Arnold Alois Schwarzenegger is an American professional bodybuilder, actor and also a politician. In the time period of 2003 to 2011 Arnold served as the 38th Governor of California. He starts weight training at the age of 15, and at the age of 20 he was awarded by Mr. Universe. Arnold is also seven times winner of Mr. Olympia. He got so much fame in bodybuilding field.
Arnold Schwarzenegger was also interested to act in films. Finally he achieves a role of Hercules in the film Hercules in New York in 1970. He starred in many breakthrough films as Happy Anniversary and Goodbye 1974, Stay Hungry 1976, The Villain 1979, Scavenger Hunt, The Jayne Mansfield Story 1980, Conan the Barbarian 1982, Conan the Destroyer 1984, The Terminator 1984, Red Sonja 1985, Commando 1985, Raw Deal 1986, Predator 1987, The Running Man 1987, Red Heat 1988, Twins 1988, Total Recall 1990, Kindergarten Cop 1990, Terminator 2: Judgment Day 1991, Christmas in Connecticut 1992, Lincoln 1992, Last Action Hero 1993, True Lies 1994, Junior 1994, Eraser 1996, Jingle All the Way 1996, Batman & Robin 1997, End of Days 1999, The 6th Day 2000, Collateral Damage 2002, Terminator 3: Rise of the Machines 2003, Welcome to the Jungle 2003, Around the World in 80 Days 2004 and in The Expendables 2010.
Arnold Schwarzenegger was awarded by 17 awards for different categories and also nominated 23 times.
Here we are going to share to with you some best Arnold Schwarzenegger Wallpapers. Hope you will like these all wallpapers.


Third up is Tom Hanks. I should say that it’s essential or infinitely more insightful to look at the full progressed lunation cycle of a person rather than merely one portion of it. After all, the balsamic phase is just one of the 8 phases in the lunation cycle. However, due to time constraint, I’m doing a quick and dirty zooming in on the balsamic phase.
Tom Hank’s progressed balsamic phase was from April 2010 to July 2013.
Hanks went on to perform voiceover work for the acclaimed TV miniseries The Pacific (2010, narrator) and the animated Toy Story 3 (2010), later starring in such films as Extremely Loud & Incredibly Close (2011) and Cloud Atlas (2012).
He was the executive producer of the 2012 film ‘Game Change’ which is about the 2008 presidential campaign.
He was seen again that same year on the silver screen in the nautical thriller Captain Phillips (2013), playing the title character. Hanks also played Walt Disney in Saving Mr. Banks (2013), the biopic that shows how the studio head convinced P.L. Travers, played by Emma Thompson, to give him the rights to make Mary Poppins a cinematic project.
He admitted in October 2013 that he has Type 2 Diabetes. Hanks shared this information on the air with late night talk show host David Letterman. “I went to the doctors and they said, ‘You know those high blood sugar numbers you’ve been living with since you were 36? Well, you’ve graduated. You’ve got Type 2 diabetes.'”
Hanks seem like a clearer example of the “chilling out” quality to the progressed balsamic phase. Please note that I’m not dismissing his achievements and productions during this period. Most interesting, the actor made his Broadway debut in the 2013 production Lucky Guy, presumably during his progressed new Moon where he might have decided to try new seeds – Broadway.


Before Twilight and before True Blood, the standard for sexy, badass vampires was set by The Lost Boys - and YEAH!'s got the inside scoop from Joel Schumacher on how he made vampires so bloody cool.
YOUR RENTAL INCLUDES:
- THE LOST BOYS WITH SPECIAL FEATURES (1:37:27)
- 446 FACTS
- 15 INTERVIEW CLIPS
- 10 QUIZZES
- 5 POLLS
- YEAH! EXCLUSIVE INTERVIEW
- DIRECTOR JOEL SCHUMACHER (49:57)
THE LOST BOYS' director reveals an on-set setback: "Kiefer broke his hand the first night of filming..."
Director Joel Schumacher asked the Two Coreys to watch Sly Stallone and Chuck Norris movies in preparation for the roles of the Frog Brothers.


Kat sent her lawyers out to rid the
web of her nude pictures but, of course, you can still Google them
|We all know that the busty star of
the hit TV Series "2 Broke Girls" had nude
pictures hacked from her phone back in 2010 and that a
couple of more surfaced in 2012. Now it is being
reported that there was also a movie hacked from the
phone. Several sites have published screen shots of
a brunette playing with her huge boobs and rubbing her
pussy stating that the movie is in fact Kat Dennings.
So we went to the experts at BroadCastYourAss.com and
asked them for their opinion. They told us that that it is DEFINITELY NOT Kat Dennings. They even
gave us a copy of the full movie. So while this
isn't Kat it is a pretty good movie.
So where did this movie come from?
It seems that she promotes herself on LocalSexProfiles.com,
a free sex dating site where the members post movies of
themselves to get dates.
Sounds like a great idea to us. Lol


Sherriff Pat Garrett
Hunts down bad Billy the Kid.
They used to be friends.
This haiku encompasses the tracks "Billy 1," "Billy 4" and "Billy 7" from the soundtrack album "Pat Garrett and Billy the Kid" for the movie by Sam Peckinpah. Each song sounds substantially different, but the lyrics, however they vary, are more or less the same: Billy the Kid is on the run from his old friend and fellow outlaw Pat Garrett, who now works for the "law," which is in thrall to the big business interests that want Billy out of their hair.
I can't find decent recordings of these songs, so here is Bob's first scene in the film. As you might expect from Peckinpah, there are shootings, blood and one big knife going through a bad guy's neck.


BAFTA-winning director Susanna White on Le Carre’s Our Kind of Traitor
A dozen ballerinas pirouette across the stage of Moscow’s Bolshoi Ballet. A muscular male dancer (Carlos Acosta) glides between them. He is exquisite, an arresting vision of masculinity. A glorious leap brings the performance to a close and the audience erupts into applause so loud it sounds like gunfire. As the curtain falls, a group of smart women exit quickly from their ornate box make their way through a maze of corridors lined with pictures of Russia’s cultural icons to a backstage room. There are champagne and canapés for the women, who include Olga (Dolya Gavanski) and her 18 year-old daughter Anna (Maria Fomina). Olga’s husband Misha (Rasha Bukvic) signs a sheaf of papers, hands them over to Nicolas Petrov, known as the ‘Prince’ (Grigoriy Dobrygin) and his consigliore, Emilio Del Oro (Velibor Topić), and in thanking him is given an ornate and historic gun. Later that evening the family drive away, giddy with relief, heading for a longed-for reunion with Anna’s younger twin sisters. But what looks like a routine checkpoint on the edge of a glittering, snow-covered forest, turns out to be a cold-blooded assassination and the fleeing family are quickly and clinically gunned down.
This is the opening of BAFTA-winning director Susanna White’s film adaptation of John Le Carre’s Our Kind of Traitor, for release in May - a spy thriller portraying the tortuous journey of a young couple, whose encounter with a mysterious Russian millionaire take them to the City of London and its unholy alliance with Britain's intelligence establishment.
White, whose breadth of work ranges from Working Title's Nanny McPhee and the Big Bang to HBO's hard-hitting Generation Kill (about the US invasion of Iraq) to BBC period dramas such as the BAFTA winning Bleak House, Parade's End and Jane Eyre, was drawn to the very cinematic aspect of the story, as well as its very contemporary themes - is one of the few women in the world directing films on this scale.
“What made this stand out for me was that it is a very modern story,” she explains. “I have grown up with Le Carré and most of his other stories have looked backwards into the past and been set in a world of darkish interiors. OUR KIND OF TRAITOR is a big road movie, travelling across five countries.
“It is a Le Carré for now. People in MI6 might now be working counter-terrorism. I deliberately cast Khalid Abdalla, a Middle Eastern actor, to play Luke, because that is the MI6 we’ve got now. I hope it will make people think about the world that we live in.”
With this new production, Susanna White is proving once again that she is no ordinary director, for women have to continually prove themselves in this very male orientated industry.
Our Kind of Traitor will be released on 6 may 2016 and stars Ewan McGregor, Stellan Skarsgård, Damian Lewis and Naomie Harris.


Main Stars: Benjamin Gates: Nicolas Cage Riley Poole: Justin Bartha Abigail Chase: Diane Kruger Patrick Gates: Jon Voight
Not bad. Not bad at all. Not good either. I don't care about the farfetchedness. I just care about how the story is laid out. It is confusing, really. There are dozens of clues that lead to even more clues and more and more. I thought the first one was a lot but this is the story of number one times two. You're in for a lot of cramming in those two hours. Time went fast though because regardless of how utterly ridiculous the whole thing is, it is a thrill ride. A cinematic thrill ride.
The first one was great. I don't know why I liked it so much but for some reason it hit the spot. It was extremely far-fetched but almost ingenious in a way. It kept my attention throughout the whole thing. This one did too. But with not as much interest in the plot and how it would all resolve. The resolution for number one was good. However, I was not satisfied with how this one ended. Don't ask me why. Maybe it's a psychological thing.
Anyway, this film's plot is one that can't be described in words, actions, writing, customs or any other form of communication because it is the most convoluted plot since the third 'Pirates' installment. Remember how much difficulty I had with describing that plot? It'll be the same for this. That's why I'm not going to tell you anything but what the previews implied and a few other summaries, etc. etc. Nevertheless, it's the opinion that counts.
What is a good way to summarize the entire convoluted two hour film? Benjamin Gates (Nicolas Cage) is on yet another mission. He's a history nut so he's perfect for the job. The mission is to find out secrets about the assassination of President Lincoln. Things like: Who was involved in the assassination? What lead to it? Why did they choose to cooperate in the plan? But how is that going to happen? About fifteen convoluted clues later, we end up with an unsatisfactory ending that doesn't really prove much except for the main thing in Ben Gates' mind. Was Ben Gates' great-great grandfather Thomas Gates involved in President Lincoln's assassination? Perhaps. Perhaps not. Even after seeing the film I might still have both thoughts. That's what I didn't like. None of the clues really led to anything except more clues and no final result. All that happened just to be lead with another question. Perhaps they did that on purpose. However, the first one ended with not another clue but actually ended well. It was summed up pretty clearly, I think. Plus, it was much more entertaining and not too many plot points were put in to make it more and more confusing.
The movie is still entertaining though. I'll give it that. It takes a LOT of effort to make a feature length film and one that still keeps your attention is worth a positive rating. And I think the way I rated this film was fair. It's right in the middle of average to good. The characters in the film can assist to that. Cage, Voight (playing Patrick Gates, Ben's father), Bartha (the clueless friend Riley), and Kruger (playing the brains of the pack and the woman) are all well-written and entertaining characters. That's another positive note. Helen Mirren (playing Ben's mother) was OK. So was Ed Harris (playing the villain that wants the treasure just as much as Gates). I have a feeling all the writers involved in this film know how ridiculous the premise is. We all do. But they write for fun. They want it to be fun. They want it to be mindless entertainment. But, when you think about it the entertainment is not mindless. You do have to know at least some of what's going on. Otherwise, there's no point in watching the movie.
But I still won't call the film good. It's ridiculous; it's exhausting; it's entertaining; it's convoluted. And they most likely used some formula.
All that comes out to about what my rating is. It's hard to rate a film like this. Because, again, you're not looking for any plausibility at all in a film like this. And if you are you must have been born yesterday or even today.
But the fact that even at the end of the film you don't really feel satisfied but instead feel confused and none of your questions really seemed to be answered.
I felt that way. It's almost like I didn't really see a film. I saw what was more like an idea or tons of ideas plopped into one package. The film is a book of secrets and a book of confusion.
Did you find my review disorganized and convoluted? If you did I'm perfectly fine with that because I know I'm not alone.
Movie directed by Jon Turteltaub.


Are you banking rolling Satan funding him
The fool says in his heart, there is no God. So here is a few fools
I believe there are different ways we can be funding Satan’s dark kingdom without realising it. Satan agents like anyone else needs money to do things. He can’t just ‘print it’ although I think sometimes he gets very close.
I confess I love movies, as a serial offender of movie watching one of the things that I have noticed in the last few years is that movies (and often songs and artists) don’t really make it very far in the entertainment world unless they do or say something extremely anti-god.
Sex is probably not enough anymore, but a good rant against Jesus, Christianity, blasphemy and making bible believers looking like fools. Seem to entice the ‘promotion’ demons in the entertainment world to boost that movie or song.
Call me paranoid but just look at the celebrities that call them selves atheists. I mean if you take the percentage Christians let’s say in Hollywood on average and the percentage Christians which is movie stars or make it in Hollywood it is definitely very skewed.
Also every time you buy the DVD’s, merchandise, go to a movie of one of these actors you are paying them to make the next (godless, blasphemous, antichrist) movie!!
Just have a look; here is a list of artists who claims to NOT believe in GOD.
(Some of them you might have quested)
The Atheist and the Materialist
those who have no need for gods and some who have no need for the supernatural
Douglas Adams, Ayaan Hirsi Ali, Woody Allen, Fred Armisen, Lance Armstrong, Darren Aronofsky, Isaac Asimov, Dan Barker, Dave Barry, Ingmar Bergman, Richard Branson, James Cameron, George Carlin, John Carmack, Adam Carolla, John Carpenter, Asia Carrera, Fidel Castro, Noam Chomsky, Jeremy Clarkson, Billy Connolly, Francis Crick, David Cronenberg, David Cross, Alan Cumming, Rodney Dangerfield, Richard Dawkins, Daniel Dennett, Ani DiFranco, Micky Dolenz, Harlan Ellison, Richard Feynman, Harvey Fierstein, Larry Flynt, Dave Foley, Jodie Foster, Janeane Garofalo, Bill Gates, Bob Geldof, Ricky Gervais, Ira Glass, James Gleick, Robert Heinlein, Ernest Hemingway, Katharine Hepburn, Christopher Hitchens, Jamie Hyneman, Eddie Izzard, Penn Jillette, Billy Joel, Diane Keaton, Michael Kinsley, Keira Knightley, John Landis, Hugh Laurie, Artie Lange, Richard Leakey, Bruce Lee, Tom Lehrer, John Lennon, Tom Leykis, James Lipton, H.P. Lovecraft, Bill Maher, John Malkovich, Barry Manilow, Todd McFarlane, Sir Ian McKellen, Arthur Miller, Frank Miller, Julianne Moore, Rafael Nadal, Randy Newman, Mike Nichols, Jack Nicholson, Gary Numan, Bob Odenkirk, Patton Oswalt, Camille Paglia, Trey Parker, Steven Pinker, Paula Poundstone, Terry Pratchett, Robin Quivers, James Randi, Ron Reagan Jr., Rob Reiner, Keanu Reeves, Rick Reynolds, Gene Roddenberry, Joe Rogan, Henry Rollins, Andy Rooney, Salman Rushdie, Adam Savage, Brian Sapient, Bob Simon, Steven Soderbergh, Annika Sorenstam, George Soros, Richard Stallman, Howard Stern, Matt Stone, Julia Sweeney, Teller, Studs Terkel, Pat Tillman, Alan Turing, Eddie Vedder, Gore Vidal, Kurt Vonnegut Jr., Steven Weinberg, Joss Whedon, Ted Williams, Steve Wozniak, HUNDREDS MORE... edit
those who declare themselves agnostic
Margaret Atwood, Antonio Banderas, Susie Bright, Warren Buffett, Vincent Bugliosi, Dick Cavett, Robert X. Cringely, Clarence Darrow, Charles Darwin, Alan Dershowitz, Richard Dreyfuss, Umberto Eco, Timothy Ferris, Carrie Fisher, Bill Gates, Stephen Jay Gould, Matt Groening, Bob Guccione, Robert (Bob) James Lee Hawke, David Horowitz, Bob Hoskins, Robert Jastrow, Matt Johnson, Jack Kevorkian, Larry King, Tony Kushner, Dave Matthews, Larry Niven, Neil Peart, Sean Penn, Roman Polanski, Bertrand Russell, Carl Sagan, James Taylor, Charles Templeton, Uma Thurman, Ted Turner, Robert Anton Wilson, MORE... edit
apparently skeptical of theism or religion
Trey Anastasio, Richard Dean Anderson, John Perry Barlow, Lewis Black, Sandra Bullock, Michael Caine, Arthur C. Clarke, George Clooney, Billy Corgan, Dalai Lama, David Duchovny, Patrick Duffy, Danny Elfman, Morgan Freeman, Kinky Friedman, Liam Gallagher, Noel Gallagher, Mikhail Gorbachev, Spalding Gray, Seth Green, Stephen Hawking, Hugh Hefner, Sir Edmund Hillary, Molly Ivins, Angelina Jolie, Mark Knopfler, Stan Lee, Monica Lewinsky, G. Gordon Liddy, Marilyn Manson, Sarah McLachlan, Mojo Nixon, Krist Novoselic, Emo Philips, Natalie Portman, Christopher Reeve, Andy Richter, Oliver Sacks, William Shatner, Neil Simon, Mira Sorvino, Donald Sutherland, Mark Twain, Gene Wilder, Bruce Willis, Edward O. Wilson, Terry Wogan, MORE... edit
movies-satan dvd spiritual-warfare


Actors: John Leslie,Russ Carlson,Mel White,Terry Austin
Categories: Classic black porn tube, 1977, United States, English, Warren Evans, Crystal Sync, Ursula Austin, Cheryl White, John Leslie, Russ Carlson, Mel White, Terry Austin, Facial, Interracial, Double Pussy Penetration, Black
When the mayor’s campaign to drive prostitutes out of the city threatens to put a crimp in two hookers’ livelihoods, one of them gets the bright idea of dressing up like a Girl Scout and selling her "cookies" door to door.
Actors: John Leslie,Pharaoh Amos,Lee Foster,Seth Wagner
Categories: Tube 1970 swinger wife, Sheba Silas, 1977, United States, English, Jack Genero, Sheba Silas, Sandy Pinney, Valerie Driskell, Kim Yoko, John Leslie, Pharaoh Amos, Lee Foster, Seth Wagner, Facial, Interracial, Black, Asian
With her silky tongue & velvety fingers, she plays very dirty! She has a silky tongue and velvety fingers…she’s FOXY LADY!…Ginger and Cliff, her wealthy husband, live in the enviable world of fast cars, expensive homes, erotic sports cars and non-stop sex. But their bubble soon bursts as Ginger is took and held for ransom. Amidst this anguishing turn of events, a stunning blonde suddenly appears at Cliff’s house. It’s Shirley, Ginger’s girl, who offers to their island hideaway where they are met by Karen, an exotic Oriental beauty…and the three take full advantage of their captive. Ginger manages to escape only to be intercepted by Amos, a big, black stud who promises to "get her off" the island if she "gets him off". The shocker comes when Shirley pulls a gun on Cliff and tells him it was she who engineered the whole thing! Ah, but there are more shocking surprised in store for you when you see the startling climax of FOXY LADY, the most powerful film of the year!
Actors: John Leslie,Paul Thomas,Michael Morrison,Tom Anderson,Rick Boutry
Categories: Sonya Summers actress, 1981, United States, English, Ron Chrones, Annette Haven, Mai Lin, Holly McCall, Cris Cassidy, Suzanne French, Holly Page, Sonya Summers, Diana Holt, Keith Farrar, John Leslie, Paul Thomas, Michael Morrison, Tom Anderson, Rick Boutry, Asian
This worthwhile porno take on Blake Edwards’ 10 is in many ways more likeable than the original film. John Leslie and Diahna Holt are great in the leads, and Annette Haven, who appeared as an extra in the original film, has never looked more beautiful than in the final sex scene between she and Leslie.
Actress: Amber Lynn,Kristara Barrington,Sheri St. Clair,Laurie Smith,Cody Nicole
Categories: Retro usa porn, 1989, United States, English, Bobby Joe Keller, Amber Lynn, Kristara Barrington, Sheri St. Clair, Laurie Smith, Cody Nicole, John Leslie, Jamie Gillis, Paul Thomas, Robert Bolla, Jesse Adams, Chuck Martin, Stephen Raye, Al Brown, Billy Joe Fields
Actors: John Leslie,Jamie Gillis,Paul Thomas,Robert Bolla,Jesse Adams,Chuck Martin,Stephen Raye,Al Brown,Billy Joe Fields
Now that’s a dream job! Spying on people having sex and taking pictures – that’s just perfect for the voyeur type, like the main character of this steamy eighties porn video. He’s always hiding in the shadow and shooting the sexiest photos imaginable. Great blowjobs, dirty fucking, lesbian action, anal sex – he’s seen it all. But one day he can’t resist the temptation and joins the party…
Categories: Vintage hairy latina pussy, 1987, United States, English, Artie Mitchell, Tracey Adams, Melissa Melendez, Tanya Fox, Elle Rio, Lisa Melendez, Dana Dylan, Tom Byron, John Leslie, Joey Silvera, Jon Martin, Buddy Love, Danny Ray, Anal, Double Penetration, SquInterracialt, Latin
Categories: Retro usa porn, Nina Hartley, 1988, United States, English, Richard Mailer, Nina Hartley, Shanna McCullough, Alicia Monet, Renee Morgan, Lisa Bright, D.J. Cone, Peter North, John Leslie, Billy Dee, Ed Navarro, Randy Spears, Blake Palmer, Robert Bullock, Facial, Black, Latin
Actors: Peter North,John Leslie,Billy Dee,Ed Navarro,Randy Spears,Blake Palmer,Robert Bullock
This can be a very enjoyable couples video and it can also be a quite frustrating one at times. The plot centers around the relationship between Alicia Monet and Robert Bullock who play a couple who though still in love feel something is missing after the four years of their passionate relationship. This is a good premise for the plot to concentrate upon as many viewers can surely identify with this situation. However, the feature sometimes rambles off into a series of hardcore action without any real emotion. It’s those little unexplained juggernauts that can be annoying especially for a couples’ video.There’s enough enjoyable viewing including the two-couple action featuring Nina Hartley who is always a pleasure to watch and a hot swimming pool sequence with Shauna McCullough. Bullock, Monet and McCullough all understand how to act and perform for the couples market. They usually come off tender, loving, gentle, caring, affectionate and passionate people, truly interested in pleasing their partner as opposed to simply wanting cum splashed all over one’s face. Good production values.
Actress: Ona Z,Cheri Taylor,April West,Charli St. Cyr,Pamela Rose
Categories: Vintage porn lesbian, Ona Z, 1989, United States, English, John Leslie, Ona Z, Cheri Taylor, April West, Charli St. Cyr, Pamela Rose, Mike Horner, Joey Silvera, Jamie Gillis, Richard Pacheco, Damien Cashmere, Facial, Lesbian
Actors: Mike Horner,Joey Silvera,Jamie Gillis,Richard Pacheco,Damien Cashmere
It’s mysterious! It’s suspenseful! It’s erotic … It’s John Leslie’s "Second Skin," a tale of diamond smugglers and thieves of hearts. So lock up the family jewels.
Categories: Tina Blair videos, 1983, United States, English, T.T. Lord, Loni Sanders, Sharon Kane, Serena, Jesie St. James, Mimi Morgan, Jennifer West, Kitty Shane, Valerie Darlyn, Marlene Munroe, Tina Blair, Audrey Lang, Roberta Marlow, Sandra Thompson, Hilda Kauffman, Patty Bridges, John Leslie, Mike Horner, Paul Thomas, Mike Ranger, Blair Harris, David Morris, R.J. Reynolds, Ken Scudder, Keith Donaldson, Don Robertson, Facial, Anal, Double Penetration
In this cleverly crafted, gem of a movie, Loni Sanders stars as a frustrated freelance writer who undertakes the laborious task of conjuring up eight graphic articles on people’s sexual fantasies and desires. Totally baffled by the perplexity and confusion of subject material, Loni suddenly hears a mysterious voice from her subconscious speak to her. This strange voice makes a magical blue telephone materialize out of air, and states that whomever is called on it will willingly confess their innermost sexual desires. What follows are some of the hottest encounters ever filmed, as luscious Loni types away. She comes to her last essay, suddenly the magical blue telephone rings, and after Loni answers it, she herself falls prey to its elusive, spellbinding powers. Her fantasy is the final article needed to complete her essay. Blue Confessions combines truly sizzling action with a top notch performance by Loni Sanders, who disproves the age old theory that adult film actresses can’t act. She is marvelously cast here, and a pleasure to watch with, and without clothes on.
Actors: Tom Byron,John Leslie,Joey Silvera,Jon Dough,Henri Pachard,Robert Bullock,Bruce Seven
Categories: Vintage porn 80s, Nina Hartley, 1988, United States, English, Bruce Seven, Nina Hartley, Shanna McCullough, Sharon Kane, Alicia Monet, Nikki Knights, Tom Byron, John Leslie, Joey Silvera, Jon Dough, Henri Pachard, Robert Bullock, Bruce Seven, Facial
With “Conflict” and it’s wild mix of sexual styles from two of our most celebrated creators of exceptional erotica, we are witnessing a first – a historic breakthrough – with many different points of view. The arousing variety and complexity of this multi-layered film is an outrageous departure from the usual conventional adult fare.
Categories: Hot old grandma porn in 1980, Aja, 1988, United States, English, John Leslie, Aja, Brittany Morgan, Renee Morgan, Brandy Wine, Lisa Bright, Jon Dough, F.M. Bradley, Jon Martin, Tony Montana, Richard Pacheco, Damien Cashmere, Lee LeMay, Walter Electric, James Dalton, Rick Lee, Facial, Interracial, Black, Latin
When a young couple agrees to house-sit a mysterious old mansion, they discover that the resident spirits are more than just willing-they’re downright horny!
Categories: Aunt Peg sex, 1984, United States, English, Seka, Lisa DeLeeuw, Aunt Peg, John Holmes, John Leslie, Jamie Gillis
Actress: Seka,Lisa DeLeeuw,Aunt Peg
Actors: John Holmes,John Leslie,Jamie Gillis
Fasten you searbelts for an arousing adventure! The Platinum Princess of Erotica is your gorgeous guide to the boldest, bawdiest, and the best of her sizzling career in The Seka Story. No one can do it like Seka- but when she’s teamed up with Aunt Peg and Jamie Gillis the results are outrageous! John Leslie demonstrates his hardpounding prowess on our luscious lass, wihe legendary John Holmes not one but three Seka encounters that send the Richter Scale relling.
Categories: Vintage french porn video, 1988, United States, French, Gordon Vandermeer, Christy Canyon, Ginger Lynn, Cicciolina, Ilona Staller, Erica Boyer, Janey Robbins, Little Oral Annie, Tanya Fox, Kelly Richards, Tiffany Storm, Kari Foxx, Dana Lynn, Brittany Stryker, Patti Petite, Champagne, Bunnie Blake, Mickie D, John Holmes, Ron Jeremy, Peter North, Tom Byron, John Leslie, Joey Silvera, Jamie Gillis, Christophe Clark, Marc Wallace, Buck Adams, Frank James, Francois, Blake Palmer, Rick Savage, Shane Hunter, Steve Alston, Facial, Anal, Double Penetration, Latin
Actors: Ron Jeremy,John Leslie,Marc Wallace,Jerry Butler,Damien Cashmere,Randy Paul
Categories: Alicia Monet porn videos, 1988, United States, English, Paul Thomas, Alicia Monet, Jacqueline Lorains, Ona Z, Tanya Fox, Siobhan Hunter, Stephanie Rage, Patti Petite, Molly O’Brien, Maggie Randall, Ron Jeremy, John Leslie, Marc Wallace, Jerry Butler, Damien Cashmere, Randy Paul
Alicia Monet and three gal pals are about to open up a nightclub in warzone Vietnam and find the place looking like it was "kneepalmed." Renovations complete, the business is lousy, so they take club fliers out to the troops in the field. OK, we’re in a battle zone. RFC Randy Paul’s wearing hi-top creepers, Ona Zee’s wearing high heels and Round Jeremy’s talking about food. Which of the above is true to life?
Actress: Mimi Morgan,Melba Peach,Valerie Johnson,Josephine Farmer,Clair James,Moira Benson,Morning Star
Categories: Josephine Farmer actress, 1976, United States, English, Jon Cutaia, Mimi Morgan, Melba Peach, Valerie Johnson, Josephine Farmer, Clair James, Moira Benson, Morning Star, John Leslie, John Seeman, Jonathan Younger, Heinz Russo, Tyler Reynolds, Peter White, John Ruvolo, Facial, Interracial, Black
Actors: John Leslie,John Seeman,Jonathan Younger,Heinz Russo,Tyler Reynolds,Peter White,John Ruvolo
JUDGEMENT DAY is the fascinating story of two star crossed lovers, Mona and Will. Told in the manner of Heaven Can Wait, this spectacular film traces the young couple’s entry into the pearly gates where they are met by four other young people.
Actress: Rachael Ashley,Selena Steele,Sasha Strange,Charli,Heather Torrance,Charli St. Cyr
Categories: Charli porn videos, 1989, United States, English, John Leslie, Rachael Ashley, Selena Steele, Sasha Strange, Charli, Heather Torrance, Charli St. Cyr, Mike Horner, Joey Silvera, Jamie Gillis, Marc Wallace, Gene Carrera
Actors: Mike Horner,Joey Silvera,Jamie Gillis,Marc Wallace,Gene Carrera
Nick Slick is a private eye obsessed with him office girl, Mona. After of Mrs. Norton confuses the Slick’s office with the sexual clinic of the next door, Nick receive the work of spy to Mr. Norton, because she suspects that her husband is unfaithful…


Santiago Guzmán is a young playwright and actor from Metepec, Mexico, whose work creates room for marginalized artists through building a community of new storytellers from diverse cultures and backgrounds. He weaves elements of his own cultural identities into his work, bringing new theatrical references to his adopted province of Newfoundland and Labrador.
In this interview with Santiago, we discover how he integrates his cultural background as a Mexican with his contemporary experience in Newfoundland and Labrador. Focusing on themes of cultural diversity, loss, familial relationships, and 2SLGBTQQIA+ relationships, Santiago weaves these elements to understand the complexity of finding one’s voice in displacement.
Santiago (he/him) is a writer, performer, and director for theatre and film from Metepec, Mexico, now based in St. John’s, Newfoundland and Labrador. Santiago strives to promote diversity onstage and onscreen, to encourage folks with diverse backgrounds to share their talents and stories with the arts community in Newfoundland and Labrador, but most importantly to encourage Newfoundlanders and Labradorians to see their homeland from a diverse perspective. His work is very brown, very queer, and very real.
In ALTAR, Eugenio looks to the traditional Mexican holiday of Día de Muertos when his new boyfriend, Benjamin, inexplicably “ghosts” him. Will setting up an altar be enough for Eugenio to forgive, forget, and love again? Or enough to help him heal the relationships with his friends and family far away?


Today, I took the time to watch Transformers- Dark of the Moon at the theatre in Imax 3D and thought I would provide my own two cents on it. First, I will say that it is better than the second film in the series, but not quite as good as the first. It is a Michael Bay film, through and through, consisting primarily of action, explosions, and hot women. I consider this a good thing, myself and enjoyed it quite a bit. The 3D is good and was worth the money I think. There was a fairly big plot hole that I noticed, but I won't spoil it for everyone else.


|SASCHA VANDERSLIK: Sascha comes to The Group Rep by way of Australia. An accomplished actor and singer, Sascha grew up in the theatre and co-founded a theatre company at age 12.|
Throughout the years she has trained with some of the best coaches in Australia and LA. Currently she is studying at UCB and Anthony Meindl.
Sascha has worked on screen and stage, but the highlight of her career so far has been starring as Matt Damon in Mindy Kaling's hilarious play "Matt and Ben". Her first love will always be the theatre and she is thrilled to be a member of The Group Rep.
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The EXPECTING GOODNESS SHORT FILM FESTIVAL is nearly here. If you don’t have your tickets yet, you might miss out if you don’t get them asap right here. Experience the goodness!
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Incredibly, the 2013 Expecting Goodness project films are due to me in exactly one month. My, how the months fly!
But this is an exciting time to be a part of the project because, as they move into post-production, the filmmakers are starting to share teasers of their films in photos and videos.
Here’s filmmaker Durham Harrison directing Grammy, played by Kathy Hartzog, in “Grammy’s Keys” (based on the story by Melinda Cotton).
And here’s a shot from Jeff Driggers and Drew Baron’s “Pretty Pitiful God” (based on the story by Deno Trakas).
And here’s a little featurette from Abe Duenas’ “Donde Come Uno, Comen Dos,” based on Lindy Keane Carter’s story “Sucker.”
There’s more to come!
So if you want an experience like none other, and you want to see all of the 2013 films premiere, then you must, must, get your tickets soon for the March 23 festival at the Chapman Cultural Center in Spartanburg.
Abe Duenas is a returning Expecting Goodness Short Film Festival filmmaker for the 2013 festival. Director of last year’s festival entry “The Widower’s Pearls,” Abe is a seasoned short filmmaker and plans an ambitious project for this year’s festival. Therefore, Abe Duenas has selected the slogan “Expect Artistry” for his project.
Every time I meet a new artist or someone who appreciates art in the Upstate, I think “wow, great– someone new who may appreciate what filmmakers in our area are doing.”
Last year, the Expecting Goodness Short Film Festival gave seven filmmakers the great opportunity to showcase their talent. I was overjoyed the night of the festival– right here, in our backyard, we were sharing what our crews had painfully crafted for the past three months. No one really knew what to expect from the other entries, but judging from the sold out crowds, we knew it would be a great night for this emerging medium in Spartanburg.
Last year, we produced “The Widower’s Pearls,” a film about how a father must carry on as a widowed man, raising three daughters. The story takes place in a familiar diner where he deals with the different challenges that three different ages come with. He ultimately faces a life changing challenge that very night with one of his daughters.
Last year’s film was a strict adaptation of the original story. This year, the story I selected was “Sucker” by Lindy Keane Carter. I strongly recommend following the link to the story, since I will be shooting a film based on it. I wanted to do something different this year. I wanted to shoot a film that was inspired by the characters of the original story. In “Sucker,” the story ends with the reader not knowing exactly what will happen. My film will pick up from where those characters were and give my own interpretation of “what if?” The title of my film is “Donde Come Uno, Comen Dos” (Where One Eats, Two Can Eat). It’s based on an old saying my father would always tell my brothers and me when he wanted to teach us the importance about sharing and what we gain from doing so. In the film, we will see how our main character learns how one can never be too old to come to some of life’s most important lessons. Those lessons are the importance of having friends (even if they are not what you expected or wanted) and how important it is to tell those close to you how you feel about them.
As part of this year’s project, I am also reaching out to the community and offering opportunities for them to get involved. I have an indiegogo campaign that I have launched to raise a little bit of funds to cover my actors and crew’s travel expenses, plus set design and equipment. For those involved, there will be perks and chances for sponsorship. Also, businesses that are interested will get additional perks, such as a video made by me and graphic design work.
With so many being part of this year’s film festival, the excitement and anxiousness will be double from what it was last year. But I think this is a good thing. I know everyone will be bringing their very best to the show. I plan to put every ounce of artistry I can into this project. I wish that every film I see that is not mine is better than what I produced; if this is the case, we’re all in for an awesome night.
I will be posting updates frequently, so please follow me or contact me if you would like to be involved with my film.
By: F.B. Wood
Part of the Expecting Goodness Short Film Festival
F.B. is currently a student at USC Upstate and a prolific writer. To quote his Twitter page, F.B. uses the written word to “smith together sentences for both fiction and ad-copy while simultaneously tending to the needs of my 3 year old daughter.”
I have seen many movies that were based on or adapted from a novel or short story–A Clockwork Orange, Watchmen, and Children of the Corn. In each and every case I understand that there is a new creative director at the helm of the project. They want their ideas to be expressed alongside the ideas already presented in the story or novel. In some cases there is no choice but for this to happen as sometimes the author has passed on and in other cases the author is too busy. This passing of the “wand” is something that should happen as fresh eyes always help bring to light new perspectives. With that being said, I wanted to share a few guidelines that I, as an avid book reader and movie viewer, would like to share about adapting the novel for the silver screen.
- Maintain the original plot.
This is the base for both the novel and the inspiration that drove you to want to make the movie. In the movie making process, there are a lot of decisions to be made in regards to the final product. Many parts of the novel have to be removed. But don’t let someone talk you out of the original plot. In some cases, the backdrop of a story is the inspiration of the film and a new plot is generated; such was the case with Children of the Corn. If this does indeed happen, avoid future condemning from book enthusiasts and just pick a new title for the movie.
- Do not introduce new main characters.
Many times you want to help explain a protagonist’s choice in certain circumstances. So, instead of embracing the inner monologue that prose gets to many directors choice to add in a scene of dialogue to help explain. This in turn generates a new character in order for the protagonist to bounce ideas off of. It’s fine if you create a gas station attend that hears the protagonist mumble and then questions him, but please do not add a whole new sidekick like in Children of the Corn thus completely changing the dynamic of the main character and his decision making process.
- Have characters make new decisions based on their old personalities.
If you do decide to take the plot in a new direction, but find the characters to irresistible to let go make sure and keep them true to who they were originally written as. If the character is faced with a new choice to make research how they might act on this to help better decide which way they would go. Alex in A Clockwork Orange breaks into the Home residence by himself in Kubrick’s movie, but does it with his droogs in the novel. This launches the protagonist into a new height of absurdity in the movie.
- Change the ending as little as possible.
This is a problem that runs rampant through quite a few movies. Directors feel that because they add so much to a story that they are then free to create how they choose. This is fine as long as you change the title of your movie. The reason you’re turning the book into a movie is because so many people were moved by the novel as a whole. Try to keep that in mind when presenting it for the silver screen. Many times characters’ personalities are destroyed by a new ending; take Watchmen, for example.
- Keep as much of the original dialogue as possible.
If the character was written with a Scottish accent then he should maintain the same speech patterns in the movie that he was given in the book. He should use the same slang in the same manner. When you take creative liberties with something like this, it radically changes how the character is perceived by the audience.
If you are only using a portion of the story, like just its characters or setting, make sure to stay as faithful to that character or setting as you can. The changes you make beyond that are yours. My biggest piece of advice would be to change the title and say it was inspired by this novel. However, if you are trying to stay faithful to the novel in its truest form, make sure to keep these guidelines in mind.
One week ago we invited all of the 2013 filmmakers and writers to The Showroom to meet each other and the public. It was our official launch of the four-month project that is the Expecting Goodness Short Film Festival. As of now, the project is ON, the stories are transitioning into films, the filmmakers are building their cast and crew. And we’re super excited.
Didn’t make it to Launch Night but still want to get involved? SIGN UP HERE.
We have our first four project events within the span of a week, the first happening (right now, actually) is the Screenwriting Workshop with Chris White and Emily Reach White (thanks to Paris MTN Scout for donating their time and expertise!).
Tonight, we welcome the hilarious and poignant Susan Isaacs to The Showroom for hersolo show Angry Conversations with God. Wednesday is our first in the Story to Screen series, where we invite you to read the story “Brokeback Mountain” and then watch the movie with us at the Spartanburg Library Headquarters, followed by a discussion. And, our final 2012 project event before it really kicks off in January is The Epic Spartanburg premiere with Steve Snell (which, we promise, truly will be EPIC) on Saturday, Nov. 17 at 7pm in The Showroom.
We’re a nonprofit, as you know, which means we often have (and get) to be creative. Well, we did just that Monday night when we held our first-ever livestreamed event to select the filmmakers and stories/writers that would be a part of the 2013 project.
Only the registered filmmakers and writers could watch Stephen, Alf, and I as we drew names to determine the 7 emerging and 7 experienced filmmakers and their selected stories that would make up our project (MEET THEM HERE). We can also now reveal that our surprise 15th filmmaker is Abe Duenas, whom we have invited back as our 2012 Best Film winner for The Widower’s Pearls. (And whoever wins 2013 Best Film will be invited back in 2014.)
We’re thrilled to introduce the 15 filmmakers and 15 writers to you at Launch Night on Saturday, when you can meet them and sign up to help on the films. In the meantime, here’s a look at them by the numbers:
- 6 of the 15 stories are South Carolina Fiction Project winners
- 11 women are in as writers or filmmakers
- 8 of the 30 participants are from Spartanburg
Let’s look at it in map-form, shall we? I think we can safely say 2013 is a statewide film festival. So exciting!
We started talking about the second Expecting Goodness Short Film Festival on its inaugural night, as we celebrated with wine and conversation in the Zarza bar. What had been an experiment had become a success–beyond our thoughts but not beyond our dreams. We immediately started thinking about how we could grow it while maintaining the grassroots feel, the closeness to the films, the showcase of talented writers and filmmakers.
After several months of meetings we settled on making our little one-of-a-kind festival a SOUTH CAROLINA festival: our state’s writers connected with our state’s filmmakers. If the mission was to showcase talent, why not showcase our state’s talent?
So phase one was to find writers and their stories. We reached out to state organizations, schools, and publications for their recent contest winners, and then we reached out to writers across the state to send us their recently-published stories. What we got was 35 stories from writers all across the state: Greenville, Spartanburg, Columbia, Mt. Pleasant, Beaufort, and all over in between. What we got was a treasure of stories for filmmakers to choose from to use as inspiration for a short film this year. What we got was really excited about the whole 2013 project!
And here we go! Filmmaker registration starts one week from tomorrow, September 19, right here. If you’re a South Carolina emerging or experienced filmmaker, we want you in the project. Yes, WE WANT YOU!
Warning: This post will be filled with thanks.
That was one of the last things Stephen said to me last night after midnight, after the after-party, after the film festival, after months of preparation, as we locked up The Showroom. Seriously, the Expecting Goodness Short Film Festival was one of the most rewarding nights I’ve had and, hopefully, it was just as rewarding for all of the filmmakers, writers, volunteers, actors, crews, donors, and everyone involved in putting that night and project together.
But, first, you probably want to know the award winners, huh? Here you go!
Best Cinematography (Juried): Jessica Hollingsworth, DOBRA OJCA
Best Editing (Juried): Adam T. Gordon, The Nipper
Best Actor/Actress (Juried): Madison Nulty, The Widower’s Pearls
Best Film (Juried): The Widower’s Pearls (Abe Duenas, director)
Audience Favorite: DOBRA OJCA (Chris White, director)
But thank you and congratulations to all seven filmmakers, their casts and crews: Porter Blackman, Andrew Doughman, Abe Duenas, Adam T. Gordon, Jason Kruczynski, Wade Sellers, and Chris White.
Thank you to all of the writers in Expecting Goodness who trusted their stories in the hands of filmmakers, and especially to the seven writers whose stories were selected: Kathryn Brackett, Susan Tekulve, Thomas McConnell, Norman Powers, Jeremy L.C. Jones, Michel Stone, and Lou Dischler.
Thank you to our amazing host Julie Sexeny, who kept the whole night running smoothly, and whom we love having in Spartanburg. Thank you to our talented, wise judges, Peter Caster, Ray Merlock, and Jeff Sumerel, for taking the time to be a part of this start-up project and supporting these filmmakers in more ways than showed last night.
Thank you AiR Steve Snell for sharing “The Epic Spartanburg” and several of the 18 Heroic (re)Production videos–you were the perfect visual end to the night!
Thank you to AiR Mark Rice for providing the theme song for the night: “11” by THIT. It was perfect, no? (Come celebrate all of this year’s AiRs during their Exit Show reception on Friday, March 30 from 7-9pm at The Showroom!)
Thank you to our incredible volunteers who make everything we do at HUB-BUB and Hub City Writers Project possible, and especially to our EGSFF Sub-Committee Luke Meagher, Carlee Ormond, and Darryl Harmon–you three made us the best team with your ideas and work along the way. Thank you to Sara Hamilton, Cheryl Mirer, Lyn Radke, Christine Cox, and Maddox for your help last night and all other days and nights (yep, we like you a lot).
Thank you to our executive directors Betsy Teter and Celia Cooksey for your help and support in all ways every day and last night. A special thanks to Betsy, without whom there would have been no Expecting Goodness stories to use as inspiration for these films (and no HUB-BUB, no HCWP, etc.). And to our HubCulture Board Chairwoman Rebecca Ramos for her tireless support of our organization and all we do; no task is too small, no task is too large, and we are all the better to have you as our biggest champion.
Thank you to Aaron Pate, our new best friend, at USC-Upstate Digital Media Services. You’re a magic-maker, and we couldn’t have done it without you. We hope this is the start of a lasting partnership with you and USC-Upstate!
Thank you to Brian and Terry of Ridge Runner Media for filming the whole night after a last-minute request (which y’all will see at the re-screening on April 18), and for all of your past and future enthusiasm for supporting HUB-BUB. Heroes!
Thank you to our donors BB&T, Carolina Auction Team, Don Finkell, Security Finance & Susan Bridges, whose generous support made the festival possible because, though we like to forget this fact, big ideas and projects like this actually cost money.
Thank you to our local businesses Zarza, Venus Pie Pizzeria, The Urban Planter, Blue Moon Sauces, Little River Coffee Bar, and Fairytale Treats for supporting this local event–we have so much to be proud of here in Spartanburg!
Thank you to everyone who came last night, who filled every seat in The Showroom, who told your friends about the festival, who said I believe in the arts in Spartanburg and South Carolina by taking a chance on this brand new project. You make us SO PROUD, Spartanburg!
And, though I’m writing this on behalf of all of us organizers, three cheers for Stephen Long and his vision for The Showroom, for his patience along the way with my obsessiveness, for his technical prowess with lighting, sound, and design, and for his endless passion for what HUB-BUB and this town can do.
Oh, and to Honorary Golden BUB recipient Josh Foster! You weren’t expecting that were you, Josh? We like surprises. And especially surprise honors to a man who had this little idea for a film festival, shared his idea, and helped make it happen in so many ways. Josh is proof that if you have a vision, and you share it, it can come true. You are golden, Josh, and we’re so lucky to have you in Spartanburg.
I told you there would be a lot of thanks. Needless to say, it was a pretty darn good night. The start of a new tradition. The making of new relationships. The celebration of our talented and enthusiastic community.
And if you missed out, come by HUB-BUB and get your $5 ticket to the April 18 re-screening. You will want to see these seven films, which I’m sure will have lives beyond this festival.
Last night was all goodness. And I’m expecting more in the years to come with this project.
PS We know many of you were taking photos last night–please share with us! Email to email@example.com or post to our Facebook page. Thanks!
And here’s the video that kicked off the festival, just in case you were still wondering how it all came together and what it all means.
When Josh Foster, Stephen, and I started planning/dreaming the Expecting Goodness Short Film Festival last October, we didn’t know if it would work.
We didn’t know if the writers from the book Expecting Goodness would allow filmmakers to use their stories as inspiration for films. We didn’t know that 18 of the 20 writers would respond with enthusiastic yesses.
We knew there were filmmakers in the region, but we didn’t know if any of them would respond to our call for filmmakers to take part in this pop-up festival, this one-of-a-kind project. We didn’t know if they would want to use a story as inspiration and make a film in two months.
When seven filmmakers registered and came to the launch night on January 11, we didn’t know if they would believe in the project enough to follow it through, to actually make their films. We didn’t know if we’d have seven films on March 24th.
As the project moved forward, and we saw the films coming together, and we made sure you, our community, felt involved through events like Film Fan Night and the Heroic (re)Production film workshop, and heard about the progress of these films through the HUB-BUB Blog, we hoped the community would get invested, but we didn’t know. We hoped people would want to come to the festival to see the completed films, but we didn’t know.
We didn’t know that in the three weeks leading up to the festival that the VIP tickets would sell out, that we’d have so many people emailing and calling trying to reserve tickets, that we’d need to schedule a re-screening.
We hoped, but we didn’t know that this would be the first annual Expecting Goodness Short Film Festival. We didn’t know that so many people would already be talking about how they want to be in it next year.
Essentially, we’re BLOWN AWAY by the response we’ve gotten so far. This experiment has proven itself beyond our dreams.
So, for everyone who wants to see these films but either can’t come on Saturday or tickets sell out before they get in, you can purchase $5 tickets in advance for the April 18 re-screening at 7pm at The Showroom, which will feature director’s cuts of several of the films. 130 tickets are available for that screening.
And if that second screening sells out, we’ll work on a third screening because we want as many people as possible to see these films, to be a part of the project.
And if you want to come Saturday night but don’t have a ticket yet, we suggest lining up by 6:00 at The Showroom entrance. We’ll open the doors and sell general admission tickets starting at 6:30 until we run out.
So, Spartanburg, THANK YOU for believing in this project and for your enthusiasm over these stories and these films. You amaze us every day!


Well, last night I went to see Mama Mia at the Edinburgh Playhouse. It was surprisingly good, for those of you that havenâ€™t seen it or heard about itâ€¦
Basically its set the day before, and day of a young girls wedding, now this young girl has lived with her mum on a remote Greek island for her life, and doesnâ€™t know who her real father is. While raking through her mumâ€™s diary she finds 3 possible people that could be her father, so invites them all to the wedding.
Its funny, and its set to most of ABBAâ€™s songs.
If you havenâ€™t seen it, I suggest you do go, I donâ€™t particularly like musicals, but then I loved it.


Martha’s Vineyard Film Festival Children’s Programs
4th Annual Cinema Circus
Mon film Grand Format(Oversized) a fait parti de la programmation du Martha's Vineyard Film Festival Children's Programs lors du 4Th Annual Cinema Circus à Chilmark, Massachusetts. Les films présentés à ce festival pour enfants sont aussi critiqués par les enfants. Voici la critique de mon film dans le journal Vineyard Gazette:
Some Short Takes on Some Short Films
Each week the folks at Cinema Circus show a series of short films on Wednesday evenings at the Chilmark Community Center.
In a world with few certainties, the kid critic is the critic to trust. This week’s reviewers are Eli and Will Graff.
Oversized (Dir. Myriam Elda Arsenault / Canada / 2010 / 4 min.)
Eli Graff (11 years old, Montclair, NJ): Oversized is a nice story about fate and how you can’t predict fate. In the film a young girl prepares to be tall like her dad but it doesn’t turn out like she plans. Moral: You cannot predict fate but maybe that’s okay. The animation in this film is really good and the idea is really unique and different.
Will Graff (8 years old, Montclair, NJ): Oversized is a movie about a little girl who wants to be as tall as her father but she turns out to be short. It had good animation, and was a pretty good story. I think kids four to seven years old would like this a lot.


Paul Dano as “Calvin” and Zoe Kazan as “Ruby” on the set of Ruby Sparks.
Not since Eternal Sunshine of the Spotless Mind has a romantic comedy or drama been as innovative or delightfully haunting as Ruby Sparks.
Calvin (Paul Dano) is a Salinger-esque author looking for inspiration to his long gestating sophomoric release. After working on a writing assignment doctored up by his psychiatrist (Elliot Gould), Calvin inadvertently creates Ruby Sparks (Zoe Kazan), the woman of his dreams and, apparently, in real life. While Calvin appears to have everything he wants, happiness and solace elude him.
Written by Kazan, Ruby Sparks is a film that works on multiple levels. The undeniably sweet romantic comedy veneer lures you in, while the commentary about the subtleties surrounding the dominance and submission in a relationship is nothing short of revelatory. For those uninterested in love and its intricacies, the film serves as a great character study focusing on the Pygmalion effect and the creative process.
Directors Jonathan Dayton and Valerie Faris also seem to be a natural fit. Their last effort, 2006s Little Miss Sunshine, has the same engine as Ruby Sparks albeit in different packaging. The duo has a knack for showing delicate, unflinching and sometimes ugly moments of the human dynamic in a very humanistic and empathetic tone. While the actions of Calvin and Ruby are questionable at times, its never done in malice but out of love, which goes to show what love can do. Among all the concepts being juggled, the film is beautifully streamlined.
Dano not only has the look, he, more importantly, has the feel for Calvin. It wouldve been easy for the actor to slip into a second rate, watered-down Alvy Singer. Instead, Dano happily takes a backseat and allows the viewer to ride shotgun with Kazan taking control of the wheel.
Fearless would be the most apt description of Zoe Kazans performance of the titular character. As cute and whimsical as Ruby Sparks may be, there is a breadth and depth to her character and performance that is truly remarkable. Theres no hokey context or perception of who Ruby is as evidenced in Splash, Mannequin or Weird Science. There will be bigger things to come for this actress.
Looking nothing at all like Paul Dano, Chris Messina adds comic relief as Calvins brother, Harry. Following Dayton/Faris humanistic approach, the jokes arent all laugh out loud as much as they tickle the ribs. Funny is funny. Annette Benning and Antonio Banderas also make cameo appearances and do more than expected with one-dimensional characters.
This film is going be on a few year-end Top 10 lists (mine included) along with a few award nominations. See it now and be ahead of the game.


Sundance Film FestivalJanuary 2023We attended the Sundance Film Festival in Utah during January 2023. We will start adding the items obtained during February. If you would like a list before they are added please email us.
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- Denis Villenue
- Roger Deakens
I’ll begin my entries with Denis Villeneuve’s 2013 crime mystery Prisoners, as it continues to be a film that captures my mind with its haunting cinematography, executed by the incredible Roger Deakins, and the unforgettable performance by Jake Gyllenhaal.
The backdrop of the film is the grey and weathered suburban landscape of Boston, a place that is constantly shrouded in cloud, snow, and oppressive rain. From the start of the film, even during a jolly occasion of Thanksgiving, we the audience are greeted by a harshness of ice and dew. We can almost smell the wet tree barks and rotting wood frames the moment the film starts.
Villeneuve expertly uses this world to stage Prisoner’s dreadful premise: a father looking for his kidnapped daughter. Keller Dover, powerfully portrayed by Hugh Jackman, rabidly employs every means within his rugged hands to find his daughter, from violently knocking on neighbor’s doors to savagely beating Alex Jones, a primary suspect, to the point in which Jones is no longer recognizable due to how bloodied and swollen his face. The dreadful sequences are beautifully visualized by Deakin’s cinematography, and the expert yet measured use of light. Deakins puts the character as well as the audience constantly in the dark, as the mystery continues to unfold and we see our protagonists struggle through hope and despair. One of my favorite scenes is towards the climax of the film, where we see Detective Loki, played by Gyllenhaal, standing in the rickety home of Holly Jones, the serial kidnapper and child murderer. The shot frames Loki in the the center, where Loki is bathed by an old, yellow, and mildewed light. We feel a strange sense of unease. The old home feels more like a tomb rather than a place of living.
This highlights Gyllenhaal’s portrayal of Loki. A tested detective with a troubled childhood, Loki’s power comes from the reticence that Gyllenhaal helped craft with Villeneuve. From his quiet and measured voice to the PTSD-like eye twitches, we can feel the trauma bubbling to the surface, giving the detective the raw instincts to survive this gritty world Villeneuve has crafted. One example of the precision of Gyllenhaal is the way Loki unholsters his pistol. Every time we see Loki draw his weapon, the slow yet tense motion allows the audience to experience the dread and tension Loki is feeling. We feel the fear the detective is feeling, and the thought that the only thing that will keep our protagonist out of danger lies solely in this piece of instrument.
These elements combine to an incredible climax. Even at the moment when Loki solves the mystery and realizes that Holly Jones was the kidnapper all along, the audience gets no sense of relief. In fact, Jones was not even arrested or questioned. Her motives never become truly clear, nor the history that led to to become the monster she is. From all the hopelessness, all the twists and turns, and all the turmoil Dover and Loki go through, we are paid off by a single and powerful moment when Loki, weapons drawn and trained on his target, orders in a dangerous voice: “Don’t move and show me your fucking hands.”
Villeneuve’s Prisoners was a dark and haunting experience, with a plot that is frustratingly long and unpredictable. At times, it felt like the film’s maze-like twists and turns was too much to bear. However, the cinematography and the precision in Gyllenhaal’s performance made the film something I come back to over and over again. It was a wonderful introduction to Villeneuve’s power as a direct, and I can’t wait for more.


The HBO four-part documentary is a unique take on a true-crime show, as it following a young man's mission to find his mother's killer, as he reckons with family rifts and his own grief. Murder on Middle Beach’s fictional mirror is The Undoing, HBO’s limited drama series about an extremely wealthy New York family rocked by the murder of … Sign up for our Email Newsletters here. Then, there is the still-plausible idea that Barbara was killed by someone she had crossed through her participation in "The Gifting Tables," a pyramid scheme wherein potential members would "gift" existing members of the organization money in order to join, then recruit new members for their own eventual pay-outs. That is Madison Hamburg’s horrifying, true-crime story, which begins Sunday in his four-part HBO/HBO … Murder On Middle … MURDER ON MIDDLE BEACH is a new HBO true-crime docu-series about an unsolved murder.The son of the murdered woman directs this documentary. Get HBO. 2020 | 56 MIN. The answer — much like some of the details presented in "Murder on Middle Beach" — is complicated. A young man is determined to solve an unspeakable crime and absolve the people he loves, while looking for answers within his fractured family and community. She suffered for years from alcoholism, addiction and physical and mental health issues — as well as a palpable jealousy towards Barbara and Barbara's daughter, Ali. The series presents Hamburg’s complicated journey as a young man determined to solve an unspeakable crime and absolve the people he loves, while looking for answers within his fractured family and community. The Substance Abuse and Mental Health Services Administration, an agency within the U.S. Department of Health and Human Services, was formed to reduce the impact of substance abuse and mental illness on America's communities. Murder on Middle Beach is available on HBO Max. “Murder on Middle Beach,” a four-part documentary series in which first-time filmmaker Madison Hamburg tries to solve his mother’s murder, will premiere on HBO on Nov. 15. Episodes. Murder on Middle Beach, a four-part documentary series directed by first-time filmmaker Madison Hamburg, examines Hamburg’s complicated journey to solve an unspeakable crime and absolve the people he loves while seeking out answers within his own fractured family and community. Over the … How did she contact them? Murder on Middle Beach will air on HBO at 10pm ET on Sunday, November 15, with episodes airing weekly from thereon in. Along the way, he uncovers a web of familial and local secrets, connections to shadowy figures, and years-old resentments in his deceptively serene hometown. Murder on Middle Beach is available now on HBO and HBO Max. As Episode 1 "Mom's Dead" opens, it is "March 3, 2010", and the local TV reporter informs the viewers that a body was found on Middle Beach Rd., in Madison, CT. Investigators speculated her murder from blunt force trauma was a crime of passion, but without enough evidence, the case grew cold. There’s more to the story than anyone realized.Murder On Middle Beach, a new HBO Original docuseries, premieres November 15 on HBO Max. So in a sense, it feels like we as viewers are coming full circle, which raises the question: What actually makes for a satisfying end for a true crime series? The series follows a man named Madison who is investigating the murder of his mother. 2 Murder On Middle Beach (2020) Not since Dear Zachary has a true-crime documentary managed to be so addictively enthralling and emotionally wrenching as Murder On Middle Beach. Plot. 8. Associated Press articles: Copyright © 2016 The Associated Press. Axios, Season Finale. MADISON Hamburg, the creator of HBO's Murder on Middle Beach, has spoken out about season one of the series and whether there will be future episodes. Some of the best true crime docs ever created have hailed from HBO, and these are just a few. Through Madison's eyes and camera lens, we watch as his relationship with his father crumbles, as he has to inform Ali that Conway believed she was capable of killing her own mother, as he has to badger his local police department again and again (before finally escalating to a formal Freedom of Information Act appeal) for a 1,600-page case file with details about their investigation into Barbara's death. Ep 1 - Mom’s Dead. She cites the fact that the teenager had a rocky relationship with her mother, which was only intensified by Ali's struggles with borderline personality disorder. Murder On Middle … Madison Hamburg shares an update on what's been happening with the case since the finale and what he hopes happens next. From the jump, the suspect list was long. On March 3, 2010, divorced mother Barbara Hamburg was found violently murdered in the yard of her home in the upper middle-class town of Madison, Connecticut. To get to the truth, you have to consider every possibility. The pace picks up in the fourth episode in such a way — through the confirmation of Ali's alibi and the discovery of Jeffrey's financial records — that it felt like we were rocketing towards a last-minute reveal that would position "Murder on Middle Beach" as the next "The Jinx," the shocking 2015 HBO docuseries, which shows Robert Durst in the final moments of the series mumbling what sounds like a confession on a still-hot lapel microphone: "What the hell did I do? All rights reserved. Murder on Middle Beach (2020) Full Cast & Crew. Watch Murder on Middle Beach ((2020)) S01E01 Season 1: Episode 1 Mom’s Dead [4KHD Quality] ~ FULL EPISODE 1 ~ Exclusively Watch On HBO HBO's 'Murder on Middle Beach' is a deeply intimate docuseries directed by Madison Hamburg, who tries to investigate his mother's murder and find her killer a decade after her death. Everyone is a suspect. “Murder on Middle Beach,” a four-part documentary series in which first-time filmmaker Madison Hamburg tries to solve his mother’s murder, will premiere on HBO on Nov. 15. Murder On Middle Beach. Available on HBO. With Madison Hamburg. What details, if any, does Conway remember about the person she planned to hire to kill Barbara? Madison contemplates whether the police thought he was their prime suspect for Barbara’s murder. "Thank God that HBO saw the potential and the rest is history.". Investigators speculated her murder appeared to be a crime of passion, but without enough evidence, the case grew cold. 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Jobert is one of Manila’s most coveted After Effects Artist with over 20 years of combined experience in the film, tv, video, and digital media industry from the late 90′s up to the present day. He is also an accomplished Online Artist who has created a series of works from television commercials to visual effects compositing, many of which were premiered on television.
He's the first Adobe ACI that took the T3 Training for Premiere Pro. He's an Adobe Certified Expert and Instructor for both Premiere Pro and After Effects. And the very first DaVinci Certified Instructor in the Philippines.
Jobert also works for Pond5 as the After Effects Content Lead and their resident Motion Graphics Producer. He also AE tutorials for Pond5s Blog.
Today, he is a master of many skills including online editor, compositor, motion graphic artist, and adjunct lecturer teaching at the college and university close to home. With his rich experience in VFX and vast knowledge on the various aspects of a VFX pipeline, he brings a wealth of real world problem-solving experience that demonstrates conceptual, aesthetic and technical mastery for the benefit of his students and clients.
BMD DaVinci Resolve Intro and Advanced
Adobe Premiere Pro
Adobe After Effects.
Jobert has trained editors from these companies:
Founder / Senior Colorist of Barebones Inc.
Musse more than 12 years of professional color grading experience, he has worked on several color grading hardwares from traditional film telecine to various digital color grading platform. He has worked with top TVC and feature film directors. Regardless of the machine he uses, what is important is telling the stroy through color.
Color Grading Machine Experitse: Da Vinci Renaissance 888
Nucoda Film Master
BMD Da Vinci Resolve
Colour Grading Master Class


Television has evolved into an art form, transcending its initial role as a mere source of entertainment. The small screen has become a canvas for storytelling, character development, and visual brilliance, captivating audiences worldwide. In this blog, we delve into the world of television and explore some of the finest shows that have redefined the medium, showcasing the true artistry behind the scenes Kemo sat.
- Breaking Bad: The Chemistry of Compelling Storytelling
“Breaking Bad” stands as a testament to the power of storytelling in the realm of television. Vince Gilligan’s masterpiece follows the transformation of Walter White from a high school chemistry teacher to a ruthless drug lord. The show’s meticulous attention to detail, complex characters, and intense plot twists demonstrate how television can rival or even surpass the depth of storytelling found in traditional literature.
- The Sopranos: Mafia Drama as a Character Study
“The Sopranos” pioneered the golden age of television and is often credited with elevating the medium to new heights. This mob drama is more than a tale of crime and power; it is a character study of the enigmatic Tony Soprano. The show explores the intricacies of the human psyche, proving that television can be a medium for nuanced and profound examinations of the human condition.
- Game of Thrones: Epic World-Building on the Small Screen
“Game of Thrones” brought epic fantasy to the television landscape on an unprecedented scale. The show’s intricate world-building, complex political intrigue, and unforgettable characters shattered the conventional boundaries of TV. With cinematic production values and a sprawling narrative, “Game of Thrones” demonstrated that television could rival the grandeur of blockbuster films, opening doors for more ambitious projects.
- The Crown: Royalty in Every Frame
“The Crown” redefines historical drama, offering viewers a sumptuous visual feast while delving into the personal and political lives of the British royal family. The show’s attention to period detail, stunning cinematography, and stellar performances elevate it to a level of sophistication rarely seen on television. “The Crown” showcases how television can be a medium for both entertainment and education, bringing history to life with unparalleled elegance.
- Stranger Things: Nostalgia and Innovation
“Stranger Things” seamlessly blends nostalgia for 80s pop culture with innovative storytelling. The show’s ability to capture the essence of classic Stephen King novels and Spielbergian adventures while introducing fresh and compelling narratives has resonated with audiences across generations. It highlights how television can draw inspiration from the past while pushing creative boundaries to create something entirely new.
Television has evolved into an art form, offering a diverse range of shows that push creative boundaries and redefine storytelling. From the gritty realism of “Breaking Bad” to the fantastical realms of “Game of Thrones” and the nostalgic charm of “Stranger Things,” these shows exemplify the artistry that can be achieved on the small screen.


“Father Stu” is not a movie for the fainthearted, but with the true story of a man who overcame his trauma and his failures to become a solid spiritual father, it has an inspiring message for us all.
I go to movie theatres these days in fear and trembling. I just don’t know if I am going to like what I see. Sometimes it is like buying a ticket in a lottery that you know you are going to lose.
On one of our twice-weekly date nights, my wife suggested we go and see Father Stu. The fact that it was based on a true story encouraged me.
She had seen a great review in Movies Change People. I was not convinced, but I have become a true believer.
Let me add one caveat. The language is very strong. If you have worked in the mining or building industry as I have, it will not be anything new to you. All around, it is a strong movie and not for the fainthearted.
It is a movie about manhood and faith, with the underlying theme of fatherhood gone wrong and fatherhood gone right. Thankfully, there is hope for us all. Watch the trailer here.
The reactions from pre-screening by the Movies Change People team in Australia were amazing. Of the people who saw it, 92% of them said they would recommend it to a friend
“Amazing true story, well worth seeing.”
“RAW AMAZING WORTH SPREADING.”
“It’s a powerful, inspiring story that brought tears to my eyes.”
Having seen Father Stu, I would say the same. Sadly, reviewers dismissed the movie in a predictably pathetic fashion. I searched high and low for an honest assessment of the film. Ron Cerabona from the Canberra times hit the middle ground with his 3-star review below.
“Cards on the table: I’m not a believer in any religion. That doesn’t mean I can’t appreciate a well-done religious movie. I don’t play or enjoy watching sports, either, but there are good sports films.
Mark Wahlberg, who stars and produces, and Mel Gibson — who plays a major role and whose partner Rosalind Ross is credited as writer and director — are both devout Catholics with troubled pasts. It’s not surprising, then, that they would team up for a religious-themed biopic about a man who overcame many challenges — some his fault, some not — to become a priest.
Stuart Long (Wahlberg) hasn’t had much of a life in Helena, Montana. He and his mother Kathleen (Jacki Weaver) are estranged from his abusive, alcoholic father Bill (Gibson) – the couple split after Stu’s younger brother died as a child – and he’s a self-centred, foul-mouthed delinquent and a not very successful amateur boxer still fighting at an age where most men are retiring from the ring.
When medical issues prevent him from continuing to box, he decides to go to Hollywood to become an actor.
Kathleen opposes this, but Stu is a stubborn man, and off he goes.
He’s not very successful in Hollywood, either. One man offers help in exchange for sexual favours (hotly refused) but mostly Stu is stuck working in a supermarket.
One bright spot comes when he meets Carmen (Teresa Ruiz) and is instantly smitten.
Not only is Carmen wary of this stranger’s sudden infatuation but she’s a pious Catholic, a Sunday-School teacher not interested in a fling.
To win her over, nonbeliever Stu starts going to church and gets baptised…
Then comes a major life change. Stu is badly injured in a motorcycle accident that a stranger seemed to predict…
In fact, we see Stu’s plain-speaking sincerity can make connections where other, ostensibly more suitable candidates — like the patronising Jacob (Cody Fern) — cannot. But then there’s another test for Stu: he is diagnosed with a rare muscular disease and the prognosis is dire.
Although Ross has the onscreen credits for writing and directing, Gibson’s influence seems to loom large beyond his onscreen presence as a damaged man who finds a way to reconnect with both his (somewhat similar) son and his spirituality.
Gibson’s films as director often lay on the suffering — think The Passion of the Christ — and that’s a big part of this story. Stu’s physical, spiritual, and emotional pain are heavily emphasised…
As so often liberties have been taken with the truth for reasons of time and dramatic effect — for example, Bill is apparently depicted far more harshly than he really was, and Stu’s mother encouraged his Hollywood ambitions (presumably in real life she didn’t refer to Los Angeles as being “full of fascist hippies”). And Stu’s path to the priesthood was much longer.
During the end credits, there’s footage, photos and words from the real Father Stu — who died in 2014 at the age of 50 — and a cute if incongruous moment with Wahlberg and a child.
Father Stu is sincere and well-acted with some touching moments. It’s not perfect but better than many other movies about religion, even if, like me, you don’t subscribe to the theology or find the rationalisations for suffering very credible.”
The good news is love triumphs in the end, as it always does. Grab a few mates and go and see it if you are able. You won’t be disappointed.
Yours for the Power of Love,


Buffy the Vampire Slayer
FanFiction (mine) & art (made for me, not by me)
As you probably already know, I'm a fan of the TV show Buffy the Vampire Slayer, and it's sister series Angel. From these pages you will find fanfiction written by me, and art created about my fanfic characters Malcolm & Dagger by my friends. Obviously I do not own the rights for Buffy/Angel, Warner Bros Television does.
Dagger & Mal are my own creations, though, so there.


Ben Bussey has a great write-up on the blu-ray release of 1985's Trancers:
An early directorial effort from now-legendary low budget schlockmaster Charles Band, it spawned five sequels in the following two decades, and began a long-running collaboration between Band’s Full Moon Entertainment and leading man Tim Thomerson… and, until now, I’ve been oblivious to pretty much all of it. Oh, I’ve long been aware that the Trancers movies existed, but somehow I’ve never wound up actually seeing any of them, nor even having any idea what they were about. Well, the first movie at least is an energetic hodge-podge of bits and pieces fleeced from Blade Runner and The Terminator, with perhaps a hint of Scanners, and a liberal smattering of cartoonish hard-boiled cop heroics. Plus new wave Helen Hunt.
Man–I loved, loved, LOVED this movie when I first saw it. It was a VHS rental from MovieTyme Video in Beech Grove, Indiana, and utterly ridiculous. I was sixteen, though, with a lot of spare time on my hands, so my tolerance for ridiculousness was pretty low.
Here's the trailer:
"I'm from another time, another world. I don't even know what you people eat for lunch!"
And besides–how could you not love a movie with a scooter chase?


manipulate Visual Theatre Festival, produced by Puppet Animation Scotland, provides artists and audiences with the opportunity to see and engage with world-class, national and international visual theatre and animation. We celebrate our 10th birthday in 2017.
Puppet Animation Festival tours a diverse programme of children’s puppet performances, animated films and workshops across all of Scotland every Easter. Produced by Puppet Animation Scotland, this is the UK’s largest performing arts event for children.
Explore the innovative projects we work on to engage with creative practitioners and audiences of all abilities.
The Creative Fund provides artists, at any stage in their career, with access to funding to help explore a new idea or project in its most early stages.
The Critical Response Process is an artist-centered, facilitated system designed to provide constructive and meaningful feedback created by Liz Lerman.
Whether this is your first time experimenting with puppetry, animation or visual theatre or whether you are a trained professional, we’ll have something for you.
Learn about our projects enabling audiences and practitioners to engage with world-class visual theatre and animation, as well as sharing our work across the world.
Puppet Animation Scotland strives to be as environmentally friendly as possible, learn how here.
Want to know more about the history of the Creative Fund and who we have previously funded?
Puppet Animation Festival announces the programme for manipulate Visual Theatre Festival 2017 – its innovative international festival of visual theatre and film.
Gordon was able to take part in the assessment of productions for the Total Theatre Awards through Puppet Animation Scotland’s bursary opportunity for aspiring producers and programmers. This opportunity is available every year and is advertised from June-July.


Churchill lights up darkest hour with wit, oratory
By Tim Kroenert
February 5 2018
In an era where political discourse is circumscribed by the beat of the 24-hour news cycle, and where the American President tweets with little tact and less attention to grammar, the lack of leaders who can uplift their citizenry with powerfully wrought oratories is keenly felt. Perhaps that’s why we’ve seen the release of not one but two films about Winston Churchill in the space of 12 months. We look from the void of the present to find inspiration in the past.
Darkest Hour, by English director Joe Wright, is far superior to last year’s Churchill. The latter, directed by Australian Jonathan Teplitzky, was a rather stolid affair, saved in part by Brian Cox’s fine turn in the leading role. Now Gary Oldman (pictured), virtually unrecognisable in prosthetic jowls and exquisitely detailed makeup, gets to bring the great British statesman to life, and, working from a sharper, savvier script by Anthony McCarten, consigns the earlier film to history.
Darkest Hour takes place during the early days of the career politician Churchill’s prime ministership, and during the lead-up to the rescue of British troops at Dunkirk. Churchill is struggling to win the confidence of King George VI (a terrific Ben Mendelsohn); at the same time, he is resisting the urgings of his predecessor Neville Chamberlain (Ronald Pickup) and would-be successor Viscount Halifax (Game of Thrones’ Stephen Dillane) to commence peace talks with Hitler.
The film is beautifully filmed, its palette of browns and navies and many shades of grey complementing the historical setting, and evoking the darkness of the times. But the script also contains rich veins of finely honed wit that are worthy of the great orator. The film culminates in Churchill’s great ‘We shall fight on the beaches’ speech, and throughout the film his every utterance or pre-scribed speech seems to gather momentum toward that moment of rhetorical brilliance.
Perhaps inevitably, all of the film’s meatier moments go to its male characters. Nevertheless, mention must go to Kristin Scott Thomas as Clementine Churchill, through whose eyes we witness her husband’s vulnerable side; and also to Lily James, as Churchill’s personal secretary Elizabeth Layton, who suffers her employer’s idiosyncratic and cantankerous manner with quiet fortitude, yet who ultimately, pivotally, represents to him the hope his nation has placed in him.


When I had been writing fiction in earnest for about two or three years, I was doing some revision when I noticed a pattern: my characters said “no” a lot in dialogue. It ranged from quiet “no”s to big, dramatic, Luke-finding-out-who-his-father-is “NOOOOooooo”s. I mean, I was a middle schooler at the time, and my writing looked about like you’d expect from a middle schooler, with lots of exclamation points as a hamfisted attempt to fill the plot holes. And all those “no”s. And that was when I wondered: “What would happen if my characters started saying yes instead?”
Using “no” makes sense at first glance. Plots live on tension. No is a word of denial, so it should create tension. After all, plot exists when characters disagree, so they should say “no” to each other a lot, right? Let’s imagine a simple hero-and-villain fantasy plot and walk through all those “no”s:
Our heroine (for the sake of clearer pronouns, let’s do female heroine and masculine villain) has some great innate power that the villain needs to complete his plan. It doesn’t matter what that power is; we’ve all seen this basic plot. And of course at this point, the heroine knows the villain is evil and has every reason to hate him.
“Join me,” the villain says to the heroine.
“No,” she says.
“Then you must die!”
Now, maybe they fight. Heroine wins. End of story.
As plots go, it doesn’t have much interest. There’s no coveted twists, and it’s perfectly predictable. It doesn’t really explore our heroine or villain as characters, either. As an author, you don’t have to figure out why the heroine says no—he’s the villain, he wants evil things, she doesn’t want to participate because she’s good.
But watch what happens if we replace every “no” with “yes” in this scene:
“Join me,” says the villain to the heroine.
“Yes,” the heroine says quietly. “I’ll do that.”
“Then you must d—wait, you said yes?” the villain asks, a little surprised.
“Yes, I did,” the heroine says, tears in her eyes. “It’s what I have to do.”
Now, as a writer, you have to figure out why the heroine said yes, even though she clearly wanted to say no. And that is a much more interesting question. Perhaps the heroine believes that by joining the villain, she can take him down from the inside. Perhaps she believes he can be reformed, and she’s the one to do it, even if she doesn’t want to. Perhaps the villain is holding her home town hostage, and she thinks that betraying what she believes in is the only way she’ll ever see her family again. Any of these explanations could produce a more interesting plot than our “no” scene before.
Every “yes” or “no” is a decision point. No closes options off and shuts down the discussion. “No” says the character doesn’t want that, no need for further explanation. “No” is a stop sign, but generally we want plots to go, not stop. Of course, a well-placed no can be very powerful, as, for instance, in the case of the villain’s henchman finally saying “no” at the climax when the hero has no other chances, giving the hero that one last opportunity to win and turning the tide. But that example depends on the henchman having established a pattern of “yes” already, so the “no” is only important because of the change it represents.
“Yes,” however, opens options up. When characters say “yes” to each other, it forces the author to think of possibilities, and it invites characters to work together, even if they don’t want to. “Yes” is a word of beginnings. The buddy cop story starts with a detective agreeing to take on the rookie for a partner, even though they show no promise; but perhaps that’s because it’s the detective’s last chance to prove himself. The quest starts with the farmboy saying “Yes, I’ll go,” even though it means leaving everything behind. The romance starts with the lovers saying “yes” even though all reason says they should say “no.”
Replacing some “no”s with “yes” forces you, as the author, to explore complexity in your characters and plot. It allows you to measure motivations against each other: what is a reason powerful enough that this character will say “yes” to something that they really shouldn’t? It continues conversations and moves stories forward.
So, try it out. Take a scene in your work in progress, or a scene from an existing story with a lot of “no”s and rewrite the “no”s to “yes.” See where it takes you.