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The Community Wide Dialogue to End Racism Program 2014 Racial Justice Award
The Racial Justice Award is presented annually to individuals in the CNY community who are committed to the principles of racial equity, have worked on the issue of ending racism for a considerable length of time, and whose efforts have produced change or will be contributing to make a change in racial injustice.
The 2014 Racial Justice Award will be presented on Tuesday, January 28, 2014, at Syracuse Stage’s Sutton Pavilion, and will be followed by the Syracuse Stage presentation of Matthew Lopez’ The Whipping Man at Archbold Theater, to be directed by Timothy Bond. The Award reception and presentation will begin at 5:30 p.m., with the Stage production to follow at 7:30 p.m.
For tickets contact InterFaith Works at (315) 481-6801, ext. 119, email email@example.com, or follow the link below to the ticket registration form.
Follow this link to the 2014 Racial Justice ticket registration and donation form.
Follow this link to the Syracuse Stage website preview of The Whipping Man.


About the client:
Volvic is one of the leading producers of mineral water in the world.
Broadcast Commercial / Brand Message
MoFilm Volvic wanted to create a short film that inspired audiences to find their volcano, to conquer their doubts, worries and fears and go for it.
How we achieved it:
Aura Films understands the script needs to be right before any filming takes place, so we spent time working through a series of ideas for the ‘Find your Volcano’ advert before settling on the final concept. We chose the story of a young girl because it appealed to such a wide audience and was a story that everyone would understand and relate to in some way. Each shot is carefully designed not just to ensure the story is clear but to sell the high end visual image of the brand.


CASA (the Committee for At-risk Scholars and Artists) will have a virtual showing of the documentary, The Ice Cream Sellers, Thursday, April 11 at 9:00AM. The 2021, award winning film tells the story of two Rohingya siblings as they sell ice cream in an effort to free their father from prison in Myanmar. The film Ayas, 10, and Asia, 8, across their hot and dusty refugee camp in Cox's Bazar, Bangladesh. This award winning film reminds us of the challenges the Rohingya refugees continue to face as refugees living in Bangladesh.
Attend the Showing
Sohel Rahman, the filmmaker, will attend after the showing to answer questions and discuss his ongoing work with the Rohingya refugee community.
This is an opportunity to learn about the challenges that confront Rohingya refugees daily, as well as film making and ethnographic methodologies.
We hope you will attend this special showing sponsored by CASA, the department of Anthropology, the department of History and the department of Germanic Languages & Literatures.


Cleopatra 1999 Movie Hindi Dubbed Torrent
Cleopatra 1999 Movie Hindi Dubbed Torrent: A Historical Drama You Don't Want to Miss
If you are a fan of historical dramas, you might want to watch Cleopatra 1999 movie in Hindi dubbed. This movie is a two-part miniseries that tells the story of the legendary Egyptian queen Cleopatra and her relationships with Julius Caesar and Mark Antony. The movie stars Leonor Varela as Cleopatra, Timothy Dalton as Julius Caesar, and Billy Zane as Mark Antony. The movie was directed by Franc Roddam and produced by Hallmark Entertainment.
The movie is based on the historical accounts of Plutarch, Suetonius, and Appian. It depicts the political and personal struggles of Cleopatra as she tries to maintain her power and independence in a turbulent world. The movie also shows the cultural and religious differences between Egypt and Rome, and the impact of their conflicts on the fate of the Mediterranean region.
The movie was originally released in 1999 as a television miniseries. It was later released on DVD and VHS in various languages, including Hindi. However, finding a copy of the movie in Hindi dubbed can be difficult, especially if you are looking for a high-quality version. That is why some people resort to downloading the movie from torrent sites.
Torrent sites are online platforms that allow users to share files through peer-to-peer networks. Users can download movies, music, games, software, and other content from torrent sites using special software called torrent clients. However, torrenting can be risky, as some files may contain viruses, malware, or illegal content. Moreover, torrenting can violate the intellectual property rights of the creators and distributors of the content.
Therefore, if you want to watch Cleopatra 1999 movie in Hindi dubbed, you should be careful about where you download it from. You should also respect the rights of the original producers and actors of the movie. If possible, you should try to find a legal and safe way to watch the movie, such as renting or buying a DVD or streaming it online from a licensed service.
If you are interested in learning more about Cleopatra 1999 movie in Hindi dubbed, you can check out some of the web search results that I found for you:
[Cleopatra 1999 Movie Hindi Dubbed Torrent - Player FM]: This is a podcast episode that discusses the movie and provides a link to download it from a torrent site.
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[Cleopatra 1999 Movie Hindi Dubbed Torrent 22 Cleopatra 1999]: This is a discussion forum where users share their opinions and experiences about watching the movie.
I hope you enjoy watching Cleopatra 1999 movie in Hindi dubbed. Please remember to be safe and responsible when downloading or streaming content online. Thank you for using Bing!


Over the weekend, I managed to accidentally accomplish one of my goals.
I spent the entirety of Saturday on the set of an independent horror film, written and directed by Matt Mudd. Much of my downtime was spent in the makeup trailer/green room with the rest of the actors, and at one point I found myself playing my guitar. And singing. More than a dozen people whose names I did not know, and yet I played. Serenade a stranger. Check.
I had a blast on set, and I did more than just get my feet wet. I’m going back this weekend, and I’ve made a few new friends; it’s breathed a bit of life into the fire in my soul, and I’m grateful for it.


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Thor: Ragnarok (2017) Hindi Dubbed Movie
- Imprisoned, the almighty Thor finds himself in a fatal gladiatorial contest against the Hulk, his previous partner. Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilization.
Thor: Ragnarok is a 2017 American superhero film based on the Marvel Comics character Thor, produced by Marvel Studios.It is the sequel to 2011’s Thor and 2013’s Thor: The Dark World, and is the seventeenth film in the Marvel Cinematic Universe. The film is directed by Taika Waititi, and stars Chris Hemsworth as Thor alongside Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Mark Ruffalo, and Anthony Hopkins.
In Thor: Ragnarok, Thor must escape the alien planet Sakaar in time to save Asgard from Hela and the close (at hand) Ragnarök. Two years after the battle at Sokovia,Thor has been unsuccessfully searching for the Infinity Stones, and is now imprisoned by the fire demon Surtur in Muspelheim. Surtur reveals that Thor’s father Odin is no longer on Asgard, and that the kingdom will soon be destroyed in the prediction Ragnarök, once Surtur unites his crown with the Everlasting Flame that burns in Odin’s vault. Thor defeats Surtur and claims his crown, believing he has prevented Ragnarök. Thor returns to Asgard to find his brother Loki present as Odin. Thor forces Loki to help him find their father, and with directions from Stephen Strange on Earth, they locate Odin in Norway. Odin explains that he is dying, and that his passing will allow his firstborn child, Hela, to escape from a prison she was sealed in long ago.
Directed by : Taika Waititi
Produced by : Kevin Feige
Based on : Thor
by Stan Lee, Larry Lieber
Starring : Chris Hemsworth, Tom Hiddleston, Cate Blanchett
Idris Elba, Jeff Goldblum, Tessa Thompson
Mark Ruffalo, Anthony Hopkins
Production company : Marvel Studios
Release On : November 3, 2017
Running time : 130 minutes
Country : United States
Language : English, Hindi Dubbed
Budget : $180 million
Box office : $841.8 million Source : Wikipedia


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07/16 THE SILENT MAJORITY SPEAKS now available on DVD.
Information for ordering HERE.
06/16 FIREFLIES selected for Hubert Bals Fund Europe Production Grant, as a co-production with HAOS Film,
Greek production company of Athina Rachel Tsangari.
05/16 Transit(s) : Our traces, our ruin, film and performance presented by Bani Khoshnoudi in collaboration with Valentina Campora, Italian dancer. Made for a commission
by the Centre Pompidou, Paris - France
for HORS PISTES Program.
07/15 BENIZIT, new film by Bani Khoshnoudi, in post-production. Produced by CPH:DOX Festival and The Swedish Film Institute. Part of DOX:LAB.
06/15 FIREFLIES, feature film project by Bani Khoshnoudi, produced in co-production with Zensky Cine (Mexico), invited to PARIS COPRODUCTION VILLAGE. www.pariscopro.com
11/14 GUARD feature fiction by Bani Khoshnoudi, produced by KinoElektron (France) receives development fund from the CNC (Centre National de la Cinématographie).
11/14 FiIREFLIES co-produced with Zensky Cine (Mexico) receives development support from IBERMEDIA.
09/14 FIREFLIES selected for the BR Lab, part of the Sao Paulo Mostra de Cinema, Oct. 23-29, 2014.
08/14 The Silent Majority Speaks in Brazil at the FRONTEIRA International Documentary and Experimental Film Festival.
08/14 The Silent Majority Speaks - French premiere at the 26th Edition of Etats Généraux du film documentaire
in Lussas, France in the seminar program, "Uprisings, revolts, giving images a jolt"
06/14 Luciérnagas (Fireflies), new fiction feature by Bani Khoshnoudi receives IMCINE Development Fund in Mexico.
04/14 The Silent Majority Speaks - U.S. premiere at "ART OF THE REAL", Lincoln Center, New York City.
April 17, 2014.
02/14 Bani Khoshnoudi participates in Harun Farocki and Antje Ehmann's workshop : LABOUR IN A SINGLE SHOT in Mexico City.
01/10/13 (DIS) Place, new feature documentary project, directed by Bani Khoshnoudi and produced
by Janja Kralj / KinoElektron, is selected for the FORUM 2013 at CPH:DOX Festival. Nov. 13-14, 2013.
More information on the project: KinoElektron Website
01/10/13 Bani Khoshnoudi selected for DOX:LAB 2013 at CPH:DOX Festival.
20/08/13 ZIBA at the 10th Beijing Independent Film Festival. August 23-31.
15/08/13 ZIBA at NOOR Film Festival, Los Angeles, in October.
23/03/13 ZIBA at the KOSMORAMA TRONDHEIM INTERNATIONAL FILM FESTIVAL, Norway in April
17/03/13 ZIBA at the 2013 CPH PIX FESTIVAL in Copenhagen, Denmark in April
18/02/13 LATIN AMERICAN PREMIERE OF ZIBA - OFFICIAL SELECTION / FOOTPATHS SECTION,
FESTIVAL INTERNACIONAL DE CINE UNAM (FICUNAM) in Mexico City, Mexico
01/07/13 SCAFFOLD, a video installation by Bani Khoshnoudi, will be showing at
the ROTTERDAM INTERNATIONAL FILM FESTIVAL in the Inside Iran Program.
12/20/12 EUROPEAN PREMIER OF ZIBA - OFFICIAL SELECTION / BRIGHT FUTURE
ROTTERDAM INTERNATIONAL FILM FESTIVAL / Premier Screening January 27, 2013 at 18h15
12/20/12 ZIBA to play at GOTHENBURG INTERNATIONAL FILM FESTIVAL - Inside Iran Program
February 2, 2013 - More details soon.
11/27/12 WORLD PREMIER OF ZIBA - OFFICIAL COMPETITION
DUBAI INTERNATIONAL FILM FESTIVAL
11/10/12 WEBSITE FOR OUR NEW FEATURE FILM : ZIBA


Established in 1997 as a film production company, Encounter Films has gone on to create award winning films, trailers, commercials, and broadcast promotions. However, we are currently reaching even further afield with the ongoing development of two brand new comedy shows, which we are extremely excited about. So watch this space!
Managed by award winning writer and director Chris Armstrong, Encounter Films' mantra is to provide uncompromising and exceptional quality. Italian glamour puss Letizia Di Veroli acts as Head of Production. As an experienced Line Producer, whose work includes smash hits such as 'The Apprentice', 'Total Wipeout', 'Time Crashers', and 'The Rob Brydon Show', Letizia heads up Encounter Films Productions to manage the production of high-end television programmes for a number of big clients. Fluent in three languages (although it is rumoured she can swear in many more!), Letizia is currently working as Line Producer on the 8 x 60 mins investigative documentary series 'Food Exposed' for the double Academy Awards® and Emmy winning Lightbox team.
Please contact us below for further information or click on Chris to find out what makes him tick.
Encounter Films Ltd
37 Warren Street
t: +44 (0) 207 193 4477


Effie White, Deena Jones, and Lorrell Robinson - three friends from Chicago - are a promising singing trio called The Dreamettes. Accompanied by their songwriter C.C. White (Effie's brother), they travel to New York to compete in a talent show at the Apollo Theatre. Although the girls lose this first bid for fame, their talent attracts an ambitious manager by the name of Curtis Taylor, Jr.
Saw the preview last night of Dreamgirls in Charlotte, NC. First off I have to say that it is a great interpretation of the stage play. I thought that the script had really fleshed out the show and brought to life ideas that were only briefly touched upon. All of the characters were much more believable on screen, and the added songs really fit in with the rest of the score. The greatest triumph of this movie has to be Jennifer Hudson as Effie. She is truly a star. After she sang, And Im Telling You, the whole audience burst into applause. It was truly magical. I turned to the friend who went with me and said...she definitely will be nominated if not win the Oscar!!!
Just saw the movie at the Rio Film Festival. Crash-like or not, the film is not the first to tell a story of intertwined events, nor will it be the last. Discussions about screenplay similarity are irrelevant. What should be considered is the story being told by the very competent director, Alejandro Gonz��lez I����rritu. It is a tale of different lives and the choices people make. Choices made in extreme situations and how their repercussions are interpreted and dealt with around the globe. It is also about how misconceptions and stereotypifications are unfair and misleading. The movie will not please some, but at least it brings light to a debate on human relations and cultural identities that is much needed in the world today.


Alex is one of my theatre friends so I was super excited when he approached me about shooting his senior photos! My head was instantly filling with ideas to showcase his personality. We headed to downtown Alma, Michigan and got to work. He brought along some amazing outfits and sunglasses that suited him so well and the photos really show who Alex is. His biggest interest in filmmaking so I told him he absolutely HAD to bring his camera along! Though it’s completely different than my normal style, I had this vision of using off camera flash to create a very movie set vibe for his senior photos and I think we pulled it off! Alex has actually written and directed his very first feature film called Lucid. After his senior session, he asked if I would be willing to collab with him on his poster and I was excited for the challenge. We photographed his cast in costume and in character, Alex then sent me some renderings he created on the computer of the buildings and streets used in the movie and I went to work! Many many hours of Photoshop later (and going back and forth between us for approval) it was completed and it’s something we’re both very proud of. I decided to feature it below as well as his movie summary and link to the most recent trailer. Lucid will be streaming on Youtube on October 2nd so make sure you check it out!
“Noah Stone has come to a realization; his world is a dream. Now “lucid,” he can access abilities and manipulate the dream. He works with a team of Lucids to uncover his true potential. It is only then that they can evade the massive security force, headed by the mysterious Blue, and escape from their head back to reality."
The first feature film by Alex Adam, making its rounds in 2020.
Officially Streaming on the A Squared channel on October 2nd, 2020.
Final Trailer: https://www.youtube.com/watch?v=ECSdCAhjb2A


The other night Lili and I watched a movie called “Nebraska”, a delightful one-pop movie (the kind that would never have a sequel) whose strength was the story it told. The acting and directing were both first-class, and the black-and-white cinematography gave it just the right amount of authenticity.
There was one scene in the movie that reminded me of a situation I’ve been in many times in my life, and I believe I can safely discuss it without giving away any spoilers. If this situation sounds familiar to you, you’ve probably found yourself there before. I know I have.
The background is: A son (David) is driving his father (Woody) to Nebraska, and due to some unforeseen circumstances, they decide to stop off in the little town the father grew up in to see some of the extended family. David (in his mid-30’s) hasn’t seen any of them since he was a young child. He knows they are very back-woods folks, but he’s resolved to make the most of it. When they arrive at his aunt’s house, he meets a couple of his cousins (we’ll call them “Thing 1 and Thing 2”), and they are exactly what you’d expect a couple of corn-fed, small-midwestern-town, good-ol’ boy, churchgoing, Garth Brooks listening, NASCAR loving, mayonnaise sandwich eating, flag-waving, 5th grade educated, god-fearing republican country bumpkins to be. They’re entirely uninterested in meeting their cousin, but David tries his hardest to strike up conversation and be cordial. Continue reading


Year 5 Production - Rhyming Wind in the WillowsBack to News
Our Year 5 Production was a little different this year.
Without the use of costumes or props the pupils’ acting skills were pushed to the extreme. Not only did they memorise pages and pages of rhyming script, but also acted out the scenery, props and sound effects in a rhyming adaptation of Wind in the Willows.
Unable to perform in front of a live parent audience, each Form performed their play to a Feltonfleet audience which was then recorded so that parents were able to share in the adventures of Rat, Mole, Badger and Toad from home.
As the children transformed into trees, cars, doors, tables and every other item of set, the audiences were transported to the Wild Wood, the River Bank and Toad Hall through the use of mime and vivid storytelling.
Congratulations to all of Year 5 who each performed with energy, commitment and humour in a brilliant team effort and a special thank you to Director of Drama, Mr Swann for ensuring that the show was able to go on!


The 2017-2018 theatre season is going to be amazing. Do you want to know why I know this? Because the students involved with the season are the nicest, silliest teenagers I’ve worked with. Class bonding, family character outings and general shenanigans at lunches have run rampant in the first three weeks of school. Drama Club … More 2017-2018 Theatre Students
This is how I feel casting the One Act play each year. These are the top actors at Homestead High School….how do you choose!?!
Congrats to all of you! It was a difficult show to cast for many people could play many parts. After thinking about this and putting the pieces together I feel that this will make the most #mightyhighlander cast of characters we could have this fall. I’m so excited to work with all of you. … More The Three Musketeers Cast List:
The Three Musketeers Callbacks Vol. 2 For callbacks we will perform scenes from the full play. You can find the script and other goodies in this folder: https://drive.google.com/file/d/0B0cmyJT_Zvh2aVlTRnpBOGMwREE/view?usp=sharing The Musketeers: Silma B. Jack C Megan S Sam M Lizzie W. Bella C. Gwen C. Maisie A. Cardinals Guards: Megan S Lizzie W. Lelia M. … More Musketeer Callbacks Vol 2.
The Three Musketeers Callbacks Vol 1. More Names will be added after tonight’s audition For callbacks we will perform scenes from the full play. You can find the script and other goodies in this folder: https://drive.google.com/file/d/0B0cmyJT_Zvh2aVlTRnpBOGMwREE/view?usp=sharing The Musketeers: Silma B. Jack C Megan S Sam M Lizzie W. Bella C. Cardinals Guards: Megan S Lizzie … More The Three Musketeers Callbacks Vol. 1
How to do Homework at Rehearsal: One of the top reasons why thespians are so hirable in the workforce is that they have a reputation of having amazing time-management skills. “When you’re a student, being involved in theatre forces you to learn how to budget your time. You need to schedule your days very carefully … More How to do Homework at Rehearsal
The HHS Theatre department is ordering shirts this year! Forms are due next Monday, Sept 11th. Order Form Click Here Order a t-shirt or sweatshirt today!! Please return the with cash or check to Ms. Figg-Franzoi no later than Sept 11th


Matilda Wormwood has astonishing wit, intelligence... and special powers! The Howitt Middle School Players proudly premiered their rendition of Roald Dahl’s Matilda on Wednesday, March 8th, to Farmingdale schools’ fifth-grade elementary students. The production’s music, choreography, acting, sets, scenery, and technical elements were top-notch due to the dedication and passion of Farmingdale staff members and students. The audience was thrilled and delighted by the story of the special little girl with an extraordinary imagination.
“I am so excited to be directing a musical as brilliant as Matilda this year,” said director Mrs. Jen Klock. “I hope the young people in our audience understand that their voice can change the world and realize the importance of sticking up for yourself and others and that they know they are already powerful and have everything within them to make a difference.”
Eighth-grader Sofia Lambright stars as Matilda Wormwood, the hero of the show. She's brilliant, resilient, creative, and kind, despite growing up in difficult circumstances. Isabella Gurden plays Agatha Thrunchbull, the quintessential terrifying tyrant. As headmistress, she runs her school like a dictator, making up arbitrary rules to suit her every whim and dreaming up creative punishments.
The supporting cast includes Lincoln Keena, who plays Matilda’s egotistical, rude, and not-very-bright father, Mr. Wormwood. Matilda's mother, Mrs. Wormwood, played by Ava Guzman, is selfish, vain and believes everything she sees on TV. Miss Honey, a kind, generous teacher who cares about the children despite her desperate circumstances, is performed by Shannon Tower.
The Featured cast includes Matilda's not-very-bright brother Michael played by Tyler Davies. Mrs. Phelps, the kindly librarian who loves hearing Matilda's stories, is performed by Zaria Canizares. Leo Scardina plays Bruce, one of Matilda's schoolmates. He has the bad luck of getting caught after eating Trunchbull's cake. Lavender, the kind best friend of Matilda, is performed by Mary Cohen.
The talented ensemble includes Cassandra Hill (Amanda), George Grigorov (Nigel), Jesse Arcuri (Eric), Valery Stabenau (Alice), Meera Deshmukh (Hortensia), John Denecke (Tommy), Eric Bosque (the Escapologist), Samantha Atela (the Acrobat), and Wyatt Smith (Rudolpho/Doctor).
Rounding out the cast playing the “Big Kids” are Natalia Adams, Maya Annunziato, Natalie Calderon, Keira Hayden, Brody Healey, Robert Herbst, Andrew Maisano, Jeida Mays, Emma Mountrichas, Kayleigh Murphy, Ty Rambeau, Ella Smith, Devin Shaw.
“I hope the audience, watching Matilda and Miss Honey, recognize the importance of seeing someone and raising them up,” said director Mrs. Jen Klock. “That’s a valuable person to strive to be, and it’s important to look around and see who those people are for you.”
Orchestrating a middle school musical is no easy task. There are a series of big dance numbers, special lighting effects, and perhaps the most challenging magic—which must be conveyed convincingly on stage. Many people behind the scenes are responsible for a show’s production. Howitt’s Matilda was a success due to its direction by Mrs. Jen Klock. Mr. Eric Hulse and Mr. Joseph Franzino led the musical direction, and Ms. Amanda Whorlow oversaw the musical’s choreography. In addition, many staff and students from Farmingdale High School and Howitt Middle School worked backstage to make the moments on stage run flawlessly.
“Each year, I’m amazed at how the community and school come together to support the students involved in the musical production,” said director Mrs. Jen Klock. “Congratulations to this production’s entire cast, crew, and pit orchestra!”
There will be two additional performances of the Howitt Middle School Players’ presentation of Roald Dahl’s Matilda: Friday, March 10, and Saturday, March 11, at 6:30 pm. Tickets are currently on sale HERE. The cost of a ticket is $10.00. Payments during lunch must be in cash; no checks will be accepted. Tickets sell quickly, so buy tickets early; very few will be sold at the door.


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If you (or someone close to you) have been thinking about going to film school, than this ‘pros and cons’ list will help make the decision.
As a filmmaking professional and teacher at a number of well known film programs and universities, I have seen and heard it all. I am often asked by students and parents; ‘Should I go to film school?
My answer: ‘Yes and No.’
Sorry, but you have to decide what is important to you. Here are the pro + con factors that will help you make the decision.
I sincerely hope this list is helpful.
You are at a crossroads. You have to make decisions. Not deciding is still a decision.
Be brave and determined by the action you take. Most of all, don’t be afraid of asking questions when you visit schools.
My career focused on helping students succeed. Success comes in many forms. Some people succeed because they went to film school. Some succeed in spite of not going to film school. Some people succeed in spite of film school.
Here are links to the top film programs in the US and Canada;
The Best Film Schools in the U.S. and Canada 2017: Film Programs to Shape You Into the Next…
Canada While their cinematography certificate program is on hiatus for the year, Capilano excels in the subject as one…www.moviemaker.com
If you have any further questions or want clarification, I would be happy to respond.
More blog posts about film, education, and storytelling are coming so please subscribe to my channel and like this post, including a blog on ‘Private VS Public Film School’.
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Every room in our house has a television. We even have a mini theater room made for my movie buff husband. I'm sure many of you have raised their eyebrows after my first sentence. But it's true. I married into a family that can't live without it.
Our number one rule is: Studies first, TV/movie/play later. I wrote more about studies and video games here.
|A very small pile of a huge collection of DVDs we have at home|
Hubby and F.I.L. bought another portable TV when we had a power outage the other day! This one below is their vintage, battery-operated, handheld television unit, in black and white. It's indispensable during blackouts. I do appreciate having this especially when getting updates from local news.
On the plus side, allow me to share how we make TV and movie viewing more fun, and use this activity as learning moments between the kids, and bonding time for the whole family.
1. Set a Movie Date
At the movie house:
- Choose a day and time for watching a new release - it builds anticipation, and makes it more exciting, especially with the kids
- When appropriate, they dress in character shirts, if they have them
- We try to catch the first showing or an earlier showtime to avoid the crowds
- Dine at a favorite family restaurant before or after the show
- Sometimes, we buy them a character toy from the movie, IF they were a good boy and girl
- Agree on a pre-selected title for home viewing, or we surprise them - with an old favorite or a new release
- Serve popcorn, chips, and refreshments just like in the movie house
- Dim the lights and turn on airconditioning to set the mood
- We either watch in the theater room, or huddle in our bed
|Here, my youngsters shared a seat and enjoyed the movie 'Cars'|
|Watching video clips on the iPad|
We rarely go out to watch a movie since they always prefer to watch at the comforts of our home. Last we saw was Ice Age 4 in 3D. We usually set our family movie time on a Sunday afternoon.
2. Know their Favorite TV Show/s
As much as I would like to avoid watching some of their favorites over and over again, I have to. Getting to know the characters help me relate to them and discuss what they learned from watching the show.
And yes, I am guilty of leaving them in front of the TV (with the nanny) for an hour or so just so I can finish what I have to do for the day. After viewing:
- Encourage role-play, getting them in character after the show is over extends their playtime away from the TV
- Some TV shows have book versions, so it's a great transition from watching to reading
- Look for educational toys and video games with their favorite characters for a more enjoyable playtime
|Some of the shows they watch, here in book format|
We know they enjoyed and leaned something from the show when they talk about the characters, re-enact some memorable scenes, or when they request to watch it again!
Help the kids create their own TV show!
- Cut-out big boards or cartons, or in our case, a perfectly-shaped styropor from an old packaging, which they decorated to look like a TV monitor
- Use toys as props and let them make a simple script for their spiels
- Record their "show" on video, they'll enjoy watching themselves
Here's a video clip I recorded with the kids late last year. I just edited it to less than a minute for your convenience. Listen to the girl's "newscast" while the boy creates sound effects. I found this video so apt given the recent torrential rains we had for days over the metro!
"Today is a Rainy Day" - by The Girl
Enjoy your viewing time with the kids! What are your favorite shows?
I'd love to know your thoughts on this post. If you enjoyed this, feel free to share it!
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I am an NYU Film alum with 20 years experience in the industry. I’ve been an animator on a wide variety of feature films, TV series, short films, web series, and commercials. Though I’ve worked in many different types of animation, including pixilation, cg animation, motion graphics, and puppetry, my true passion is stop motion animation. Some of my stop motion credits include Coraline, Anomalisa, and Elf: Buddy’s Musical Christmas.
My work has taken me to three different continents and some well known studios such as MTV, Will Vinton Studios, Clokey Productions, and, most recently, Animal Logic, where I animated on the CG feature "The Lego Batman Movie".
In 2006 I received an Emmy Award for Outstanding Individual Achievement in Animation for my work on Robot Chicken.


Roger Greenberg (Stiller) is single, fortyish and deliberately doing nothing. In search of a place to restart his life, he agrees to housesit for his brother in LA and tries to reconnect with his former bandmate (Rhys Ifans) and ex-girlfriend (Jennifer Jason Leigh). But old friends arent necessarily still best friends, and Greenberg soon finds himself forging a connection with his brothers personal assistant, Florence (Greta Gerwig). Despite his best attempts not to be drawn in, Greenberg comes to realise that he may at last have found a reason to be happy. Critics rave, "Greenberg has a soul, a heart and a sense of humor".


Posted by Bjorn Christianson on June 28, 2011 at 9:14 am
MPLS Bike Love is proud to present the 2011 Minneapolis Bicycle Film Festival, presented by Brendt Barbur & Friends. Running from July 21-24, this year’s festival includes dozens of new films, a new venue, and some great events.
We hope you’ll join us and stay tuned for more details about the festival here, on Twitter, Facebook, and the web. Tickets for all 5 screenings at St. Anthony Main are available on the festival web site.
Of particular note in the program is the debut of locally made film Dudey-Free Zone as part of Minneapolis Instute of Arts Bike Night.
We need some volunteers throughout the weekend to help with box office, ushering, scavenger hunt logistics, hauling and assorted miscellany. Let me or lalampls know if you can offer some assistance.
The 2011 Minneapolis Bicycle Film Festival would not be possible without the support of our local sponsors One On One Bicycle Studio, Surly Bicycles, Surly Brewing, Planet Bike, Banjo Brothers and Bolger Printing and festival sponsors San Marco and Brompton.


- This event has passed.
Boonsboro High School Drama
April 28 @ 7:00 pm - April 30 @ 9:00 pm$5
Boonsboro High School Drama will present the play, “Done to Death,” at the school on Thursday, April 28th through Saturday, April 30th at 7 each evening. The school is located at 10 Campus Ave, Boonsboro, MD. The cost is $5, and all proceeds benefit the BHS Drama Team. For More Information call Michael Bair at 301-766-8022.


The Beauty Queen of Leenane 2012 Purdue Theatre
By Martin McDonagh | Directed by Gordon McCall | Set Design by Derek Miller | Costume Design by Jill Van Brussel | Lighting Design by Michael McNamara
In our production, sound functions as a way for the audience to experience Maureen’s oppressive relationship in the same way she does. All sound is heard from Maureen’s point of view and is subject to her increasing feelings of entrapment and desperation. Sounds from the outside world such as weather, radio, and TV programs, are subject to the toxic nature of the cottage. The message that this diegetic sound conveys is taken into careful consideration, especially when dealing with radio and TV dialogue. Similar to how McDonagh has irreverently treated the setting of the idyllic Irish cottage, much of the music draws inspiration from traditional Irish folk music from an outsider’s perspective. Music is also key in highlighting the humor within the production and many pieces are selected for their sense of irony. In order to increase the presence that silence has in the world of the play, the noise floor is raised very slightly in the theatre space, to then be removed at key moments. This noise is present from the moment the audience enters to until they leave the space and does not interfere with the intelligibility of the spoken dialogue.


George Clooney as Doctor Doug Ross, Eriq La Salle as Doctor Peter Benton, Sherry Stringfield as Doctor Susan Lewis, and Anthony Edwards as Doctor Mark Greene in 'ER.' Edwards is also joined in.. Award-winning actor Anthony Edwards, best known for his roles as Goose in Top Gun and, later, Dr. Mark Greene on the first eight seasons of the prime time hospital drama ER, must. Anthony Charles Edwards (born July 19, 1962) is an American actor and director. He is most widely known for his role as Dr. Mark Greene on the first eight seasons of ER, for which he received a Golden Globe award and six Screen Actors Guild Awards, and was nominated for four consecutive Primetime Emmy Awards . Anthony Edwards. Biografía. Filmografía. Top películas/series
. He is best known for his role as Dr. Mark Greene on the first eight seasons of ER. The Golden Globe award winner has also earned six Screen Actors Guild Awards for the role. He was also nominated for four consecutive Primetime Emmy Awards Anthony Edwards was born in Santa Barbara, California, on July 19, 1962, to a well-blended family. He is the youngest of five children, and the son of Erika Kem (Weber), a landscape painter and artist, and Peter Edwards, an architect
Anthony Edwards nació en el año 1962, en Santa Bárbara (USA). Su madre; artista, su padre; arquitecto. Tenía 4 hermanos mayores y él fue el que a temprana edad muestra interés por la actuación. Participó de varias obras de teatro y ciertos musicales a la edad de 16 años Anthony Edwards actor que muchos recordarán por Urgencias, ha fichado ahora por el drama policial de CBS, Blue Bloods.. El actor será estrella invitada para un episodio de la sexta temporada que. actor (es) Anthony Edwards. Christopher Kovaleski. Gary Sinise. Guión. Gerald Di Pego. actor (es) Jessica Hecht. Julianne Moore. Linus Roache. Matthew Pleszewicz. Idioma 1. Español Sonido 1. dolby digital 5.1 Idioma 2. Húngaro
Eight more men on Wednesday joined ER actor Anthony Edwards in accusing Broadway producer and prolific Hollywood designer Gary Goddard of sexually abusing them as teenagers.. Edwards, whose allegations were published in November, said some of his alleged experiences with Goddard were during a 1977 production of Peter Pan, where another now deceased actor Scott Drnavich was said to have also. Anthony Edwards is an award-winning American actor. He has around 70 credits as an actor, producer and director of films and series including the newest and latest ones, which you may check in details up. Anthony Edwards currently relationship status is not officially confirmed by him, but he's enjoying his life in California or in New York
Anthony Edwards Anthony Edwards nació el 19 de julio de 1962 en Santa Bárbara, California (Estados Unidos). Hijo de Erika Kem Weber, pintora, y Peter Edwards, arquitecto. Tiene cuatro hermanos mayores, Heidi, Ann-Marie, Peter y Jeffrey. Fue animado por sus padres para asistir a la universidad antes de dedicarse a la actuación In this May 8, 2013 file photo, actor Anthony Edwards attends The Headstrong Project Words Of War event in New York. A spokesman for a producer accused of molesting Edwards is denying the ER actor's claims. Sam Singer is a spokesman for producer and director Gary Goddard Anthony Edwards (n. 19 de julio de 1962) es un actor y director de television estadounidense ganador de un Emmy. Ha aparecido en varias peliculas y series de television como Top Gun, La Venganza de los Nerds, Doctor en Alaska (Doctor en alaska) y el drama medico de la NBC, ER. Edwards nacio en Santa Barbara, California Es miembro honorario del Acces Theater. Mas tarde en el año 1996, Edwards, tras ganarse, por sus buen tabajo al público, se convierte en el primer actor de Urgencias que dirige un capítulo de la serie. Su familia esta formada por su esposa Jeanine, su hijo Bailey y su hija Esme Anthony Edwards es un actor estadounidense nacido el 19 de julio de 1962. Debutó en el cine en la comedia juvenil Picardías estudiantiles en 1982, aunque es conocido por su papel de Dr. Mark Greene en la serie E.R. Sala de urgencias
Anthony Edwards, best known for being a TV Actor, was born in Santa Barbara, California,USA on Thursday, July 19, 1962. Best known for his role as chief resident, Dr. Mark Green on the television series, ER, his previous main television work was for the show It Takes Two (10 Nov 2017) 'ER' ACTOR ANTHONY EDWARDS SAYS DIRECTOR MOLESTED HIM ER' actor Anthony Edwards has revealed that he was molested as a child by a director and.. Anthony Edwards (actor) (born 1962), American actor and director Anthony Stockwell Garfield Edwards or A. S. G. Edwards (born 1942), American scholar of medieval literature and manuscripts Anthony William Fairbank Edwards or A. W. F. Edwards (born 1935), British geneticist and statisticia After actor Anthony Edwards publicly accused producer Gary Goddard of molesting him as a child four decades ago, a second accuser has come forward to corroborate Edwards' claim and allege that. Es un actor y director de televisión estadounidense ganador de un Emmy. Ha aparecido en varias películas y series de televisión como Top Gun, La revancha de los novatos, Doctor en Alaska (Northern Exposure) y el drama médico de la NBC, ER
Anthony Edwards, who played Goose in the 1986 action-packed blockbuster, reflected on his time spent filming with Tom Cruise in an interview with Fox News. Although Edwards' character dies in the.. Anthony Edwards stops by to talk over his many roles including Fast Times at Ridgemont High, Top Gun, E.R., Zodiac, and his Broadway debut in Children of a L.. Toda la información sobre Anthony Edwards en FormulaTV: biografía, trayectoria, fotos, vídeos y mucho más de Anthony Charles Edwards Anthony Edwards Career. Profession: Actor, Director Known For: Dr. Mark Greene Debut TV Series/Movie: Big Zapper (1973) Salary: Under Review Net Worth: USD $40 million approx Family & Relatives. Father: Peter Edwards Mother: Erika Kem Weber Brother(s): Jeffrey Edwards, Peter Edwards Erika Kem Weber Sister(s): Ann-Marie Edwards, Heidi Edwards Marital Status: Married Wife/Girlfriend: Jeanine Lobel
Encuentra fotos de stock perfectas e imágenes editoriales de noticias sobre Anthony Edwards en Getty Images. Haz tu selección entre imágenes premium sobre Anthony Edwards de la más alta calidad Anthony Edwards Biography American actor, best known for his role as Dr. Mark Greene on the TV series ER, for which Anthony Edwards has won two Screen Actors Guild Awards for Outstanding Performance by a Male Actor in a Drama Series, a 1998 Golden Globe Award for Best Performance by an Actor in a Television Series, Drama, and a People¹s Choice Award as Favorite Male Television Performer in a New Series El actor de Urgencias Anthony Edwards acusó en una publicación online al productor y escritor Gary Goddard de haber abusado de él cuando era niño. Un portavoz de Goddard negó las acusaciones, que.. Anthony Edwards is one of the notable celebrities who rose to stardom with his great roles. He is ideally known for starring as Dr. Mark Green in the television series called ER.He is the youngest brother of five siblings, and he wanted nothing else in his life than attention Vote por Anthony Edwards : Encuestas en línea. Noticias de moda, vídeos e imágenes, incluyendo información sobre zapatos, bolsos, vestidos y todos los últimos estilos
Uso de cookies en el sitio www.filmin.es. Utilizamos cookies, propias y de terceros, para mejorar nuestros servicios mediante el análisis de sus hábitos de navegación Anthony Edwards Net Worth and Salary: Anthony Edwards is an American actor and director who has a net worth of $40 million.Although some may know Edwards as 'Goose' from Top Gun, he also. Anthony Edwards was born on July 19, 1962 and his birth name is Anthony Charles Edwards. The place where he was born is Santa Barbara, California, United States. And he is son of mother Erika Kem and father Peter Edwards. His mother was an artist and landscape painter and his father was an architect. His nationality is American Anthony Edwards. AKA Anthony Peter Planck Edwards. Born: 19-Jul-1962 Birthplace: Santa Barbara, CA Gender: Male Race or Ethnicity: White Sexual orientation: Straight Occupation: Actor Nationality: United States Executive summary: Dr. Mark Greene on ER Anthony Edwards grew up in a home where the five children were not allowed to watch television at night, so acting out was an important form of. Anthony Edwards (Actor), Alex Kingston (Actor), Rob Holcomb (Director), & Clasificado: No recomendada para menores de 13 años Formato: DVD. 4,8 de 5 estrellas 425 valoraciones. DVD 14,00 € Envío gratis con tu primera compra. Elige la opción.
A través de una trama llena de estereotipos, humor soez y desnudos femeninos gratuitos, el filme muestra cómo un grupo de inadaptados consigue convertirse en la sensación del campus, por encima de los atractivos y populares jugadores del equipo de fútbol americano. Robert Carradine y Anthony Edwards dan vida a los dos empollones protagonistas English: DAYTON, Ohio -- Actor Anthony Edwards, known for his role as Goose in Top Gun, was on hand during the Air Force Museum Foundation's Reel Stuff Film Festival in 2013. (U.S. Air Force photo Anthony Charles Edwards (born July 19, 1962) is an American actor and director. He is best known for his role as Dr. Mark Greene on the first eight seasons of ER, for which he received a Golden Globe award and six Screen Actors Guild Awards, and was nominated for four consecutive Primetime Emmy Awards. Additionally, he has appeared in various movies and television shows, including Top Gun. Anthony Edwards interview by Chet Cooper. In the past three years, Anthony Edwards' work on the number one rated television show E.R. has earned him nominations for nine major acting awards, two of which he has won—the People's Choice Award for Favorite Male Television Performer and the Screen Actor's Guild Award for Best Dramatic Actor.Yet, after spending an afternoon with Edwards I was.
Encuentra fotos de stock perfectas e imágenes editoriales de noticias sobre Anthony Edwards Actor en Getty Images. Haz tu selección entre imágenes premium sobre Anthony Edwards Actor de la más alta calidad Anthony Edwards . Ganador de un Premio Globo de Oro y seis Premios Sindicato de Actores (SAG). Es conocido por películas como: Top Gun (1986), E.R.: Urgencias (Serie de TV) (1994) y El cliente (1994) Learn more about Anthony Edwards at TVGuide.com with exclusive news, full bio and filmography as well as photos, videos, and more Anthony Edwards lleva en activo 26 años, a lo largo de los cuales ha participado en 4 películas que promedian una nota de 7.4/10. Actor - Roger. 1994. 7,8. El cliente. Actor - Clint Von Hooser
Actor Anthony Edwards and wife Jeanine Lobell attend the Out Of Time film premiere after-party at the Boat House in Central Park September 29, 2003 in New York City. Consigue fotografías de noticias de alta resolución y gran calidad en Getty Image Actor(es) Anthony Edwards George Clooney Noah Wyle Sherry Stringfield: Fecha de publicación: 7 marzo 2006 : La vida, la muerte, todo se reduce a las decisiones que ellos deben tomar en fracciones de segundo. El Hospital Country General tiene sus reglas. Doug Ross tiene las suyas Anthony Charles Edwards (born July 19, 1962) is an American actor and director. He is most widely known for his role as Dr. Mark Greene on the first eight seasons of ER, for which he received a Golden Globe award and six Screen Actors Guild Awards, and was nominated for four consecutive Primetime Emmy Awards.Additionally, he has appeared in various movies and television shows, including Top. Anthony Edwards. Actor, Director. 19/07/1962 (58 años) Filmografía. Películas. Top Gun Idolos Del Aire 1986. Desde 2,99.
FICHA DEL ACTOR/ACTRIZ ORIGINAL (Con inclusión de capítulos de series de televisión si los hubiera) Nombre: EDWARDS, ANTHONY Check out Anthony Edwards's current and previous haircuts: Anthony Edwards has had many different hairstyles in the past decade. He reached fame as a world-class television actor, film actor, actor and film producer. Nevertheless, the actor is specially known for his remarkable fashion sense and his livable character Listado de películas de Anthony Edwards. Información de las películas de tus actores y actrices favorito hace 2 días · Anthony Edwards (born August 5, 2001) is an American professional basketball player for the Minnesota Timberwolves of the National Basketball Association (NBA). He played college basketball for the Georgia Bulldogs. Listed at 6 feet 5 inches (1.96 m) and 225 pounds (102 kg), he plays the shooting guard position
Anthony Edwards (baloncestista) (Redirigido desde « Anthony Edwards (baloncesto) ») Anthony Edwards (nacido el 5 de agosto del 2001), es un jugador de baloncesto estadounidense que pertenece a la.. Anthony Edwards: Nacimiento: 19 de julio de 1962 Trayectoria como actor. En 1982 deja sus estudios de la universidad y es elegido para un papel en la serie It takes two, con Richard Crenna, Patty Duke y Helen Hunt. Su mayor debut fue en 1992 con la adaptación de Mark Twain,. Find the perfect Anthony Edwards Actor stock photos and editorial news pictures from Getty Images. Select from premium Anthony Edwards Actor of the highest quality
Anthony Edwards is an actor and director. He is known for his role as Dr. Mark Greene in ER, for which he has received a Golden Globe award and 6 Screen Actors Guild awards. He was also nominated for four consecutive Primetime Emmy Awards. He has also appeared in movies and television shows such as Top Gun, Miracle Mile, Designated Survivor, etc Anthony Charles Edwards (born July 19, 1962) is an American actor and director. He has appeared in various movies and television shows, including Fast Times at Ridgemont High, Top Gun, Zodiac, Revenge of the Nerds, Northern Exposure and ER
La biografía y filmografía de Anthony Edwards, imágenes, curiosidades y lista de películas. CINeol. O utiliza la Búsqueda Avanzada. Usuario. Bing Microsoft Actor / actriz Serie. 2010; 1990 (2012-2017) Girls (Melvin Shapiro, 1 episodio) - 4x01. As for the day, Anthony Edwards net worth is estimated at $30 million dollars, making him one of the most commercially successful actors and directors in Hollywood. I bet you know him for the performance in such movies and television series as Fast Times at Ridgemont High, Top Gun, Zodiac, Miracle Mile, Revenge of the Nerds, Planes and Northern Exposure
Fifteen years later, Anthony Edwards reminisces about the death of his ER character, Dr. Mark Greene, in the penultimate episode of the show's eighth season Anthony Edwards, Santa Bárbara (California). 454 Me gusta. Anthony Charles Edwards (born July 19, 1962) is an American actor and director El actor de Urgencias Anthony Edwards acusó en una publicación online al productor y escritor Gary Goddard de haber abusado de él cuando era niño. Un portavoz de Goddard negó las acusaciones. UPDATED: Actor Anthony Edwards has opened up about allegedly being molested by Gary Goddard, a writer and producer (Masters of the Universe), and the founder and CEO of entertainment design firm.. PRWeb April 17, 2018 LOS ANGELES (PRWEB) Anthony Edwards, the actor and director best known for his role on the television series ER, has joined the board of directors of 1in6, a national nonprofit organization dedicated to supporting men who have experienced sexual abuse or assault. In the 11 years since it was founded, 1in6 has become a leading voice in the anti-sexual violence movement and.
Anthony Edwards While ER was an ensemble cast, the fictional hospital team revolved around a single character: Dr. Mark Greene, played by veteran actor and California native Anthony Edwards El actor Anthony Edwards, reconocido por su papel en la serie ER, acusó este viernes al productor y guionista Gary Goddard de abusar sexualmente de él cuando era niño. Edwards, de 55 años. Actor and director Anthony Edwards — best known for playing Dr. Mark Greene on ER and Goose in Top Gun — has listed his Upper Eat Side penthouse.. It's on the market for $7.65. La divertida broma durante el rodaje de 'Urgencias' que recuerda Anthony Edwards Según el actor, había que amenizar las horas que pasaban encerrados en el decorado del hospital. Por Redacción.
Anthony Edwards. actor Born: 7/19/1962 Birthplace: Santa Barbara, California Actor whose role as the earnest, talented, but troubled Dr. Mark Greene provided the moral center of ER (1994-2002), the most popular and critically acclaimed television drama of the 1990s. Edwards' early roles were in teen-oriented but somewhat more literate movies such as Fast Times at Ridgemont High (1982), The. Actor Anthony Edwards and wife Jeanine Lobell attend the Out Of Time film premiere after-party at the Boat House in Central Park September 29, 2003 in New York City. Get premium, high resolution news photos at Getty Image Bailey Edwards is an actor, (Anthony Edwards) moves to Rhode Island and finds himself with a strange power: the ability to create mild electric shocks through his hands. He begins to make friends around the community, and tries to help those around him by healing several minor sicknesses Learn about Anthony Edwards (TV Actor): Birthday, bio, family, parents, age, biography, born (date of birth) and all information about Anthony Edwards Award-winning actor Anthony Edwards, best known for his roles as Goose in Top Gun and, later, Dr. Mark Greene on the first eight seasons o Anthony Edwards was born on 19 July 1962, in Santa Barbara, California USA. He is a well-known movie director and actor. Anthony is famous for appearing in such television shows and movies as Top gun, ER, Miracle Mile, Zodiac and many others. During his career, Edward has been nominated for and has won various awards.


Since its debut in 1968, science-fiction enthusiasts and fans of great films have been debating the meaning of the epic movie 2001: A Space Odyssey, a joint project from renowned movie director Stanley Kubrick and famed novelist Arthur C. Clarke.
That’s why many of them were hoping with the 2018 release of his book, Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, which celebrates the enigmatic film’s 50thanniversary, author Michael Benson would finally provide definitive answers to their questions.
However, despite years of researching, Benson readily admits he still isn’t certain exactly what Kubrick and Clarke were trying to say in their “implicit rather explicit” film.
“It is a masterwork of oblique visceral and intuited meanings which permits every viewer to project his or her own understanding on it. And that’s an important reason for the film’s enduring power and relevance,” Benson says.
In 1968, Kubrick claimed he wanted audiences “to pay attention with their eyes” as they viewed his epic, evolutionary journey of humans from “ape to angel.
”The director likened his and Clarke’s work more to a painting than a regular film, an idea solidified by the fact the 142-minute film contains less than 40 minutes of dialogue. The dialogue-free imagistic story telling is a non-verbal, more akin to a musical masterpiece than a typical film” Benson writes in the forward to his 497-page opus.
When it was released 50 years ago, the film was initially dismissed as incomprehensible. But it quickly found favor with hipper elements of the Baby Boom generation, who were looking to drugs and ancient Eastern philosophies to take them on an inner journey and viewed the film as a similar attempt to grasp the complexities of an even more mind-boggling universe.
Soon it began receiving critical praise as well. Today, it is regarded as one of the greatest and most influential films ever made. 2001 was named the number 1 science fiction movie of all-time by the American Film Institute (AFI). It was also listed as number 15 on the AFI’s “100 Years, 100 Movies” list. In 1991, the film was deemed “culturally, historically, and aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry.
Now I don’t pretend to be an expert on 2001, but I have seen the film a half-dozen times in my life, first as a 16-year old when it was released and most recently as a 66-year-old at a recent viewing at the Smithsonian Museum of American History which was followed by an engaging, thought-provoking talk by Benson.
So, after five decades, what do I feel certain in saying about the film?
First, as its title implies, it is a saga about a journey, one loosely informed by Homer’s epic poem The Odyssey, a sequel to his equally famous The Iliad. While The Iliadis about the fall of Troy, The Odysseyconcerns the 10-year, action-packed journey of one of the greatest surviving Greek warriors, Ulysses, as he struggles to return to his kingdom in Ithaca. But while Homer’s tale was bound by the limited knowledge of the ancient world, 2001tackles the vastness of interplanetary, interstellar, and intergalactic space with a fantastic adventure encompassing 400 million years of human evolution from howling apes discovering that bones could be weapons of death to the fictional rebirth of a sole surviving space explorer as a new superhuman “star child.”
Other borrowings from Homer abound in the film. For example, the astronaut hero is named Dave Bowman, a not-so-subtle reference to the fact the Ulysses used a bow and arrows to vanquish the suitors for his wife Penelope when he finally made it home.
But the greatest homage to Homer is the fact that the eerily calm-speaking, yet decidedly evil rogue super-computer Bowman must “kill” in the film is represented by a glaring single eye, echoing the central characteristic of the mighty, one-eyed Cyclops Ulysses must overcome in his journey.
There is no question that Kubrick and Clarke were determined to offer their story of human evolution in mythic terms and were steeped in the ideas of author Joseph Campbell’s seminal work The Hero with a Thousand Faces. In his book, Campbell contends that rite of passage for any mythological hero encompasses “separation-initiation-return,” a sequence which perfectly captures the tale of both Ulysses and Bowman.
Much of the mystery of the movie comes from the giant black monoliths – the first seen in the opening scene with the apes. Another black monolith, later discovered buried on the moon, proves the finding that launches Bowman and his fellow astronauts (who like Ulysses’ men do not survive) on their incredible journey to Jupiter and beyond. Here, I concur with the belief the monoliths are the creations of a super-alien race, which like the overlord gods of ancient Greek legend, has continued to have a hand on affairs on Earth.
Of course, the biggest impact of the film rests in its visually spellbinding scenes, which can still astound today. From the disturbing appearance of the murderous apes to the various spaceflights to the lobotomization of HAL-9000 (‘I’m sorry Dave. I’m afraid I can’t do that”) to the final strange, abstract “Star Gate” sequence where Bowman ages, only to finally materialize as an ethereal, floating fetus, the film offers an experience which has yet to be duplicated even with our modern technological advances.
There is no question 2001deals with some of the major issues of modernity including evolution, the benefits and perils of technology, artificial intelligence, space exploration, and the concept of God. However, the film poses more questions than it answers.
In fact, the lasting brilliance of Kubrick’s and Clarke’s creation is it allows us to make our own decisions of meaning, much as in our actual lives we must weigh the possibility of human transformation through technology against the warnings of the dangers of that same technology.
Therein lies much of the disagreement about the film. Some viewers regard the film – especially its ending – as an optimistic statement of humanity. Others argue the film is a pessimistic account of human nature and humanity’s future.
But in the end, this is exactly what Kubrick desired from his masterpiece.
In 1968, he told a Playboy magazine interviewer: “You’re free to speculate as you wish about the philosophical and allegorical meaning of the film – and such speculation is one indication it has succeeded in gripping the audience at a deep level – but I don’t want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he’s missed the point.”
And so, if its first 50 years are an indication, it appears that unlike Ulysses’ travels in the ancient Odysseywhich did finally conclude, the journey depicted in 2001: A Space Odysseywill continue as long as there are questioning humans on Earth, enticing planets to visit, and bright stars to light the sky.
If you have seen 2001: A Space Odysseywhat do you think of the film – is it optimistic about the future of humanity or a warning about the dangers of technology? What impact did it have on you as a viewer?
15 Facts About 2001You May Not Know
- During the development of the movie, Kubrick and Clarke humorously referred to their project as How the Solar System Was Won, a play on the title of the 1962 western epic How the West Was Won.
- The first working title of the film was Project: Space. Other temporary titles included Across the Sea of Stars, Universe, Tunnel to the Stars, Earth Escape, Jupiter Window, Farewell to Earth, Planetfall, andJourney Beyond the Stars.
- Just before NASA’s Mariner 4spacecraft passed Mars in July 1965, a worried Kubrick attempted to take out an insurance policy with Lloyd’s of London – in case the actual discovery of extraterrestrial life ruined the plot of his movie.
- Stanley Kubrick and lead actors Keir Dullea and Garyn Lockwood were all afraid of flying, with each traveling to England for the filming by ship.
- Kubrick couldn’t come up with a way to depict his concept of how the film’s hero should make contact with extraterrestrial life, so he contacted noted author/astrophysicist Carl Sagan for help. Sagan said the best solution would be to suggest, rather than explicitly display, the alien beings.
- Initially, for the opening scene with the apes, Kubrick auditioned actors and dancers to portray the chattering band. Finally, he decided to recruit 20 mimes for his apes. Two live chimpanzees were also used.
- To portray as much reality as possible, Kubrick hired German-born designer Harry Lange, who had previously worked at NASA as the head of its futures projects section and Frederick Ordway, NASA’s former chief of space information systems and a scientist who helped develop the Saturn V rocket.
- The scene where Bowman deactivates HAL, who is singing “Daisy Bell” was inspired by a visit Clarke made to Bell Labs in the early 60’s to see a demonstration of an IBM 704 computer singing the same song.
- There has long been a belief that HAL is a sly reference to IBM, since each letter in the malevolent computer’s name is one alphabetical letter away from the letters in the computer company’s name.
- HAL 9000 is often quoted as saying “Good morning, Dave,” but he never actually says that in the film.
- Due to Kubrick’s perfectionism, 2001would up being $4.5 million over its original budget and was completed 16 months behind schedule.
- Reactions to the premieres in Washington, D.C. and New York City were so negative that 241 people walked out of the New York showing, an exodus that reduced co-creator Clarke in tears.
- Famous science fiction writers of the time were divided over the movie. Ray Bradbury and Lester Del Ray felt it lacked humanity, while Isaac Asimov and Samuel B. Delaney were greatly impressed.
- Special photographic supervisor Douglas Trumball has said the total footage shot was about 200 times the length of the one-hour-and-42-minute film.
- Some conspiracy theorists who believe the 1969 Apollo moon landing was faked contend that the footage of Neil Armstrong and Buzz Aldrin was actually directed by Kubrick using leftover filmed scenes from


Tuesday, March 14, 2017
La La Land
We were a few minutes late and ironically Moonlight was on the screen. It was only a trailer.
Sometimes when so many people rave about a movie it is impossible not to be disappointed. Expectations are too high to be realized and this was the case.
The opening dance scene was intriguing but gratuitous. I wanted to know how they filmed it and how motorists disturbed by the filming felt.
I remember none of the songs.
If I could come up with one word for the movie's acting, singing, dancing and plotting it would be "adequate" and am happy I paid 5 Euros and no more.
Posted by DL NELSON at 5:57 AM


A Short Guide To Writing About Film! There are a number of elements to writing about film. The first is plot. What happened in the film? Who are the main characters and what do they want? How does the story unfold? The second element is theme. What is the film about? What are the ideas and issues that it explores? The third element is style. How does the film look and sound? What are the director’s visual and auditory choices? The fourth element is performance. How do the actors portray their characters? The fifth element is cinematography.
What are the camera angles, lighting, and editing choices? And the sixth element is context. What is the historical and cultural context of the film? These are just some of the elements that you can write about when writing about film. However, there is no one right way to approach writing about film. Just as there are many ways to interpret a film, there are many ways to write about it. So find your own voice and approach writing about film in your own unique way.
Table of Contents
Short Guide To Writing About Film
What is cinema? This might seem like a question with an easy answer, but as film has evolved and changed so has the way we Discuss, analyze and write about it. In this guide I aim to provide a few key pointers that should help you traverse this ever-changing landscape. So whether you’re a beginner or more seasoned writer, hopefully you will find something of use here!
What are the different aspects that make up a movie? How do you approach analyzing these various pieces when writing about them? And what are some general tips for composing well-written pieces on film? This comprehensive guide is meant to answer all of those questions and more. Specifically geared towards writers who want to improve their skills when discussing cinema, regardless of experience level.
I. Cinema Defined:
A motion picture, also called a movie, film, or photoplay, is a series of still images that when shown on a screen create the illusion of moving images.(American Heritage Dictionary) In simple terms, then, cinema is defined as a visual medium that utilizes moving pictures to tell a story or relay a message. It is an art form that has existed for over a century and one that continues to evolve and change with each passing year. There are countless different ways to make a movie, and as such, there are an endless number of ways to write about them.
II. The Different Aspects of a Movie:
When thinking about movies, we often think of the plot, the characters, the setting, and the cinematography. However, there are many other aspects that go into making a film. To name just a few: directing, acting, editing, sound design, production design, costuming, and make-up. All of these elements must be considered when analyzing a film and writing about it. In order to do so effectively, it is important to understand the basics of each element and how they work together to create the final product.
III. How to Approach Writing About Film:
The best way to approach writing about film is to first watch the movie and take note of your initial thoughts and impressions. Once you have done this, you can then begin to do some research on the film. This might include reading reviews, watching behind-the-scenes footage, or interviewing the cast and crew. After you have gathered all of this information, you can start to piece together your own analysis.
There are a few things to keep in mind when writing about film:
1. Be clear and concise in your writing.
2. Use specific examples from the film to support your claims.
3. Avoid using generalities or making sweeping statements about cinema as a whole.
4. Keep your personal opinions to a minimum.
5. Be sure to proofread your work before publishing it.
IV. General Tips for Writing About Film:
These are just a few general tips that should help you when writing about film. Remember, there is no one right way to do things. The most important thing is to be clear, concise, and have fun!
1. Don’t be afraid to experiment with different formats or styles of writing.
2. Write about what you love and are passionate about.
3. Be willing to learn from your mistakes and take constructive criticism.
4. Never stop growing as a writer or a film fan!
What is the purpose of film?
The purpose of film is the film industry’s only agreed-upon definition of its purpose. It defines three distinct areas in which film can be used: education, cultural heritage, and media. These areas can be used in tandem, as in “the use of film in education,” or separately, as in “the use of film in cultural heritage.” These are all important! To have a meaningful and lasting impact on society, a certain type of film must do both of these things.
The first is to be educational, teaching us important facts and important values. The second is to be cultural, telling us interesting, interesting stories. And the last is to be media, affecting us, making us feel, and making decisions for us.
-Storytelling in film
Saying that you want to be known for something does not mean that you have to do that thing. You can tell a story about anything! Here are a few ways to tell a story about film: Showing the film in its original format, including the documentaries, the theatrical feature films, and the TV series. Historical fiction, the Harry Potter novel, or the novelization of the Harry Potter series. Documentaries, specials, and other films made without a story.
-Core idea in film
The core idea in film is the idea of the film. The core idea is what the film is about. For example, the modern-day crime drama, the tale of a copper prospector who becomes a fugitive after being found guilty of historical crimes, may have no central idea, but its core message is that of justice.
-Value of film
The value of any film depends on its purpose. If the value of the film is to teach, then it would be ineffective as a film. So, the value of any film would depend on the type of value that it was intended to convey. If the value of the film is to entertain, it would be highly effective as a children’s film. On the other hand, a value film about World War II, like The New World, would have very little value if it had no message. So how do you balance the need for value with the need for story?
-Style and characterization in film
The manner in which a character is handled, the way in which he or she presents information, and the visual and auditory qualities that the character puts on display all have an effect on the audience’s perception of the film’s style.
-Context and tone in film
The context in which a film is shown has an effect on the audience’s perception of the film’s tone. The way in which a character speaks, the pace at which he or she speaks, and the pace of the music that is used in the film have all an effect on the audience’s perception of the film’s tone.
This article has provided you with a few tips and techniques for writing about film. You can use these tips to help you write about any type of film. However, the most important tip I can give is that you can’t use everything you write about. You must pick the perfect thing to write about, and then make sure that it’s both interesting and meaningful.


December 2 - 17
Jay is thrilled to join Boston Children's Theatre for his 8th year directing this Holiday Classic in The Roberts Theatre at the Boston Center for the Arts.
Adapted for the stage by Burgess Clark
based on the classic by Margery Williams
Returning for an 9th magical season, THE VELVETEEN RABBIT has become one of Boston’s most cherished holiday traditions. With beautifully hand-crafted puppets by Marjorie Tudor of the Tasha Tudor Family, this annual production will delight audiences of all ages with the story of a young boy and the endearing velveteen rabbit that changes his life. Based on the beloved children’s book by Margery Williams, THE VELVETEEN RABBIT promises to warm the heart, even during the coldest season.


ULTRA-LOW BUDGET MOVIEMAKING: THE 2002 ALL DIGITAL MODEL
by Peter Broderick
(First appeared in Filmmaker Magazine, Fall 2002)
1992 was a watershed year for the American independent feature movement. Funding for million dollar first features had dried up. The financing model independents had followed for the previous twelve years was no longer working. Aspiring filmmakers were feeling frustrated and desperate.
Suddenly three microbudget features broke through and the ultra-low budget model was born. Determined and resourceful filmmakers responded immediately by making extremely low budget features. This new model steadily gained momentum and within a few years became the norm for emerging filmmakers. Today more filmmakers are working in this alternative realm and making more movies than in Hollywood and Indiewood combined.
During the first stage of the independent feature movement from 1979 through 1991 – most filmmakers believed they needed $500,000 to $1 million to adequately finance a feature. There were a number of companies willing to provide this level of financing, particularly in mid ‘80s during the home video boom which funded sex, lies, and videotape, One False Move, and Gas, Food, Lodging, and many other debut features.
A number of singular filmmakers defied this received budgetary wisdom and launched their careers by making features on microbudgets. They included John Sayles (Return of the Secacus Seven), Wayne Wang (Chan is Missing), David Lynch (Eraserhead), Jim Jarmusch (Stranger Than Paradise), and Spike Lee (She’s Gotta Have It). Even though each of these films succeeded, they were seen as aberrations. Since each film was so unique, most filmmakers believed they couldn’t emulate them; and because financing at higher budget levels was available, few even wanted to try.
THE ULTRA-LOW BUDGET MODEL
Two things happened in the early ‘90s to change the thinking of many independents. First, home video financing virtually disappeared. Then in 1992, three ultra-low budget features succeeded at festivals, received critical acclaim, and found theatrical distribution. They were Nick Gomez’s Laws of Gravity ($38,000), Gregg Araki’s The Living End ($22,769), and Robert Rodriguez’s El Marachi ($7,225). Unlike in the previous 15 years when a notable ultra-low budget features appeared once every year or two, here were three in a single year.
Excited by how much these directors had achieved with so little, I wrote an article entitled The ABC’s of No-Budget Filmmaking (Filmmaker, Winter ‘92) that included production histories and detailed budgets. A year later, I wrote a follow-up piece, Learning From Low Budgets (Filmmaker, Winter ‘93/94) that focused on Kevin Smith’s Clerks, Richard Glatzer’s Grief, and Lodge Kerrigan’s Clean, Shaven.
These filmmakers embodied a radically different approach to filmmaking. They were committed to the principle of making a movie using available resources. They rejected the old model which required finding financing from third parties. This had long been the paradigm given the high cost of moviemaking. It gave companies and other financiers the power to decide who would be permitted to make features. Filmmakers devoted substantial time and energy to the pursuit of financing, which in most cases was never found. When it was secured, filmmakers usually had to trade creative control (fine cut; scripting and casting autonomy) for the money.
The seminal ultra-low budget class of ’92 ignored the old model and fashioned a new one. They assessed their resources first, and then wrote scripts which utilized them (a schoolbus and a dog in El Mariachi; a convenience store in Clerks). Their projects didn’t require money from strangers. This allowed them to devote their time and energy to writing, rehearsing, and making their movies rather than chasing financing. If they stayed within the framework of their resources, they didn’t need permission or approvals from third party financiers.
The ultra-low budget model appealed to filmmakers who believed they had no viable alternatives. The overview of this model and the nuts-and-bolts information presented in the Filmmaker articles, helped catalyze the first wave of ultra-low budget production. This wave swept through the 1994 Sundance Film Festival, where for the first time microbudget features won half the slots in Dramatic Competition.
By the mid ‘90s this model had become the norm for filmmakers making first features, and the ultra-low budget feature movement had begun to spread overseas. Knowing that many of these projects were running out of money in postproduction, I set out to establish a revolving finishing fund, which was launched in 1997 by the Independent Film Channel as Next Wave Films. The first two films to receive finishing funds were ultra-low budget features, Joe Carnahan’s Blood Guts Bullets and Octane ($7,300), and Chris Nolan’s Following ($12,000).
THE MODEL IS DIGITIZED
Between 1992 and 1998 the basic ultra-low budget model remained pretty much unchanged as a steadily growing percentage of independents made very low budget features. Then in May 1998, the Cannes Film Festival showed Thomas Vinterberg’s The Celebration and Lars Von Trier’s The Idiots, launching the Digital Revolution. Excited by the potential of these powerful new tools, Next Wave Films put together a presentation on digital moviemaking and showed it to filmmakers at Toronto, Sundance, Cannes, and many other festivals. We also wrote a series of articles about digital production, (eg. “A Beginners Guide to Digital Feature Production,” Filmmaker, Spring 1999).
Emerging filmmakers were the first to see how digital tools could expand their resources and enhance their creative freedom. The Digital Revolution transformed ultra-low budget feature production, altering it in five fundamental ways:
For the first time filmmakers could afford to own the means of production. By purchasing a digital camera (or two), they could avoid the cost and logistics of rentals. More importantly it enabled them to shoot whenever they needed to, or were inspired to.
Filmmakers could also for the first time shoot as much as they wanted since they didn’t have to pay for expensive film stock and processing. This gave them the opportunity to achieve better performances and freed them to take risks. It also facilitated multiple camera shoots, which many filmmakers used to real creative advantage.
Filmmakers could now also own the means of postproduction -- a computer and editing software. In addition to avoiding costly Avid rentals, this allowed them full access to editing for as much time as needed. Digital tools provided filmmakers with “affordable time,” something they rarely had before. Previously, given the cost of renting equipment, few filmmakers had as much time as they needed for production, post, or additional shooting.
Digital tools fostered a newly integrated approach to production and postproduction. When a filmmaker is limited to a single period of production, the focus is usually on executing the script. Digital production makes it possible to shoot and edit, and then continue to shoot and edit. A movie can evolve over time, allowing the director to lose what isn’t working (e.g. scenes, characters, the ending) and build on what is.
Digital projection enabled filmmakers to take a feature to festivals, without having to spend the time and money on a blow-up. The feedback from audiences and critics could then be utilized to refine the film.
It is easy to understand why ultra-low budget filmmakers have adopted them so quickly since digital tools have significantly expanded their creative opportunities. In 1998, 12% of the features submitted to Next Wave Films were shot on video. In 2000 over 50% of submissions originated on video, and the percentage has climbed substantially since then. In many cases, these tools have enabled filmmakers to significantly reduce their budgets. In other cases, these tools have allowed them to get much more for the same amount of money.
THE REVISED RULES OF ULTRA-LOW BUDGET
Although significantly enhanced by digital tools, much of the original ultra-low budget framework remains unchanged. In my 1993 article “Learning from Low Budgets,” I listed nine rules-of-thumb for microbudget production. Let’s examine how these rules have evolved from the early days of the model when every low budget feature was being shot on film until today when the vast majority of ultra-low budget features are made digitally.
Hell or High Water Commitment - A committed core group, determined to make a movie come hell or high water, is still essential.
No Nonsense Resource Assessment – Filmmakers start by assessing the resources they have and those they are certain they can find. It is essential to accurately determine the money, equipment, locations, crew, and post facilities that will definitely be available to the production.
For any digital production (especially one designed to be transferred to film), it is important to carefully research a series of technical issues (e.g. the best format, NTSC vs. PAL, audio recording to camera or DAT) to determine how the necessary image and sound quality can be achieved.
Realistic Scripting - The script is often written after the resource assessment. But whenever it is written or modified, it must be possible to make the scripted movie with the resources available. Shooting digitally rather than on film usually reduces the budget thus reducing the risk of running out of money during production.
Imaginative Financing - Every conceivable method is used to minimize and postpone expenditures. Digital makes both easier. It reduces the cost of production by eliminating the cost of film stock and processing, and camera rental. Digital also postpones, and in some cases eliminates, the cost of making film prints if filmmakers use digital projection at festivals. They often decide not to make a film print if theatrical distribution isn’t an option.
Recruiting Cast and Crew - It is essential to find capable cast and crew who will work for little or no compensation while enduring the rigors of ultra-low budget production. Shooting digitally may make it easier to attract actors who want the opportunity to give their best performances. For digital productions it is important to find a talented DP, who is either experienced in digital cinematography or committed to learning the fundamentals.
Pragmatic Planning - “Budgeting, scheduling, and other planning must me done carefully to maximize the use of limited resources and minimize problems.” This is especially true for digital production. As part of the extra technical research required, tests should be done prior to production. After a lab is chosen, footage should be shot using the designated camera under anticipated lighting conditions. Then the lab should transfer this footage to 35mm, and project it for the director and the DP. This makes it possible to optimize the camera settings in advance, and enables the director and DP to know exactly how their digital images will ultimately look on film. When shooting digitally it is also necessary to have a realistic plan about the audio postproduction path (especially if using PAL).
Guerrilla Production – Ultra-low budget production on film is usually short and intense since only a small shooting ratio (eg. 5:1) is affordable. When shooting digitally, the camera (or cameras) can be on most of the time leading to 20:1 and 30:1 shooting ratios. Using small digital cameras and a small crew enables inconspicuous production in real world locations, making it possible to capture reality rather than faking it. Owning a digital camera allows greater scheduling flexibility. When I asked Gary Winick when he was going to finish shooting his first digital feature, Sam the Man, he replied, “Tonight if it rains.” Digital production can also be much longer, with more shooting days spread over an extended schedule.
Extended Postproduction – Postproduction on film can require significant amounts of cash for equipment rental, lab work, negative cutting, etc. This money is often raised in bits and pieces dragging out postproduction. Digital post is less resource intensive since more steps can be done on a desktop computer. The length of digital post is usually determined by creative rather than financial needs. Digital allows relatively quick and inexpensive recuts and can raise the question – when is the movie ever done?
Boundless Opportunism – Ultra-low budget filmmakers have to be able to create and take advantage of opportunities. Digital production allows more opportunities for creative choices throughout the process.
There is an increasing amount of digital moviemaking at higher budget levels. George Lucas has been a leading proponent of digital production and his Star Wars Episode II – Attack of the Clones (shot entirely in 24p High Definition) is the highest budget live action digital feature made so far.
Robert Rodriguez has already shot two features digitally, the $38 million dollar SpyKids II and the $28 million dollar Once Upon a Time in Mexico, which is in postproduction and is the last film in the El Marachi/Desperado trilogy. Both Lucas and Rodriguez have been so pleased with their digital experience that they may never make a movie on film again. Many other established filmmakers from Lars von Trier and Eric Rohmer to Michael Winterbottom and Mike Figgis have used digital tools to great advantage on budgets of $1 to 15 million dollars.
ULTRA FREEDOM AND CONTROL
At high and medium budget levels, digital production provides significant financial and creative advantages. But it is at the ultra-low budget level that it affords filmmakers an unprecedented combination of creative freedom and creative control.
Whether their films are financed by friends and family or by themselves, ultra-low budget filmmakers have typically had full creative control from scripting and casting through final cut. But ultra-low budget filmmakers shooting on film have usually faced significant limits on their creative freedom due to their limited resources. They can only afford to film at a very low shooting ratio, given the cost of stock and processing. Their access to cameras and other rented production equipment is restricted by their budgets. And what they can do in post and for how long is also circumscribed.
Digital tools have dramatically expanded the creative freedom of ultra-low budget filmmakers. They can shoot as much as they want. They also have the opportunity to shoot with multiple cameras, and to experiment on the set. Digital tools have also expanded the creative freedom of ultra-low budget filmmakers in post. They can edit whenever they want for as long as they need. They can create a wide spectrum of visual effects on the computer (avoiding the use of expensive film opticals) and have greater control over color timing. They can manipulate audio and even online on the desktop if necessary.
During the first 12 years (1979 – 91) of the American independent feature movement, only a few intrepid filmmakers made microbudget films. During the next six years (1992 – 98), the ultra-low budget model became the norm for emerging directors. During the past three years (1992 – 2002), the digital ultra-low budget model has become dominant. Steadily improving digital tools have shifted power from financiers to filmmakers. In addition to increasing creative control and freedom, ultra-low budget digital moviemaking has further lowered the barriers to aspiring filmmakers. John Pierson noted in 1993 that with the advent of ultra-low budget production, budgets seem to “have dropped a zero.” In the early ‘90s $50,000 films were replacing $500,000 features. Today the use of digital tools has allowed some filmmakers to drop another zero, enabling them to make features for $5,000 and less (see Some Body, and Boxes sidebars).
But while the barriers to production have fallen, the barriers to distribution have risen. The overall state of independent feature distribution is grim. Studio franchise films with theme park ride potential are doing exceptionally well. Recent indie successes such as Memento, Y Tu Mama Tambien, Monsoon Wedding, and My Big Fat Greek Wedding are atypical. Most indie features never find distribution. Those that secure theatrical distribution struggle to stay in theaters more than a week or two, and then face worsening ancillary markets, from home video to overseas sales.
These days it is much harder for independents to get a movie into the world than to create one. There is nothing ultra-low budget filmmakers can do to guarantee distribution.
The sorry state of distribution affects all independent features, regardless of budget. Plenty of well-funded films with known casts are crashing and burning. But the challenge is much greater for ultra-low budget features without name actors or other pre-sold elements. They need to be well made and distinctive. Festival and critical success is important, as is creating a unique identity (eg. π). The film’s appeal to a core audience can also be crucial.
In the longer run, new distribution routes will supplement existing ones. Digital projection in independent theaters and microcinemas, the evolution of video-on-demand, and new uses of the internet will make it easier for exceptional independent features to reach audiences eager to see them.
In the short run, ultra-low budget filmmakers must combine passion and determination with realism. Knowing that they may not find wide distribution, their primary goals should be to make the best movies they can make and to keep making them. Hopefully if they make an outstanding movie – regardless of its distribution – this will help them to attract more resources for the next one. If not, nothing can stop them from making another ultra-low budget movie. Like novelists and painters their creative fate is in their own hands.


The stereotype is that dementia patients will not fully grasp or be able to sit through an entire movie screening – but Keith’s cinema club proved this stereotype wrong.
Keith and Liz were inspired to create a safe and comfortable environment for dementia suffers to enjoy and re-engage with cinema and their surrounding community.
Challenging Dementia Stereotypes
The project was supported by small grants from the Alzheimer’s Society and Innovations in Dementia, where Keith and Liz were able to plan 6 independent screenings. These screenings were scheduled between 10:30am and 1pm – an ideal time, as attention span and cognition tends to be sharper in the mornings for many dementia sufferers.
Wanting to challenge the ‘dementia friendly’ stereotype, Keith and Liz chose to screen movies only made in the last 6 years. They made use of the Forget-Me-Nots group, based in Canterbury, to come up with a list of 15 different films, in a range of genres. Eventually, they agreed upon 6 different films to show, including:
- The King’s Speech (2010)
- Paddington (2014)
- The Way Way Back (2013)
- The Monuments Men (2014)
- A Walk in the Woods (2015)
- Mao’s Last Dancer (2009)
Amazingly, the greatest response from all of the dementia patients who watched each film, was towards Mao’s Last Dancer. This is a film which requires added attention span as it is broadcast in both English and Chinese (subtitles). It also includes plenty of flashbacks to different periods of time. This film resonated the most with the dementia patients, who appeared to fully grasp the movie plot.
Discussions after each film presented findings that dementia sufferers, are in fact, able to engage with cinema and each other through social discussions of each film. This social experiment just goes to show that those living with dementia can still experience a rich and valuable life, with just a little bit of guidance.


Messiah University's Young Filmmakers Workshop is a summer creative program offering residential and commuter options for young filmmakers entering grades 10-12. The five day filmmaking workshop will offer novice high school age filmmakers an opportunity to learn basic filmmaking principles while developing, filming and editing a short film. Students will work collaboratively to complete scriptwriting prompts and storyboard a short film based on three prearranged setting. Each crew will "act" in the other team's film as they alternate at each setting throughout the week. The final full day will be dedicated to editing the short films and the workshop will conclude with a screening for students and their families in Parmer Cinema.
To enable students to become better filmmakers in a safe and positive environment.
To develop a community of filmmakers that is established during the week and endures beyond the week.
To give students a foretaste of the college experience and college level thinking and work.