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What is DRAINIAC? It's Brett Piper's late 1990's horror epic shot on 16mm and remastered to HD by Brett Piper and I! Support indie filmmaking on film - watch it on Amazon Streaming!
www.amazon.com/Drainiac-Georgia-Hatzis/dp/B01CH57IFK/ref=...
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
On average million want to break into this industry but in reality some people only step into this industry and eventually less than 10 people will get a great success while other people just stay in the industry for the right chance.
Unfortunately now a days Indian film industry is ruled by w...
Leading man, Connor Deino Sinkims with one of the marvelous principle dancers, Cerys Hanson.
Here, caught candidly while doing 'their own thing' in the ballroom @ Southport's Price of Wales Hotel. Shot during on location filming for upcoming musical movie, "Perfectly Frank".
great article on the kuleshove effect editing by elements of cinema read here
In the dawn of the 20th century, cinema was a new art form, consisting of many techniques that hadn’t been fully developed. The elements of editing were among them. Filmmakers knew that you could cut and splice the...
15 years of filmmaking shot by Crest Pictures in the beautiful state of Washington while hiking, backpacking, climbing, snowshoeing, car camping and day touring. Most was in the wilderness backcountry of Mount Rainier, the Olympics and North Cascades. Some was in the front country or while car-touring. All was filmed and edited by Robert. Back in 2001 he started shooting with a Sony mini-DV, then upgraded to JVC HD and Sony HD cameras, next he went to a Blackmagic Pocket Cinema camera, and now uses a LUMIX GH5 DSLR. He’s edited in Final Cut Pro for over 10 years. Feel free (yes, they are free) to view them at your leisure from our new Washington State Outdoors Vimeo channel. Click here: vimeo.com/channels/washingtonstate
BTW ... our 3 features (only the trailers here) are all available on DVD at most Puget Sound area libraries. Anyhow, we're pretty proud of this body of work, but most happy to have been there to experience these special times and places while traveling throughout our great state. We wanted to share them all with you now, too ... hope you enjoy!
We're also currently compiling 30 or so additional shorts filmed throughout the west, including Canada, Alaska, Colorado, California, Utah, and Arizona for another Vimeo channel. In the meantime, feel free to view them as well at the Crest Pictures channel here: vimeo.com/channels/crestpictures/videos
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
Pentax Spotmatic - Ilford Delta 100
No more packing a van at 7 every morning (after a nice hour journey down the motorway). I'll miss my early mornings with Terry Wogan.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
The Revera and Reel Youth Age is More Film Project is an intergenerational partnership between Revera, a Canadian leader in seniors' accommodation, care and services, and Reel Youth, a charitable project that empowers youth to create engaging films about important social issues. The partnership was launched in 2013.
With 80 films to date, the program celebrates older Canadians through story-telling and film, with the added benefit of fostering new intergenerational relationships. The project aims to shed light on ageism, challenge the assumptions of aging and recognize the valuable contributions of older adults to society.
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opsoclo_films: ;) a set we build for a film. @hswan89
hswan89: Am I going to get a chance to see said film?!? ;D
opsoclo_films: Yeah... you will. @hswan89
hswan89: 😆
opsoclo_films: @hswan89 dat smile...
hswan89: It's the one I wear when I see your films. 😉
lawrsondp: Love this! @opsoclo_films
opsoclo_films: Thanks @lawrsondp
Source – Creative skillset
First Assistant Director (First AD)
Industries:
Film
Personality type:
Organiser
Departments:
Direction
The lowdown
Being the Director’s right-hand person, taking responsibility for a number of important practicalities so that the Director is free to...
Starring Harry Carey, Edwina Booth, Duncan Renaldo, Mutia Omoolu, Olive Golden. Directed by W.S. Van Dyke.
This production was an amazing undertaking in 1931. American filmmaking with sound and location shooting was unheard of and with the country still feeling the effects of the depression also quite a gamble. This is a fascinating tale of a real life adventure with a dose of Hollywood shenanigans thrown in.
The movie tells of the adventures of real-life trader and adventurer Alfred Aloysius "Trader" Horn on safari in Africa. The fictional part includes the discovery of a white blonde jungle queen, the lost daughter of a missionary, played by Miss Booth. The realistic part includes a scene in which Carey as Horn swings on a vine across a river filled with genuine crocodiles, one of which comes very close to taking his leg off.
The following review is by an anonymous writer.......I note a number of misconceptions about this great old flick, or maybe some viewers are missing a few things. Sure, Harry Carey refers to some of the tribes-people herein as savages. But, look, on a daily basis they will kill you, cook you, shrink your head, and eat what's left. If that isn't savage, I'd like to know what is. The tribes-people pictured here aren't the Dead End Kids waiting for a weekly visit from their case worker. Yes, Carey refers to his man Friday as a black so-and-so, but the so-and-so comes off looking highly noble in the script, and Carey pays him due tribute. As for Carey playing the part of a hardened Congo guide, he does a mighty fine job of rendering a realistic character, just as would John Wayne, Charleton Heston, or Clint Eastwood. In the War on Poverty days I could see some misguided soul casting Anthony Perkins in the role, but it seems to me Mr. Carey does a superb job. Another reviewer remarked Carey falls in love with the rescued captive; I disagree. Carey had pledged to protect her and return her to civilization. One person from whom he tries to protect her is the naive, erotically smitten Duncan Renaldo ("Peru"), whose character is the opposite of Trader Horn's. Trader Horn knows what's out there and what to watch for; Peru is a total newbie whose missteps could get everyone killed and cooked, including himself. I think this film's characters, story, and production handily outdo any jungle flick made since then. Kinda scary, too. So scary, in fact, and so real, I wouldn't recommend it for the kiddies. Revisionist historians stay clear; in 1931, this is really what Darkest Africa was like.
Summary:
Deep in the heart of Africa, famous hunter, explorer Aloysius Horn, known as Trader Horn due to his bartering skills, tells Peru, the son of his best friend, that he was the first white man to set eyes on the river on which they are sailing. When their boat approaches a small African village that is bustling with activity, the natives welcome the visitors, and Trader asks to be taken to the chief. Though Trader warns Peru of the savage nature of the natives, Peru is nevertheless shocked when he sees a human skeleton displayed on a public cross. The white men's visit is soon interrupted by the ominous sound of a distant drum beat, known as "ju-ju," which the Africans, as well as Trader, know signals the impending attack of the brutal Masai warriors. Trader explains to Peru that when the Masai and the Kukua tribes get together, "the devil is certainly involved," and suggests that they move on. That night, the men, with their African guide, Renchero, set up camp, but they are awakened by the unexpected arrival of the white missionary woman, Edith Trent. Edith, a friend of Trader, whom Trader calls the bravest woman in all of Africa, informs him that she intends to go above the Opanga Falls and into Isorgi country in order to find her missing daughter Nina, who is believed to be living among the Isorgi. Trader warns Edith of the dangers of traveling during ju-ju and offers to accompany her, but she refuses, claiming that the presence of a male with guns will only startle the warriors into violence. Edith consents, however, to allow Trader and his companions to follow her at a distance, on the condition that he continue her search if something should happen to her. Not long after the expedition begins, Trader and Peru discover Edith's body by the river. They proceed to bury it under rocks and mark it for witch doctors, who will later dig it up and make charms out of it. As they promised Edith, Trader and Peru take up her search for Nina, and on the trail find themselves in the company of giraffes, leopards, ostriches, warthogs, zebras and other creatures. After Trader and Peru finally locate Nina, they soon realize that she is the sadistic white goddess of the village in which she lives, and that she plans to sacrifice her new visitors by tying them to crosses and burning them. At the last minute, though, Nina has a change of heart, orders their release, and plans an escape with them from the bushmen, who have turned on her. The goddess escorts the men across the lake, and they brave the perils in their path, including a lion attack. During the course of their journey, Peru and Nina fall in love, and when they kiss, Trader insists that he separate from them for the remainder of the trip. The sound of the enemy tribe's approach sends them scattering, Peru with Nina, and Trader with Renchero. The next morning, Trader discovers that Renchero has sacrificed his life in order to protect him and mourns the loss of his friend. Meanwhile, Peru and Nina are shown to safety by a tribe of pygmies, and they are eventually reunited with Trader. Peru tells Trader that he is taking Nina back to civilization to educate her, and as they sail off, Trader sees an image of Renchero in the clouds on the horizon.
The following onscreen acknowledgment appears in the film's titles: "M-G-M acknowledges Governors and governmental officials of the Territory of Tanganyika, the Protectorate of Uganda, the Colony of Kenya, the Anglo-Egyptian Sudan, [and] the Belgian Congo, whose courtesy and cooperation made this picture possible...and the director offers his thanks for the courageous and efficient services of the White Hunters, Maj. W. V. D. Dickinson, A. S. Waller, Esq., J. H. Barnes, Esq., [and] H. R. Stanton, Esq., who were chiefly responsible for the expedition's ability to traverse 14,000 miles of African velt and jungle."
According to a FD news item, following its publication, Trader Horn became one of the best-selling books of its time. The film was the first non-documentary film to be shot almost entirely on location in Africa. A Jan 1930 AC article notes that the film was nearly half completed when the studio informed the crew in Africa that Hollywood was sending a sound crew to meet them. They were told that "the world was demanding its pictures all-talking." According to an Ap 1931 Photo article, M-G-M secretly sent a second unit to Tecate, Mexico, away from American laws that secured the ethical treatment of animals, to film scenes of animals fighting with each other, which they were unable to capture on film in Africa. In Mexico, lions were reportedly starved for several days in order to ensure immediate and particularly vicious attacks on hyenas, monkeys and deer.
Modern sources relate the following information about the film: Tim McCoy was originally chosen to play the title role; Thelma Todd was tested for the part of "Nina" and M-G-M production head Irving Thalberg reportedly considered Jeanette MacDonald for the part. During the filming of a scene in which white hunter Major W. V. D. Dickinson and director W. S. Van Dyke doubled for the leading men, a charging rhino nearly killed Dickinson, who incorrectly thought that the director was in distress and jumped into the rhino's path to protect him. During production, Van Dyke and many of his crew contracted malaria and were treated with quinine. Despite the British authorities' insistence that no one travel to the Murchison Falls, a known sleeping-sickness area, the director took his crew there for filming. The production was marred by at least two fatal disasters. In the first instance, a native crew member fell into a river and was eaten by a crocodile; in the other incident, which was captured on film, a native boy was struck by a charging rhino. Misfortunes of lesser consequence on the African location included flash floods, sunstroke, swarming locusts and tsetse-fly and ant attacks. Despite months of sound filming, almost all of the dialogue sequences in the film were re-shot on M-G-M's Culver City backlot after the troupe returned from Africa because of the poor quality of the location footage. As the script called for speaking scenes involving African natives Mutia Omoolu and Riano Tindama, they were brought back to Hollywood for additional shooting.
With all the production activity in Culver City, rumors began circulating in Hollywood that the entire production was filmed on the M-G-M lot and that the African expedition did not take place. For this reason, the studio decided to scrap the backlot footage of Marjorie Rambeau, who had replaced Olive Golden as "Edith Trent." Modern sources add the following credits: Red Golden, Asst dir ; Josephine Chippo, Script clerk ; John McClain, Press agent and Miss Gordon, Hairdresser . Although modern sources indicate that the film was originally released with a short introduction in which director Cecil B. DeMille discusses the film's authenticity with author Alfred Aloysius Horn, and that the three-minute introduction was deleted from the negative in 1936, when the picture was re-issued, neither the viewed print nor the cutting continuity contain the introduction. The final production cost was pegged at $3,000,000.
Leading actor Harry Carey was married to actress Olive Golden. According to modern sources, following publicized rumors of an affair between stars Duncan Renaldo and Edwina Booth (formerly Josephine Woodruff) during production, Renaldo's wife, Suzette, filed for divorce and later filed a $50,000 lawsuit against Booth for "alienation of affection." On 17 Jan 1931, Duncan Renaldo was arrested on charges that he entered the United States illegally and was later sentenced to two years in federal prison. After serving less than two years, Renaldo received a pardon from President Franklin Delano Roosevelt in 1936, after which he left the country, re-entered legally and became a U. S. citizen. Booth contracted a rare tropical disease while filming in Africa that affected her nervous system and reportedly forced her to remain confined to a darkened room for the better part of six years.
Trader Horn was nominated for an Academy Award for Best Picture of the 1930-31 season, and director W. S. Van Dyke was awarded the Red Cross Medal by the Japanese government for his outstanding achievement in direction.
Starring Harry Carey, Edwina Booth, Duncan Renaldo, Mutia Omoolu, Olive Golden. Directed by W.S. Van Dyke.
This production was an amazing undertaking in 1931. American filmmaking with sound and location shooting was unheard of and with the country still feeling the effects of the depression also quite a gamble. This is a fascinating tale of a real life adventure with a dose of Hollywood shenanigans thrown in.
The movie tells of the adventures of real-life trader and adventurer Alfred Aloysius "Trader" Horn on safari in Africa. The fictional part includes the discovery of a white blonde jungle queen, the lost daughter of a missionary, played by Miss Booth. The realistic part includes a scene in which Carey as Horn swings on a vine across a river filled with genuine crocodiles, one of which comes very close to taking his leg off.
The following review is by an anonymous writer.......I note a number of misconceptions about this great old flick, or maybe some viewers are missing a few things. Sure, Harry Carey refers to some of the tribes-people herein as savages. But, look, on a daily basis they will kill you, cook you, shrink your head, and eat what's left. If that isn't savage, I'd like to know what is. The tribes-people pictured here aren't the Dead End Kids waiting for a weekly visit from their case worker. Yes, Carey refers to his man Friday as a black so-and-so, but the so-and-so comes off looking highly noble in the script, and Carey pays him due tribute. As for Carey playing the part of a hardened Congo guide, he does a mighty fine job of rendering a realistic character, just as would John Wayne, Charleton Heston, or Clint Eastwood. In the War on Poverty days I could see some misguided soul casting Anthony Perkins in the role, but it seems to me Mr. Carey does a superb job. Another reviewer remarked Carey falls in love with the rescued captive; I disagree. Carey had pledged to protect her and return her to civilization. One person from whom he tries to protect her is the naive, erotically smitten Duncan Renaldo ("Peru"), whose character is the opposite of Trader Horn's. Trader Horn knows what's out there and what to watch for; Peru is a total newbie whose missteps could get everyone killed and cooked, including himself. I think this film's characters, story, and production handily outdo any jungle flick made since then. Kinda scary, too. So scary, in fact, and so real, I wouldn't recommend it for the kiddies. Revisionist historians stay clear; in 1931, this is really what Darkest Africa was like.
Summary:
Deep in the heart of Africa, famous hunter, explorer Aloysius Horn, known as Trader Horn due to his bartering skills, tells Peru, the son of his best friend, that he was the first white man to set eyes on the river on which they are sailing. When their boat approaches a small African village that is bustling with activity, the natives welcome the visitors, and Trader asks to be taken to the chief. Though Trader warns Peru of the savage nature of the natives, Peru is nevertheless shocked when he sees a human skeleton displayed on a public cross. The white men's visit is soon interrupted by the ominous sound of a distant drum beat, known as "ju-ju," which the Africans, as well as Trader, know signals the impending attack of the brutal Masai warriors. Trader explains to Peru that when the Masai and the Kukua tribes get together, "the devil is certainly involved," and suggests that they move on. That night, the men, with their African guide, Renchero, set up camp, but they are awakened by the unexpected arrival of the white missionary woman, Edith Trent. Edith, a friend of Trader, whom Trader calls the bravest woman in all of Africa, informs him that she intends to go above the Opanga Falls and into Isorgi country in order to find her missing daughter Nina, who is believed to be living among the Isorgi. Trader warns Edith of the dangers of traveling during ju-ju and offers to accompany her, but she refuses, claiming that the presence of a male with guns will only startle the warriors into violence. Edith consents, however, to allow Trader and his companions to follow her at a distance, on the condition that he continue her search if something should happen to her. Not long after the expedition begins, Trader and Peru discover Edith's body by the river. They proceed to bury it under rocks and mark it for witch doctors, who will later dig it up and make charms out of it. As they promised Edith, Trader and Peru take up her search for Nina, and on the trail find themselves in the company of giraffes, leopards, ostriches, warthogs, zebras and other creatures. After Trader and Peru finally locate Nina, they soon realize that she is the sadistic white goddess of the village in which she lives, and that she plans to sacrifice her new visitors by tying them to crosses and burning them. At the last minute, though, Nina has a change of heart, orders their release, and plans an escape with them from the bushmen, who have turned on her. The goddess escorts the men across the lake, and they brave the perils in their path, including a lion attack. During the course of their journey, Peru and Nina fall in love, and when they kiss, Trader insists that he separate from them for the remainder of the trip. The sound of the enemy tribe's approach sends them scattering, Peru with Nina, and Trader with Renchero. The next morning, Trader discovers that Renchero has sacrificed his life in order to protect him and mourns the loss of his friend. Meanwhile, Peru and Nina are shown to safety by a tribe of pygmies, and they are eventually reunited with Trader. Peru tells Trader that he is taking Nina back to civilization to educate her, and as they sail off, Trader sees an image of Renchero in the clouds on the horizon.
The following onscreen acknowledgment appears in the film's titles: "M-G-M acknowledges Governors and governmental officials of the Territory of Tanganyika, the Protectorate of Uganda, the Colony of Kenya, the Anglo-Egyptian Sudan, [and] the Belgian Congo, whose courtesy and cooperation made this picture possible...and the director offers his thanks for the courageous and efficient services of the White Hunters, Maj. W. V. D. Dickinson, A. S. Waller, Esq., J. H. Barnes, Esq., [and] H. R. Stanton, Esq., who were chiefly responsible for the expedition's ability to traverse 14,000 miles of African velt and jungle."
According to a FD news item, following its publication, Trader Horn became one of the best-selling books of its time. The film was the first non-documentary film to be shot almost entirely on location in Africa. A Jan 1930 AC article notes that the film was nearly half completed when the studio informed the crew in Africa that Hollywood was sending a sound crew to meet them. They were told that "the world was demanding its pictures all-talking." According to an Apr 1931 Photo article, M-G-M secretly sent a second unit to Tecate, Mexico, away from American laws that secured the ethical treatment of animals, to film scenes of animals fighting with each other, which they were unable to capture on film in Africa. In Mexico, lions were reportedly starved for several days in order to ensure immediate and particularly vicious attacks on hyenas, monkeys and deer.
Modern sources relate the following information about the film: Tim McCoy was originally chosen to play the title role; Thelma Todd was tested for the part of "Nina" and M-G-M production head Irving Thalberg reportedly considered Jeanette MacDonald for the part. During the filming of a scene in which white hunter Major W. V. D. Dickinson and director W. S. Van Dyke doubled for the leading men, a charging rhino nearly killed Dickinson, who incorrectly thought that the director was in distress and jumped into the rhino's path to protect him. During production, Van Dyke and many of his crew contracted malaria and were treated with quinine. Despite the British authorities' insistence that no one travel to the Murchison Falls, a known sleeping-sickness area, the director took his crew there for filming. The production was marred by at least two fatal disasters. In the first instance, a native crew member fell into a river and was eaten by a crocodile; in the other incident, which was captured on film, a native boy was struck by a charging rhino. Misfortunes of lesser consequence on the African location included flash floods, sunstroke, swarming locusts and tsetse-fly and ant attacks. Despite months of sound filming, almost all of the dialogue sequences in the film were re-shot on M-G-M's Culver City backlot after the troupe returned from Africa because of the poor quality of the location footage. As the script called for speaking scenes involving African natives Mutia Omoolu and Riano Tindama, they were brought back to Hollywood for additional shooting. With all the production activity in Culver City, rumors began circulating in Hollywood that the entire production was filmed on the M-G-M lot and that the African expedition did not take place. For this reason, the studio decided to scrap the backlot footage of Marjorie Rambeau, who had replaced Olive Golden as "Edith Trent." Modern sources add the following credits: Red Golden, Asst dir ; Josephine Chippo, Script clerk ; John McClain, Press agent and Miss Gordon, Hairdresser . Although modern sources indicate that the film was originally released with a short introduction in which director Cecil B. DeMille discusses the film's authenticity with author Alfred Aloysius Horn, and that the three-minute introduction was deleted from the negative in 1936, when the picture was re-issued, neither the viewed print nor the cutting continuity contain the introduction. The final production cost was pegged at $3,000,000.
Leading actor Harry Carey was married to actress Olive Golden. According to modern sources, following publicized rumors of an affair between stars Duncan Renaldo and Edwina Booth (formerly Josephine Woodruff) during production, Renaldo's wife, Suzette, filed for divorce and later filed a $50,000 lawsuit against Booth for "alienation of affection." On 17 Jan 1931, Duncan Renaldo was arrested on charges that he entered the United States illegally and was later sentenced to two years in federal prison. After serving less than two years, Renaldo received a pardon from President Franklin Delano Roosevelt in 1936, after which he left the country, re-entered legally and became a U. S. citizen. Booth contracted a rare tropical disease while filming in Africa that affected her nervous system and reportedly forced her to remain confined to a darkened room for the better part of six years.
Trader Horn was nominated for an Academy Award for Best Picture of the 1930-31 season, and director W. S. Van Dyke was awarded the Red Cross Medal by the Japanese government for his outstanding achievement in direction.
Scripps scientist Erica Mitchell (far right) instructs students in the natural disasters filmmaking class.
Good acting is how much the actor is able to connect his character with audience .In game of thrones everyone cheered when Jeffery got died.The actor did an awesome job by connecting to audience emotionally
Follow this amazing article from thetreschool.com
What makes a great actor? An...
Link to my novel 'Strange Nights' - www.amazon.com/dp/B071YRC3QJ
Link to Alex Brodie's Fiver page - www.fiverr.com/brodievoices
Superman is no one of those characters who completely twists your mind in deciding whether this guy is interesting, boring or perhaps both at the same time. He’s got super strength, heat vision, x-ray vision, ice breath, super speed, ability to fly, bullet proof skin and the endurance level to survive a nuclear blast.
This guy can even travel to different universes and galaxies with unrealistic ease. Superman has been indescribably given too much with too little limitation. One man is just not supposed to have so much power stocked up altogether, it just doesn’t make any sense and that’s where the issue with Superman lies. Superman doesn’t make any sense, but for some twisted psychological reason, he is one of the biggest pop culture icons in the world today.
Originally Superman’s creators writer Jerry Siegel and artist Joe Shuster didn’t even come close to envisioning the icon that we see today. He was supposed to be this weird little guy who gains psychic powers and desires nothing except personal gain. This concept was executed terribly and the idea completely flopped in epic proportions which led to internal conflicts between Jerry and Joe due to the character not finding success on any level whatsoever.
But Superman’s creators were smart, they somehow reconciled and started developing the character by giving him the shape and form that we see today. After the massive failure that their initial incarnation was, Superman transformed into the man with insurmountable power carrying the stark red cape and the iconic ‘S’ symbol.
Superman became this man with the power that all the other men would desire for personal gains, yet Superman just wants to do the right thing with the gift he’s been given.
Perhaps Jerry and Joe subconsciously desired immense power as storytellers to evade the heart breaking failure they faced before and so they projected all of their frustration in the form of a man who can do anything he wants yet he chooses to be the good guy just like Jerry and Joe could’ve chosen to be anyone in the world, yet they chose to be storytellers and created something that changed the landscape of comic book characters and storytelling for the eternity to come.
Superman is boring only if you look at him from a character point of view at a superficial level, but when you put a character like Clark Kent in stories where the people ask “Must there be a Superman” or ”The death and return of the Superman”, then you begin to see the real picture. You begin to see yourself in the world you’re living in with surging crime rates, corrupt politicians, disaster of epic proportions and conspiracy theories to turn the people against each other. Then you begin to see how wrong you are in considering Superman an uninteresting character because he’s not and we look at him all wrong.
When movies like the ‘Man of Steel’ are produced, the first half almost comes close to delivering a Superman story that we can love and remember. But these very same movies fail miserably in their second half when Superman becomes just an instrument to display massive action and visual effects spectacle on epic scales. When you pit Superman against an equal force like General Zod or the Doomsday in a straightforward hand to hand combat, just after five minutes, it becomes completely unwatchable because you know that it’s Superman and he’s someone no one can defeat in a one on one head to head collision.
But when you pit Superman against someone like the Batman, the situation instantly catches a spark that burns into a full-fledged fire because you know that a fight between these two icons could never be simply about who’s physically stronger or dominant. Their fight will always be a clash of moral boundaries, philosophical beliefs and their perspective on the war against crime. These are the situations where Superman thrives, the situation where Superman is challenged on an intense psychological level where not only us but Superman himself gets to find out who he really is and if provoked, what he would do with all the power in the world that he has in the palm of his hands.
I think now I understand why Superman became the template for other superheroes to draw from. Among all the wrong that’s going on in our world, no matter how much you deny it, we wish we had a figure like Superman in real time. We wish if not us, then someone would have all the power in the world and could still be the good guy. Truth of the matter is, no one else could be that guy except the man that we all love to call the man of steel…, Superman.
My Official Website - zeeconstory.com/
A Global Positioning System 2006 deconstructs a hand held GPS unit, attempting to trace each component back to its source (Source: Anon 2006a, np).
The animated film charts the journey across the globe of the GPS unit, as a reverse journey from a promotional brochure selling the benefits of the handheld GPS to an urban western audience to the varied components of its production. Breaking down the GPS manufacturing workflow is made out of two movements: on one hand panning across the world, from the global centres of consumption into the factories in China and further afield into the mines of Congo or the rubber trees in Sri Lanka; and on the other hand, a zooming in process, going from the macro-scale of the global economy into the most intimate gestures of manual production and the microscopic components of the gps unit. Melanie presents this journey as a way of depicting the material process of production and challenges the disjunction that capitalism operates between things and their image. From images of miners working in the sandpits of Congo, she uses drawing as away to develop connections with the more abstract level of high tech glossy consumer technology. As the voice over narrates: this GPS contains materials that come from the following places: Guinea, China…India…Germany, England, Zambia…Brazil, Australia, Turkey, Nigeria, Spain, …Mexico, Chile, Philippines, USA, Argentina, Portugal, Japan, Korea…South Africa…Angola, Democratic Republic Of Congo, Namibia, Venezuela… (Source: Roush nd, np).
I am interested in what happens in documentary filmmaking when the lens is replaced by drawing. The ‘work’ of the film, the succession of mark making is evident, in the same way that the work involved in the manufacture of the product is made visible. We are always aware that it is an individual register that is bearing witness (of other individuals). Drawing admits that it is illusory, subjective and selective – yet it still holds the ability to tell a true story (Source: Jackson 2007, np).
See our page on 'A Global Positioning System' here: www.followthethings.com/aglobalpositioningsystem.shtml
Background photo used with Creative Commons license from en.wikipedia.org/wiki/Electronics_industry
Legoing by Ian Cook
Emily Knauper in “The Revolutionary”
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Drivers Photography
We create Character looks for Actors and Actresses to develop a diverse portfolio.
These Characters are then brought to life thru photo and video and tested in short films and demo reels.