nature.
With an abundance of satire, hit 80's music, dark imagery and stellar acting, the film's time travel theory feels almost trivial. I saw it as a polite nod to the "Back To The Future" films of the 1980s. When Donnie's mother confronts him near the beginning of the film and asks pointblank: "Where do you go at night?" I felt this was a broader question being perhaps directed at all of us. Are dreams part of an alternate universe? Are we all interconnected spiritually, through dreams? Donnie Darko asks more questions than it answers. It's my kind of movie.


This year I’ve attended and reviewed a lot of community theatre. I love it. I love it that there is so much of it around Sydney. I love it that it brings people together to create theatre and to watch it. In our smart phone world, the physicality of live theatre is fresh and vital and compelling. Done well, it’s a wholly engaging form of storytelling that pulses before you.
It’s not always perfect and there are certain foibles that recur across different forms of community theatre and styles of presentation. I thought at this time of the year I’d reflect a little on them.
The Stage tells a Story – Creates a Theatrical Illusion
Key to creating good theatre is the aim to immerse the audience in the glamour – the make-believe illusion of its reality. All the actors onstage have to be engaged with this reality whether they have an action to convey or not or whether they are speaking or not. If a performer is on stage they must always remain in character.
It may sound obvious and automatic but it’s not.
Active Listening is Important
Active listening happens when a performer being spoken to listens and response with their entire being to a speaking actor or action onstage. If you don’t have a speaking part – how attentive is your character to what is being conveyed – can the audience see with your stance, posture, gestures how the information / action is affecting you? Are you conveying the importance of what the speaking performer is saying by your attentiveness?
At the current production of Rockdale’s Guild Theatre’s Silent Night, Lonely Night I was thrilled by the performance of lead actress, Peggy Leto. Her character listened to monologue after monologue of text and was absolutely engaged by it – we saw it in the way her character was affected by what was being said in her gestures and facial expressions. When her character’s turn to audibly respond came, her words didn’t gush out like a newly released dam. In keeping with her character, her responses were measured and timely. When she spoke on the phone, the silences in the half imagined-dialogue had a natural duration – the audience could make out the exact responses of the invisible, inaudible other side of the phone line.
Being this comfortable on stage comes with the confidence of knowing lines early in the rehearsal process so that your character and her/his relationships with other characters can be shaped in rehearsals and continue to grow in performance.
Advice to actors – know your lines as early as possible in the rehearsal process – when you don’t it shows.
A mark of a good performance – the mark of a good cast – the mark of a confident director is the use of pace and silence. If your cast can maintain the illusion of the story when they are silent on stage, the stage can support great moments of dramatic tension that come with silence. A dramatic high or low has been reached – the playwright is making his/her big statement – then let it sink in. Don’t denigrate it by rushing over it. Silence has impact – so long as all on stage remain in character.
See Peggy Leto in Silent Night, Lonely Night at Rockdale’s Guild Theatre until 24th November 2018
Next – in 2. Community Theatre- The Turtle and the Empty Stage acting appendages – accents, disabilities and the empty stage


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Chhitar Mal Swaroop, a ticket checker with Western Railways, who, instead of booking him for loitering ticketless in Marine Lines railway station, fell in love with his poetry and housed him rent-free for three years in his humble digs in Borivali. Actor-producer Bhagwan Dada, who asked him to write songs for his film Bhala Aadmi, thereby helping him make his debut as a lyricist. And many others.
Advance selection ticket packages and passes are now on sale for American Express Cardmembers, and go on sale Monday, March 12 for the general public. All advance selection packages and passes can be purchased online at www.tribecafilm.com/festival, or by telephone at (646) 502-5296 or toll free at (866) 941-FEST (3378).
Welcome to the group! You can connect with other members, ge...


Banks Trail strives to provide educational experiences in and outside of the classroom which empower students to make a positive impact on their world.
Don't forget to purchase your Yearbook for this school year.
Thank you to Showtime Academy for their generous contribution to our BTMS Theatre program.
Help support the BTMS Theatre program by attending a performance of The Wizard of Oz Jr this week.
Help support the BTMS Athletic Booster Club and have Dinner already made for you. Order a Moe's Dinner from our Pop Up Fundraiser.
Thank you to Fort Mill Vision Center for the generous sponsorship donation for the BTMS Theatre production of Wizard of Oz.
Click below for all required information for your 8th grade students registration for High School classes.


A little bit of Thai history: Finale
So, first of all, as a big “Thank You!” to a friend of mine who helped me out in the fall of 2011, I’ve written monthly posts about the history of Thailand for a year. This will be my final one, so far.
Second, it is at least sixteen days overdue. Some of it due to job pressure, some due to laziness, but most of all due to me not knowing what the HELL I was to write about now? I mean, what is left uncovered? Thai cooking? beauty pageants? Action movies? Wait a minute… ACTION MOVIES!
Insee thong, 1970. (image from Wikipedia)
But, in my best historical anecdotal style, I’ll start with a brief history of film in Thailand. I began, as so many other things, with the royal family. In this case indirectly. In 1897 the first films came to Thailand, first with the Lumiere brothers’ travelling film exhibition, soon followed by a film recording of the Thai royal family’s visit to Europe. Though Prince Thongthaem Sambassatra was the first film pioneer making documentaries and historical films, cinema theaters for the public were started up largely by Japanese business men. In the early days, Japanese films were so popular that nang yipun became the generic term for all moving pictures. European and American films were called nang farang (after the nang drama (shadow puppet plays) that were a Thai traditional art).
The Topical Film Service, a company set up by the State Railway Service of Thailand to make promotional and educational films about the railway and other government services. As well as collaborating with Hollywood studios to make films like the historical drama “Miss Suwanna of Siam” and the documentary “Chang”, the Topical Film Service was a training ground for indigenous filmmakers.
Miss Suwanna of Siam, 1923. (image from Wikipedia)
And THEN… Among the 17 films produced between 1928 and 1932, only fragments survive… However, among them are a minute long clip of a car chase and a 3 minute boxing match. The Thai Action Movie was born.
In the 1930s, new developments changed film again. The “talkies”, sound pictures, gave birth to dubbing (these were actually often done “live”, with a dubber in a microphone booth back in the theater) and color film. This is regarded as the golden age of Thai cinema. It lasted till 1942, when the dictatorship allied with Japan seized the film institutions to be used as propaganda tools for the government.
In the postwar era, 16mm film made for wartime newsreel production was abundant. And with the smash hit of 1949, Suparb Burut Sua Thai (Thai Gentlemen Fighters) actually outgrossed Hollywood movies at the box office, the action film was well back on track in the fifties.
Oh, and also a director named Rattana Pestonji made his breakthrough as a director in Thailand at this time. Seeing as how most of his films are regarded as masterpieces ( including Santi-Weena, which was the first Thai film to be entered into international competition, at the 1954 Asia Pacific Film Festival in Tokyo, and 1961’s Black Silk, the first Thai film in competition at the Berlin International Film Festival) and he put Thai cinema on the world stage all by himself, he should probably be mentioned, I guess. So,to give him his dues, he is regarded the father of contemporary Thai cinema. He didn’t make any action films, though.
One who DID was Mitr Chaibanca, Muay Thai champion, flight instructor at the Royal Thai Air Force Academy and action film star who made 266 films before falling to death from a helicopter during a stunt in what was to be his last film, Insee Thong. In a sad twist of irony both died the same year, 1970, giving Tha cinema a big blow, both for action buffs and people who for some reason liked films with artistic merit.
It would bounce back however, with the 1977 tax hike on foreign films, making Hollywood boycott Thailand. Faster than you could say “LIGHTS! CAMERA! ARTISTICALLY RIPPED SHIRT! ACTION!” The Thai action genre was BACK, with 150 films made in 1978 alone. Scholars and critics generally refer to films of this era as “nam mao”, stinking water. So you just KNOW they didn’t mess around with subplots, long dialogue or multiple takes. This was action ALL THE WAY.
However, when the boycott ended in 1981 and TV spread in Thailand the demand collapsed, and in the 90s only 10 films were made a year. So the new wave, three directors of television commercials – Nonzee Nimibutr, Pen-Ek Ratanaruang and Wisit Sasanatieng – had an idea in the wake of the Asian crisis of 97.
They would make action films with artistic merit.
Dang Bireley’s and Young Gangsters, a crime drama about the rise and fall of a young gang leader, Tears of the Black Tiger, a Thai Western movie (and homage to the 70′ action genre) and Bangkok Dangerous, a crime film about a deaf-mute hit man, are some examples of the new wave within the action genre alone. Also I should mention the thriller genre that has blossomed, with classics like The Eye and Nang Nak about a woman seeing ghosts with transplanted corneas and a husband haunted by his dead wife.
And I can’t write about Thai cinema without mentioning the gay film genre of Thailand (yes, there is a separate gay film genre in Thailand. Buddhists don’t judge, it seems). There are many, good and bad (including the spy B-movie Iron Pussy)The film Iron Ladies is a comedy film about a Thai volleyball team consisting of gays and transgender persons winning an international companionship. Tes, it’s based on a true story.
(image from Wikipedia)


Fri, August 23, 20137:00 PM
Free Family Movie Night and Ice Cream Social. Friday, August 23.
Join Us! Free family movie plus all you eat ice cream and popcorn on the City Church lawn. Watch the Disney movie "Epic". Ice cream serving begins at 7:00pm, the movie at dusk. Bring friends and family - come early - hang out. Bring blankets or chairs and bug spray. Suggested donations of $1 welcome. Sponsored by the Twenties & Thirties (TnT) group.


How To Watch Delhi6 In Tamil Language Online For Free PATCHED
Do you love Delhi6, the 2009 Bollywood musical drama film directed by Rakeysh Omprakash Mehra and starring Abhishek Bachchan and Sonam Kapoor? Do you want to watch it in Tamil language, the official language of Tamil Nadu and one of the 22 scheduled languages of India? If yes, then you have come to the right place. In this article, we will tell you how to watch Delhi6 in Tamil online for free using various methods. We will also tell you why you should watch this movie in Tamil and some facts about this movie that you might not know. So, read on and enjoy this article.
How to Watch Delhi6 in Tamil Language Online for Free


Sunday, August 31, 2008
Yesterday afternoon my husband treated me to the most wonderful afternoon. We went to the National Arts Centre in Ottawa to see the broadway production of WICKED. Have you seen it? NO? Oh you must!
If you are a fan of The Wizard of Oz, then I think you will thoroughly enjoy this wonderful musical. Without revealing the plotline, let me just tell you that you'll learn why the wicked witch's skin was green, the significent of the red ruby slippers, about Galinda (Glinda - the "ga" is silent) the good witch and her relationship with the wicked witch, the scarecrow, cowardly lion, tin man, flying monkeys and even the wizard of Oz.
The music and costumes, sets and lighting, choreography and special effects were out of this world amazing.
We were very, VERY fortunate to have 3rd row centre ORCHESTRA seats.
I'm still on cloud nine. I loved the production THAT MUCH! It was wonderful.
So if you enjoy live theatre and have the opportunity to see a production of WICKED, I urge you to go and see it. I know you won't be disappointed.


This post is also available in: Swedish
The American Resource Center (ARC) launches the fall program with a lecture of a Pulitzer-prize winning author Richard Russo.
Richard Russo is an American novelist, short story writer, screenwriter, and teacher. His first novel, Mohawk, was published in 1986. His 2001 novel Empire Falls received the 2002 Pulitzer Prize for Fiction. He has written six other novels and a short story collection.
Russo co-wrote the 1998 film Twilight with director Robert Benton, who also adapted and directed Russo’s Nobody’s Fool into a 1994 film of the same title, starring Paul Newman. Russo wrote the teleplay for the HBO adaptation of Empire Falls, the screenplay for the 2005 film Ice Harvest, and the screenplay for the 2005 Niall Johnson film Keeping Mum, which starred Rowan Atkinson.
12:15 Lecture & Reading at the Kaisa Library, Fabianinkatu 30, 7th floor
16:30 Interview at Gaudeamus Kirja & Kahvi, Vuorikatu 7
The event is hosted by the American Resource Center, email@example.com, tel. 09-19124048


The Best Movies About Gambling
The phenomenon that gambling has been immortalized on the big screen on more than one occasion. Some of the Hollywood movies on gambling have won big awards and were nominated for the Oscars. It’s clear that gambling is just as popular in movies as it is in the real world.
We’ve carefully picked a list of the best gambling movies in the history of Hollywood. Featuring Oscar-winning actors and directors, if you’re a fan of casino games, you shouldn’t miss any of them.
Simply named “Casino,” Martin Scorsese’s take on the ruthlessness of the gambling industry is a classic that regularly tops the lists of one of the best gambling movies. It’s easy to see why. With a stellar cast led by Robert De Niro, Joe Pesci, and Sharon Stone among others, it’s a tale of greed and corruption that perfectly describes the dangers of gambling.
With top performances from all actors and Scorsese’s brutally honest storytelling, Casino will remain the best movie about gambling for a long time to come.
“Rounders” is a movie of a young entrepreneur who pays his students fees by playing high-stakes games in casinos. The cast led by a young Matt Damon did a great job at depicting poker in all its glory. The supporting cast is even better – John Malkovich is brilliant, just like Edward Norton. It’s a great movie that will appeal to poker fans, with an epic finale in which Damon must beat a legendary poker player.
“The Gambler” is a 1974 movie starring James Caan which tells the story of a university professor stuck in the dangerous labyrinth of gambling. It showcases all the stages of gambling addiction in fascinating fashion. Bit by bit, Caan’s character plunges into the depths of self-destruction while his life falls apart around him.
It’s a brilliant depiction of the dangers of gambling and a sobering reminder of how dangerous addiction is. Any kind of addiction, not just gambling.
Who says all the great gambling movies have been made in the 90s? A 2008 movie based on a true story, “21″ follows the legendary MIT students who were trained to count cards in blackjack and rob casinos of millions of dollars.
Led by Kevin Spacey, the group of students enters the world of high-stakes gambling in a thrilling story that sounds too good to be true. The fact that it is makes 21 a pretty good movie, and one blackjack fans should definitely watch.
“California Split” is known as one of the best movies about poker ever, the 1974 movie directed by Robert Altman has a cult status among poker fans. The movie follows a professional and casual gambler who imitates his friend’s life until everything takes the wrong turn.
As both characters enter deeper into the sleazy world of gambling, the stakes keep getting higher and higher. If you’re a big poker fan, you definitely shouldn’t miss this one.
20 Mar. 2019, by Ari Waknine


Toronto June 27th 6:30pm
Well it’s coming up really fast! I was doing work on Phobe today when it hit me, OMG less then a month away! I’m really happy with the way things are coming together on the project and I have to give Bryan a HUGE shout out for helping me with Phobe. Bryan is the one who has been working his magic with after effects. I’m finally seeing scenes how I imagined them (with no budget that is).
Here is a screen grab of the remastered as along with an original.
So the movie will air at The Royal
Show time: 6:30pm
Saturday June 27th
608 College St. Toronto.


Online via our YouTube channel
Over summer 2020, we paired up some of our Artists’ Network to talk about how they re-imagine archives in their work. We asked them to tell us about what inspired them to use personal (family) archives or institutional (museum) archives in their work, what are the responsibilities or struggles of working with archives, and how archives have enriched their practice.
The result is a collection of short films made from home across the UK and in Texas, USA. We invite you to watch these joyous, touching and intimate conversations (including dancing in the garden!). We will release the 8 films from November so keep checking back on our YouTube channel.
Our thanks to the following artists who brought so much of themselves and engaged so openly with each other over a difficult summer. We hope you enjoyed the process of meeting each other and making connections:
- Julia Davis Nosko
- Victor Esses
- Adam McKinney
- Tamara Micner
- Miriam Sherwood
Our first artists are Tamara Micner (‘Holocaust Brunch’ and ‘Old Friends’) and Victor Esses (‘Where to Belong’ and ‘Displace’) speaking about how they use and collect archives in their work – including discussing what characters taste like!
In our second film, performance artists Adam McKinney and Tamara Micner chat to each other about Yiddish, early memories, and how they incorporate these things into their work.
In our third film Tamara Micner speaks to Julia Davis Nosko about using their family histories in their work, and how they attempt to untangle the mess and silence that goes along with it. A fascinating and moving conversation on the ethics of creating art from other people’s stories.
In the below film performance artists Miriam Sherwood and Victor Esses discuss the responsibility of using personal and family stories when creating new work.
In 2020 performance artist Miriam Sherwood presented her show ‘Rendezvous in Bratislava’ at The Lowry alongside ‘The Great and the Grand’ in which local participants explored their relationships with their grandparents. Here she talks with our own Creative Producer Laura Seddon on how they used oral histories to reconnect with family histories.


Castle was one of the fantastic American TV shows
Castle tv show is famous Crime comedy drama aired on ABC. It was released in total eight series. These series was released on March 9, 2009, to May 16, 2016. The finale consisted of 22 episodes. All seasons were excellent and was produced in collaboration of Beacon pictures with ABC studios. This show traces the life of Richard castle and Kate Beckett. Richard castle is a mystery novelist, and Katherine Beckett is an NYPD detective.
Castle Series based on Richard Castle Novels
The actor Nathan Fillion acts as Richard Castle in this dramatic show. He was a novelist and kills the main character of his novel. The Castle series based on Richard Castle’s novels NYPD brought him for murder based on his novel. Kate Beckett handled his case. Castle decided to use Beckett as the protagonist of his next book series.
So he decided to solve the case with Beckett. There are other detectives Kevin Rayan, Javier Esposito, Roy Montgomery and captain Victoria Gates. They also take help of medical examiner lanie Parish. In this way, they act in eight series continuously. It makes the fans crazy to see it. It is a mind-blowing show based on the comic crime drama.
Reason of cancellation of season 9
Eight seasons were fantastic and loved by the peoples. But the ninth season has cancelled because there may be numerous reasons for cancellation of any show like poor ratings and bad critical responses. There would be myriad reasons to say sayonara to any TV programs.
Season eight could not attain good ratings that are the real reason to say no for the ninth season of Castle TV show. The first seven seasons were funny and more enjoyable but Last season has been one long disappointment to the fans and critics. The reason may be the absence of most important and impressive character Kate Beckett and from season eight.


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Pillar Entertainment Group is a talent management, production, actor empowerment and branding company which has emerged as a leader in the entertainment industry. Pillar represents actors and musicians from 5 years through adult. Their talented clients have appeared as leads and supporting roles in hit TV shows, major Feature Films, Broadway productions, as well as Pilots and National Commercials.
Delora and her associates are widely known as being "Pro Actor," utilizing a team approach in supporting their client's careers. Her love of actors began early when she worked in the industry as an actor herself. These personal experiences led her to her present position valuing each actor in a very special way. Because of her very unique approach to the actor and their craft, Delora has been invited to hold acting workshops and empowerment seminars around the country for adult actors as well as child actors and their parents..
Pillar partners with production companies and individuals in TV and Film. To set up a meeting to discuss a mutually beneficial partnership with Pillar, please fill out the contact form below.
Delora OBrien, although very successful as an actress, quickly wanted to learn all aspects of the industry and soon moved into writing and directing theatrical plays. Her productions were reviewed by many publications including the New York Times that said, “As a theatrical writer and director, OBrien brings you on a journey not easily forgotten.” Over a two decade period in New York, her original works were seen by hundreds of thousands of people and many productions are still being produced today in venues around the country. Her move to Los Angeles, nearly twelve years ago, was met with open arms by many established writers, producers and directors. Her slate of 7 film screenplays and three TV scripts are being read and considered for production, by some of the most successful companies in the industry. Once she was established in Los Angeles, she founded one of Hollywood’s most effective acting management companies, Pillar Entertainment Group. Having over 100 bi-coastal clients, Pillar is now successful in screenwriting, production, directing and management on both coasts – Los Angeles and New York. Having an eye for talent, OBrien is known for building an actor from obscurity to booking many supporting and lead roles on TV and in film. Her clients are now performing in series regulars and recurring roles on hit TV shows, Disney shows and films, on Broadway, in Commercials and in Oscar winning motion pictures.
Dennis OBrien after graduating from Westfield State University embarked on a series of business enterprises which included restaurants, real estate investment and internet sales. With years of business experience he now is co-partnering with his wife Delora to manage all the business and accounting aspects of Pillar Entertainment. He is excited to be part of the Pillar expansion of offices on both coasts and is looking forward to accomplishing all of Pillar’s dreams and goals for the future.
Dennis Alan OBrien
With over sixty year's experience in all phases and aspects of music creation, production, and the performing arts, he has been affiliated with dozens of stars in all media. As Music Director and arranger, he has been associated with many celebrities such as: Bernadette Peters, Leslie Uggams, Carole Channing, Mickey Rooney, Joan Rivers and Juliet Prowse. His TV credits are many and include, The Sonny & Cher Show; Tony Orlando and Dawn; The Tonight Show and many TV specials. As a jazz pianist and arranger, he has performed with Mel Torme, Marlena Shaw, Ernie Andrews, Lionel Hampton, "Cat" Anderson, Red Rodney, Ernie Watts, Jeff Hamilton, Shelly Manne and Louis Bellson, among many others. Musical Collaborations with Nelson Riddle, Neal Hefti, Henry Mancini, Anthony Newley and David Rose. James has also been an actor in three award-winning movies: Twice, Past Tense and Chasing Rainbows. We are excited that James has joined Pillar as its Music Coordinator and Consultant.
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About my Creative Work
Theater Practitioner and Poet
I received a formal education in acting and have enjoyed writing ever since I was little. Nowadays, I strive to find a balance between my work as a scholar and my creative work, both as a poet and as a theater practitioner.
Chapbooks | Awards | Collaborations
Ordenando mi armario. Missoula: Racoon Press, 2008.
Una vida escrita a mano. Sevilla: Renacimiento, 2002.
Una vida escrita a mano. 20th Gustavo Adolfo Bécquer Poetry Prize. Sevilla: Imprenta municipal, 2001.
“Espejismos”, “Contestador”, “Tríos no” y “Humedad”. Isla de Siltolá, nº 5-6. Sevilla: 2011, p. 79.
“Mientras caemos”. Renacimiento, nº 65-66. Sevilla: 2010, p. 115.
Performance & Literature
Spoken Word | Dramatic Readings | Protest Songs
Invited poet and actress during the festival Fácyl at the public library Casa de las Conchas.
Los libros de la noche
Invited actress together with the writer Andrés Neuman during the event La noche de los libros at the Instituto Cervantes.
Invited actress together with the peruvian writer Fernando Iwasaki during the festival "21 GRADOS." Universidad de Sevilla.
My Experience with Theater and Film
My work in Boulder:
Assistant director for Motus Theater. Project: SALSA Lotería.
Spanish interpreter and translator for Motus Theater. Project: SALSA Lotería.
Summers 2019, 2018, 2017 & Fall 2016
Translator expert and acting coach in Spanish for the program “Shakespeare & Violence Prevention School Touring”. Colorado Shakespeare Festival. CU Boulder.
My work in Berlin
Scriptwriter for the project “Spanisch B1” with the German company LinguaTV.
Scriptwriter, actress and editor for the project “Video-Training. Spanish for Beginners” with the German company LinguaTV.
**You can watch for free the pilot of our online Spanish course visiting this link
My work in Spain
Voice acting for the Audio Magazine Punto y Coma. Editorial: Habla con eñe. Madrid.
Actress for the “XV ciclo SGAE de lectura dramatizada”. Theatre play: Dentro de la tierra, by Paco Becerra. Director: Nacho Sevilla.
Leading role in A Midsummer Night’s Dream. Director: Antonia García, RESAD.
Leading role in Classic Theatre company «El Aedo». Productions: La Celestina, Prometeus Bound, Orestes, Truculentus and The Merchant
Played Juliet in theatre production of Talking to Shakespeare. Director: Antonia Garcia, RESAD.
Actress in the production of Con Lope de Vega a capa y espada, done for “«La noche en Blanco» at the Bliblioteca Nacional de España.
Played the bride in production of Die Hochzeit by Bertold Brecht. Director: Ana Sala, RESAD.


The second annual Sheen Center Theater Festival of Catholic Playwrights opens Thursday, June 21, at 7 p.m., with performances by four prominent Catholic theater companies in New York City, including Turn to Flesh, Xavier, Magis and Storm. Opening night will feature readings from their current projects followed by a discussion with the companies’ artistic directors about the importance of theater with a Catholic vision being represented on the New York stage.
The festival runs at the Sheen Center for Thought & Culture, 18 Bleecker St. in lower Manhattan, Thursday, June 21, to Sunday, June 24, with staged performances by Catholic playwrights telling stories that speak to our times.
This year’s full-length plays showcase a range of artistic voices under the direction of Melissa Crespo, Kathy Gail MacGowan and Chris Rivera. Friday’s staged reading of Matt Barbot’s “El Coqui Espectacular and the Bottle of Doom” follows the creative journey of a young, Nuyorican comic book artist whose exploration of heritage and identity take on new dimensions when life begins to imitate art. Saturday brings to the stage “The December Man” by Colleen Murphy, about a Montreal family struggling with grief in the aftermath of suicide and public gun violence. On Sunday, the festival closes with “The Merry Widows of Windsor” by Emily C.A. Snyder, a Shakespearean adaptation featuring two widows testing their freedoms and limitations. The selected plays explore the beauty of the human experience in life’s broken and redemptive moments. Admission is free; RSVP is required at https://sheencenter.org/shows/festival/.
The festival schedule follows:
Thursday, June 21, at 7 p.m.:
Festival Opening – Showcase of Catholic Theatre Companies and Conversation with Artistic Directors. Opening night features some of the most prominent Catholic theatre companies in New York City, including Turn to Flesh, Xavier, Magis and Storm, as they showcase excerpts from current shows and talk about the importance of theatre with a Catholic vision. The showcase and talkback will be followed by a reception.
Friday, June 22, at 7 p.m.:
Staged Reading – “El Coquí Espectacular and the Bottle of Doom,” by Matt Barbot and directed by Melissa Crespo, examines ways in which we define our heritage and ourselves. Alex, a comic book artist whose ideas might be “too Puerto Rican,” has begun secretly dressing up as his creation, El Coquí Espectacular, defender of Nuyoricans in the five boroughs. When his brother Joe is fired from a project for not being Puerto Rican enough, the two, with the help of a photographer, hatch a plan to debut El Coquí at the Puerto Rican Day Parade and prove themselves to the world. A Q&A with the participating artists will follow the reading.
Saturday, June 23, at 7 p.m.:
Staged Reading – “The December Man,” by Colleen Murphy and directed by Kathy Gail MacGowan, follows the tale of Jean Fournier, a young man coping with grief and regret after fleeing the massacre at L’École Polytechnique de Montréal in 1989. By exploring the aftermath of the tragic event, the play forces the question: What would we have done had we found ourselves in Jean’s situation? The searing drama about courage, heroism and despair explores the long private shadow that public violence casts. A Q&A with the participating artists will follow the reading.
Sunday, June 24, at 2 p.m.:
Staged Reading – “The Merry Widows of Windsor,” by Emily C.A. Snyder and directed by Chris Rivera. Shakespeare’s “Merry Wives” have become Snyder’s “Merry Widows” in this hilarious sequel with a feminist edge. Alice Ford and Margaret Page find themselves newly autonomous. While Alice embraces the possibilities the world has to offer, Margaret continues to mourn the loss of her husband. When news comes that the bastard son of Henry V might be in the town, Alice is told it is her duty to seduce the young man to keep him, and his wealth, near. Except, it seems her husband, Francis Ford, isn’t quite as dead as everyone thought he was. A Q&A with the participating artists will follow the reading.


Nadezda is a Russia-born artist based in the Bay Area of California. She has contributed to creative projects across various genres – feature film, theatre, illustration and fine art. Influenced by an extensive background in theatrical performance, costume and character design for film, her artwork focuses on figure-based narrative, portraying the human emotion as an intimate window into the inner world of mysterious characters and creatures.
We have original art by Nadezda for sale. Please contact us if you would like to buy a painting or to be notified when we have new art by Nadezda. See available works below.


Done to analyze the character of willy lowman arthur miller's pulitzer winner play death of a salesman dramatizes the life of a salesman who is dimension of ben's success without realizing his hard work in fulfilling his dream of success. Just as in the play death of a salesman by arthur miller, willy is trying to find the combination of dave singleman's popularity and ben loman's success is. Willy loman, the central figure in arthur miller's death of a salesman, occupies a is ben's life a credible alternative to the one willy lives, or does willy's memory give it this may be the deepest insight into willy's character the play offers. Abstract the essay tries to shed some light on arthur miller's death of a salesman it starts with an analysis of a seemingly irrelevant detail: the difference between gold and diamonds in miller's play, american society confronts willy loman with three yet, it is in that jungle that characters like hester prynne — or ben in. Everything you ever wanted to know about ben in death of a salesman, by arthur miller character analysis ben is willy's adventurous and lucky older brother of course, he's dead, so he only appears in the play as a character in willy's.
In an interview with arthur miller, in which miller agreed only with mamet 's characterization of willy as a jew and of his story as a jewish one) to be sure, death of a salesman contains the idea for a great play, and i would maintain that then there is the language of willy's older brother ben, the appari- tion of piratical. A thematic analysis of arthur miller's death of a salesman this play received numerous awards for its literary merit, including the pulitzer prize for drama willy has not seen ben for a number of years, and in fact ben has been dead for miller based willy's character on his own uncle, manny newman.
Death of a salesman is a 1949 play written by american playwright arthur miller it was the uncle ben: willy's older brother who became a diamond tycoon after a success provided in the play all argue against willy's personality theory character analysis of linda loman death of a salesman: a celebration at the. Cover of arthur miller's play, death of a salesman he's a young willy, and the question for his character is whether he'll come to understand who he really is willy starts to chastise biff and happy, then praises their fearlessness to ben, voice and myself speaking about deep characterization, and playwright john. In death of a salesman, the most successful of arthur miller's plays, miller through analysis of the imagery surrounding machines in the play, we can in each of ben's appearances, reveals ben's indifferent personality.
Willy loman's brother ben is a minor yet important character in arthur miller's '' death of a he is already dead as the play begins, and he appears only in willy's. The character of ben in arthur miller's death of a salesman serves a complex dramatic function he is willy but this affair has long been over when the events of the play occur character analysis in death of a salesman, by arthur miller. In death of a salesman, arthur miller depicts willy loman's gradual loss of defines his identity, particularly in relation to a heideggerian interpretation of existential ben, his mythical brother, just before he commits suicide, willy feels that in death of a salesman, time practically becomes another character in the play. Miller, in his “introduction” to the collected plays, says that death of a when charley replies that the jails are full of fearless characters, ben more than lifting a phone, but the more dreadful irony relates to the interpretation of business.
The character of ben in arthur miller's death of a salesman serves a complex throughout the play, i would like to mention four characters that were important. Arthur miller's 1949 play is widely considered his masterwork and established and the expectations that can come from an unrealistic interpretation of what that means when death of a salesman opens, sixty-three-year-old willy loman is at willy's prompting, ben tells biff and happy about their grandfather, a flute. Death of a salesman and death of a salesman: the swollen legacy of of the play's central idea prevailing over the glaring defects of arthur miller's execution could the character ben and the wagon-travels be arthur miller's inventive.
Literary devices for arthur miller's death of a salesman playwrights typically use dialogue and actions to develop the characterization within a play miller's. The death of a salesman characters covered include: willy loman, biff loman, linda loman, happy loman, charley, bernard, ben, the woman, howard.
Views, miller's own ideas and his play death of a salesman, this paper in characterization, plot and other aspects of the play that would question encouraging willy to stay in new york and does not allow him to go with ben to alaska. “death of a salesman”: a heartbreaking work of staggering mediocrity i thought of this class recently, when i went to see arthur miller's “death of a salesman,” currently in linda emond, who plays willy's fretful wife, linda, along with characters are explained, exposed, insisted upon but miller rarely . Ben loman is an important character in death of a salesman but he is quite from arthur miller's play death of a salesman, the reader must analyze the way.


The first clip from season 8 of ‘Dexter’ has been released, and as was suspected, Showtime have confirmed that this will be it’s last outing.
Whilst I want to love every episode of Dexter, last season was a let down. In fact, truly being honest, the only really good seasons where one, four and six. Season 3 was tolerable and was the first time we saw Dexter really share in his dark side, season 4 was probably the best of the lot helped in no small part to John Lithgow’s Trinity Killer being such a compelling nemesis for Dexter.
One can only hope the writer’s give Dexter the send off he deserves and more importantly, don’t treat the audience like idiots. Let the story write itself, don’t shoehorn characters in when they’re not needed.
The clip from season 8 looks promising enough and it seem’s like Deb is heading down a dark road herself.


Everett Performing Arts Center:
December 20th 2017 @ 2:00PM and 7:30PM
Mt Vernon, McIntyre Hall
December 21st 2017 @ 7:30PM
Raymond Theater, Raymond, WA
December 10th 2017 @ 2:00PM
Tickets Available in advance for $20 at the Raymond Pharmacy, South Bend Pharmacy, Theater box office (360-934-6496)
Or at the door on the day of the show for $25.
Email the theater for more info.


Bella Dayne was born in Berlin, Germany. She showed a passion for acting at a young age and starred in many plays. But it wasn't until she moved to New York City in 2010 to attend the Stella Adler New York Conservatory that she pursued acting professionally. She began her acting career after moving to Los Angeles and starring in independent features such as Nick Cassavete's YELLOW and the French film LAYOVER. She can be seen in various productions by CBS, CW, ABC, FX and the online comedy channel FunnyOrDie. Her most recent appearances include FX's AMERICAN HORROR STORY and ABC's THE GOLDBERGS.
Leith was born to Jamaican parents in New York and raised in New Jersey where he graduated from St. Joseph’s High School in Metuchen. His accountant father worked for United Artists, and his mother was a reservations manager for Eastern Airlines. His parents introduced him to a passion for film, theater and travel that would continue throughout his life. After a brief stint at Kent State University in Ohio, then San Jose State in California, he went on to earn an M.F.A. from the American Conservatory Theater in San Francisco. From there he worked steadily in regional theater across the country including: the Oregon Shakespeare Festival; the San Francisco Shakespeare Festival; Berkeley’s Shotgun Players; tours with the San Francisco Mime Troupe; San Jose Rep; the Magic Theater; the Guthrie and others. In New York he worked on and off-Broadway, including Judgement at Nuremburg with the late Maximillian Schell. He also began working in television with appearances on Law and Order. Space, opportunity, and sunlight brought Leith back to Los Angeles where he continues to live and work with his family. Past television includes: Grey’s Anatomy; 90210; Parenthood; NCIS; Criminal Minds; CSI: NY; Numbers; and the West Wing. He can be seen in the current season of Tyler Perry’s The Haves and Have Nots, and is rehearsing the role of Banquo in A Noise Within’s production of Macbeth opening in March 2014. For more info: Leithburke.com.
Eva La Dare was born in Brooklyn, New York and raised in Fort Lauderdale, Florida. This first generation Jamaican-American with Irish and East Indian roots, began her career as a 10-year old triple threat. Since moving to LA, she has worked and performed with Michael Jackson, Stevie Wonder, Madonna, Mike Myers, Ricky Martin, Ray Romano, Aretha Franklin, Will Smith, Shakira, Christina Aquilera and Usher, just to name a few. Her film and television credits include starring roles in “Corrupt” with Ice-T and “Urban Menace” with Snoop Dogg, as well as roles in “Tortilla Soup” with Hector Elizando, Mike Binder’s “Sex Monster” with Mariel Hemingway, “According To Jim”, “Malcolm In The Middle”, “Spin City”, “Everybody Loves Raymond”, “General Hospital”, “NCIS”, and the films “Thank You For Smoking” and “Idlewild". Eva has also starred as the voice and motion of Sheva Alomar in Capcom's “Resident Evil 5” video game. She will soon be seen on "The Mindy Project" this spring and in the zombie comedy “Life After Beth” with John C. Reilly and Aubrey Plaza in 2014.
Born in Argentina, of Sicilian, Gypsy and Syrian descent, Ricardo spent ten years doing action films in Hong Kong before moving to LA. Film and TV credits include The Medallion, Ultraviolet, So Close as well as the shows Criminal Minds, Franklin & Bash and more. On stage: Glengarry Glen Ross, Cuba & His Teddy Bear, The Zoo Story, Chronicle of a Kidnapping and more. His voice-over credits include guest-star roles in the animated series "Star Wars: The Clone Wars"; he has voiced dozens of Cadillac TV spots as their Spanish announcer, and he has numerous on-camera national spots running. He is an avid photographer and lives in Los Angeles with his two children. Find him at Mamood-Vega.com
Katherine Pawlak is the lead singer of Sad Robot, an L.A.-based band on the rise. Their unique three-person wall of sound has enabled them to create their own voice in the indie rock scene. Emotional lyrics combined with a heavy power fuzz sound that spans pop to dirty indie rock. With a high-energy stage show and unique musical style this unsigned band has accomplished a lot in their short existence. In 2011 Sad Robot released their debut album, The Beginning of the End. The same year also performed as a Star 98.7/Rocco’s Music Nights finalist as the sole musical guest of the LA Kings at the Staples Center. Their single “Hold On” played on KROQ’s Locals Only show for 13 consecutive weeks as well as being featured as KROQ’s Song of the Day on 5/14/2013 and again on 9/11/2013. Other songs such as “Sing” and the “Obeah Man” were featured on the 2013 Winter X Games; “Hold On” (Reprise) was the promo song on Bones season 8 (FOX), and caught the attention of Roxy clothing using Hold On in their July 2013 “Roxy girls who dare themselves” promo. More of Sad Robot’s music made its appearance on the Oxygen network show” Bad Girls Club” and various Indie Films.
Tyler Parks is a native of Atlanta, Georgia and spent most of his childhood growing up between Atlanta and Chicago, Illinois. At a very young age, Tyler’s family quickly noticed that he had an affinity for dancing and playing “make-believe”. When he was 6 years old, his mother enrolled him in local dance classes, and it wasn’t long before he was gracing the ESPN Channel in National Competitions. In 2000, Tyler tried-out and made the AllStar Dance Team, which was set to perform later that year in Paris, France for Thanksgiving. That same year he auditioned for his first movie “The Legend of Bagger Vance”. Although he was not selected, he found this process of auditioning for a movie quite intriguing. Soon after, Tyler was enrolled in local acting classes. It wasn’t long before he was discovered by Atlanta agent, Joy Pervis. Two weeks after signing with Joy, Tyler attended his first audition for a clothing store ad, and “booked it”. He began booking almost immediately in print, local, and regional commercials.
Tyler made his first trip to Los Angeles when he was 16 years old. Shortly after returning to Atlanta, he was cast in his first movie role as Terry in Family Curse with Mykel Shannon Jenkins (The Bold & The Beautiful) and Tone Bell (Whitney). Tyler soon hit a TV series streak and was cast in Road Trip, a regional series show, Acting Class, a mockumentary styled show, and then ultimately getting a chance to appear nationally as a guest star on Tyler Perry’s Meet The Browns.
Tyler’s acting career began to weave in with this dance career as he was cast in several music videos: David Archuleta’s “Crush” (American Idol), Young Jeezy’s “Crazy World” and Tiffany Scott’s “It’s Not Me”. The young entertainer realized that both skill sets could be used and another could be added… choreography.
Not only by teaching regular classes at two of the most popular studios in Atlanta, he made his way on to the choreography scene by choreographing Kat Graham’s “Cold Hearted Snake” video. He went on to choreographing live performances for The Vampire Diaries star, including a VMA Awards performance.
In December of 2010 Tyler graduated Georgia State University with a degree in Journalism and Spanish. Upon graduation, Tyler relocated to Los Angeles to pursue his career. Upon relocating to Los Angeles, Tyler has appeared in television roles in the hit series’ Glee and Shake It Up. He has also landed national commercials for Nissan, Old Navy, and Range Rover; and most recently can be seen performing with Mary J Blige at the Halo Awards and Kelly Clarkson at the 2012 American Music Awards.
This year you can catch Tyler as Newsome in RIDE, Emmett Till in The Perfect Sacrifice, Billy in Kepler X-47, Cameron in Swadhisthana, and Josh in The Other Side. He is slated to film Alumnus later this year!
Folake Olowofoyeku was born in Nigeria and raised in London and Lagos, Nigeria. With the opportunity to move to New York City to study, Folake left Nigeria and while in New York City, focused her artistic endeavors on a B.A (Hon) in Theatre and a Diploma in Audio Engineering from The Institute of Audio Research. After a brief career competing in the NCAA Basketball league, Folake focused on her career as a versatile actress.
She earned a Best Actress Award for her lead role in "When They Could Fly" at the prestigious ReelHeART International Film Festival in Toronto, Canada. Her voice has also been utilized for voice-over campaigns with The Bill & Melinda Gates foundation, The Coca-Cola Company, Money Gram and Emirates Airline.
Henning Fischer was born in Pforzheim, Germany to parents Wolfgang and Ingrid Fischer. He also has two younger brothers named Konstantin and Sebastian. While some actors are inspired by celebrities or childhood fantasies, it was the more tangible subjects of mathematics and international business that helped actor Henning Fischer to uncover a passion for the arts. His global journey, culminating in Los Angeles, has taken him from studies in Berlin and New York to world travel across three continents.
After completing five years of intense training in New York City (at the Stella Adler Studio and the Terry Schreiber Studios), the actor arrived in Hollywood chock full of life experiences. Mr. Fischer specializes in dramatic interpretations of dark characters, and delights in sinking his teeth into psychologically-challenging roles.
He has performed with Germany's "Theater in der Kirche", touring extensively with productions of "Minna von Barnhelm" by Gotthold Ephraim Lessing and "The Imaginary Invalid" by Moliere. In New York, he appeared in "The Amulet" (New Worlds Theatre) and "Cocktails at the Centre of the Earth" (Off-Off-Broadway). Film and television credits include One Fine Sunday (2010) ,Synthetic_World (2010) and Snuff Road (2003) . Mr. Fischer is fluent in German and is happy to volunteer his time for a good cause. In his free time, he enjoys photography and the great outdoors.
Jemal Draco was born in Los Angeles, California on December 31st, 1986. As a junior at Pacific Palisades Charter High School, Jemal fell in love with the art of acting after participating in the "Merry Wives of Windsor" for the DTASC (Drama Teachers Association of Southern California) Shakespeare Festival. His scene went on to win the first place trophy and a performance at the Ivar Theatre in Hollywood in front of an audience. After another festival and two plays, Jemal graduated high school in 2005 knowing that he wanted to be a professional actor. That summer, he received a full scholarship to the CalArts' CSSSA (California State Summer School of the Arts), where he received his first professional training in acting for the summer.
In 2006, Jemal enrolled in a two-year Meisner based acting program at the prestigious Joanne Baron/D.W. Brown studio in Santa Monica, CA. Upon graduating from the program in 2008, Jemal participated in community theater productions around Hollywood, as well as in many student productions. During that same time, Jemal paid his bills and observed life on set for an actor by doing background. In 2009, he received his first role in a motion picture as a fearless rebel named Tyler in the horror film "Jack The Reaper." His co-stars on the film included Oscar nominee Sally Kirkland and horror legend Tony Todd. In 2011, "Jack The Reaper." garnered the award for best Horror/Sci Fi Film at Cannes Independent Film Festival . Jemal is currently represented by The Levin Agency and managed by Rectangle Entertainment.
Elena-Cristina Marchisano was born in Piatra Neamt, Romania. As a child she liked two things, acting and Tom and Jerry cartoons.
She loved to perform in front of people from a very early age. During dinner parties she enjoyed dancing on the table and reciting poetry for her parent's guests. During primary school the great actress Adria Pamfil directed her in a few projects. Besides acting, she also dreamed of becoming an airline pilot.
As a young woman, Elena-Cristina read the works of C. Noica, E. Cioran, Ancient Greek Theatre and Sci-Fi Literature. She was also inspired by the music of Beethoven, Wagner, Bizet, Karl Orff, and rock.
In 1997 she prepared her examination to enter the U.N.A.T.C "I.L. Caragiale" with Adriana Popovici and Radu Gabriel. Passing her entrance examination, Elena-Cristina was a student of Ion Cojar, the celebrated actor, director and teacher, in Bucharest.
A working actress since 2001, she has performed in plays by Chekov, Shakespeare, Gorki and, Moliere, and Lessing, among others. She has also worked in TV and film, being cast in Romanian as well as English-speaking roles. The two theaters that she is mostly associated with in Bucharest are Odeon Theatre and Bulandra Theatre.
In January 2009, Elena-Cristina moved from Bucharest to Los Angeles, CA, where she lives with her husband, Matteo Marchisano-Adamo.


Attack of the Clones: A 20th Anniversary Retrospective
Starring Hayden Christensen (Anakin Skywalker), Natalie Portman (Padmé Amidala), Ewan McGregor (Obi-Wan Kenobi), Christopher Lee (Count Dooku), Samuel L. Jackson (Mace Windu), Temuera Morrison (Jango Fett), Ian McDiarmid (Sheev Palpatine)
Directed by George Lucas
Written by George Lucas & Jonathan Hales
After the epic disappointment that The Phantom Menace was for many Star Wars fans, there was nowhere to go but up. Attack of the Clones wasn’t as big of a letdown as its predecessor, but it was another lackluster trip through a galaxy far, far away. There were some improvements made between the first go ‘round and this one — though not completely removed from the equation, Jar Jar Binks has a lot less screen time, and there’s a little more action — but I had a lot more hope that Attack of the Clones would begin to show us Anakin’s first steps towards falling to the dark side.
We got the scene when he commits genocide against the tribe of Tusken Raiders, and that’s a dark side move, but my issue with it is that Anakin whines about everything throughout the rest of the movie. The acting, the directing, and the writing couldn’t synergize to create a more imposing figure than what we got with “Emokin”. Thank goodness for Dave Filoni and The Clone Wars animated series, which added layers to the characters and the overall story, vastly improving many narratives from the Prequel Trilogy, including showing Anakin wrestle more with himself and who he believes he should be.
Anakin is only one problem I have with Attack of the Clones. There are some plot decisions that don’t make any sense (why did Jango Fett follow the chase instead of assassinating an unguarded Padmé?), but another big issue I have with this movie is that it somehow manages to look worse than The Phantom Menace despite having the advantage of improved CGI technology. I think the reason why this movie looks worse because George Lucas relied so heavily on CGI effects. For example, many characters, like Yoda, Jar Jar (again), and Dexter Jettster, were completely CGI. As good as CGI was then, it wasn’t good enough to replicate the warmth and life that the best puppets and costumes created in the Original Trilogy.
Many scenes in Attack of the Clones were shot in a studio, against green screens. Nothing new, even way back in 2002, but those scenes feel as sterile as any floor in Tipoca City. When we finally get a few scenes with Padmé and Anakin that are filmed on location (Naboo — Itlay and Tatooine — California), they feel much more alive than those scenes filmed in studio.
However, Naboo is another one of the issues I have with Attack of the Clones. The movie falls apart when it dives into their romance because it feels forced…and kind of weird. Yeah, sure, Anakin and Padmé are young, beautiful people, but would she really just fall in love with him like that? The scenes on Naboo happen to be the best looking scenes in the movie, but they drag. If there was one place to add an action sequence in the movie, it should have been on Naboo. The deadly threat on Padmé’s life, the fear of being hunted, lost all of its teeth when she returned to the most obvious place she could hide, which also happens to be the same planet where Emperor Palpatine is from. Not a single threat on her life here? Surviving something like that together would have brought Anakin and Padmé closer to each other, like Frank Farmer and Rachel Marron in The Bodyguard. I think that would have worked better than Anakin showing off his Force powers slicing fruit by candlelight, or feigning death by shaak, or rough dialogue about sand, and a lot of long, awkward staring into each other’s eyes. Barf.
One more complaint, and then I’ll promise to say some nice things about Attack of the Clones because there are some things I enjoy about it. The most egregious scene in this movie almost never happened, and shouldn’t have ever happened: the droid factory scene. Apparently it goes down like this: George Lucas watches a cut of Attack of the Clones months after initial filming wrapped, and he decides that the movie needs another action sequence. That sequence, in my opinion as I stated earlier, could have been in Naboo, for the benefit of the “love story” shoved down our gullets. Instead, Lucas wants it to happen on Geonosis, and it ends up being preposterous. That’s saying a lot in a movie series that is more or less centered around preposterous ideas, but this scene ruins a passable Star Wars episode, turning it into a goofy knock-off toddler version. Google it.
But Attack of the Clones isn’t all bad. There are some cool “Star Wars” moments and fun things to see in this episode.
Some of the ship and vehicle designs are clean, like the Naboo Royal Starship, the “hot rod” speeder that Anakin steals, the Geonosis Solar Sailer, and the Jedi Starfighter. I also like Jango Fett’s look and the curved hilt for Count Dooku’s lightsaber.
And, of course, we got to see Yoda finally swing a lightsaber. This scene brought the audience to a roar in the theater. The little green guy had some fancy moves, but he ends up losing the fight, which doesn’t sit right with me. I think Yoda should’ve won easily, with 800 years of Force-wielding experience on his side. Dooku is tricky, and Yoda kind of comes out looking like a chump.
When I saw Attack of the Clones on opening weekend, a dude in the audience stood up in the theater after Anakin cut down every Tusken man, woman, and child (because they held his mother captive and tortured her juuust enough to keep her alive until Ani showed up), and this dude shouted, “That’s when he becomes Darth Vader!” It was unnecessary, but he was right. This was a “no doubt” Sith-like move, reacting with such hate. I guess that act could be seen as the beginning of Anakin’s descent to the dark side. But…this movie is really about Obi-Wan Kenobi’s emergence. Ewan McGregor owns the role, and the younger version of the Jedi master comes into form here. It’s a tremendous performance that he nailed again in Revenge of the Sith, and I expect him to kill it in the Obi-Wan series set to debut in about a week.
My favorite scene with Obi-Wan takes place near the beginning of the movie when Anakin and Obi-Wan are chasing Zam Wesell through Coruscant. They follow the shapeshifting Clawdite into a bar, where Obi-Wan sends his padawan to continue the chase while he has a drink at the bar. As he waits for his drink, a dealer tries to sell Obi-Wan “death sticks”, and Obi flips a Jedi mind trick on him.
Ultimately, after years of watching these movies and wasting my time thinking about them for no reason other than I like to, I believe that Attack of the Clones deserves to hold a place in the middle tier of the three Skywalker trilogies. The Original Trilogy will be hard to beat for many fans, at least for another decade or so. Who knows how fan perception will shift as those of us in middle age and older “phase out”. I am not one of those fans that thinks the Prequel Trilogy sucks; it’s just underwhelming. Attack of the Clones is better than The Last Jedi, the most reviled episode in the saga, in that
The Sequel Trilogy looks better than the Prequels because they return to using more practical effects in scenes, and they have better pacing than the Prequels, but Attack of the Clones still ranks higher than two thirds of the Sequel Trilogy. It sticks to the nature of the characters as we came to know them in The Phantom Menace, and carries on the spirit of Star Wars. It doesn’t try to switch up well-established lore in the middle of the damn story.
Happy 20th anniversary, Attack of the Clones!


I was reading an interview with a filmmaker yesterday who said documentaries differ from fiction in that, not only do you have no script, you have to wait for the story to happen in real time.
Real time is exactly what I was wrestling with, the other day.
Early video artists once made a point of rejecting the constant cutting, montage, the manipulation of a viewer's experience that has come to characterize television and Hollywood narratives. Andy Warhol's six hour meditation on the face of a sleeping lover is the film of that sort that comes to mind. As you might guess, these films were easily forgettable, exercises in boredom. Real time still inspires artists, but, mostly as a place to start from.
We like our time collapsed, like a telescope. It's one of the pleasures of film, to view experience from afar, see more of it in a glance, than when we were immersed in it.
So a documentary, these days is all about cutting up time and reorganizing it, putting events and statements in an own order, the logic of which follows the heart, or sets up an argument, or makes sense to you in some way you can't explain.
Dirty Work, unlike previous documentaries I've edited, has a clear sequence of events to be followed. It's amazing to me how much time I spend cutting up real time to create the illusion of it, instead.
if the film works, all this intricate puzzle piecing to maintain continuity will embed the viewer in the story, so that we are swept up by the lives and challenges happening before our eyes, and see them in a larger context.
Is this organic editing? Or merely the illusion of it? Only time will tell.


The Motion Picture Academy of Arts & Sciences has just presented its "Academy Awards," which put Just Desserts into a movie mood. So this month we thought we'd take a look at the role of food, dining and food-related issues in the movies. Of the five movies nominated for Best Picture this year, it was the sleeper-hit Little Miss Sunshine that used food mosteffectively in developing its plot and characters. Near the beginning of the movie, acommunal dinner scene reveals the many ...
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My husband and I made a quick stop by the video store this weekend. I was hoping to find this movie but was disappointed to discover they did not carry it. The clerk said she hasn't even had anyone request it in years so I don't think my request made any difference on hoping to find it on the shelves in the future.
However, we were able to pick up Les Miserables and last night after church, upon tucking the girls in bed, my husband popped up some old fashioned skillet popcorn and we settled down to watch it. I truly can not believe I have never seen this movie. It was stupendous! Such lingering thoughts have stayed with me all day from this film because it was a true story of redemption that reaches deep into the human soul. The themes of grace, mercy, love and forgiveness were central and the analogies were remarkable.
(A very special thanks goes to Jacqui, who so kindly explained to me how to use the link function on my posts!).


As of this morning, a number of bookmakers have opened a new novelty market…with odds available for whether Harry Styles and Olivia Wilde have called off their relationship.
“The internet is abuzz with rumours of whether Harry Styles and Olivia Wilde have broken up after the pair attended the Venice Film Festival this week – so much that bookmakers have opened up a special market for the potential break up, which is madness but it shows fans evolvement in this celebrity relationship.
“As it stands the ‘couple’ is 1/2 to announce their breakup straight after the Film Festival this weekend, which carries an implied probability of 66.7%. Meanwhile, the odds for the split to be announce before the end of the month is 1/4, which suggests a provability of 80%.
“Very rarely would there be a market for something like this but with all the drama surrounding Olivia’s latest movie and also Styles behaviour towards Chris Pine has raised some eyebrows and some serious questions…to say the least!
“The breakup rumours were fulled even nice when Styles locked lips with actors Nick Kroll, who also stars in the movie. It’s safe to say that it’s drama written all over it.
“I’m sure it’ll all be revealed sooner rather than later and in the meantime, showbiz fans will continue to guess what the outcome will be.”


Smallville Season 10 (2010) Episode List:
Smallville S09E01 - Lazarus
Smallville S09E02 - Shield
Smallville S09E03 - Supergirl
Smallville S09E04 - Homecoming
Smallville S09E05 - Isis
Smallville S09E06 - Harvest
Smallville S09E07 - Ambush
Smallville S09E08 - Abandoned
Smallville S09E09 - Patriot
Smallville S09E10 - Luthor
Smallville S09E11 - Icarus
Smallville S09E12 - Collateral
Smallville S09E13 - Beacon
Smallville S09E14 - Masquerade
Smallville S09E15 - Fortune
Smallville S09E16 - Scion
Smallville S09E17 - Kent
Smallville S09E18 - Booster
Smallville S09E19 - Dominion
Smallville S09E20 - Prophecy
Smallville S09E21-E22 - Finale
File And Episode Summary
Lazarus – Lois finds Clark’s lifeless body and removes the blue kryptonite enabling him to heal himself. Lois sneaks away before Clark fully awakens in order to protect his secret. Chloe is desperate to find Oliver, so she turns to an unlikely source for answers. Jonathan returns to the Kent Farm with a message for Clark, and Tess awakens in a LuthorCorp lab.
Shield – When Lois leaves for Egypt, Clark gets a new partner: reporter Catherine “Cat” Grant. he soon discovers that she’s been targeted by an assassin who never misses. Meanwhile, Oliver searches for Chloe and Lois commiserates with archaeologist Carter Hall.
Supergirl – Clark is stunned when Kara returns to Earth and tells him Jor-El sent her to stop the dark force that is coming because he doesn’t believe Clark can handle it. Meanwhile, Lois confronts Gordon Godfrey, a shock jock radio DJ who has been crusading against heroes, after he threatens the Green Arrow. However, after Godfrey is possessed by the dark force, he takes Lois hostage and Clark and Kara have to come to her rescue.
Homecoming – In an attempt to cheer up Clark, Lois convinces him to attend their five-year high school reunion. A visit back to the home of the Crows has Clark remembering old times with Lana and Chloe, while Lois is furious that no one remembers her five days as a student. Brainiac 5.0 uses his Legion ring to visit from the future and takes Clark through his past, present and future. He shows Clark what really happened the night Jonathan died, Oliver’s current pain and Clark’s future at the Daily Planet with Lois and his role as Earth’s favorite red and blue superhero.
Isis – Lois decides to tell Clark she knows he’s the Blur, but she accidentally activates an ancient artifact that transforms her into the Goddess Isis, complete with superpowers of her own. Oliver Clark reluctantly decide to ask Tess for help with Lois. Meanwhile, after Cat Grant witnesses Lois as Isis using her superpowers, she decides Lois is the Blur and sets out to prove it.
Harvest – Clark is concerned about Lois’ safety so he diverts her away from covering the Vigilante Registrations Act by suggesting she cover another story. After he comes clean with her, an angry Lois tells him that she can take care of herself, but when a flat tire strands their car in the middle of nowhere, their plans take a turn for the worse and Lois ends up in serious danger. Meanwhile, Tess searches for a cure for Alexander, who is rapidly aging.
Ambush – The General and Lucy Lane decide to drop in on Lois and Clark for a surprise Thanksgiving dinner. Clark and the General get off to a rocky start after Lois’ father bashes the superheroes and tells Clark he is trying to pass a vigilante registration law. Meanwhile, in an effort to stop the vigilante registration act from being passed, Rick Flagg lies to Lucy in order to lure Clark away from the farm long enough for him to assassinate the General. Lois is torn between making her father proud and her love for Clark.
Abandoned – Lois finds a video made for her by her mother, Ella Lane, before she died. After watching the tape, Lois makes a drastic decision about her relationship with Clarkthat takes her to the Fortress, where she comes face to face with Jor-El and Lara.
Patriot – In an effort to protect the rest of the team, Oliver decides to register for the Vigilante Registration Act to see what the government plans to do with the new law. As he suspected, it was a trap to lure superheroes to an undisclosed location where he is confined to a jail and subjected to a battery of brutal tests under the supervision of Col. Slade.
Luthor – Tess discovers that Lionel left his heir a mirror box. When Clark accidentally activates it, he is transported to a twisted parallel dimension where Clark was raised by Lionel Luthor, who is still alive. Meanwhile, Clark Luthor has been transported to Clark’s world, where he plans to escape his dominating father and conquer Earth.
Icarus – The VRA is in full effect and things take an unfortunate turn of events after the Green Arrow tries to stop a mugging but is attacked by citizens for being a super hero. Clark discovers that the civilians who attacked Oliver were all marked with a darkness tattoo. Carter Hall and Star Girl return to help Clark deal with Slade’s re-emergence after he kidnaps Lois.
Collateral – Clark, Oliver, Lois and Dinah are released by the VRA after being captured at Hawkman’s funeral but each of them have flashbacks of Chloe holding them against their will. When Chloe returns, Dinah warns the others that Chloe may now be a traitor. Oliver dismisses her concerns but Clark is unsure if he can trust Chloe after she disappeared without an explanation.
Beacon – Clark is surprised to see Martha on the news speaking at a pro-vigilante rally. However, surprise quickly turns to horror when he and Lois watch as Martha gets shot on national television. Meanwhile, Lionel reveals himself to the world and reclaims LuthorCorp from Tess and Oliver. Lois and Chloe decide to cheer Clark up by showing him videos from thousands of vigilante supporters professing their support for The Blur.
Masquerade – Chloe and Oliver are mistaken for FBI agents investigating Desaad’s recent string of murders and the pair are kidnapped by Desaad’s minions. Desaad tries to infect Chloe with the darkness. Meanwhile, Lois tells Clark he needs to be more careful with his identity and suggests a disguise.
Fortune – Clark and Lois celebrate their bachelor parties, but wake up the next morning with no memories of what happened. As they trace back their steps, they discover that two of their party members got married, Lois bet away her ring, and Clark has a pet lemur.
Scion – Lionel and Tess go head to head in a battle for the Luthor name. Clark and Lois are stunned by Tess’ latest present to them.
Kent – Lois turns to Emil for help after Clark Luthor sends Clark back to the alternate reality, where he encounters an irate Jonathan Kent. Meanwhile, Clark Luthor tells Tess he’ll kill her if she doesn’t take his side.
Booster – After everything that happened with the VRA, Lois tells Clark it’s best to make “Clark Kent” forgettable and awkward so people don’t suspect he’s The Blur. However, the two are stunned when a fame-hungry superhero from the future, Booster Gold, sweeps into town and begins making saves and posing for press ops, completely winning over the city of Metropolis. Booster begins his campaign to take the Blur’s place as the “World’s Greatest Superhero” and tries to charm Lois into writing a story about him, but she’s not having his antics and begins her own campaign for the Blur. During one of Booster’s saves, an alien weapon in the form of a scarab falls from a truck and fuses itself to a boy named Jaime Reyes, turning him into the Blue Beetle. Unfortunately, Jaime is unable to control the suit and Blue Beetle starts attacking Metropolis.
Dominion – Tess learns that General Slade was found unconscious on a street corner, proof that someone has gained access to the Phantom Zone’s escape portal and sent him back. Clark decides to return to the exiled land to make sure other phantoms are not fleeing and is furious when Oliver tricks Clark into taking him along. With Clark’s powers gone, the two are immediately captured by the Zoners who take them to their new leader, Zod, who is thirsting for revenge on Clark for banishing him to this Kryptonian jail. Meanwhile, Lois learns Clark trusted Tess with a secret, but didn’t tell Lois.
Prophecy – Lois walks in Clark’s shoes for a day when Jor-el bestows Clark’s superpowers on her as a wedding gift. But when the Toyman returns to Metropolis it’s Lois who must stop him. Meanwhile, Oliver bumps into Kara while searching for the Bow of Orion.
Finale – After ten years, Clark Kent completes his epic voyage from freshman high school student to the Man of Steel.
Smallville Season 10 (2010) Episode List:


The Shape of Water ReviewThe Shape of Water: Fox
Is the world ready for the Academy Award for Best Picture to be awarded to a film about a woman falling in love with a fish? (update: yes). I hope so. Very rarely does a film come along with a premise so bizarre that is loved by such contrasting demographics as me and my mother. Who knew we would both love to see a mute woman named Eliza (Sally Hawkins) slowly falling in love with a captured, feral sea creature named Amphibian Man (Doug Jones). For bringing together, my mum, lover of Sherlock Holmes in New York procedural, Elementary and me, lover of no Sherlock Holmes adaptations, the film deserves all the awards.
Eliza lives above a failing cinema (because of course), and spends her day doing the same things over and over again. She brushes her teeth, masturbates in the bath, goes to work, listens to her friend and colleague Zelda (Octavia Spencer) and goes back home again. Occasionally she visits her gay closeted neighbour Giles (Richard Jenkins), but that is as exciting as her life gets. It is clear that Zelda is alone, but this has been her life ever since she was found as a child by the river with wounds on her neck. Her life is monotonous, but it is the only life she knows.
Eliza’s life becomes more interesting when Colonel Richard Strickland (Michael Shannon) begins working at the military medical centre she cleans at. Richard is in charge of their new asset, a fish/man hybrid, who we are told was “a god” to a community in South America. Richard is sadistic, and one day whilst he is torturing Amphibian Man, the Amphibian bites back, taking one of Richard’s fingers clean off. Eliza and Zelda are ordered to clean the room where Amphibian Man is held captive, allowing Eliza to get her first sight of him. There isn’t an instant connection, but Eliza is intrigued. In the following days she sneaks back into the room during lunch and feeds Amphibian Man an egg. At first, he is suspicious but soon waits eagerly for her. A friendship between the two forms, and this pattern continues until Eliza, after having spent too long in the room has to hide as Richard and his team enter the room. She witnesses Richard torture Amphibian Man, and with his body weakening, Eliza knows she doesn’t have long to help him get out. With the help of conflicted scientist, Dr Robert Hoffstetler (Michael Stuhlbarg) she hatches a plan to help Amphibian Man escape, and get him back in the river where he belongs.
Michael Shannon is the perfect villain for the film’s tone, adding another creepy and intense performance to his resume. Michael Stulhbarg does his usual thing by turning up in a pivotal role injecting his portrayal of a conflicted Soviet Spy with humanity and urgency. But despite the brilliance of these two actors, Sally Hawkins, Doug Jones and Richard Jenkins steal the show with a triage of perfectly pitched performances. Hawkins, proven to be so diverse in the past, brings life to a role that could have failed to engage in another actor’s hands, connecting with Doug Jones’ Amphibian Man, making their outlandish relationship feel natural. Jones, with the help of cgi confidently conveys the animal and human side to Amphibian Man, making us fear and relate to him in equal measure. However, Jenkins is so loveable and pitiful as the closeted, unemployed art director, lusting after the bigoted waiter and attempting to get his career back on track. In a film bursting full of acting talent, Jenkin’s stands out, adding cultural nuance to an often fantastical film.
Del Toro’s film is clearly a celebration of outsiders. In a time of political division, this is the sort of celebration we need to see. For creativity alone, The Shape of Water is a nuanced, engaging, fantastical film celebrating outsiders and love that crosses boundaries. If that isn’t what we strive for in 2018, then I don’t know what is.


Creating Opportunities for Aspiring Storytellers
Since 2014, The Rwanda Media Project has set out to teach young filmmakers in Rwanda skills such as scriptwriting, cinematography, sound, editing and producing.
Sound Designer Ana Monte (left) with the young women of The Rwanda Media Project
A successful RMP 2023 field recording workshop for women was conducted by Ana Monte, Sound Designer and Co-Founder of DELTA Soundworks. Zoom proudly donated recorders to each of the students, helping in their journey to create and sell their work in one of the most sonically untapped areas of the world.
Learning to listen to her environment while recording nature
Four aspiring filmmakers who participated in the five day workshop
Over five days, Ana’s workshop focused on lessons on topics such as theory, ambience recording, SFX recording, editing and metadata.
Capturing the sound of the story in the field
Audio engineering is a male dominated field, as women we represent around 7% of the industry and this can only be changed by not only giving women the same opportunities as men, but also inspiring women through representation.”


UK distributor Haus has been enjoying free big-screen publicity for its Wüsthof Trident knives, which are featured prominently throughout the hit cooking film Julie & Julia, starring Meryl Streep.
Julie & Julia tells the true stories of Julia Child, the American chef who revolutionised home cooking in the 1960s, and of internet blogger Julie Powell, who was inspired to write about her attempts to follow Child’s recipes and document them in her autobiographical novel.
The film has been a huge success, so far grossing over $85,000,000 worldwide.
Marc Kinsey, marketing officer at Haus, says: “We’re delighted to see the Wüsthof Classic range displayed so prominently in this excellent film. Julia Child contributed much to modern-day cuisine and also helped kick-start the prominence of the celebrity chef; we’re very proud to see Wüsthof associated with this inspirational period in the industry on such a large scale.”
Julie & Julia also gave a huge boost in the US to sales of Le Creuset cast iron cookware, used in the film by both Streep and co-star Amy Adams.


I am a filmmaker and video producer. My strengths are in cinematography and video editing, and I have a wealth of experience operating DLSR and mirrorless cameras as well as cinema grade cameras. I am fluent in Premiere, Final Cut, Da Vinci Resolve, and After Effects; and I try to tell stories that thrust the audience into the action of a piece. I like to think of each video as a movie trailer for the campaign. A good trailer will get the audience excited for what’s to come and compel them to buy a ticket to the bigger picture.
May 2022 (On going), Sunset Black, web-series, episodes ranging from 5-10-minutes in length. Website: SunsetBlack.net. Position: Producer, Director, Cinematographer, Editor, etc. A noir/fantasy web series about the end of a civilization and the rise of an ancient power bent on creating an old world long forgotten. Capstone project at the University of Colorado Boulder. Festivals and exhibitions: Wyoming International Film Festival, 2022.
October 2021, Hecate, 7 minutes. Position: Producer, Director, Cinematographer, Editor, etc. A graphic novel-like short film interpretation of William Shakespeare's "Macbeth" told from the perspective of the goddess of witchcraft, Hecate. Festivals and exhibitions: Semi-finalist, Indie Short Fest, 2021.
October 2021, Peter Anthony’s: Sleep No More, 90 minutes. Position: Producer, Cinematographer, Editor, etc. A feature film adaptation of William Shakespeare’s Macbeth. Festivals and exhibitions: Black Swan International Film Festival Sept. 2021, London Movie Awards, 2022, Premiere at the Lyric Cinema Fort Collins, CO, 2021.
Winter 2021, Unstaged: The Ghost Light Players, runtime tba. Position: Writer, Director, Producer, Editor, Cinematographer, etc. A feature film documentary about theatre during the COVID-19 Pandemic and how both community and professional companies were able to continue to create. Work began as an independent study course at the University Colorado Boulder.
May 2021, Breaking the Bard, ~30 minutes. Position: Writer, Director, Producer, Editor, Cinematographer, Page Designer, etc. An interactive documentary examining the plays of William Shakespeare through the historical, social, and political context in which he wrote his plays. Honors thesis project at the University of Colorado Boulder.
December 2020, Vent, 9 minutes. Position: Writer, Director, Producer, Editor, Cinematographer, etc. A woman has the worst day of her life and finds herself kidnapped on the same day a cataclysmic event occurs, and her kidnappers discovers he may have chosen the wrong victim. Final project for media production final at the University of Colorado Boulder. Festivals and exhibitions: Horsetooth International Film Festival 2021, Shockfest Film Festival 2021.
December 2019, Out Spot!, 11 minutes. Writer, Director, Producer, Editor, Cinematographer, etc. A short adaptation of Shakespeare’s Macbeth told from the perspective of Lady Macbeth as she slips further and further into madness. Made as part of a Shakespeare English for Non-Majors course at the University of Colorado Boulder. Festivals and exhibitions: Category winner and second overall Shakespeare Shorts Film Festival, 2020, Reviewed by Sir Kenneth Branagh "This is a really confident, kinetic pocket-epic." Stratford upon Avon, United Kingdom. Horsetooth International Film Festival, 2020.


With utter fearlessness, the cast of Bar Dykes engages the senses with near-perfect timing, emotion, and vulnerability... Brilliantly acted by Brooke M. Haney... the cast shines in a true ensemble performance - Advocate
The cast completely commits to the tone and cadence of the text, honoring the characters’ individual truths with sparkling emotional depth. ...It’s a joy I don’t want to ever end.
- Arts Forum, Jess Barbagallo on Bar Dykes.
Haney plays Dee Dee artfully as a high-strung, naive dreamer. - The Boston Globe
This play is an actor's dream, a director's challenge and an audience's delight. ...two actresses -- Susan Bigger (Alberta) and Brooke M. Haney (Dee Dee) are perfect. - The Edge Boston
“Ms. Haney brings physical strength and emotional vulnerability to this challenging role.” - New York Theatre Review
“Kiss Me Or Cut Off My Head is a sensitive portrayal of the physical, emotional, and often economic trauma of sexual violence.” - New York Theatre Review
Brooke is a New York based theatre artist who has worked regionally in Seattle, Boston, Orlando, and Kentucky. She has a passion for classical text and new play development. She graduated from the University of Central Florida with her MFA in Performance. She studied improv at the Upright Citizens Brigade. Brooke is Artistic Producer and Director of the Apprentice Company for Daughters of Troy and an Adjunct Professor of Acting at Marymount Manhattan College. AEA, SAG/AFTRA.
Workshop at Q.E.D. Astoria:
Feb 2nd @ Q.E.D. Astoria
Brooke is co-teaching two workshops with RheAnn Mennefield on how to bring the tenants of Intimacy Directing work into any rehearsal process.
Turn To Flesh Productions
Directed by Elizabeth Ruelas
Feb 6-16th 2020
Brooke is working as Intimacy Director on this classic tale of love and murder - with a new Juliet, a new world, and new verse.
Written by Madison Hart
Directed by Brooke M. Haney and Julia Gaudioso
Feb 22-23rd, 2020
Brooke directs this new play as part of the Marymount Manhattan College Playwriting Projects.
Since 1999, OMB has been performing for children in hospitals across New York City and Washington DC. Our mission is very simple, to give joy and inspiration to as many sick children as we can. Our unique way of doing this is to bring professional actors into hospital wards to entertain the children with specially created plays designed for their needs and to encourage their participation. Brooke joined the acting company of OMB in 2018.
July 11 - August 3
TOSOS at The Flea
This summer of Stonewall 50 and World Pride, The Other Side Of Silence (TOSOS), NYC’s longest-producing LGTBQ+ theater company, continues to honor our community’s history by producing the NYC premiere of BAR DYKES. Directed by Mark Finley, the audience steps behind a nondescript door where it’ll find a very distinct clientele and world of butches and femmes. Brooke plays Lorraine in this immersive staging of a girls’ night out captured in time as it once was.
Directed by Lee Milby
Brooke co-stars as a Paramedic in this pilot currently in post-production.
Written and Performed by Alexandra LaPlante.
Directed by Brooke M. Haney
Directed by Ben Abel-Bey