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The Last Poem of Summer, An adaptation of Suddenly Last Summer by T. Williams Directed by Marilena Sitaropoulou and Lethe, An adaptation of The Black Sequin Dress by Jenny Kemp, Directed by Irene Vlavianou
Governor Murphy signs executive order directing state departments and agencies to identify gun violence prevention measures on Friday, June 24, 2022(Edwin J. Torres/NJ Governor’s Office).
Directed by Andrei Tarkovsky
Starring Donatas Banionis, Natalya Bondarchuk
Based on Solaris 1961 novel by Stanislaw Lem
THEM!
Directed by: Gordon Douglass
Written by: Ted Sherdeman, Russell S. Hughes, George Worthing Yates
Starring: James Whitmore, James Arness, Joan Weldon, Edmond Gwynn
Producer: David
Warner Bros.
Filming on location in Southport for upcoming new movie "Noble," writer/director/co-producer Stephen Bradley has a quiet word with production crew member
See the full set: www.flickr.com/photos/the_old_brit/sets/72157632957836060/
Direct from Koni Kowa. Here's the real thing - two of the elusive Kowa close up lenses. Now if only I could find No. 3...
Tinguely museum Basel CH - With his museum situated on the Rhine, the architect Mario Botta created an unusual stage for Tinguely’s works. In the huge central hall alone there is space for twenty machine-sculptures. The southern façade giving on to the river presents a special architectural feature: an elongated suspended section detached from the body of the building, constitutes a kind of riverbank promenade along which all museum visitors must proceed – an itinerary directing the visitor’s eye to the Rhine. The façade giving on to the motorway in the east is very high, with three levels of exhibition spaces above ground level making it the tallest part of the building; it establishes a sound barrier towards the green spaces. Facing the park, on the opposite side, the museum consists of five sections, three of which open onto the park through a wide porch. The northern façade runs parallel to the Grenzacherstrasse. A covered area between the street and the museum provides access to the park and the museum.
The museum interior on the ground floor may be divided by walls that can be raised and concealed in the ceiling. The static support system at this level is coordinated with a pre-existing, underground reservoir (five storey’s deep) for treating the Rhine water. The exhibition spaces consist of four areas of different design and on four different levels. The first storey (2.90 m above ground level) is reached via the Rhine promenade section; it forms a gallery, open to the ground floor on one side and the exhibition rooms on the other. At the end of this gallery, the visitor reaches the next storey (at the height of 7.85 m), a series of ‘classical’ rooms with daylight entering through slanted skylights. The route proceeds downwards to a level three metres below ground level, where works are shown that do not require daylight. The visitor’s tour ends on the ground floor with the huge monumental sculptures. They occupy the museum’s largest exhibition space (30 x 60 m), divisible into five areas as mentioned above, and facing the park.
Facts:
October 1994: Excavation and beginning of building; October 1, 1996: Official inauguration. Exhibition spaces: 2'866 sqm; Total surface: 6'057 sqm
Normaal vertrekt de Eurocity Direct van spoor 3 in Rotterdam naar Brussel. Maar door de staking daar vertrekt de ECD nu naar Lelystad vanaf dit spoor.
Treinstel 3311 staat te trappelen van ongeduld voor trein 9523.
"Amateurs" by Tom Griffin
directed by Laura Schultz
February 6-15, 2009
Dorothy played by Amanda Leigh Denison
Charlie played by Will Hand
Nathan Monroe played by Justin Dias
Wayne Seabury played by Stephen Brookins
Jennifer Collins played by Megan Trout
Irene Chilmark played by Kaitlin Schuster
Erine Chilmark played by David Roberts
Paul Cortland played by Anthony Cirimele
Mona Williams played by Marissa Clarke
Stage Manager: Abbey Stimson
Scenic Designer: Joshua Saulpaw
Props Designer: Hannah Murray
Costume Designer: Miriam Lewis
Sound Designer: Teddy Hulsker
Lighting Designer: Travis Rexroat
Makeup Designer: Reverend Luke Neu.
LMS 4-6-0 Black 5 44806 was bought direct from British Railways and was named Magpie after the ITV children`s programme.
It is now a regular performer on the Llangollen Railway.
DC Direct: Wonder Woman - (2007)
First Comic Book Appearance:
Historical: Wonder Woman vol. 1 #37 (Sep/Oct 1949)
Modern: Wonder Woman vol.2 #18 (July 1988)
en.wikipedia.org/wiki/Circe_(comics)
The Last Poem of Summer, An adaptation of Suddenly Last Summer by T. Williams Directed by Marilena Sitaropoulou and Lethe, An adaptation of The Black Sequin Dress by Jenny Kemp, Directed by Irene Vlavianou
Directed by Sara Whale. Choreographers collaboarate with Dr. Swagata Banik to illustrate and draw attention to his National Institute of health-funded study, "Project SHAKTI: Stigma Reduction, Healthcare Provider Awareness and Knowledge Enhancement on Transgender Issues in India". The production delves into Hijra culture and examines the efforts to break down barriers and build empathy between India's marginalized third gender population and health services providers.
Direction musicale
Kazushi Ono
Orchestre des Jeunes de la Méditerranée
Samy Moussa
Nocturne
Claude Debussy
Iberia, images pour orchestre n°2
Maurice Ravel
Ma mère l'Oye, suite pour orchestre
Claude Debussy
La Mer, trois esquisses symphoniques pour orchestre
L’Orchestre des Jeunes de la Méditerranée propose à des instrumentistes de la région Provence-Alpes-Côte d'Azur et du bassin méditerranéen de suivre une formation en tant que musiciens et musiciennes d’orchestre. Dirigé par Kazushi Ono, leur concert présente trois chefs-d’œuvre impressionnistes de Debussy et Ravel. Ces magiciens de l’orchestration esquissent un kaléidoscope enchanteur où l’ivresse de l’Espagne se mêle au parfum de l’enfance.
LA COMMANDE FAITE À SAMY MOUSSA EST SOUTENUE PAR LA SACEM.
Dimanche 22 juillet 2018 au Conservatoire Darius Milhaud.
© Vincent Beaume
M. François Laplante, ergothérapeute (récipiendaire – catégorie Formation universitaire), avec Sophie Bergeron, Sylvie Bénard et Christine Roberge
Production stills from the book trailer for Mystic of Arts of Erasing All Signs of Death by Charlie Huston - a Random House publication.
Death be dirty.
Video here:
ALL IMAGES COMPLIMENTS OF PETER CANALE - thank you sir.
Directed by Sara Whale. Choreographers collaboarate with Dr. Swagata Banik to illustrate and draw attention to his National Institute of health-funded study, "Project SHAKTI: Stigma Reduction, Healthcare Provider Awareness and Knowledge Enhancement on Transgender Issues in India". The production delves into Hijra culture and examines the efforts to break down barriers and build empathy between India's marginalized third gender population and health services providers.
Direct Rail Services 37601 "Class 37 - Fifty" and UK Rail Leasing 37611 working 1Q48 Derby RTC to Tyseley LMD
Esprit NordEst.com
Une maison traditionnelle avec piscine et verger à 10 km d'Epinal
Dossier technique complet de visite détaillée de 20 pages avec 30 photos disponible gratuitement sur notre site ESPRITNORDEST.COM
Vidéo disponible sur YOUTUBE et DAILYMOTION, sur la chaine "Esprit NordEst"
Cette maison vous intéresse, contactez nous directement pour prendre rdv,
au 03.88.37.02.43 et nous vous communiquerons gratuitement les coordonnées du propriétaire
Prix net vendeur, nos services sont garantis sans frais d'agence et sans commission à la vente, unique dans la région !
Une maison traditionnelle avec piscine et verger à 10 km d'Epinal
C'est au bout d'une petite impasse à une dizaine de kilomètres du centre d'Epinal que nous avons découvert ce ravissant pavillon des années 1980. Agrémenté d'une grande piscine, vous aurez la possibilité de profiter pleinement des baignades familiales sans avoir le moindre vis-à-vis, entièrement à l'abri des regards. Le 1er voisin étant aux confins de votre vaste terrain de plus de 3200 m² arboré partiellement d'un verger complanté de fruitiers. Toute la maison est orientée plein sud afin de profiter pleinement de la terrasse de 50 m² et de la vue plongeante sur la piscine. Une terrasse couverte vous permettra également de profiter des BBQ's entres amis lors des chaudes journées estivales. La chambre parentale, la cuisine et la salle à manger disposent de portes-fenêtres qui permettent au soleil de s'infiltrer dans les moindres recoins. Un vaste sous-sol couvre la totalité de l'emprise et dispose d'une salle de jeux (ou d'une chambre supplémentaire) avec un accès direct sur la terrasse et la piscine. L'agencement intérieur à été judicieusement pensé afin d'optimiser tous les volumes et vous procurer ainsi une agréable sensation d'espace. Salon-séjour en 1/2 niveau, prestations de qualités avec un granit poli au sol en pose diagonale et une nouvelle cuisine équipée aux tonalités cérusées et estivales donnent le ton des moyens mis en œuvre par les propriétaires qui ont entretenu avec soin leur maison depuis sa construction. Nous vous proposons ici un excellent investissement à un prix contenu, une réelle opportunité avec un très bon rapport qualité/prix/prestations !
Esprit NordEst.com, maisons à vendre sans frais d'agence, directement entre particulier, dans les Vosges, en lorraine et en Alsace !
Ruggedized hurricane response packs are being prepared by Direct Relief staff in the Santa Barbara, California warehouse. These packs can be mobilized as needed for medical response to clinics and health centers in affected areas. Over $30 million in medical inventory is available to responding health facilities.
Emergency packs contain medical items to treat 100 patients for 3 days. In addition supplies to aid those with acute or chronic injuries or illness. 100% of designated contributions will be used to support people in hurricane affected communities.
M. Sylvain Caron, technicien en bâtiment (récipiendaire – catégorie Formation collégiale), entouré d’Yves Marineau (à gauche), Pierre-Marc Legris et Christine Roberge
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
Horbury Town's Marc Keane (No 4) fires a direct free-kick narrowly wide at Slazengers Sports & Social Club during a 2-1 West Yorkshire League Premier Division win over struggling Leeds-based visitors East End Park WMC. Victory saw Horbury go level in the standings with third-placed Leeds City.
John Ellison Conlee and Maggie Lacey in
"Lips Together, Teeth Apart", by Terence McNally, directed by Mark Lamos at Westport Country Playhouse
July 12 - 30, 2011
Set Design: Andrew Jackness
Costume Design: Candice Donnelly
Lighting Design: Robert Wierzel
Sound Design: John Gromada
Fight Director: Mark Silence
Casting: Janet Foster, C.S.A.
Production Stage Manager: Matthew Melchiorre
In order to provide a quick connection for passengers travelling from Penn Station to points east of Ronkonoma, trains connecting with Scoot Services typically arrive two or three minutes before the Scoot departure. Here, train 8014 makes its way through the Ocean Avenue Crossing moments before arriving at Ronkonkoma.