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Anastasia Potapov in "Bone Scientist"
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These are shots used for giving starting actors and models a look to get roles in the Horror genre.
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No Children ( Or Parents ) was harmed in this photoshoot, all prop use, Outfits, and poses was done with strict parental supervision.
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Caption: Tom-toms fill the jungle with their primitive rhythms as Nina, Peru and Trader Horn flee from the pursuing Isorgi savages !
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.
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.
Nice video from Rocket jump film.This is about screenplay writing and rules.Normally in our film industry there are no proper screenplay writers and they write like essays without proper rules but in recent years lot of directors like Devekatta,krishh ,rajkumar hiraani are wtiting proper...
cinemababu.com/screenplay-formatting-rules-video/?cinemababu
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.
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.
Grant Filosi in "Vampire"
The blood that pulses in the veins of the living, call out to those who can hear it.
Check out Grant Filosi's Fan pages:
www.instagram.com/grantfilosiofficial/
** Warning ** These are horror shots used for giving starting actors and models a look to get roles in the horror genre.
** Disclaimer ** No Children were harmed in this photoshoot, all prop use was done with strict parental supervision.
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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...
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Source – Creative skillset
First Assistant Director (First AD)
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Film
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Organiser
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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...
Scripps scientist Erica Mitchell (far right) instructs students in the natural disasters filmmaking class.
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/
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.
Julianna Wright in "Something Horrible"
Bumps in the night or scream in the dark, this is horror.
Check out her fan pages:
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@juliannacyn.wright
Talent, evilgenius, madlab, Portfolio, video, style, doctor, actors, Horror, Hollywood, filmmaking, Haunting, Portrait, Model, movies, Ghost, filmmaker, Headshots, American Horror Story, movies, Casting, Photography, science, Zombies
Andy Freeberg, Maria Frostic, Stefanie Misztal, Sarah DeWitt (L-R)
Released September 22, 2008
BOZEMAN, Mont. -- Many filmmakers work with the stars, but in the case of a growing number of Montana State University film students the reference has a literal meaning.
Seven graduates or former students in MSU's Science and Natural History filmmaking program students are working at the National Aeronautics and Space Administration Goddard Space Flight Center in Maryland.
"In recent years, NASA's Goddard Space Flight Center has been particularly interested in producers with strong science and writing backgrounds, and all MSU Science and Natural History Filmmaking graduate students have that," says Sarah DeWitt, who graduated with her M.F.A. in 2006 and is NASA's lead producer for Earth Science multimedia and special events.
DeWitt was the first MSU film grad to make the Montana-Maryland leap. Since her arrival at Goddard six years ago, she has been joined by Liz Smith, a 2007 graduate, Stefanie Misztal, who will finish her degree this year, Maria Frostic, also a 2007 graduate, and student Andy Freeberg, who is still working on his thesis. This summer Ryan Fitzgibbons, a 2007 graduate, and student Jefferson Beck, also still working on his thesis, joined the team.
Smith, who recently left Goddard to take a job with the Waitt Institute for Discovery in San Diego, said while the large number of MSU grads in Goddard's media departments is unusual, it is also understandable.
"I would definitely attribute the abundance of MFA students and alumni at Goddard to the quality level and professionalism of our students and to the unique set of talents and interests that they bring with them," said Smith. "I think the science and film combination background is only going to become more highly sought after as time goes on."
At Goddard, DeWitt has done everything from producing live interviews with Larry King, to a high-definition production on the IMAX screen at the National Air and Space Museum, to hosting a 50-person Bollywood cast and crew from India. She has specialized in the topic of climate change and is an expert at helping scientists translate complicated work into meaningful information for the public. Currently, DeWitt is working with the producers of the highly praised "Planet Earth" on "Frozen Planet," which will showcase the Earth's polar regions.
"The MSU program has helped my work tremendously," DeWitt said. "The skill of storytelling, in particular, has proved invaluable in the work that I do supporting the agency's Earth Science program. Plus, the program taught me how to work with scientists who want to communicate their work with nuance, care and accuracy, while still engaging the audience. "
Smith also said that DeWitt's talent and professionalism set the stage for NASA's production team to want more MFA students from MSU. "I was lucky to follow in her footsteps," she said.
Smith, who had an undergraduate degree in astronomy before coming to MSU, said among the highpoints of her time at NASA was the opportunity to work with John Mather, the 2006 Nobel Laureate in Physics. Mather used the COBE satellite to directly measure the remnants of the Big Bang for the first time, setting the stage for the field of cosmology, one of Smith's scientific interests. Smith also produced a short promotional film for NASA called Destination Earth, working with Misztal, Freeberg, and DeWitt. The film received the Best of Category in Advertising, Promo and PSA award at the 2008 International Wildlife Film Festival in Missoula.
At Waitt, Smith will travel the world to work with some of the top researchers in archaeology and underwater exploration. Smith says that her new position at Waitt came because of her MSU background.
"The Waitt Institute went to the (MSU) MFA program specifically looking to hire an alumnus because of the quality and reputation of our work as well as the theory behind the instruction and bridging the science-film gap," Smith said. She said plans are already in the works to collaborate with MSU students and alumni on several upcoming Waitt expeditions.
Other MSU MFA students at Goddard include Misztal, a producer and editor who post-produced and edited a vodcast series for Goddard's most recent space mission, the Gamma Ray Large Area Space Telescope (GLAST), that launched June 11.
Frostic works on a Goddard Earth Science and Technology fellowship at the University of Maryland, which includes a post as a research associate/faculty member in which she supervises four non-faculty members of the Goddard media team. She is currently producing multimedia content for the Glory mission, an upcoming Earth science mission that will investigate various climate forces, including the role of aerosols and total solar irradiance in climate change.
Freeberg, who has worked at Goddard for two years, produced the first-ever NASA Goddard Film Festival, which debuted June 19. It was shown in high-definition on the IMAX screen at the Smithsonian National Air and Space Museum. He is also a producer for the Landsat mission.
Fitzgibbons and Beck will produce videos for NASA-TV and NASA.gov on topics ranging from gamma ray bursts to climate change. They will help continue NASA's launch into new media, including vodcasts, streaming video, mobile video and interactive Web content. The work of the MSU Goddard team can be found on iTunes, YouTube, and at www.nasa.gov/centers/goddard/multimedia/
from MSU Alumni site
www.extension.org/pages/Montana_State_Grads_Become_Filmma...
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.