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Our latest transformation is the BIG LEAP: Bjarke Ingels Group of Landscape, Engineering, Architecture, Planning and Products. A plethora of in-house perspectives allows us to see what none of us would be able to see on our own. The sum of our individual talents becomes our collective creative genius. A small step for each of us becomes a BIG LEAP for all of us.	en	/favicon.ico	BIG \| Bjarke Ingels Group	https://big.dk/	Located on the Jinji Lake in Suzhou, the 60,000 m2 Suzhou Museum of Contemporary Art is conceived as a village of 12 pavilions, offering a modern interpretation of the elements that have defined the city’s urbanism, architecture, and landscape. Designed as a reimagination of the traditional garden ‘lang’, 廊 – a line that traces a path – the museum spaces frame gardens and coalesce as pavilions. The design of the museum showcases Suzhou’s Garden tradition as part of the exhibitions, taking visitors on a journey and exploration of art, nature, and water. The museum is scheduled for completion in 2025. Arriving at the museum, the visitor will be met by an expansive, welcomingplaza in front of the Visitor Centre and main entrance. From here, visitors will be able to proceed with their visit inside or along the exterior, through the gardens and to the waterfront. The museum’s landscaping acts as a public space to the front of Jinji Lake through a series of interconnected gardens, ensuring a rich public realm surrounding the museum. Sculptures by contemporary artists will offer Suzhou’s citizens a cultural experience outside the museum’s opening hours. The individual gardens will gradually change from mineral to green to finally water-themed planting, as the visitors move towards the waterfront. Our design for the Suzhou Museum of Contemporary Art is conceived as a Chinese garden of pavilions and courtyards. Individual pavilions are woven together by glazed galleries and porticoes, creating a network of interconnected sculpture courtyards and exhibition spaces. Weaving between the Ferris wheel legs, the museum branches out like a rhizome, connecting the city to the lake. The result is a manmade maze of plants and artworks to get lost within. Its nodular logic only becomes distinctly discernible when viewed from the gondolas above. Against the open space of the lake, the gentle catenary curvature of the roofs forms a graceful silhouette on the waterfront. Viewed from above, the stainless roof tiles form a true fifth facade. Bjarke Ingels — Founder & Creative Director, BIG - Bjarke Ingels Group Defined by sloping roof eaves, each pavilion’s façade is made of rippled and curved glass, as well as warm-toned stainless steel that reflects the garden colors. The pavilions are connected above- and underground via bridges and tunnels, offering the museum flexibility to plan exhibition flow according to seasons and exhibited art pieces. The paths leading through the site will be covered with natural stone. The Suzhou Museum of Contemporary Art Museum follows the Chinese sustainability certification, GBEL Green Star 2, including both technical and social approaches to sustainability. "In the last few decades, Japan has been attracting attention as a place to experience stunning natural landscapes as well as high-end design, innovative architecture, and cutting-edge art. The Seto Inland Sea area, where NOT A HOTEL SETOUCHI will be built, brings together all of these aspects of Japanese tourism into a single site. In partnering with BIG, we are creating one of Japan’s most luxurious villas on Sagi Island, which will be a gateway for more people to experience the charm of the Setouchi region." Shinji Hamauzu — CEO & Founder, NOT A HOTEL The relationship between Scandinavian and Japanese design began in the 19th century, when Japan opened their borders to international travellers. Soon after, Scandinavian designers began visiting the country and quickly became fascinated by the Japanese style for its simplicity, use of natural materials and connection to nature – the same principles that guided the design ethos for NOT A HOTEL Setouchi. The masterplan for NOT A HOTEL Setouchi prioritises restoration of the undulating terrain, where grass will be harvested before construction begins, while olive trees, lemon trees and other native vegetation will be reintroduced to further enhance the site’s natural beauty. The three villas – named ‘360,’ ‘270’ and ‘180’ depending on location and corresponding views – intentionally blend into the landscape’s natural contours, aligning with existing roads and infrastructure. Spread across varying elevations, the resort appears like a ribbon winding through the site. "Our design approach for NOT A HOTEL Setouchi wasn’t about imposing our ideas on the site; instead, it involved exploring, observing and understanding the landscape. We envisioned how to best leverage this distinctive and remarkable terrain and fixed upon a design that mirrors the elegance of traditional Japanese architecture. Japan is one of the cultures in the world where commitment to craft and care for quality remains intact. The honesty and simplicity of the structure and careful choice of materials can be said to have greatly influenced the traditional architecture of Japan and the modern architecture of Denmark. Maybe that's why when I go to Japan, I always feel like I'm coming home. NOT A HOTEL Setouchi will be an experiment in what happens when the sensibilities of both countries come together – the Danish desire for simplicity and the care and perfection of Japan." Bjarke Ingels — Founder & Creative Director, BIG Located in an industrial area near Copenhagen city center, CopenHill, also known as Amager Bakke, is an exemplary model in the field of waste management and energy production, as well as an architectural landmark in the cityscape of Copenhagen. The building replaces the 50-year-old Amagerforbraending plant and is the single largest environmental initiative in Denmark. The new breed of waste-to-energy plant is topped with a ski slope, hiking trail, climbing wall, an urban recreation center, and environmental education hub, turning the power plant into a destination. The building embodies BIG’s notion of hedonistic sustainability while contributing to Copenhagen’s goal of becoming one of the world’s first carbon-neutral cities. Located on the industrial waterfront of Amager, where raw industrial facilities have become the site for extreme sports – from wakeboarding to go-kart racing – the new power plant adds skiing, hiking, and rock climbing to the area. Expert skiers can ski down the artificial Olympic half-pipe length ski slope all year round, test the freestyle park, or try the timed slalom course, while beginners and kids practice on the lower slopes. Skiers ascend the park from the platter lift, carpet lifts, or glass elevator with views inside the 24-hour waste incineration process. CopenHill’s continuous façade features 1.2 m tall and 3.3 m-wide aluminum boxes stacked like gigantic bricks overlapping with each other. In between, glazed windows allow daylight to reach deep inside the facility, while larger openings on the southwest façade illuminate workstations on the administrative floors. Designed in direct response to the needs and wishes of the University of Kansas School of Architecture & Design’s 1,300+ students, faculty and board, the new mass timber building for learning and collaboration, titled the “Makers’ KUbe” consolidates all architecture and design programs into three interconnected buildings, tying together the existing Marvin Hall from 1908, Chalmers Hall from 1978 and the new six-story Makers’ KUbe. The adjacent Marvin Hall’s stone façade and beloved spaces will be historically preserved while Chalmers Hall will be renovated to bring in more daylight. The campus seeks to embody four primary principles: to become an emblem of creativity; to create a connected campus hub; to be innovative and future-proof; and to showcase environmental stewardship. The Makers’ KUbe is a 50,000-sq-ft mass timber cube structure that will serve as a teaching tool, showcasing sustainable practices through its mass timber diagrid design. The KUbe’s distinct frame – engineered by structural engineer StructureCraft – is optimized to reduce material and curtail carbon-intensive concrete. Inspired by traditional Japanese joinery techniques, the building’s structure uses tight-fit dowels and notched glulam – or glued laminated timber – to create an all-wood structure with columns and beams that run diagonally, without steel plates or fasteners. The stripped back façade – a timber structure enclosed in glass – foregoes cladding and finishing, exposing the KUbe’s MEP systems and further proving the building’s ability to remain minimal and efficient, only using what is necessary. The mix of transparent and opaque insulated glass on the exterior showcases the school’s creativity to the entire University of Kansas campus while creating moments of privacy and reducing glare. The building’s enclosure includes natural fiber thermal insulation in the form of biodegradable HempWool, which is exposed within the facade’s shadow boxes for improved thermal performance. The KUbe’s massing is rotated to align with Wescoe Drive and the surrounding buildings to allow for more light and air to be brought into the existing buildings. Winter garden bridges located on the KUbe’s second floor connect it to Marvin Hall and Chalmers Hall, providing easy circulation between buildings in the colder months and enhancing interactions among students and faculty. The KUbe’s ground-level corners are angled inward, creating inviting canopied entrances that connect the building to the surrounding open spaces, while the upper–level corners are set back to allow for accessible terraces open to the sky, providing generous views of the campus and the city. “Our design for the consolidated design studios at KU seeks to deploy all aspects of the profession in three distinct interventions: preservation, adaptation and new construction. The Makers' KUbe is conceived as a showcase in timber tectonics, traditional joinery, robotic manufacturing and sustainable materials. The timber bones of the building are exposed by stripping away all applied finishes - elevating structure to expression. A single staircase doubling as convenience stairs above and fire stairs within ties all student spaces together from park to attic. The building serves as a living curriculum, revealing all function, technology and structure as tangible elements for the students to appreciate and critique - learning solidified into built form.” Bjarke Ingels — Founder & Creative Director, BIG Embodying the university’s values, the proposed campus for the school preserves and adapts existing spaces while utilizing timber to minimize its carbon footprint. The Makers’ KUbe and Chalmers Hall feature rooftops with photovoltaic panels to harvest energy for the buildings. Any rainwater accumulated on the KUbe’s roof is stored and used for irrigating the site’s landscaping, which features native species that further reduce water needs. Embodying the university’s values, the proposed campus for the school preserves and adapts existing spaces while utilizing timber to minimize its carbon footprint. The Makers’ KUbe and Chalmers Hall feature rooftops with photovoltaic panels to harvest energy for the buildings. Any rainwater accumulated on the KUbe’s roof is stored and used for irrigating the site’s landscaping, which features native species that further reduce water needs. As part of Toulouse’s Grand Matabiau Quais d’Oc masterplan, the Marengo Multimodal Transport Hub will revitalise the urban area, facilitate seamless travel, and triple the number of daily passengers travelling to and from the city. Constructed mainly in wood, the 12,000 m2 hub connects to the Gare Matabiau central train station in the west and dovetails the city’s pedestrian and bicycle flows towards the east, acting as a link between the city center, the UNESCO-listed Canal du Midi and the Périole neighbourhood. Referencing the city’s roofscape and traditional use of the “foraine” brick, the building is characterised by a rose-colored, crystalline roof. From the main entrance canopy in the south, the hub’s structure gradually rises in a sloping movement towards the north, reaching 32 metres in height towards the railway tracks. The hub As the structure grows in height, each level gradually recedes, creating a triangular shape. This enables visual connections across floors and pulls daylight down to the hub’s lowest levels, accommodating comfortable and easy navigation for travellers throughout the day. Passing the bus station and entering through the main entrance, travellers are led below ground to Gare Matabiau, railway, metro lines, and the transport hub’s hangout areas. The ground floor and two sub-levels will feature flexible and informal public spaces open to all, including areas for rest as well as commercial and cultural activities. Here, Maison du Climat, an initiative to further the public’s knowledge on environmental topics, will manage an event space for exhibitions, conferences, and workshops. Floors one through six will function as an office space for the 350 employees of the Occitanie Region. The roof, composed of photovoltaics, is punctured by skylights, allowing in natural light. Local plants and trees are planted in the building and bike station to echo the vegetation of the Haute-Garonne region. “The UAE Pavilion draws on the natural systems and centuries-old vernacular architecture of the UAE to respond to the world’s current climate challenges. Inspired by the deep roots and intertwined branches of the drought resistant Ghaf Tree, the Pavilion is designed as a network of rammed earth walls framing a series of exhibition galleries and gardens of indigenous species. Walls, floors and roofs are formed by soil, stone and vegetation, creating a physical link to the ground they come from. Meandering paths lead to an outdoor oasis, which is organized as a series of thematic gardens that explore the power of plants as a source of food, health and energy. By weaving together architecture and landscape into a seamless experience, the UAE Pavilion shares the story of humanity’s inseparable bonds with nature." Giulia Frittoli — Partner & Head of BIG Landscape, BIG The new 7-storey HQ is architecturally anchored in Copenhagen harbor’s heritage of warehouses and factories. The small footprint at the end of the pier became the main design dilemma: how to organize a single work environment for all of us when we would have to be split between a minimum of four levels. In a counterintuitive decision, we split all the floors in half and doubled the amount of levels. BIG HQ is BIG’s first example of fully integrated LEAP design – a collaboration between Landscape, Engineering, Architecture and Product designers. Everything from door handles to concrete columns – from urban design to glass facades has been given form by the BIG LEAP team. The building is designed to achieve the Danish sustainability certification, DGNB Gold, through use of FutureCem concrete, which reduces CO2 emission with approx. 25% reduction as well as integration of solar and geothermal energy systems, and natural ventilation of the office spaces. Upon entering the main entrance through a 3 m tall glass door, BIGsters and guests will find themselves in a dramatic Piranesian space, where the inner life of the building reveals itself through diagonal views all the way up to the top floor. A single stone column of eight different types of rock – ranging from dense granite at the bottom to a porous limestone at the top – form a totem pole to gravity at the heart of the open space. An open stair ricochets from level to level all the way from the basement to the penthouse. The Hopkins Student Center will form a new social engagement hub for all members of the Johns Hopkins University community. The 143,000 sq ft building includes spaces for relaxation and socializing, student resources and support, a digital media center, performance space with seating for 200 people, and a dining hall. Located at the intersection of 33rd and Charles Streets, the Hopkins Student Center will foster greater connectivity between the campus and the neighboring community by creating a prominent point of entry. As a natural gateway, the area will connect Charles Village and the 3,500+ Johns Hopkins students who live in the neighborhood to the heart of the Homewood campus. The Hopkins Student Center is conceived as a central living room – a dynamic hub – surrounded by a collection of spaces tailored to the needs of the Hopkins community. The building negotiates the sloping grade of the site to allow direct entry from all four levels of the building, while maintaining a human scale and providing several accessible routes across the site. Arriving on Charles Street, students and visitors are greeted by an open building façade with dining areas spilling out onto a plaza. The mass timber structure provides a warm and acoustically comfortable environment as light filters in through clerestory glazed windows. A circular staircase allows for a continuous connection to the building’s perimeter under 29 cantilevered roof planes, which provide shading for the building. The roofs are covered in photovoltaic panels that generate up to 40% of the building’s yearly energy consumption – a design strategy that contribute to the University’s larger sustainability goals, including LEED Platinum Certification. The Twist is a contemporary art museum situated in the Kistefos Sculpture Park, located around a one hour drive from Oslo. The sculpture park, built around an old paper mill, occupies both embankments of the Randselva river and features sculptures by Olafur Eliasson, Lynda Benglis, Yayoi Kusama, Jeppe Hein, and Anish Kapoor, among others. BIG was invited to design an intimate art museum to transform the visitor experience and add 1,000 m2 of indoor exhibition space to the park. After a careful study of the site, BIG proposed a raw and simple sculptural building across the Randselva river to tie the area together and create a natural circulation for a continuous art tour through the park. Completed in 2019, The Twist is conceived as a beam, warped 90 degrees to create a sculptural form within the park and connect the two riverbanks: a museum, bridge and sculpture in one. The museum is placed as an abstract shape in the landscape. Its sculptural form is spanning between perfect geometry and specific bridge technology: on one side, it’s a simple box structure; on the other side, it’s a huge warping sculpture. A simple twist in the building volume allows the bridge to lift from the relatively lower forested area towards the south, and up to the hillside area in the north. As a continuous path in the landscape, both sides of the building serve as the main entrance. From the south entry, visitors cross a 16 m aluminum-clad steel bridge to reach the double-height space, with a clear view to the north end, similarly linked with a 9 m pedestrian bridge. The double-curve geometry of the museum is comprised of straight 40 cm-wide aluminum panels arranged like a stack of books, shifted ever so slightly in a fanning motion. The same principle is used inside, with white painted 8 cm-wide fir slats cladding the floor, wall, and ceiling as one uniform backdrop for Kistefos’ short-term Norwegian and international exhibitions. The museum is comprised of a series of generic gallery spaces where, due to the curved form of the glass windows, the variety of daylight entering the museum creates three distinctive galleries. Stacked vertical, dark galleries with artificial lighting are found to the south, and a large horizontal, naturally-lit gallery with panoramic views is located on the north side. In between these spaces is the sculptural gesture, creating a twisted sliver of roof light. From either direction, visitors experience the twisted gallery as though walking through a camera shutter. The ability to compartmentalize, divide, or merge the gallery spaces creates flexibility for Kistefos’ artistic programming. The main entrance to the building is from the south, with the information center and visitor facilities such as a cloak and locker room, museum shop, and restrooms located nearby. From this entrance, there is a clear view to the other end of the building, including the sloping gallery which is located along the main circulation ramp – guiding visitors to the panoramic gallery. The panoramic gallery is a large open space suitable for sculptures and large installations, with the ability to be subdivided for special occasions and events. On the north end, a full-height glass wall offering panoramic views to the pulp mill and river tapers while curving upwards to form a 25 cm-wide strip of skylight. A café is situated at this end of the gallery, where guests can enjoy snacks while taking in the view of the historic pulp mill and surrounding landscape. During the summer months, the café service area spills onto the plateau just outside. A glass stairway leads down to the museum’s lower level on the north river embankment, where the building’s aluminum underside becomes the ceiling for the basement and restroom area. Another full-width glass wall brings visitors even closer to the river below, enhancing the overall immersive experience of being in the idyllic woodlands just outside of Oslo. The art delivery and reception area is shared with the main entrance. Art can be delivered discreetly and securely after hours, and the art shipping crates are stored in the exhibition storage room once the art has been installed in its respective gallery. The new ballpark for the Athletics Major League Baseball team in Las Vegas, Nevada will echo the vibrancy of the ‘Entertainment Capital of the World,’ exuding an outdoor feel with panoramic views of the city’s skyline. Situated on the Las Vegas Strip, the new home for the Athletics – a 33,000-capacity covered ballpark designed by BIG in collaboration with HNTB – will sit on nine acres between Tropicana Avenue and Reno Avenue. The project builds on a longstanding collaboration between BIG and the Athletics dating back to a different ballpark design in Oakland, California in 2018. The new ballpark’s roof is accentuated by five overlapping shells resembling baseball pennants, paying homage to the sport. For players, these arched “pennants” will attenuate direct sunlight glare while welcoming indirect natural light through northern oriented clerestory windows. The domed ballpark is designed to feature the world’s largest cable net glass wall. The structure’s exterior metal cladding shimmers in the natural daylight and reflects the surrounding Las Vegas lights at night. “Our design for the new Vegas home for the A’s is conceived in response to the unique culture and climate of the city. Five pennant arches enclose the ballpark - shading from the Nevada sun while opening to the soft daylight from the north. A giant window frames a majestic view of the life of The Strip and the iconic New York New York hotel skyline. All direct sunlight is blocked, while all the soft daylight is allowed to wash the field in natural light. The resultant architecture is like a spherical armadillo - shaped by the local climate - while opening and inviting the life of The Strip to enter and explore. In the city of spectacle, the A’s ‘armadillo’ is designed for passive shading and natural light - the architectural response to the Nevada climate generating a new kind of vernacular icon in Vegas.” Bjarke Ingels — Founder & Creative Director, BIG An elevated outdoor plaza connects to the bridges over Las Vegas and Tropicana Boulevards, directing fans to the ballpark’s main concourse, where a large glass atrium pulls the city into the venue. This entrance sequence will immediately orient fans in the ballpark, allowing views of the entire field and seating bowl upon entry while optimizing wayfinding and circulation. Secondary north and south entrances are marked by “bouncing” arches to increase visitor accessibility and promote a connection to the outdoors. Once inside, fans are met with bright, open atria, which will also serve as multipurpose exhibition spaces to showcase international and local artists. The Athletics Ballpark is an immersive fan experience. Its tiered design and intimacy, inspired by historic ballparks like Fenway and Wrigley – with split upper and lower bowls – bring fans closer to the action than traditional ballparks and provide clear sight lines from every seat. The new Joint Research Centre in Seville, ‘Solar Cupola’ delivers on JRC’s commitment to sustainability, unites the European vision of the New Bauhaus initiative, and establishes a new benchmark for workspace that empowers knowledge sharing, collaboration and co-creation. Located at the former EXPO ´92 site, in Isla de la Cartuja, the new 9,900 m2 building for the European Commission, ties into the City of Sevilla’s goal to become a global benchmark for sustainability by 2025 and the local vision of the eCity Sevilla project to decarbonize and transition Isla de la Cartuja to 100% renewable energy sources. The building will house 12 research units and supporting functions as well as public and private outdoor spaces. Inside, the functions of the new JRC building are organized with public program and amenities such as dining, a conference center and social spaces on the ground floor, while the offices and research units occupy the upper floors for privacy and security. The collaborative workplaces face the plaza, while the deep-focus workspaces face the garden. The proposed layout is designed to be entirely flexible and adaptable according to any future needs of the JRC. Following the building geometry and modularity two diagonal voids connect all levels of the building, encouraging physical movement as well as social interaction and informal meetings. In September 2022, Claremont McKenna College – one of the top U.S. liberal arts colleges – broke ground on its 135,000 SF Robert Day Sciences Center. It will be home for the College’s next-generation Kravis Department of Integrated Sciences – a powerful, multi-disciplinary, computational approach to advance gene, brain, and climate knowledge. Expected to complete in 2025, the Robert Day Sciences Center launches a series of campus developments and improvements to prepare Claremont McKenna for its next chapter, and represents an educational evolution in how the College will prepare its students – one that deliberately and coherently integrates sciences and computation with the humanities and social sciences to address big thematic priorities in scientific discovery and application. The building’s structure is designed as a stack of two volumes, or rectangle ‘blocks’ – two per floor – with each pair rotated 45 degrees from the floor below. The exterior facade uses board-formed panels of glass fiber reinforced concrete, which create a wood-like texture. On the interior, each individual volume is expressed as a rectangular wood-clad truss on the long edges, and as a floor-to-ceiling glass facade on the shorter sides. The continual rotation of each floor creates a sky-lit, central atrium at the heart of the building that provides direct views into classrooms and research spaces from all levels. Students, professors, staff, and visitors will be able to access the new center from two main entrances – at the ground floor and the first floor – located at different elevations due to the north-south slope of the campus. Students entering through the south side will be met by a cafe and the open auditorium’s grand staircase that leads up towards the atrium. The full-height atrium with open spaces invite collaborative activity – embodying both the architectural and educational approach of the center. “The confluence of previously distinct disciplines: breakthroughs in computer and data science lead to breakthroughs in the natural and life sciences. The architecture for the new Robert Day Sciences Center seeks to maximize this integration and interaction of these previously siloed sciences. The labs and classrooms are stacked in a Jenga-like composition framing a column-free, open internal space with the freedom and flexibility to adapt the ever-evolving demands of technology and science. Each level of the building is oriented towards a different direction of the campus, channeling the flow of people and ideas between the labs and the classrooms as well as externally between the integrated sciences and the rest of the campus. It is our hope that the building will provoke new conversations between scientists and also stimulate the rest of the liberal arts students to take a deeper interest in the sciences and vice versa. The analytical embracing the experimental – rationality intersecting with creativity.” Bjarke Ingels — Founder & Creative Director, BIG With ‘The Grandmother of Juneteenth,’ Ms. Opal Lee, at the helm, the National Juneteenth Museum is dedicated to preserving the history of Juneteenth and legacy of freedom. Declared a federal holiday in the U.S. on June 17, 2021, when President Joe Biden signed the Juneteenth National Independence Day Act with Ms. Lee by his side, Juneteenth (June 19th) commemorates the Emancipation Proclamation’s enforcement and the liberation of the remainder of the enslaved both in Texas and throughout the newly reformed United States, which happened on June 19, 1865. Located in the Historic Southside of Fort Worth, Texas which was divided by the I-35W highway in the 1960s and is one of the South’s most underserved communities – The National Juneteenth Museum will be the epicenter for the education, preservation and celebration of Juneteenth nationally and globally, hosting exhibitions, discussions, and events about the significance of African American freedom. The new 76,000 square foot building is designed by BIG alongside architect-of-record KAI Enterprises. The National Juneteenth Museum, designed in close collaboration with the local Fort Worth community, seeks to provide a cultural and economic anchor for this neighborhood and act as a catalyst for ensuring its future vitality, including immersive galleries, a business incubator, food hall for local vendors, Black Box flex space, and a theater. The museum’s undulating roof creates a series of ridges, peaks, and valleys of varying heights that combine to create a ‘nova star’ shaped courtyard in the middle of the museum. Meaning ‘new star,’ the nova star represents a new chapter for the African Americans looking ahead towards a more just future. The publicly accessible courtyard will be the anchor for the museum and its activities. At the center of the courtyard, the ‘five point’ star is engraved into the terrazzo pavement. In addition to representing Texas, the last state to adopt and acknowledge the freedom of African American slaves – the star nods to the American flag’s 50 stars that represent all 50 U.S states, representing the freedom of African Americans across the country. While five street-level entrances allow the galleries and exhibitions to be accessed as individual spaces, two publicly-accessible covered ‘portals’ connect directly to the courtyard and main gallery entrances, welcoming visitors from both the north and the southwest of the site via generous entryways defined by warm, vibrant colors. The mass timber structure that defines the design’s materiality continues into the interior, visually connecting the two realms. In addition to this visual continuity of the materiality, the building’s public and private realms are also interconnected through the museum’s circular layout; on the ground floor, the two portals that connect to the courtyard are flanked by each of the programs: one portion of the galleries, the business incubator, food hall for local vendors, Black Box flex space, and theatre. To access the museum galleries, which begin on the ground floor, guests enter the generous reception area, and are guided to the light-filled mezzanine level via staircase or wheelchair-accessible elevator. “The National Juneteenth Museum came to BIG looking for a design that captures the social, cultural, and spiritual importance of Juneteenth celebrations for black people while expressing its historic significance and relevance to all Americans. Our hope is that this building will become a gateway to the Historic Southside community of Fort Worth while serving as a national and global destination. Our engagement with Ms. Opal Lee and members of the community, to really understand their needs, is what informed a lot of the design principles. As a black architect, this project is one of the most rewarding experiences of my career.” Douglass Alligood — Partner, BIG The mezzanine level reveals the rest of the gallery spaces, which are connected by a ring of circulation that wraps the courtyard. Glass is utilized as the interior wall of both the ground and mezzanine floors to create a sense of openness and transparency while complementing the pared-back timber and concrete materials. Similarly, the ‘nova star’ cut out of the roof at the center of the building of which the mezzanine wraps around allows light to travel through the entire space. Wrapping around the nova star shape above, the mezzanine galleries physically connect each of the programs while being literally elevated – providing visitors an above perspective of the public courtyard below, and those in the courtyard with views of the galleries above. Outside the museum building, a network of plazas provides wayfinding opportunities, extending the sense of community of the interior to the outdoor spaces. Polished concrete and terrazzo flooring continue out to the exterior spaces, creating visual continuity between the public and private realms. Generous lawns, native landscaping, and wood seating are dispersed throughout the plaza areas, providing places for outdoor exhibitions, large-scale installations and gatherings. Designed for furniture manufacturer Vestre, The Plus is a factory, visitor center, and 300-acre park located in Magnor, Norway near Vestre’s HQ and steel factory. Norway’s single largest investment in the furniture industry in decades, the 7,000 m2 production facility is dedicated to the cleanest carbon-neutral fabrication of urban furniture in the world. Constructed in just 18 months, the building is made of local mass timber, low-carbon concrete, and recycled steel, and is set to become the first industrial building to achieve the highest environmental BREEAM Outstanding rating. The factory doubles as a public park for hiking and camping and aligns with the region’s mission to establish a green manufacturing hub outside of Oslo. The Plus is conceived as a radial array of four main production halls – a warehouse, color factory, wood factory, and the assembly – that connect at the center and generate the ‘plus’ shape at its intersection. The layout enables an efficient, flexible, and transparent workflow between the manufacturing units and an intuitive visitor experience. Like a flowchart, the entire interior is organized with the color of each machine overflowing to the floors. Exploring The Plus feels like moving through an archipelago of colorful islands where the experience and overview of the factory’s activities are unified. Inside the factories, each wing has one alternating ceiling corner lifted to create inclined roofs that allow views into the production halls as well as the forest outside. Along the color and wood factory, the sloping roofs are extended to form a pathway for visitors and staff to hike up and down the building while observing the production processes inside. All four production units are built with 21 m free-spanning, cross-laminated timber, creating flexible column free–spaces. From all four sides of the buildings, visitors and staff will be invited to hike around the facility and end their walk on the roof. Here, 900 photovoltaic panels are placed and angled according to optimal solar efficiency while effective construction and materials methods, rainwater collection systems, heat and cooling systems, green roofs, and electric vehicles contribute to ca 90% lower energy demand than that of a conventional factory. An ADA-accessible ramp will allow wheelchairs and strollers to enjoy the serpentine path and the experience of being surrounded by pine trees on all sides. All materials were carefully selected for their environmental impact, with the façade constructed from local timber, low-carbon concrete, and recycled reinforcement steel. Every aspect of the design is based on principles of renewable and clean energy to match Vestre’s eco-friendly production, such as ensuring a minimum of 50% lower greenhouse gas emissions than comparable factories. On the exterior, the Gradient Canopy building features the same “dragonscale” solar skin roof as Google Bay View, equipped with silver solar panels that use the latest building integrated photovoltaic (BIPV) technology and generate approximately 40% of the building’s annual energy use. Coupled with the canopy’s pavilion-like rooflines, the panels capture the power of the sun from multiple angles. Unlike a flat roof, which generates peak power at the same time each day, the dragonscale solar skin generates power for an extended amount of daylight hours. Like Bay View, Gradient Canopy’s 120-ft canopy rests on cruciform beams. hangar-like typology with a wide-open and connected workspace. Access to natural light and views with reduced glare during working hours were priority design elements, achieved through the use of carefully placed clerestory windows. Designed from the inside out, the Gradient Canopy building begins with the Googler. By providing glare-free light, fresh filtered air, natural materials, biophilic elements and soothing acoustics, the architecture of Gradient Canopy ensures a happy and productive Googler. The wood-clad interiors of the building are entirely procured from responsibly managed forests certified by the Forest Stewardship Council (FSC) and are supported by a steel frame. The Gradient Canopy building is split across only two floors, with desks and team spaces on the upper level and the amenity spaces below. A variation in floorplates on the upper level offers highly flexible “neighborhoods” for teams, with desks clustered into groups that can be either enclosed within studios using flexible partitions or left open for break-out spaces and other teams. A series of twenty indoor “courtyards” throughout the building connect the two levels, giving teams easy access to cafes, kitchenettes, conference rooms and all-hands spaces. The courtyards also encourage physical movement when circulating between levels and different modes of work, and double as wayfinding devices. The Gradient Canopy site design and native landscaping provide critical support for wildlife and builds resilience in the landscape. Across the 18-acre site, four acres of which are vegetated, landscape designs mimic natural habitats native to the region yet largely gone from Silicon Valley today. The landscape palette consists primarily of native species, including 380 native trees, while over 90% of the plants at Gradient Canopy provide nectar for native pollinators. During the construction of Gradient Canopy, an onsite waste management process diverted over 90% of construction waste from landfills, while a closed-loop wallboard initiative meant that 530,000 pounds of drywall waste was recycled. Thousands of materials used at the campus went through a rigorous sourcing and review process using the LBC Red List as a framework to minimize chemicals harmful to human and environmental health. To promote a circular economy, Gradient Canopy’s design incorporates salvaged materials and 100% FSC-certified timber. Today, a bioretention area captures and filters stormwater and urban runoff that are reused onsite. Anchored in three themes defined by Google’s design brief – innovation, nature and community – Gradient Canopy provides an opportunity to take human-centered, sustainable design to a new scale. Together, Google, BIG and Heatherwick have created a campus that fosters community and creates a healthy, inclusive space that benefits everyone. The public plaza in Charleston Park, which will be programmed with public events throughout the year, such as farmers markets, food trucks and live music, connects to the interior community spaces on the west side of Gradient Canopy. The plaza welcomes the public to the Google Visitor Experience and new food and retail outlets, like the West Coast’s first ever Google Store and a year-round neighborhood partnership center. A casual spot for day-to-day interactions, this neighborhood center hosts a pop-up shop and a range of events and workshops to highlight local small businesses and community organizations. The space offers an inclusive setting for dialogue and learning while serving as a social node for Gradient Canopy and the broader North Bayshore neighborhood. A pedestrian and bicycle path, part of the larger North Bayshore Green Loop, weaves around the southern portion of the site for Googlers, neighbors and visitors to enjoy the site’s native landscaping, public art and exterior gathering spaces. Freedom Plaza will create a new civic and cultural hub along Manhattan’s East River, just south of the United Nations headquarters. The development will bring a 4.77-acre public waterfront open space to an area historically lacking green space, with plans for an in-park Museum of Freedom and Democracy, much-needed affordable housing, two hotels, retail and restaurants. With a below-grade gaming area connected to the hotels, Freedom Plaza is one of several projects vying for three downstate gaming licenses in and around New York City. Freedom Plaza will extend BIG’s contribution to New York City’s waterfront, alongside adjacent coastal projects that include the East Side Coastal Resiliency project, the Battery Park City Resiliency project and River Ring in Brooklyn. “Our plan is to develop this site in a way that delivers benefits for the local neighborhood and the city as a whole, worthy of its skyline and waterfront location, and befitting New York City's key role as a leader in the global cultural economy. We value the community input that we have received throughout the planning process and are proud to help meet the need for residential and affordable housing and public open space, as well as providing a daycare, food market, and an array of new dining and retail offerings.” Michael Hershman — CEO, Soloviev Group The Freedom Plaza towers align with the orthogonal grid of Manhattan to extend the view corridors from Midtown eastward to the East River and Queens. The design respects the celebrated UN complex to the north while also adding playful and sculptural elements to the waterfront. The two residential towers pay homage to modernist New York City buildings of the 1950s and 1960s, with striped glass and aluminum facades connected at the base by a podium that will house a food market and retail. The two hotel towers, clad in a warm metal finish, connect at the roof, creating visual unity between the buildings. "When Le Corbusier, Niemeyer and Harrison designed the UN Secretariat Building, they grafted an oasis of international modernism onto the dense urban grid of Manhattan, creating a park on the river framed by towers and pavilions. Due to the nature of the work of the UN, access to that park - although open to all nations - remains necessarily restricted, for good reasons. With our design for Freedom Plaza, we continue to build on these architectural principles by uniting three city blocks to form a public green space reaching from 1st Avenue to the East River overlook, creating a green connection all the way to the water's edge. Bookending the park are two pairs of towers, joined at base or top and each framing a corner plaza: one showcasing the life of the city and the other forming an urban gate from the city to the upper park and East River beyond. Balanced on a perch overlooking the river, the Museum of Freedom and Democracy neighbors the towers and celebrates the origin and evolution of one of the most impactful inventions of mankind and our continuous struggle to build, maintain and protect the institutions that uphold it. We are incredibly honored and thrilled to be part of the team that can envision a new major public space in this great city, to contribute to the iconic skyline of Manhattan's riverfront, and to imagine the architecture of the museum celebrating one of mankind's greatest inventions: Democracy." Bjarke Ingels — Founder & Creative Director, BIG The buildings within Freedom Plaza are placed at the perimeter of the site to maximize space for the multilevel, universally accessible green spaces – roughly the size of Bryant Park – which include a children’s play area, dog run and event lawn with a bandshell for hosting al fresco events. The landscaping is designed to host a native botanical overlay and climate-adaptive species, with gardens providing food and habitat for pollinators year-round. The sculpture program and an amphitheater below the museum will offer cultural experiences for visitors and neighborhood residents alike, while educational programs centered around the native flora and sustainable practices emphasize the park’s commitment to environmental consciousness. Restaurants, a food market, community spaces, a daycare and other amenities line the northern and southern edges of the park. Freedom Plaza draws inspiration from New York’s many celebrated dual interior-exterior public spaces, including the nearby Ford Foundation Center for Social Justice. As hotel guests arrive, they enter a light-filled “forest atrium” that brings the outdoor public space inside through skylights and floating planters. From this atrium, guests can access the various food and beverage outlets, convention and event spaces, gaming facilities, and street-level retail. To further ease traffic concerns, a special entrance to the resort facility will be established on the 41st Street side of the property. The two hotel towers connect via a skybridge cantilevered over the East 41st St. and 1st Avenue corner of the site. The skybridge lobby features a dramatic multistory viewing platform with a glass floor and ceiling and the Soloviev Foundation Art Gallery, while a 150,000-gallon infinity pool – one of the largest rooftop pools in North America – will be perched on the roof. Banyan Tree hotel amenities, including a spa and wellness center, restaurants and bars, and private gaming are also located in the bridge interior. CODEX is a digital catalog of ready-to-print homes by construction technology company ICON that was unveiled at the South by Southwest Festival in 2024. The catalog features five 3D-printed home collections each based on a different program, with more than 60 designs across a range of price points. Within CODEX, BIG designed the weather-resistant Storm and Fire homes, with design elements that mitigate damage and loss due to storms and wildfires; the TexNext collection, which reinterprets four beloved Texan housing typologies; and House One, a 3-bedroom home that celebrates indoor and outdoor living within the Exploration collection. Every home in CODEX is designed to be 3D printed with ICON’s newest advanced material, CarbonX. When paired with ICON’s wall system and robotic construction methods, the CarbonX formula is the lowest carbon residential building system ready to be used at scale. New collections will continue to be added to CODEX, which aims to be the most extensive digital catalog of buildable home designs in the world. CODEX’s TexNext collection honors Texas heritage and its traditional architectural vernacular while reimagining and renewing it for the future. TexNext aims to provide the highest design quality at the lowest price. Each of TexNext’s eight typologies feature design elements typically unavailable for entry-level homes – all made possible through 3D-printing. A “shotgun house” is a narrow, rectangular residence with rooms arranged one behind the other and doors to the exterior at each end of the home. Known for its affordability and efficient use of space, CODEX’s Shotgun typology is modernized for a unique design made possible only through 3D printing. The Arc Ranch model elevates indoor/outdoor living to create a seamless and transparent connection from the front to the back of the house. A vaulted ceiling in the central living space adds a sense of openness and grandeur. Dogtrot, a style of home originating in the 19th-century Southern United States, features a central breezeway dividing the house into two living spaces, offering natural ventilation and relief from heat – much like its historic namesake. The Porch house features a spacious, covered porch that wraps around the home’s exterior, providing additional living space and opportunities for outdoor enjoyment. Located on West 34th Street between Hudson Boulevard and 10th Avenue, The Spiral neighbors the elevated High Line and Bella Abzug Park on Manhattan’s west side. The tower extends the parks’ green space up and around its exterior in a spiraling motion towards the sky – from the High Line to the skyline. Developed by Tishman Speyer and built by Turner, the commercial high-rise was designed by BIG in collaboration with Adamson Associates and structural engineer WSP Cantor Seinuk. The tower measures 66 stories and 2.8 million square feet, reaching a height of 1,031.5 feet. The Spiral is pursuing LEED Silver certification. The tower is BIG’s first completed supertall, and first completed commercial high-rise in New York. “The Spiral punctuates the northern end of the High Line, and the linear park appears to carry through into the tower, forming an ascending ribbon of lively green spaces, extending the High Line to the skyline. The Spiral combines the classic Ziggurat silhouette of the premodern skyscraper with the slender proportions and efficient layouts of the modern high-rise. Designed for the people who occupy it, The Spiral ensures that every floor of the tower opens up to the outdoors, creating hanging gardens and cascading atria that connect the open floor plates from the ground floor to the summit into a single uninterrupted workspace. The string of terraces wrapping around the building expands the daily life of the tenants to the outside air and light. As the trees and grasses, flowers and vines have taken root over the last two summers, The Spiral is slowly becoming an ascending ribbon of green wrapping around the entire silhouette of the tower - like a 1000-foot-tall vine at the scale of the city’s skyline.” Bjarke Ingels — Founder & Creative Director, BIG With approximately 13,000 square feet of outdoor space, a landscape of The Spiral’s size has never been installed at or above 300 feet elevation in New York City. Most of the plant species on the ground cover are native to the American prairie, making them resistant to high winds and droughts. As the building rises, a second layer of shrubs and taller bushes that blossom in winter are introduced, and finally, the landscape is crowned with single- and multi-stem trees that flower as early as February, along with vertical trellises with English and Boston ivy that keep their leaves through the winter. The plant palette differs on each side of the building depending on sun orientation and endurance against high-velocity winds. The Spiral promotes a contemporary workplace where nature becomes an integrated part of the office environment and spatial features are continuously adaptable to the changing needs of its occupants. To foster a connection to the outdoors and support The Spiral’s interior foliage, a generous ceiling height and specially selected exterior glass coating enables a deeper incursion of natural light. The building’s water management system collects overflow rainwater to treat and redistribute throughout the tiered landscaping, allowing it to save approximately 4.5 million gallons of water annually. This not only allows for sustainable irrigation – it also further cements The Spiral as a green addition to the Manhattan skyline. In the 116th National Day address to the Bhutanese people on December 17th, 2023, His Majesty King Jigme Khesar Namgyel Wangchuck unveiled his vision for a new economic hub in Bhutan, the world’s first carbon-negative country. Located in the town of Gelephu in Southern Bhutan, the 1000+ km2 masterplan titled ‘Mindfulness City’ by BIG, Arup, and Cistri is informed by Bhutanese culture, the principles of Gross National Happiness index (GNH), and the country’s strong spiritual heritage. Located on the Indo-Bhutan border to the south of Bhutan, Mindfulness City will leverage its location and connectivity to South Asia and Southeast Asia to lay the foundation for the country’s future growth and create economic opportunities for its citizens through investments in green technology, education, and infrastructure. The masterplan includes a new international airport, railway connections, a hydroelectric dam, public spaces, and a language for local building typologies, based on the nine domains of GNH: Psychological Wellbeing, Health, Education, Living Standards, Time-Use, Ecological Diversity and Resilience, Good Governance, Cultural Diversity and Resilience, and Community Vitality. Nestled between mountains, forests, and rivers, Bhutan stands as one of the last biodiversity hotspots in the world, with 70% of the country covered in forest. Mindfulness City aims to amplify the country’s abundant biodiversity by emerging as a vibrant tapestry of interconnected ecosystems and lively neighborhoods shaped by the flow of the 35 rivers and streams that run through the site. The resulting ribbonlike neighborhoods resemble paddy fields, forming urban terraces that cascade down from the hills to the valley. The city increases in density from the rural and recreational highlands to the urban and dense lowlands. The natural elements and the existing infrastructure, agriculture, and utilities of Gelephu naturally create 11 distinct neighborhoods across the 1000 km2 area. Each of the 11 neighborhoods is designed based on the principles of the Mandala; defined by a series of repeating typologies organized symmetrically around a central public space, a gradual transition in density is created, from small buildings dispersed in the landscape in the north to larger footprints within an urban environment in the south. To protect existing and future development against flooding in the monsoon season, paddy fields will be established along the site’s rivers and tributaries, running from north to south. These will further function as biodiversity corridors for local flora and fauna, leaving the migratory routes of elephants and other wildlife undisturbed. “The Gelephu Masterplan gives form to His Majesty’s vision to create a city that becomes a cradle for growth and innovation while remaining founded on Bhutanese nature and culture. We imagine the Mindfulness City as a place that could be nowhere else. Where nature is enhanced, agriculture is integrated, and tradition is living and breathing, not only preserved but also evolved. Shaped by waterways, Gelephu becomes a land of bridges, connecting nature and people, past and future, local and global. Like the traditional Dzongs, these inhabitable bridges turn into cultural landmarks, doubling as transportation infrastructure combined with civic facilities. Among these, the Sankosh Temple-Dam embeds the city’s fundamental values into a cascading landscape of steps and landings, that like a 21st century Tigers Nest will be a manmade monument to the divine possibility of a sustainable human presence on earth. Turning engineering into art and turning the forces of nature into power." Bjarke Ingels — Founder and Creative Director, BIG – Bjarke Ingels Group The neighborhoods within the city, divided by rivers, are tied together by three main mobility connections, which occasionally double as transportation infrastructure combined with civic and cultural facilities, creating a series of ‘inhabitable bridges’ that are tailored to each of the nine Gross National Happiness domains. Each of the bridges house key destinations within the city: the new airport; a Vajrayana spiritual centre, which allows glimpses into the daily practices of the monks and masters of mindfulness; a healthcare centre as a meeting between Eastern and Western medicine; a university that exposes its academic activities; a hydroponic and aquaponic greenhouse putting ancient farming practices and modern agro-science on display for the daily commuters; a cultural centre to immerse and educate visitors about Bhutanese culture and customs; and a market adorned with Bhutanese textiles. The LEGO brand House in Billund, Denmark is as playful and inviting as the world’s famous LEGO toy itself. Applying the ratio of the famous LEGO brick throughout the architecture, LEGO Brand House embodies the culture and values at the heart of all LEGO experiences. Simultaneously, the colorful building cements Billund’s status as the home of the LEGO brick and the children’s capital of the world. Due to its central location in the heart of Billund, sitting at the site of the city’s former town hall, LEGO House is conceived as an urban space as much as an experience center. Consisting of 21 overlapping architectural blocks, a 2,000 m2 public square allows visitors and citizens of Billund to spend time inside or simply shortcut through the building. "LEGO house is a literal manifestation of the infinite possibilities of the LEGO brick. Through systematic creativity, children of all ages are empowered with the tools to create their own worlds and to inhabit them through play. At its finest, that is what architecture - and LEGO play - is all about: enabling people to imagine new worlds that are more exciting and expressive than the status quo, and to provide them with the skills to make them reality. This is what children do every day with LEGO bricks - and this is what we have done at LEGO House with actual bricks, taking Billund a step closer towards becoming the Capital for Children." Bjarke Ingels — Founder & Creative Director, BIG The top of the building is crowned by the Masterpiece Gallery, a collection of LEGO fans’ beloved creations that pay tribute to the LEGO community. The Masterpiece Gallery is made of the iconic 2×4 LEGO brick and showcases art beneath eight circular skylights that resemble the studs of the brick. Like the golden ratio, the proportions of the brick are nested in the geometries of everything man-made in the building, from the glazed ceramic tiles in the steps and walls to the overall 21 block scheme. Atop the Masterpiece Gallery, citizens and visitors can get a 360° panoramic view of the city. Some of the rooftops can be accessed via pixelated public staircases that double as informal auditoria for people watching or seating for performances. Musée Atelier Audemars Piguet is a spiral-shaped pavilion, reminiscent of the spring in a timepiece movement, entirely supported by curved glass walls. The contemporary spiral flanks the original workshop where the Audemars Piguet story began in 1875 and where an earlier version of the museum was housed from 1992 to 2019. The vernacular architecture of the historical building has been fully recovered based on a thorough study of archival materials. With a design that marries tradition and innovation, the Musée Atelier Audemars Piguet offers visitors a unique opportunity to delve into the history of watchmaking in the Vallée de Joux and explore how the brand’s timepieces are crafted in Le Brassus. Musée Atelier Audemars Piguet is informed by the convergence of form and content in clockwork. It is conceived like the coils of a watch, ticking and advancing in perpetuity like the gallery visitors and watchmakers moving cyclically with the structure. Every element is governed by the functional requirements of the exhibition while appearing as a sculpture conceived in a single gesture. The all-glass structure is made up of two spirals that seamlessly integrate into the existing landscape. The museum’s collection, which showcases some 300 timepieces, is displayed alongside two in-situ production workshops, creating a living museum. Visitors can observe watchmakers working within the curved glass walls of the museum and experience their expertise first-hand. "Unlike most machines and most buildings today that have a disconnect between the body and the mind, the hardware and the software, for the Musée Atelier Audemars Piguet we have attempted to completely integrate the geometry and the performance, the form and the function, the space and the structure, the interior and the exterior in a symbiotic whole. It's an architecture in which the form is inseparable from its content, exposed like the gears and springs in a skeletonized open work." Bjarke Ingels — Founder & Creative Director, BIG The classroom bars serve as the primary organizing elements, surrounding a central vertical core that contains the elevators, stairs and bathrooms. As students enter from the central staircase, they are greeted by an expanded gradient of the color spectrum: each classroom bar is defined by its own color, combining intuitive wayfinding with a vibrant social atmosphere from the ground to the sky. The Shriver Program providing special education for students aged 11 to 22 occupies two floors of the building accessible from the ground floor, and has specialized spaces dedicated to support APS’ Functional Life Skills program as well as privacy and ease of accessibility; the gymnasium, courtyard, occupational physical therapy suite, and sensory cottage are designed to aid in sensory processing. The planned state-of-the-art National Museum of the United States Navy is envisioned as a home for both Naval veterans and the public, a living memorial to the U.S. Navy’s heritage and a lighthouse in the community for education and public events. The 270,000 sq ft campus includes a new building and ceremonial courtyard, as well as the potential renovation of existing historical buildings. BIG’s competition proposal, developed in collaboration with landscape architects Olin Studio and digital media agency Squint/Opera, seeks to reflect the historical context of the Navy Yard, while referencing the scale, materials and details of Navy vessels. An array of large-scale vitrines open up towards a public street, welcoming visitors and locals with an impressive glimpse into the museum’s collection of artifacts inside and outside, conveying the mission, lineage and breadth of operations that constitutes the US Navy. "As a Dane and a resident of a houseboat – a Norwegian ferry I converted into my family home – to imagine a museum for the United States Navy is a true labor of love! Our concept for the National Museum of the United States Navy is informed by the beautiful heritage of the buildings in the Navy Yard. The Navy belongs in the water, so we put the museum in the water. A series of long slender buildings line up abreast to the main street showing off life-size artifacts from the 5 branches of the Navy: Surface, Subsurface, Expedition, Aviation and Space. The 5 buildings flow together to form an epic atrium cascading from the roof to the ground where all exhibitions will be visually and physically accessible upon arrival. This massive space will also serve as the majestic setting for ceremonies honoring those who served. As imagined, the Museum will be of the Navy as well as for the Navy." Bjarke Ingels — Founder & Creative Director, BIG BIG’s vision is developed with flexibility and utility in mind to allow for different events simultaneously in and around the building. Rather than closing or compromising the museum due to events, the visitor experience is enhanced by the varying spectacles playing out during the day allowing visitors glimpses of events while enjoying full access to the galleries. The final concept will be chosen from a total of five concepts from the Naval Heritage History and Command’s Artistic Ideas Competition for the National Museum of the U.S. Navy (NMUSN). The planned new museum is set to become a destination amongst the vast offerings of exhibition experiences in D.C, while also being a welcoming place of remembrance and contemplation for enlisted sailors, Navy Veterans and their families. In May of 2022, the City of Prague unveiled BIG’s design for the country’s first national concert hall in over 100 years: The Vltava Philharmonic Hall. The new concert hall will become the home of the world-class philharmonic for 1800+ audiences, celebrate the Czech music tradition and cement the country as acultural capital in Europe. The Vltava Philharmonic Hall is composed as a cascade of outdoor destinations from the waterfront on the river to the city’s iconic skyline. By raising and lowering the corners of the building at multiple touch points, the public spaces connect and allow activities to spill in and out of the building on every side: towards the river, the square, the street, and the alley. Visitors will be drawn in from all forms of arrival, with carefully chosen programs inviting them to explore the music venues inside or climb the elegant, arced roofs of the new concert hall. The new Philharmonic is conceived as a contemporary extension of Prague’s dramatic urban topography, as a cascade of outdoor destinations. A series of grand public plazas will become a new symbol of inclusionary architecture, welcoming a multitude of Prague’s vibrant urban life to flow across, around, through, under and over the new concert hall. The site is bound by four key traffic corridors, the character of which informs the public space programming around the Philharmonic. Along the Western side, Bubenská passes the site and continues across the Vltava on the Hlávkův Bridge. Here, several modes of mobility are accommodated within the public realm. Along the North, the tram line runs adjacent to the new neighborhood development. As a car-free zone, this corridor becomes an important pedestrian and soft mobility connection to the surrounding neighborhoods. The new ecological corridor extending down from Stromovka Royal Game Reserve passes by the Eastern side of the site, creating a lush green buffer between the Philharmonic and the train line. Most importantly, the Vltava River runs along the Southern side of the site, connected to the streetscape by a new waterfront promenade. An essential public building for the Holešovice district and a new focal point for Prague, the new Philharmonic extends horizontally and vertically in all directions to create key urban connections and form a recognizable landmark for surrounding communities near and far. The roofs are conceived as a continuation of the grand public plaza at the foot of the building. The undulating stepped form of the roofs allows visitors to meander to the summit of the building, as if climbing a hill. Slender vertical colonnades support the building’s roof terraces while undersides of warm timber from the Bohemian Forest provide shade and shelter. A space to sit and to gather, spaces for informal outdoor performances and views inward to the Philharmonic’s lively musical environment. Arriving in the grand foyer, guests are greeted by a striking interior inspired by Czech Glass Artists which lead them into the music venues for a truly contemporary music experience. Arranged like petals of a pinecone turned inside out, the seats of Prague Hall are rotating within the compactness of a perfect square. The seating rakes meet at their corners to allow physical connectivity between every seat in the audience, providing a greater sense of unity and shared experience. Warm timber interiors provide balanced acoustics with a natural material, and form an environment designed to strengthen the intimate connection between the audience and orchestra. Beyond being a major cultural destination for Prague, the building is crafted to maximize its potential to host external uses and special events. The venues are carefully designed to maximize flexibility for a range of uses – from the boldness of contemporary music styles to theater performances and digital exhibitions. At the buildings summit, an elegant hyperbolic structure spans over the Vltava Hall and forms the iconic ceiling of a restaurant and event ballroom with views of the historic city center of Prague. In 2015, restaurant Noma – known as the “World’s Best Restaurant”- closed its doors to the 16th century warehouse that had been its home for fourteen years. After more than three years of planning and collaboration, Noma reopened in 2018 on the outskirts of autonomous district Christiania – this time at the protected site of an old fortification once used to store mines for the Royal Danish Navy. BIG’s design for Noma 2.0 dissolves the traditional idea of a restaurant into its constituent parts and reassembles them to put the chefs at the heart of the restaurant. “When we found the location for the new Noma, we knew we had to come up with an architectural solution which made sense for our guests, the team and the surroundings. I believe that Bjarke and the BIG team came up with the ideal non-pretentious solution that we enjoy calling our home for years to come. To say that we are thrilled with the end result would be an understatement.” Peter Kreiner — CEO, Noma For recreation, guests will rejuvenate in a Japanese-style bath house with soaking tubs cut from the stone bedrock or have a first-class view of the galaxy in the sunken hempcrete stargazing room and meditation space. A greenhouse made entirely of glass brick will grow food for the island; energy will be stored in a building with a solar roof and submarine door; and the boat house will honor a local tradition of using regenerative seaweed as insulation. The roofs will incorporate shrubs and other flora to reduce storm-water runoff and ease the burden on sewers and water treatment systems. Every design detail at Vollebak Island will help to foster the closest possible connection to nature, acting as a curated extension of the island’s organic topography and creating a living environment that blurs the boundaries between inside and out. The beach, the woods, the cliffs, the landscapes and the sunsets will all be part of the house on Vollebak Island. The 280 m tall CapitaSpring is located in the heart of Singapore’s financial district on the site of a 1980s car complex and a hawkers market. As the second tallest tower in Singapore, the 93,000 m2, 51 story mixed-use development continues Singapore’s pioneering vertical urbanism by creating a diverse neighborhood of places to work, live, and play. Entirely defined by zoning rules, street walls, and setback requirements, the volume is a complex composition of polygonal shapes. The program, which includes premium Grade A office space, Citadines serviced residences, retail, and public spaces, is similarly strictly defined with offices sitting on top of residences that in turn rest on a podium of food markets and parking. Due to the unique character of Singapore’s urbanism – both very dense and verdant – BIG pursued the design challenge as a vertical exploration of tropical urbanism, reinforcing Singapore’s reputation as a garden city. The building’s recognizable exterior façade consists of vertical elements that are pulled apart to allow glimpses into the green oases blooming from the base, core and rooftop. A dynamic interplay of orthogonal lines and lush greenery presents itself in the contrasting textures of steel and glass, interweaved with tropical vegetation. BIG, ICON and Texas-based hotelier Liz Lambert have joined forces to reimagine the infamous nomadic campground hotel El Cosmico in Marfa, Texas. The new 62-acre community will feature large-scale 3D-printed structures including domes, arches, vaults and parabolic forms, enhancing the guest experience with a pool, spa, and shared communal facilities. Breaking ground in 2024, El Cosmico will continue to celebrate the convergence of creative culture and the minimalistic natural environment of the Marfa landscape. To celebrate the project, a partnership with The Long Center for the Performing Arts brings a taste of El Cosmico to Austin, Texas during SXSW. The 3D-printed pavilion combines the architectural design themes planned for El Cosmico in Marfa in a single, sculptural space for culture and community in the heart of downtown Austin. The design is informed by the unique connection between the high desert landscape and cosmic organizations. The new hotel and homes feature organic curves and domes, a primordial architectural language that can only be achieved by 3D-printing. ICON’s technology excels at creating soft shapes and curved surfaces, making it possible to bring this design vision to life. The project provides a natural continuation of unique experiences, building on El Cosmico’s legacy at the intersection of art, nature and hospitality in Marfa, TX. Another facet of the project will be to assess the opportunity to 3D-print affordable housing in Marfa to serve the evolving needs of the town. Watchmaking, architecture, and nature are celebrated at Hôtel des Horlogers which zigzags through the Vallée de Joux town just outside of Geneva. The 8,700 m2 hotel marks the second collaboration between BIG and luxury watchmaker Audemars Piguet following the opening of the neighboring Musée Atelier Audemars Piguet in 2020. The Hôtel des Horlogers builds on the history of the Hôtel de France, established in Le Brassus in 1857 by members of the Audemars Piguet family. The hotel became an important stop on the Chemin des Horlogers – the watchmaking route that connected the Vallée de Joux workshops to Geneva, where timepieces were sold by retailers. Audemars Piguet hired BIG to design a new hotel in line with the luxury brand’s values and sustainability mission. Guided to the hotel entrance from the main access road, guests approach the hotel through a generous driveway. From this entrance, the hotel appears as a single slab, with the four additional floors tucked into the landscape below. Defined by timber and concrete, the exterior entrance introduces the materiality of the hotel-at-large – authentic, pared-back materials that complement the natural landscape enveloping the building. The system of interwoven wood louvers inspired by the log cabin overlay aesthetic provides shading for the façade, enhancing the building’s energy performance. The shading system is fully integrated with the stepping geometry of the wooden slabs, keeping the transparency from the main access road to the valley, and re-establishing the connection between the village and the pastoral landscape. "From the very beginning of the design process, it was vital for us and our client, Vardemuseerne to preserve the two hospital buildings. The buildings are some of the last remaining physical manifestations of the former refugee camp, and not only is their preservation invaluable for future generations to understand the past and the present, the buildings also directly informed our design of the extension by means of their unique elongated form, structure and materiality. FLUGT is a great example of how adaptive reuse can result in sustainable, functional buildings that preserve our shared history while standing out architecturally." Frederik Lyng — Associate & Project Leader, BIG The exhibition area in the north wing contains gallery spaces organized according to the original flow/circulation in the hospital. While most of the hospital room walls were torn down, some of the inside walls are kept intact and stabilized by three cross sections, creating larger exhibition spaces. The south wing features a flexible conference room, smaller exhibition spaces, café. The back-of-house functions with the same character and materiality as in the north wing: white walls and intersections covered in white painted wood boards oriented according to the angle ceiling line, as well as yellow bricks across the entire museum floor, connecting past and present structures. "The Refugee Museum of Denmark explores an important part of our history and a theme that is more relevant than ever, with millions of refugees currently displaced from their homes. We have designed an architectural framework that connects the past with the present - with a new building directly shaped by its relationship to the historic hospital buildings of the WWII refugee camp. We went into this project with all our heart to address one of the world’s greatest challenges - how we welcome and care for our fellow world citizens when they are forced to flee. The project is a continuation of our collaboration on Tirpitz Museum with Vardemuseerne and Claus Kjeld Jensen whose uncompromised design vision once again inspired our design for FLUGT." Bjarke Ingels — Founder & Creative Director, BIG BIG’s ‘leaning’ Qianhai Prisma Towers, featuring a 300m2 tall residential tower and a 250m tall office tower, will complete the new Qianhai Bay development, solidifying Qianhai’s position as the burgeoning financial and cultural center of Shenzhen. Expected to begin construction in 2025, the project – won in a global architectural competition – will be BIG’s second in Shenzhen following Shenzhen Energy Mansion’s completion in 2017. Situated in the Guiwan District within the metropolitan city of Qianhai, the BIG-designed Qianhai Prisma Towers will flank each side of the Shenzhen Hong Kong Plaza – also known as the ‘green belt’ – marking the entrance to the neighborhood. New workspaces, residences, and 20,000+ m2 of multi-level public spaces will be positioned steps from an integrated regional transport hub and the Qianhai Bay. Both towers are defined by gently leaning volumes that taper towards the sky – a subtle gesture that adds structural efficiency while creating verdant openings between the volumes and a generous ground-floor public realm. The lush biophilia on the balconies and ledges contrasts the glass facades that shimmer subtly throughout the passing of the day. The ground plane of the towers opens up to create a dynamic and welcoming urban living room while connecting the towers to the ‘green belt’ and nearby shopping mall. A meandering biophilic pedestrian skybridge functions as a canopy, providing shade and protection from the rain while connecting the shopping mall, the retail podium, and the surrounding neighborhood. The tripod footprint of the 130,760 m2 residential tower is a radial array of three rectangular volumes that step up at different heights – providing multiple views towards the city and the ocean while creating beautiful living spaces, ‘sky garden’ terraces, and a roofscape. Between the volumes, the envelope opens up to create a subtle crevice of green balconies, from the ground level to the roofs. The ground floor wayfinding takes inspiration from the Qianhai Bay, oftentimes appearing as a series of ripples while facilitating the flow of people through the entrances in and around the towers. The public realm of the ground floor office tower includes an amphitheater, tree–shaded social spaces, and an under–porch bar. In response to the climatic characteristics of the region activities are located under the canopy, trees and overhangs of the building. Rainwater is collected via the sloped curtain walls, utilized for irrigation system and maintenance of the public space. From the interior of the tower, the corners peel open to create outdoor terraces on every floor. The west tower wall extends slightly skywards to reiterate the leaning gesture – delicately joining the remaining three walls/envelopes to create a sculptural addition to the skyline. Google Bay View is Google’s first-ever ground-up campus with the mission to operate on carbon-free energy 24 hours a day, seven days a week by 2030. The buildings deliver on Google’s ambition to create human-centric, sustainable innovations for the future of Google’s workplace and scalable, replicable solutions for the construction industry and beyond. Located on a 42-acre site at the NASA Ames Research Center in Silicon Valley, the 1.1 million sq ft Google Bay View Campus brings three new buildings, 20 acres of open space, a 1,000-person event center, and 240 short-term employee accommodation units to the area. All three buildings are constructed as lightweight canopy structures optimized for interior daylight, views, collaboration, and activities. Anchored in three themes defined by Google’s design brief at the beginning of the project – innovation, nature, and community – the design is driven by flexibility and extraordinary user experience that inspires collaboration and co-creation. Team spaces are on the upper level and gathering spaces are below, separating focus and collaborative areas while still providing easy access to both. The second floor design has variation in floorplates to give teams a designated “neighborhood” area that is highly flexible to change with their needs. The site has achieved a LEED-NC v4 Platinum certification – making it the largest LEED v4 BD+C: NC Platinum certified project in the world – and has become the largest facility ever to attain the International Living Future Institute (ILFI) Living Building Challenge (LBC) Water Petal Certification. Bay View operates entirely on electric energy. The integrated geothermal pile system at Bay View, which is the largest in North America, is estimated to reduce carbon emissions by roughly 50% and will help both heat and cool the campus. The massive geoexchange field is integrated into the structural system, reducing the amount of water typically used for cooling by 90%, equal to 5 million gallons of water annually. To help deliver on Google’s commitment to replenish 120% of the water the HQ consumes by 2030, the site is net water-positive with all non-potable water demands being met using the recycled water it generates on site. The on-site systems built by Google collect, treat, and reuse all stormwater and wastewater and provide habitat restoration, sea level rise protection, and access to the beauty of natural wetlands for both Googlers and the public on the nearby Bay Trail. “Our design of the new Bay View campus is the result of an incredibly collaborative design process. Working with a client as data driven as Google has led to an architecture where every single decision is informed by hard information and empirical analysis. The result is a campus where the striking dragonscale solar canopies harvest every photon that hits the buildings; the energy piles store and extract heating and cooling from the ground, and even the naturally beautiful floras are in fact hardworking rootzone gardens that filter and clean the water from the buildings. All in all, a campus where front of house and back of house, technology and architecture, and form and function have been fused into a new and striking hybrid.” Bjarke Ingels — Founder & Creative Director, BIG The Bay View buildings are split across only two floors, with desks and team spaces on the upper level, and the amenity spaces below. A series of indoor “courtyards” throughout the buildings connect the two levels, giving teams easy access to cafes, kitchenettes, conference rooms, and all-hands spaces. The courtyards also encourage the physiological benefits of physical movement when circulating between levels and different modes of work, and double as wayfinding devices. Rather than being segmented by excessive columns and support walls, the structural innovation of the canopy roof allows for a wide-open workspace; every person has equal access to views across the floorplate, and through the perimeter facade and clerestory windows to the outdoors. "Google Bay View offers a workplace experience that is an antithesis to an urban high-rise; Containing as much area as the tallest office tower in San Francisco, the typically stacked floorplates are redistributed into a flat array, creating a vibrant village. While on-site carbon and water neutrality is challenging for skyscrapers, this bay-scraper typology enables us to harvest the power of the sun, earth, and water. We hope Bay View will provide a quantum leap in the evolution of the workplace, elevate the benchmark for sustainable design, and inspire the next generations of users and visitors to the building." Leon Rost — Partner, BIG The campus includes 17.3 acres of high-value natural areas – including wet meadows, woodlands, and marsh – that contribute to Google’s broader efforts to reestablish missing essential habitat in the Bay Area. Google’s mission to unlock advancements for the benefit of the environment and the entire industry have led to several scalable solutions in working on the Bay View campus: increasing modular construction, geothermal at new scales, innovation in PV design, a permitted blackwater system, waste diverted from landfill, improved total number of products vetted for Red List ingredients, and landscape designed to advance water stewardship and create valuable habitat for threatened wildlife. Overall, the Google Bay View campus has forged a new framework, materials language, and ecological approach that will help push both the future of the workplace, and the built environment-at-large, forward. The Danish Maritime Museum is located in a unique historic and spatial context: between one of Denmark’s most important and famous buildings, the Kronborg Castle, and a new, ambitious cultural center – the Culture Yard. BIG was invited for a competition to design a Maritime museum inside the neighboring decommissioned dry-dock, where ships used to be built. Instead, BIG proposed to place the museum underground, just outside the wall of the dock in order to preserve the dock as an open, outdoor display, maintaining the powerful structure as the center of the Maritime Museum. By placing the museum this way, it appears as a discreet part of the cultural environment associated with the Kronborg Castle and the neighboring Culture Yard, while at the same time manifesting itself as an independent institution. The arrival to the museum is through a descending set of ramps which enter both the dry dock and the world of the seafarer. Like a siren’s song, the museum attracts the passer-by deeper and deeper into the long and noble Danish Maritime history in its galleries, finally standing in the dry dock with a view of the skies. With hard-sound reflecting surfaces and an open ‘ceiling,’ the dry dock’s acoustics are perfect for dance performances and concerts, but also suitable for other outdoor activities, exhibitions, and events – turning the Maritime Museum into a center for cultural life in Helsingor. Through minimal means, BIG’s design created maximum functionality and architectural resonance. Since its opening in the 1940s, Zurich Airport has become one of the most important aviation hubs in Europe. Following the airport’s previous additions of Dock E, the Airside Center, and The Circle, an international two-stage design competition was kicked off in 2020 to replace the aging Dock A. Expected to open in 10 years, the new Dock A designed by BIG includes Schengen and Non-Schengen gates, airside retail, lounges, offices, the new air traffic control tower, and an extension of the immigration hall. BIG’s design is conceived as a mass timber space frame that is structural design, spatial experience, architectural finish, and organizational principle in one. The structure is made from locally sourced timber, and the roof is entirely clad in solar shingles turning sunlight into a power source. Arriving passengers are guided towards the hub of Dock A – which is split across seven floors which are visually connected through the generous light-filled atrium. Passenger flows are funneled through the atrium that connects all floors via stairs, escalators and elevators – from the underground immigration hall to all arrival and departure levels, and the lounges on the top floors of the central hub. To enhance the passenger experience, the spaces within the new terminal use daylight as a natural wayfinding system. A linear skylight – created by the unfolding roof of the pier – widens toward the central hub and opens up into the atrium where all departing, arriving, and transferring passengers meet. By placing the control tower in its center, the tower is experienced from the inside as a beacon that creates a sense of place, akin to a town square rather than an airport. “As airports grow and evolve and as international guidelines and safety requirements change, airports tend to become more and more complex: Frankenstein's of interconnected elements, patches and extensions. For the new main terminal of Zurich Airport, we have attempted to answer this complex challenge with the simplest possible response: A mass timber space frame that is structural design, spatial experience, architectural finish, and organizational principle in one. The striking structure is made from locally sourced timber, and the long sculptural body of the roof is entirely clad in solar shingles turning sunlight into a power source. A simple yet expressive design - rooted in tradition and committed to innovation - embodying the cultural and natural elements of Swiss architecture.” Bjarke Ingels — Founder & Creative Director, BIG A contemporary, pared-back material palette, the structure, floors, and ceilings of Dock A are envisioned with timber as the main material. As a renewable local resource, this material choice allows for efficient prefabrication during the construction process while paying homage to the long-standing local tradition of wood construction in Switzerland. The main loadbearing system of the building is based on V-shaped timber columns – providing a structural function while also serving as a reference to both the iconic Swiss alpine landscapes and the centuries-old tradition of timber construction and traditional pitched roofs. Arriving passengers will be welcomed by this distinctly local architecture that showcases high-quality craftmanship while underscoring the airport’s pledge to sustainability. Finally, Dock A’s roof will be covered with PV panels while integrated shading will reduce solar heat gain and maintenance requirements, and a combination of water and air-based cooling and heating systems will improve the building’s energy demand. APM Terminals and Maersk teamed with BIG to reimagine the future of the shipping industry starting with the green transformation of the Aqaba Port Terminal in Jordan by 2040. The project is the first step towards decarbonization of major ports and container terminals – and connecting shipping infrastructure to local communities. Born out of APM Terminal’s ambition to optimize and decarbonize the port and surrounding logistics, BIG has developed a spatial framework for the green transformation of Aqaba Container Terminal – the gateway to the distribution network of Jordan, the Levant and beyond. The vision, with ESG principles at the core, merges different strategic approaches at regional scale, starting from the terminal refurbishment, expanding to the logistics functions in the immediate surroundings, and lastly, connecting to the wider port’s community and natural environment. “Over the last decades, industries have driven economic growth, but also contributed to severe environmental impact. Aqaba Container Terminal is an example of how cleaner, quieter and safer infrastructure can create new forms of sustainable urban environments. As an urban planner and landscape architect the collaboration has been a unique chance to explore the hidden potential behind industrial sites and rethink infrastructure as a catalyst for urban, sustainable transformation. Developing this vision in collaboration with Maersk, APM Terminals and ACT has been an incredible opportunity to collaborate with industry leaders on the design and innovation of the global maritime infrastructure, which we all rely greatly on." Giulia Frittoli — Partner, BIG VIA 57 West introduces an entirely new typology to New York City: the Courtscraper. The 830,000 sq ft high-rise combines the density of the Manhattan skyscraper with the communal space of the European courtyard, offering 709 residential units with a lush 22,000 sq ft garden at the heart of the building. Located on the west side waterfront of Manhattan, framed by a power plant, a sanitation garage, and the West Side Highway – the site needed an oasis in the middle of all the infrastructure. BIG essentially proposed a courtyard building that is on the architectural scale – what Central Park is at the urban scale – an oasis in the heart of the city. “In recent decades, some of the most interesting urban developments have come in the form of nature and public space, reinserting themselves back into the postindustrial pockets, appearing around the city; the pedestrianization of Broadway & Times Square; the bicycle lanes, the High Line and the industrial piers turning into parks. Located at the northern tip of the Hudson River Park, VIA continues this process of 'greenification,' allowing open space to invade the urban fabric of the Manhattan city grid. In an unlikely fusion of what seems to be two mutually exclusive typologies, the courtyard and the skyscraper, the Courtscraper is the recent addition to the Manhattan skyline, showing that we don’t have to limit our choices to one or the other - we get to have both.” Bjarke Ingels — Founder & Creative Director, BIG Every apartment gets a bay window to amplify the benefits of the generous view and balconies. At the upper levels, the apartments are organized in a fishbone layout orienting the homes towards the view of the water. Large terraces are carved into the warped façade to maximize views and light into apartments, while ensuring privacy to the residents. The material concept for the interior design of the project is “Scandimerican,” another layer of the European-American hybridity: classic modern Scandinavian material sensibility blended with local New York materials. The primary materials of the apartments are oak wood floors and cabinets, with white porcelain tiles in the bathrooms. In the words of BIG Founder & Creative Director, Bjarke Ingels: “Designing a home for a family is like painting a portrait. A portrait’s success lies not only in the artists’ ability to express themselves – but rather in their ability to capture the expressions, character, personality, or even the soul of those being portrayed. As an architectural portrait, the home is about creating a framework for interests and needs, wishes and dreams, requirements and criteria – in short – the life the family wants to live.” In Villa Gug, located in its namesake city Gug in Northern Denmark, the clients’ passion for cars plays a major role in the family’s life, taking up a significant portion of the housing area. Instead of hiding the cars away in a basement, or a large garage, BIG designed a house that smoothly transitions from the car to the home. “When we as architects create spaces, we become curators of the objects within it, selecting everything from door handles to window frames to lamps. We look for building elements that do not compete with but complement the architecture. The DÉCA family is a set of sculptural objects which can be stacked vertically or horizontally to form a simple composition. Rooted in the idea of creating a contemporary design, DÉCA is a one-hand-operational object that challenges how a faucet looks, feels, and operates.” Jakob Lange — Partner & Head of BIG Products, BIG “We’ve tried to take all the iconic qualities of Quito - such as the enjoyment of living in one of the most biodiverse places on the planet, in a city on the equator where the seasons are perfect for both human and plant life - and bring that experience into the vertical dimension. IQON is an entire vertical community of individual homes; an extension of La Carolina Park that now climbs all the way up to the rooftop." Bjarke Ingels — Founder & Creative Director, BIG The 390,000 sq ft building – which includes 215 residences, commercial units, office spaces, and a variety of amenities – features a notable curved corner, wrapped by terraces that continue around the building’s perimeter with views of the park, city and over the Pichincha volcano. IQON’s architectural identity is defined by its ‘stripped back’ façade; the raw, exposed concrete simultaneously functions as the building’s structure. Individual ‘pixels’ are stacked 32 floors high and rotated to provide the best possible views while simultaneously creating terraces for the apartments. Celebrating native trees and plants, the building integrates greenery wherever possible to take advantage of Ecuador’s temperate climate and ecology – the country with the most plant species per square meter in the world. Quito’s biophilia is carried from the public spaces below into the private domain of each home via the sculptural planters that are integrated into the architecture of the building. The planters become a unique concrete sculpture inside the apartments – creating space for the root zone of the tree for the apartment terrace above – while transforming the façade of the building into a celebration of Quito’s verdant biodiversity. The building also acts as an urban tree farm: once the vegetation planted on the terraces outgrows its planter, it can be replanted in parks all over the city. In this way, the building becomes part of a green cycle – from park to building, and back to park. Located in Odense, Denmark, the 2800 m2 headquarters for Danish global supply chain company Dymak is designed by BIG LEAP – our in-house Architecture, Landscape, Engineering and Product Design teams – with high energy performance at heart while also creating a comfortable work environment that can be adapted to the company’s future growth. Set to achieve DGBN Gold and Heart Certification, the headquarters are characterized by a circular shape and a grid-like facade that references the Danish architectural tradition of half-timbering. The facade consists of a series of 44 radial cross-laminated timber frames, topped with an undulating roof covered in 880 PVCs, which are angled for harvesting solar energy throughout the year as well as reduce noise pollution for an inner open-air green courtyard. Landsec’s redevelopment of Red Lion Court, Bankside recently received planning permission to create a green office cluster in Southwark. The new Red Lion Court will bring 230,000 sq ft of Grade A offices, retail and open public space to the banks of the River Thames, adjacent to Borough Yards. The BIG-designed building will provide access to outdoor spaces on every floor, an extensive communal roof terrace and unfettered views over the river into the City. Over 45% of the site will be publicly accessible, including an expanded Thames Path, a pocket park and community garden plus affordable office space, flexible retail, a bike repair centre and wellness centre. The building is designed to be net-zero in both construction and operation. The completed building will be fully electric and target WELL Core Platinum and BREEAM ‘Outstanding’. At ground level, the lifted mass provides nearly 45% of the site devoted to public realm including two new, generous publicly accessible spaces linked together by the building’s lobby. At the north a new Bankside Square is created adjacent to th
205	dbpedia	2	82	https://setthetape.com/2023/01/13/body-of-evidence-throwback-30/	en	Body of Evidence – Throwback 30	https://i0.wp.com/setthe…1200%2C460&ssl=1	https://i0.wp.com/setthe…1200%2C460&ssl=1	[ "https://i0.wp.com/setthetape.com/wp-content/uploads/2021/06/SET-THE-TAPE-LOGO-PRIDE-RAINBOW.jpg?fit=1560%2C186&ssl=1", "https://i0.wp.com/setthetape.com/wp-content/uploads/2023/01/Body-of-Evidence-HEADER.jpg?resize=1200%2C460&ssl=1", "https://secure.gravatar.com/avatar/265c98892d77b8b0a4bee60b2b91ee75?s=96&d=retro&r=pg", "https://i0.wp.com/setthetape.com/wp-content/uploads/2023/01/Body-of-Evidence-POSTER.jpg?resize=200%2C300&ssl=1", "https://i0.wp.com/setthetape.com/wp-content/uploads/2023/01/Body-of-Evidence-BODY-1.jpg?resize=780%2C421&ssl=1", "https://i0.wp.com/setthetape.com/wp-content/uploads/2023/01/Body-of-Evidence-BODY-2.jpg?resize=780%2C419&ssl=1", "https://i0.wp.com/setthetape.com/wp-content/uploads/2018/09/STT-triangle-sep18.png?resize=150%2C150&ssl=1", "https://i0.wp.com/setthetape.com/wp-content/uploads/2024/05/The-Black-Orb-HEADER.jpg?fit=1200%2C460&ssl=1&resize=40%2C40", "https://i0.wp.com/setthetape.com/wp-content/uploads/2024/05/A-Case-of-Mice-and-Murder-HEADER.png?fit=1200%2C460&ssl=1&resize=40%2C40" ]	[ "//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=GB&source=ss&ref=as_ss_li_til&ad_type=product_link&tracking_id=setthetape-21&language=en_GB&marketplace=amazon&region=GB&placement=B0BL7P6SHV&asins=B0BL7P6SHV&linkId=584d420fc6af7fa50431bf373e75c372&show_border=true&link_opens_in_new_window=true" ]	[]	[ "" ]	null	[ "Leslie Byron Pitt" ]	2023-01-13T00:00:00	You can see why, at first glance, Body of Evidence seemed like a good idea. The Erotic Thriller sub-genre was reaching its peak. A spate of illicit noirs and/or yuppies in peril features littered t…	en	https://i0.wp.com/setthe…it=32%2C32&ssl=1	Set The Tape	https://setthetape.com/2023/01/13/body-of-evidence-throwback-30/	You can see why, at first glance, Body of Evidence seemed like a good idea. The Erotic Thriller sub-genre was reaching its peak. A spate of illicit noirs and/or yuppies in peril features littered the box office with varying results. However, Dino De Laurentiis, a producer not afraid of the odd lurid feature, looked to wade into the waters of the sexy thriller business. At the time, he looked to be holding a not-so-covert secret weapon: Madonna. The widely dubbed “queen of pop” was going through one of her most polarising eras. Late in 1992, Madonna simultaneously released the erotic coffee table book Sex, and her fifth studio album Erotica. Negative reaction to the book hampered Erotica‘s commercial prospects, with the album being her lowest selling at the time. De Laurentiis allegedly pleaded with Madonna to delay the box release to give Body of Evidence a chance to breathe. But seriously, who’s going tell the Material Girl what to do? The overload of a sexually suggestive book, an album and a film had many critics question Madonna’s antics. De Laurentiis pointed to the sexual saturation as the reason why Body of Evidence flopped at the box office. However, the film’s 60% drop during its second week suggests that word of mouth had some sway in public opinion. Quite simply: some people saw it, disliked it, and informed their friends to stay clear. Madonna, ever the reinventor, shed the aggressive sexual image and moved on to the more introspective Bedtime Stories album in 1994. Maybe the OTT sexuality was too much for folk in general. Possibly. But it doesn’t help that Body of Evidence, even 30 years on, is a stinker. READ MORE: Godzilla: Monsters & Protectors – All Hail The King #4 – Comic Review When the elderly and wealthy Andrew Marsh dies from a heart attack after some sexual activity, his lover Rebecca Carlson (Madonna) is framed as the lead suspect. Lawyer Frank Dulaney (Willem Defoe) is hired to defend Rebecca, and from first impressions duly believes her innocence. As the trail begins to loom, more details are revealed about Rebecca’s relationship with Marsh. That his will was changed to leave Rebecca with $8 Million after he dies. It’s also discovered that Marsh had a dicky ticker. Rebecca appears unaware of these facts, much to Dulaney’s confusion. It doesn’t help, however, that he’s beginning to fall for her, complicating matters. Body of Evidence began shooting two weeks after Paul Verhoeven’s Basic Instinct (1992) was released. This an unfortunate occurrence, as the coincidental similarities found in both features only help to highlight how Body of Evidence pales in comparison. Basic Instinct doesn’t just have the jump on Body of Evidence by being completed and released first. It excels in detail, performance, and direction. Paul Verhoeven’s grip on the sensationalised nonsense is far stronger than Body’s director Uli Edel. Both films open similarly with Body of Evidence coincidently aping Basic Instinct’s initial crime scene sequence. But it’s clear from the dialogue and blocking that Edel just doesn’t have the same flair that makes Basic Instinct tick. Much like in Basic Instinct, the detectives crack wise with the District Attorney (Joe Mantegna) over the “stiff” and the sex games he may or may not have played. But the scene is merely an infodump of exposition, lacking the gleeful characterisation instilled by Verhoeven and screenwriter Joe Eszterhas. Just one instance of how similar scenes can play out differently. Make no mistake: both Body of Evidence and Basic Instinct are trash thrillers. However, only one of the films grasps how to operate within the silliness. More frustrating than anything is that Madonna, a regular agent provocateur, particularly at that time, doesn’t have the same zest that Sharon Stone managed to harbour to make Catherine Tramell come alive. Madonna has been hyper-critical of Body of Evidence since the film’s failure, highlighting dissatisfaction at its ending, suggesting that misogyny had a hand in altering its original ending, and pondering why she got the blame for everything when she wasn’t the only one involved. READ MORE: DmC: Devil May Cry – Throwback 10 She’s not wrong. Body of Evidence was positioned as the Madonna movie, and when the criticism came, it came for her. Media megastars with a wattage such as Madge’s will always have the vultures circling. You don’t need to think hard about the kind of female-orientated, cringey critique the singer obtained here, let alone most of her career. Furthermore, it doesn’t help that Body of Evidence frames, and lights her poorly while giving her character appalling lines of dialogue to try and make it sound sexy. No matter which way you shape some lines, they just don’t sound tantalising. It’s bad enough that Madonna looks like she’s filmed under a parasol for most of the movies. She’s also asked to say things like “Don’t look so hurt, Alan. I fucked you; I fucked Andrew, I fucked Frank. That’s what I do; I fuck. And it made me 8 million dollars!” We don’t go to the erotic thriller for Tolstoy, but hearing these words being uttered robotically by a superstar stirs no loins. However, it doesn’t feel like the “Bad Girl” really helped matters. It is claimed that Madonna’s acting coach said toodle pip just before production began, stating that “she thinks she knows everything”. Combine this with the pop star’s middling filmography and picture forms. Former A.V. Club writer Nathan Rabin quite succulently sums up Madonna’s acting career in his write-up of Body of Evidence: “…she’s actually racked up a few modest hits: Desperately Seeking Susan, A League of Her Own, and Dick Tracy. Alas, those films are generally considered successful films in which Madonna just happened to appear while her ginormous bombs Swept Away, Shanghai Surprise, and Who’s That Girl? are all considered Madonna movies.” READ MORE: Blade Runner 2039 #2 – Comic Review Here in Body of Evidence, Madonna is weighed down by a poor, undetailed screenplay, and cumbersome direction. But Madge has never been a particularly remarkable actress. And this is the kind of film that highlights a weakness in a performer. It’s of little surprise that co-stars Willem Defoe, Joe Mantegna, Julianne Moore, Anne Archer, and Frank Langella managed to slink away from the wreck of the movie. The cast is stacked with seasoned pros who managed to put in half a performance and get away scot-free. In revisiting Body of Evidence, no one puts in their best work. Julianne Moore has little to do other than be another naked body at one point. Joe Mantegna sleepwalks through his district attorney role. Willem Defoe is never fully convincing as a good lawyer that gets corrupted. However, the barnstorming performances they’ve supplied audiences with after this stumble is evident. Less so with Madonna. Where Sharon Stone had a scene-stealing energy which lasted in Basic Instinct long past the infamous flashing sequence, Madonna struggles to infuse Rebecca with similar zest. Body of Evidence‘s sexual moments are infamous for allegedly lacking any body doubles, yet they miss the type of sexual fission needed beforehand to be alluring. For all of Madonna’s sexual posturing, when placed at the forefront of the film, all the gestures reside superficially. Body of Evidence seems to suggest that a naked Madonna doing vaguely transgressive acts is all that is needed. But what’s missing is the heat that lies between the lines. The likes of Kathleen Turner (Body Heat), Sharon Stone (Basic Instinct) and Linda Fiorentino (The Last Seduction) are exceptionally seductive in their well-known features despite their sexual scenes. Madonna’s Rebecca is achingly short of the scene ownership of other more infamous characters. Granted, as an actress, Madonna has never had a film which could ignite such a spark. Despite this article’s word count saying otherwise, Madonna isn’t wholly to blame for Body of Evidence’s shortcomings. The film’s pedestrian manner can be seen in what it considers transgressive. The infamous wax scene still feels tame in comparison to the sexual mind games which inhabit the likes of 9 ½ Weeks (1986). A sexual tryst in a public car park fails to truly establish just why anybody would find such a pursuit exciting. Plot strands and ideas are picked up with one line and then dropped by the next scene. Madonna’s star power was a handy distraction to the fact that Uli Edel can’t make Brad Mirman’s spotty screenplay work. With stronger work put into the film itself, Body of Evidence could easily have become more than simply “The Madonna Movie”. If the film gave depth to characters played by Joe Mantegna and Frank Langella, two men whose ‘sexual digressions’ of BDSM and bisexuality are distributed as mere set dressing, then the film could have possibly juggled some intriguing dynamics. Furthermore, for all the talk of Rebecca being the “Body of Evidence”, this is also true of Frank, who by the midpoint of the film holds several sexual injuries which point him out to be a guilty party. He is in literal terms a figure of testimony. And while such a metaphor seems obvious, at least it’s trying to say something. READ MORE: Carmilla: The First Vampire – Graphic Novel Review The large problem is even if Body of Evidence didn’t mean to liberally borrow from Basic Instinct, the proximity of the two films’ releases allows easy comparison and only one winner. The saddest thing is Basic Instinct knows and understands the sandbox it’s playing in, and in doing so gives us a problematic yet titillating blockbuster. The beauty of Basic Instinct lies in the fact that Catherine Tramell always feels like the smartest person in the room. She’s a woman who makes the hilarious fuck line by Rebecca feel believable. It’s not that Madonna couldn’t do that. Unfortunately, she was never placed in roles to truly let us believe that she could do that. However, when you’re a pop music meal ticket, flung into a movie without the right mix of ingredients, it’s difficult to feel satisfied with the mediocre buffet served up. “It’s not a crime to be a great lay” Frank quips about Rebecca’s case, early on. It’s also not a crime to flog a dead horse. Yet it is more than a little frustrating. Body of Evidence is a good reminder that if you’re able to go out and have great sex, you should do it rather than spend two hours watching this tepid erotic thriller. It’s much more fun.
205	dbpedia	1	43	https://nap.nationalacademies.org/read/12501/chapter/13	en	9 Extinction as the Loss of Evolutionary History--DOUGLAS H. ERWIN	https://nap.nationalacademies.org/cover/12501/450	https://nap.nationalacademies.org/cover/12501/450	[ "https://nap.nationalacademies.org/read/img/openbook-header-print.png", "https://nap.nationalacademies.org/cover/12501/450", "https://nap.nationalacademies.org/images/hdr/logo-nasem-wht-lg.png" ]	[]	[]	[ "" ]	null	[]	null	Read chapter 9 Extinction as the Loss of Evolutionary History--DOUGLAS H. ERWIN: The current extinction crisis is of human making, and any favorable resol...	en		The National Academies Press	https://nap.nationalacademies.org/read/12501/chapter/13	Below is the uncorrected machine-read text of this chapter, intended to provide our own search engines and external engines with highly rich, chapter-representative searchable text of each book. Because it is UNCORRECTED material, please consider the following text as a useful but insufficient proxy for the authoritative book pages. 9 Extinction as the Loss of Evolutionary History DOUGLAS H. ERWIN Current plant and animal diversity preserves at most 1â2% of the species that have existed over the past 600 million years. But understanding the evolutionary impact of these extinctions requires a variety of metrics. The traditional measurement is loss of taxa (species or a higher category) but in the absence of phy- logenetic information it is difficult to distinguish the evolutionary depth of different patterns of extinction: the same species loss can encompass very different losses of evolutionary history. Further- more, both taxic and phylogenetic measures are poor metrics of morphologic disparity. Other measures of lost diversity include: functional diversity, architectural components, behavioral and social repertoires, and developmental strategies. The canonical five mass extinctions of the Phanerozoic reveal the loss of differ- ent, albeit sometimes overlapping, aspects of loss of evolutionary history. The end-Permian mass extinction (252 Ma) reduced all measures of diversity. The same was not true of other episodes, differences that may reflect their duration and structure. The con- struction of biodiversity reflects similarly uneven contributions to each of these metrics. Unraveling these contributions requires greater attention to feedbacks on biodiversity and the temporal variability in their contribution to evolutionary history. Taxic diver- sity increases after mass extinctions, but the response by other aspects of evolutionary history is less well studied. Earlier views Department of Paleobiology, MRC-121, National Museum of Natural History, Washington, DC 20013-7013; and Santa Fe Institute, 1399 Hyde Park Road, Santa Fe, NM 87501. 171 172â /â Douglas H. Erwin of postextinction biotic recovery as the refilling of empty ecospace fail to capture the dynamics of this diversity increase. E xtinction is the inevitable fate of organisms, although there is con- siderable variance in both rates of extinction through time and the duration of particular species or clades. By some estimates, extant multicellular biodiversity is but 1â2% of all multicellular species that have existed over the past 600 Ma (Valentine, 1970; Raup, 1991). Paleontolo- gists have long recognized that the relatively regular overturn of species is occasionally punctuated by more severe biotic crises, including at least five events recognized as mass extinctions. Some have claimed that rates of current species loss exceed those of past mass extinctions. Perhaps the most valuable contribution that paleontologists can make to understand- ing the current biodiversity crisis is to identify the relationship between attributes of the loss of past evolutionary history and both the depth of past crises and the speed and structure of subsequent biotic recovery. Given that conservation biologists increasingly face a problem of triage, where not all species can be saved, can paleontological data provide any insights into the species, communities, or structures that should have the highest priority for support? Paleontological data are unlikely to be deci- sive in such decisions, but the unique perspective provided by the fossil record may provide a useful input. Here, I discuss a range of potential metrics for the impact of extinction on the loss of evolutionary history and provide a preliminary application of them to the five canonical mass extinctions (see also Alroy, Chapter 11, this volume). There are, however, relatively few applications of these metrics to understanding the processes of postextinction biotic recovery. METRICS FOR THE LOSS OF EVOLUTIONARY HISTORY The traditional accounting method for the loss of evolutionary history is taxa: populations and species for biologists, often genera or families for paleontologists because the vagaries of preservation and correlation make species-level compilations impractical. Conservation biologists have long focused on species, an approach enshrined in the U.S. Endangered Spe- cies Act. This reliance on taxa tends to assume, implicitly, that taxonomic entities are a reliable metric to the impact of extinction on ecosystem structure and function, morphological variability, behavior complexity, and developmental processes. This assumption is often far from true. Con- sequently, conservation biologists have proposed other metrics for identi- fying critical targets for conservation (Purvis and Hector, 2000), including biogeographic centers of endemic taxa, or hotspots (Meyers et al., 2000), Extinction as the Loss of Evolutionary Historyâ /â 173 and the characterization of phylogenetic diversity (Faith, 1992a; Faith and Baker, 2006) and evolutionary distinctiveness (Vane-Wright et al., 1991). There is, however, a more important reason for considering the loss of other aspects of evolutionary history, and that is the search for mecha- nisms underlying patterns of extinction and construction of biodiversity. Ecologists increasingly recognize the importance of a network of interac- tions in generating biodiversity, including positive feedback relationships among biodiversity, productivity, and stability (Worm and Duffey, 2003; Montoya et al., 2006). Although paleontologists are aware of the diversity of effects on evo- lutionary history caused by past extinctions, particularly mass extinctions, we have been slow to develop and apply comparative metrics beyond taxic compilations and estimates of geographic range. Enough work has been done to suggest a range of alternative metrics. Biogeographic struc- ture is an important aspect of evolutionary history that has been consid- ered elsewhere (Jablonski, 2007). Taxic Diversity The divisions of the geologic timescale are framed by biotic crises rec- ognized by early geologists as âârevolutionsââ triggering wholesale changes in the biota. Paleontologists have since compiled records of fluctuations in taxonomic diversity for marine taxa (Sepkoski, 1984, 1997), terrestrial plants (McElwain and Punyasena, 2007), vertebrates (Benton, 1989), and various microfossil groups (Rigby and Milsom, 2000). Patterns of extinc- tion and origination have received considerable attention, particularly the decline in ââbackgroundââ extinction rates through the Phanerozoic for marine families and genera (Flessa and Jablonski, 1985) and episodic events of increased extinction. Curiously, as the English geologist John Phillips understood as long ago as the 1840s, extinctions within geologic stages appear pulsed, rather than spread out through the stage (Foote, 2005). Within clades paleontologists have also identified intriguing pat- terns of replacement where successive subclades replaced earlier clades. For higher-resolution analyses statistical techniques have been developed to account for sampling problems [see Jin et al. (2000) for an application to the end-Permian mass extinction]. Several general lessons emerge from these compilations. First, the per- sistent decline in extinction rates suggests an increased stability in younger taxa, although this may be a statistical artifact of increased species/genus and species/family ratios (Flessa and Jablonski, 1985). It would be of considerable interest to know whether this apparent increased robustness is real and whether it translates into some of the other metrics described below. Second, patterns of subclade replacement can suggest adaptive 174â /â Douglas H. Erwin improvement within the activities of the larger clade, a pattern confirmed by the power of incumbency (Rosenzweig and McCord, 1991). Third, as demonstrated by a recent analysis of Cenozoic mollusks from New Zea- land, species and genera exhibit a limited interval of peak abundance, followed by a long decline to extinction. In this system at least, the spe- cies at greatest risk of extinction are those already in decline (Foote et al., 2007), although this does not appear to hold true during mass extinctions that may truncate ranges (Foote, 2007). Fourth, mass extinction events periodically upset these patterns, and particularly at the end-Permian mass extinction, trigger pervasive changes in patterns of ecological and evolutionary dominance. Thus over evolutionary time, episodic extinc- tions has been an important driver for evolution. Understanding the processes controlling long-term changes in diver- sity requires identifying and correcting for biases in the fossil record that can be introduced by preservation and sampling. Consequently paleon- tologists have developed new approaches designed to identify and cor- rect for such biases (Smith, 2001; Crampton et al., 2003; Foote, 2003, 2007; Peters, 2005). These techniques have been applied to correct for biases in our record of the end-Ordovician mass extinction (Krug and Patzkowsky, 2004). As discussed by Alroy (Chapter 11, this volume), the diversity pat- terns produced by this intensive compilation of taxic diversity largely follow those of Sepkoskiâs earlier work (Sepkoski, 1982, 1992, 1993). This effort identifies at least three of the five canonical mass extinctions below. However, like other work (Bambach et al., 2002, 2004) it raises questions about the magnitude of other extinction events. Finally, counting taxa, whether species, genera, or families, assumes that each taxon is equivalent, which is far from true when one considers the differences in diversity or abundance within different groups, much less their evolutionary distinctiveness, morphologic disparity, ecological function, or evolutionary potential. Phylogenetic Diversity The two remaining species of tuatara are the sister clade to the â6,200 snakes and lizards of the Order Squamata, as the few remaining onyco- phorans are to the Phylum Arthropoda. Both onycophorans and tuataras are far more evolutionarily distinct than any two members of their sister clade, a fact not captured by a simple taxic approach. A simple exercise illustrates that identical levels of species loss can conceal very different effects on evolutionary history (Fig. 9.1). In each case roughly the same total number of species has been lost. In alternative A, however, there is little loss of the overall structure of the tree, whereas in alternative B, an entire clade has been pruned. Alternative C removes the most basal Extinction as the Loss of Evolutionary Historyâ /â 175 FIGURE 9.1â Similar losses of taxic diversity have very different implications for the loss of evolutionary history depending on the phylogenetic distribution of the extinctions. Three different scenarios are shown, at levels A, B, and C. (A) Seven taxa are lost (33% extinction) but the overall structure of the phylogeny is pre- served. (B) An entire clade of seven taxa is pruned, but the remaining structure is preserved. (C) Six taxa are lost but this eliminates the deepest branching clades. zpq9990837700001.g.tif clades, each of which represents unique units with long evolutionary history. This simple example demonstrates how knowledge of the phy- logenetic structure is essential to evaluating the amount of evolutionary history lost or at risk, and not surprisingly, conservation biologists have proposed several different metrics for measuring phylogenetic diversity (Vane-Wright et al., 1991; Faith, 1992a; Faith and Baker, 2006). Although some have argued that taxic diversity is a reliable proxy for phylogenetic diversity, empirical studies have convincingly demonstrated the need for phylogenetic analyses. A study of the plants of the fynbos of South Africa, for example, showed that generic richness is strongly decoupled from phylogenetic diversity (Forest et al., 2007). The most direct demonstration of the importance of a phylogenetic framework was a study showing that some 80% of the structure of the underlying phylogeny can survive even a 95% loss of species (Nee and May, 1997), if the extinctions are random. When the phylogenetic structure of an extinction is highly clustered, the effects on evolutionary history can be more severe (Purvis et al., 2000a). Paleontologists have long recognized the unequal impact of past biotic crises on the disappearance of particular clades, including archaeocyathid sponges in the Early Cambrian; many trilobite clades and numerous problematica during the various Cambrian crises; trilobites, blastoids, and many smaller clades during the end-Permian mass extinction; con- odonts at the end-Triassic event; and nonavian dinosaurs, ammonoids, and rudist bivalves during the end-Cretaceous mass extinction. Each such disappearance removed clades of considerable evolutionary distinctive- ness. The application of phylogenetic analyses remains sufficiently new 176â /â Douglas H. Erwin that although some studies have addressed phylogenetic patterns across mass extinction boundaries, many of these are at high taxonomic level and broad temporal scope. Several studies have addressed the issue of whether phylogenetic analyses to ââcorrectââ ranges using ghost lineages provide a better estimate of diversity than a purely taxic approach [compare Norell (1993) with Wagner (2000) and Lane et al. (2005)], but this is a different issue from using phylogenetic analysis to understand the structure of an extinction. No studies have explicitly addressed the impact of mass extinc- tions on phylogenetic diversity to my knowledge. Could one develop a metric of the severity of past extinction crises based on the extent of phylogenetic diversity lost? Identifying a reliable standard of comparison will be challenging, but is likely to provide a very different perspective from taxic studies. Morphologic Disparity Every paleontologist is familiar with lost, unique morphologies: the ââweird wondersââ of the Middle Cambrian Burgess Shale fauna, or Arthro- pleura, the immense, 20-cm-wide, several-meter-long millipede of the Carboniferous. Paleontologists have characterized such morphological distinctiveness as disparity [reviewed in Foote (1997) and Erwin (2007a)]. Although paleontologists have long used ranks of the Linnean hierarchy as a proxy for disparity, quantitative analyses of form have demonstrated that neither taxonomic rank nor taxic diversity is a reliable proxy for dis- parity (Foote, 1993). A host of quantitative methods has been proposed to analyze different aspects of morphology, and the occupation of morpho- space by particular clades, with the appropriate techniques dependent on the question being addressed, and whether continuously variable charac- ters or meristic characters are being used (Wagner, 1995). In almost every case examined, morphometric studies of disparity have demonstrated overwhelmingly that morphospace is rapidly constructed early in the evolutionary history of major clades, with taxonomic diversification often lagging behind (Erwin, 2007a). Patterns of disparity have been analyzed across a number of mass extinctions, principally to understand the patterns and processes involved in the reestablishment of ecospace after these crises. Despite significant reductions in disparity in the immediate aftermath of a mass extinction, studies of brachiopods, crinoids, blastozoans, and ammonoids gener- ally demonstrate rapid reexpansion of morphospace, although often in a different region than was occupied before the extinction [Foote (1999), Ciampaglio (2002, 2004), McGowan (2004), Villier and Korn (2004), and discussion in Erwin (2007a)]. Even in clades that experience almost cata- strophic decreases in diversity and disparity, such as echinoids and ammo- Extinction as the Loss of Evolutionary Historyâ /â 177 noids during the end-Permian mass extinction, disparity can rebound to even greater levels [e.g., McGowan (2004) for ammonoids]. Critically, these studies suggest that at least within broad body plans, the developmental process does not become so increasingly constrained with time as to limit the exploration of morphospace. Functional Diversity or Ecospace Holling (1973) defined resilience as the magnitude of disturbance that a system can absorb before shifting to an alternative state. Ecological studies have demonstrated that the loss of biodiversity can imperil eco- system services and functions (Loreau et al., 2001, 2002; Folke et al., 2004; Balvanera et al., 2006; Cardinale et al., 2006; Worm et al., 2006), potentially leading to a negative feedback loop further reducing diversity. An assess- ment of experiments on grassland biodiversity (Hector and Bagchi, 2007) demonstrated a positive relationship between the number of species con- sidered and the overall functioning of multifunctional ecosystems. These results contradict claims of ecological redundancy in ecosystem function (McCann, 2000) and suggest that many, if not most, species do play impor- tant roles in ecosystems. The challenge in analyzing functional diversity is to establish appro- priate metrics. For ecological studies Petchey and Gaston (2006) conclude that tabulating the number of functional groups or types is not reliable. Paleontologists thus face significant, although not unsurmountable, prob- lems in identifying the ecological services and functions because the most straightforward paleontological approach is to categorize taxa of interest into different functional groups, such as carnivores, herbivores, suspen- sion feeders, etc. Such categories can often readily be identified in fossils and can be consistent across larger taxonomic groups. Paleontologists have long discussed the selective impact of mass extinctions on trophic groups, such as the pervasive extinction of epifaunal, suspension-feeding marine taxa during the end-Permian mass extinction (Erwin, 1993). Macroecological guilds were developed as an extension to ecological guilds, encompassing a suite of species (not necessarily related) competing for a similar resource (Bambach, 1983). The concept has primarily been applied to large-scale paleoecological trends, rather than more inten- sive studies of extinction episodes. One limitation of the guild approach, however, lies in identifying the critical limiting resources that define the members of a guild. A more operational concept is ecospace, which focuses on general modes of life and can be defined independently of species. For marine animals these modes of life are defined in terms of motility, or ability to respond to disturbance; tiering or relationship to the substrate (burrowers versus swimmers), and feeding strategy, or means 178â /â Douglas H. Erwin of acquiring energy (Bush et al., 2007). The six possibilities along each of these axes define a 3D grid of 216 possibilities, of which only 92 appear to be occupied (Bambach et al., 2007). As with marine guilds, many different taxa can occupy each of these different modes of life, so identifying which modes are occupied across a mass extinction may not be particularly informative. One could imagine a more intensive study in which this framework was used to chronicle across mass extinction both how many modes of life were exhibited by various clades and the changing density of occupation by various clades of particular modes of life. Such a study would be particularly informative if it revealed differences in extinction intensity between different functional groups. In some cases it may be possible to apply more rigorous analyses to the problem, such as the comparison of food web structures. Ecologists have developed a rich toolkit for studying the network properties of food webs (Martinez and Dunne, 2000), and with a working group at the Santa Fe Institute we have recently shown that such methods can be applied to Cambrian fossil communities. Although ecologists have access to direct feeding observations and gut contents in practice they often rely on mor- phology and other data also available to the paleoecologist. Our results demonstrate that ancient food webs can be reliably reconstructed, opening up the potential to study changes in the network properties of ecosystems across mass extinctions (Dunne et al., 2008). Modeling changes in functional diversity, trophic complexity, and food web structure in the search for patterns that can be observed in the fossil record is another approach. We developed a simple model in which extinction was simulated by the collapse of primary productivity, trigger- ing reductions in the diversity of higher trophic levels (SolÃ© et al., 2002). The results imply that the trophic structure of extinction may influence the tempo and pattern of recovery. More detailed computer simulations of the effects of both productivity loss and resulting secondary extinctions through a food web further emphasize the importance of the network structure in the pattern of extinction (Roopnarine, 2006; Roopnarine et al., 2007). Although the significance of these results is limited because of the lack of empirical input into the food web structure, it suggests something of the insights that may eventually result. An additional area that could prove important in understanding the loss of functional diversity is the correlation between scaling relation- ships and ecological networks, particularly as biodiversity collapses. For example, metabolic scaling theory posits linkages across metabolic activ- ity, form, population size, species diversity, and other variables (West et al., 1997; Enquist et al., 2003, 2007). The apparent relationship between metabolic activity and some mass extinctions (Bambach et al., 2002; Knoll et al., 2007), suggests that the relationship between scaling theory and Extinction as the Loss of Evolutionary Historyâ /â 179 extinction is worth exploring, as are species-energy relationships (Evans et al., 2005; Hawkins et al., 2007a). Ecological networks also provide a host of services to the community, ranging from clean water to fine-scale modification of climate (microhabi- tats). These ecological services have been a subject of considerable interest among conservation biologists, but have not been addressed in deep time. For example, what was the impact on the water quality in shallow marine ecosystems as a consequence of the loss of so many articulate brachiopods, crinoids, bryozoans, and other filter feeders during the end-Permian mass extinction? This issue is probably best investigated through stable isotope studies of nutrient flow or geochemical cycling (West et al., 2006) or where the services leave a tangible fossil record. Architectural Diversity and Ecosystem Engineering The framework of modern reefs is generated by scleractinian corals, with a significant contribution from coralline algae and early diagenetic cements. Architecturally similar structures, at least at a gross scale, have been built by microbial communities, sponges and archaeocyathids, tab- ulate and rugose corals, stomatoporoids, bryozoans, brachiopods, and rudist bivalves. Reefs are a specific example of the provisioning of archi- tectural diversity, which can provide a positive feedback on biodiversity. Such ecosystem engineering allows species to modify the environment in ways that can affect, either positively or negatively, resource availability for other species (Jones et al., 1997). A related concept is niche construc- tion, in which species modify their own environment in a way that influ- ences the fitness of the population and, through ecological inheritance, the fitness of subsequent generations (Odling-Smee et al., 2003). Although ecosystem engineering can be recognized in the fossil record, identifying niche construction requires an understanding of selection pressures that is generally more difficult for paleontologists. Both niche construction and ecosystem engineering are currently the subject of considerable investi- gation and appear to have significant implications for macroevolution (Erwin, 2008). Reef ecosystems provide a clear example where the loss of the 3D com- plexity of the reef has a strong negative impact on biodiversity. Kiessling (2005) showed that over million-year periods high biodiversity on reefs is related to stability, as measured by the density of skeletal organisms, the style of reef building, and the types of biotic reefs. Some mass extinc- tion events destroy this buffering from environmental fluctuations. The composition and consequent fabric of reefs has undergone considerable variation during the 543 Ma of the Phanerozoic (Wood, 1999; Kiessling, 2002). The structure of Early Cambrian to Early Ordovician reefs was 180â /â Douglas H. Erwin dominantly microbial. From the Middle Ordovician radiation through the Late Devonian mass extinctions, stromatoporoids (coralline sponges) and corals were the primary reef builders, with important contributions from other sponges in the early part of the interval. Latest Devonian through Early Permian reefs are often described as ââmud moundsââ because of the absence of abundant framework builders in these primarily algal and microbial systems. In the Early to Middle Permian, between five and seven different reef types have been described with sponges, brachio- pods, corals, and bryozoans being prominent components of different types. Scleractinan corals become the major reef builders in the Late Tri- assic, with significant contributions from bivalves during some intervals. Indeed, post-Aptian Cretaceous reefs were built largely by rudist bivalves. Cenozoic reefs were constructed by scleractinian corals and coralline red algae. These gross patterns obscure Phanerozoic trends of changing ecol- ogy, including higher nutrient requirements toward the recent (Kiessling, 2002). An important issue for further exploration is the extent to which these different reef types were ecosystem builders that enhanced the diver- sity of other groups. For example, the phylloid algal mounds of the Lower Permian of West Texas apparently were so dense that they excluded many other organisms (Toomey, 1976), whereas later scleractinian reefs appear to have enhanced diversity. On land, trees and forests often provide a similar architectural structure to reefs in the ocean. Behavioral and Social Complexity The social and behavioral complexity of extinct animals might seem irretrievably lost (other than what might be inferred from morphology or the known history of social clades). In fact, the preservation of tracks, trails, and burrows provides insights into behavior, with the constraint that such trace fossils can rarely be uniquely associated with particular species (Seilacher, 2007). More commonly, particular trace fossils could be produced by many distantly related species. Worms of several dif- ferent phyla can produce similar burrows. Nonetheless, trace fossils can provide considerable insight into the complex behavioral repertoires of their makers. Vertebrate trace fossils on land provide similar insights, for example, into herding behavior among some dinosaurs, or burrowing among Late Permian dicynodonts in South Africa (personal observation). Other evidence of behavioral complexity comes from the characteristic patterns preserved in fossil leaves by herbivorous insects, reflecting both the behavior and mouthpart morphology of various herbivorous insect groups (Labandeira, 2006). One means to track changes in behavioral complexity during a mass extinction is by documenting changes in trace fossil abundance and diversity. Extinction as the Loss of Evolutionary Historyâ /â 181 Developmental Diversity The great morphologic disparity of Cambrian and Ordovician trilo- bites might appear to be a paradigmatic example where we can infer the loss of great developmental diversity. Comparative studies of the genes involved in development have now demonstrated that many develop- mental processes are highly conserved across all bilaterian animals and some originated even deeper in time, as shown by genes with the same developmental role in cnidarians and vertebrates [summarized in Erwin (2006b); see also Raff (2007)]. This pattern of extreme conservation of developmental patterning suggests that the loss of developmental diver- sity caused by extinction may be less extensive than it might otherwise appear. Studies of other arthropods, coupled with detailed studies of the patterns of morphologic evolution of trilobites (including developmental information retrieved from fossilized representatives of larval stages), have demonstrated that information on developmental patterning can be recovered (Hughes, 2007). Although patterns of gene expression, much less the network of gene regulatory interactions, cannot be identified, Hughes (2007) has compared the repatterning of the cephalic and trunk regions during the Cambrian and Ordovician diversifications of trilobites. His analysis shows that the Cambrian radiation of the group involved fun- damental changes in various parts of the body plan: the number of body segments, how they were formed, and in the articulations between them. In contrast, the Ordovician radiation involved morphological ââembellish- mentsââ of trilobite subclades whose architectures had already stabilized. The deep conservation of developmental processes across many clades is consistent with recent comparative studies of the evolution of gene regulatory networks, suggesting that the evolution of regional pat- terning systems during the initial diversification of animal body plans generated a hierarchical structure (Davidson, 2006; Davidson and Erwin, 2006). Studies from echinoderm endomesoderm formation and arthropod and vertebrate heart development have revealed a network of highly conserved regulatory genes at the core of these systems whose interaction is required for development of the relevant body parts. Surrounding this kernel of conserved regulatory interactions, however, is a network of other interactions, and downstream a set of structural genes whose activity is controlled by the network. Elements of this surrounding network are less refractory (to varying degrees) to evolutionary modification, and of course the structural genes are the locus of adaptive evolution. If this result is generally true of metazoan developmental evolution, one implication is that although the loss of biodiversity will result in the loss of downstream elements of the regulatory hierarchy, these elements are also the most labile to evolutionary change. In contrast, kernels appear to be broadly conserved within major body plans, and in some cases 182â /â Douglas H. Erwin across disparate groups. Consequently, loss of these kernels was likely only to have occurred during the infrequent loss of clades the equivalent of the Linnean rank of phylum or class. For marine animals this loss would have been largely during the Cambrian and again during the end- Permian mass extinctions. The loss of major clades of insects during the end-Permian might have caused a loss of some developmental diversity, but it is less clear whether unique developmental processes at the level of kernels were present. Among vertebrates there are many extinct groups of fish and early tetrapods, such as the armored fish of the Devonian and the mammal-like reptiles of the Permo-Triassic, that could have harbored now vanished developmental strategies. But as with insects, it is far from clear they were unique at the level of kernels. Our understanding of plant developmental biology, although expand- ing rapidly, is less advanced than for animals, and we do not know whether a similar highly structured regulatory hierarchy exists within plants. Morphologic evidence has revealed the diversity of tree-like forms that evolved repeatedly, with many now-extinct clades using very dif- ferent developmental and structural strategies to achieve a similar end. All trees need to solve the same basic problem of providing structural support while distributing nutrients vertically. Both modern pines and other flowering trees such as dogwood or oaks are constructed with an inner, woody, secondary xylem produced by the vascular cambium and surrounded by phellem. But cycads are constructed of an inner pith and an outer cortex, with much of the structural support on the outside from persistent leaf bases. Arborescent lycopsids, horsetails in the Carbonifer- ous, tree palms, and tree ferns each have distinct ways of forming trees. Yet each of these different types of trees was adapted to a particular suite of environmental conditions, which influenced the nature of the resulting communities (Niklas, 1997; Donoghue, 2005). Thus it seems likely that major developmental strategies of plants have disappeared, particularly during the late Paleozoic. APPLICATION TO PAST BIOTIC CRISES Applying some of these different aspects of diversity to past mass extinctions is difficult because of both lack of data and difficulties in establishing appropriate criteria and reproducible metrics, but identify- ing these different measures of diversity is the first step toward building a more robust and quantifiable approach. Table 9.1 provides a prelimi- nary, somewhat impressionistic, application of these metrics for marine animals across the five classic mass extinction intervals. In the absence of more comprehensive tools, proxies are used for some categories such as reefs for architectural diversity and trace fossils for behavioral complexity. Extinction as the Loss of Evolutionary Historyâ /â 183 TABLE 9.1â The Effect on Different Measures of Diversity for Marine Organisms During the Five Canonical Mass Extinction Episodes of the Phanerozoic Diversity Ordovician Devonian Permian Triassic Cretaceous Taxic 60/26% 57/22% 82/52% 53/22% 47/16% Phylogenetic ? ? High ? ? Medium Morphologic High Medium High ? ? Medium Functional Medium High High Low Medium Architectural Medium High High Medium Low Behavioral ? ? High Medium Medium Developmental Low ? Medium ? ? NOTES: Taxic diversity drops are shown for genera and families from Sepkoski (1996). Esti- mates of loss of phylogenetic diversity are based on the loss of major clades, as documented by phylogenetic analyses; morphologic disparity is assessed within particular clades, and the loss of major clades; functional diversity is assessed based on published paleoecologi- cal studies. Loss of architectural diversity is measured by changes in reef volume and the diversity of reef ecosystems (Wood, 1999; FlÃ¼gel and Kiessling, 2002). Changes in behav- ioral diversity were assessed by changes in the complexity of trace fossil assemblages. Developmental diversity was assessed as described. Question marks indicate an absence of sufficient data. Estimates of the loss of family and generic diversity are from Sepkoski (1996). One perplexing aspect of the end-Ordovician mass extinction (490 Ma) is that although it is the second largest loss of taxic diversity of marine organisms it had relatively little ecological impact in most groups (Droser et al., 2000). Limited phylogenetic analyses have been produced, mostly for graptolites and gastropods, although some broader studies do span the boundary. The loss of morphologic disparity during this event appears to have been high, whether as measured by the major losses among graptolites, conodonts, brachiopods, and possibly nautiloids or by more quantitative studies of disparity within major clades (Foote, 1991, 1994a; Ciampaglio, 2002, 2004). Using reefs as our measure of architectural com- plexity, there is a major loss of both reef types and carbonate production although there is little ecological impact (Wood, 1999; FlÃ¼gel and Kiessling, 2002), hence the medium ranking in Table 9.1. Twitchett and Barras (2004) record only a single study of trace fossils through this interval, too little to estimate the impact on behavioral complexity. Finally, as no major clades completely disappeared the loss of developmental diversity at this time appears to have been fairly low. What developmental complexity was lost was likely in the terminal portions of the networks rather than the highly conserved cores. The Late Devonian mass extinctions were a series of events best expressed in rocks of Europe (McGhee, 1996). The loss of morphologic 184â /â Douglas H. Erwin disparity seems to have been intermediate, both in terms of the loss of major clades and for the few clades where disparity has been quantita- tively assessed. Reef builders were heavily impacted by this episode, with colonial tabulate corals virtually disappearing as significant construc- tors. Together with the significant loss of stromatoporoids, this extinction caused a major shift in reef types that persisted into the Permian (Wood, 1999; FlÃ¼gel and Kiessling, 2002). There are too few studies of this event on which to assess its impact on phylogenetic, behavioral, or developmental diversity. Two major extinction episodes close out the Permian, one at the end of the Guadalupian, of which much less is known, and the most severe mass extinction of the Phanerozoic at the close of the Permian (Erwin, 2006a). The loss of taxonomic diversity during this interval was higher than during any other event, some 82% of marine genera and 54% of marine families (Sepkoski, 1996). Phylogenetic analyses of articulate brachiopods, bryozoans, and gastropods reveal a considerable loss of diversity. The impact on morphological disparity is apparent from the large number of clades lost (trilobites, blastoids, and the tabulate and rugose corals) or severely affected (articulate brachiopods, echinoids, ammonoids, radiolar- ians, bryozoans, and foraminifera). The loss of disparity is confirmed by quantitative studies of disparity among brachiopods (Ciampaglio, 2004), ammonoids (McGowan, 2004), and crinoids and blastoids (Foote, 1992, 1999). Carbon isotopes indicate a significant loss of primary productiv- ity (Jin et al., 2000) that persisted for â2 million years (Payne et al., 2004; Erwin, 2007b). The most pervasive indication of the functional and eco- logical impact of this extinction was that the marine communities of the Ordovician-Permian, dominated by epifaunal, suspension feeding brachio- pods, byozoans, and pelmatazoan echinoderms, simply vanished (Erwin, 2006a). A large suite of reef types had developed by the Middle Permian, virtually all of which disappeared, leaving a gap in metazoan-constructed reefs during the Early Triassic (Wood, 1999; FlÃ¼gel and Kiessling, 2002). Detailed investigations of trace fossils have revealed a significant loss of diversity with only a few types of shallow burrows occurring in earliest Triassic sections (Twitchett and Wignall, 1996; Twitchett and Barras, 2004). I have ranked the loss of developmental diversity as moderate because of both the loss of major clades and major subclades. In the Late Triassic, ammonites and bivalves experienced the great- est extinction. There are few studies on which to assess the extent of loss of phylogenetic or developmental diversity or morphologic disparity. Although there are few studies of paleoecological patterns across this boundary, much less studies of food web structure, there is little evidence for major disruptions of functional diversity except among reefs, where a major drop in sea level triggered a substantial decline in reef volume Extinction as the Loss of Evolutionary Historyâ /â 185 and a somewhat less substantial drop in diversity (FlÃ¼gel and Kiessling, 2002). Trace fossils have been studied in different regions, but the impact of the extinction varies between localities, in part because of shifts in the environments of deposition at the same time as the biotic crises. There is, however, evidence of some decrease in the complexity of trace fossil assemblages that cannot be attributed simply to changes in the sedimen- tary environment in which they were deposited. The end-Cretaceous mass extinction led to the disappearance of sig- nificant numbers of foraminifera and other plankton and a significant drop in primary productivity (DâHondt et al., 1998). Ammonoids finally disap- peared, as did belemnites and rudist bivalves. The loss of rudists was the major loss among reef biota, and FlÃ¼gel and Kiessling (2002) record few other impacts among reef ecosystems. Studies of the complexity of trace fossils across this interval are relatively few and suggest only moderate impact by the mass extinction (Twitchett and Barras, 2004). Although not one of the canonical five mass extinction episodes, extinction rates measured by taxic diversity were high during a number of stages of the Cambrian, sorting out the winners and losers among the Cambrian diversification of animals. Indeed by some metrics, particularly morphologic disparity and developmental diversity, these events may have winnowed a greater degree of evolutionary history than any of the subsequent biodiversity crises of the Phanerozoic. THE (RE)-CONSTRUCTION OF DIVERSITY Empty ecological space has long been considered a key factor in evolutionary innovations, as an unexploited opportunity opened by new adaptations, a new geographic region with underexploited resources, or an environment opened up through environmental change. Recover- ies from mass extinctions have been viewed as encompassing each of these possibilities, as the removal of previously dominant clades provides opportunities for expansion, including by migration, of minor groups and the origin of new clades, as an increased likelihood for success of adapta- tions that might have been blocked, and as an instigator of environmental change that might favor new groups. What the economist Joseph Schum- peter described as ââcreative destructionââ is true of evolution: continuing biotic overturn and more comprehensive biodiversity crises have been a normal part of the history of life, and perhaps essential to the success of evolutionary innovations. Two principal classes of models have been applied to understand- ing the underlying processes of taxic diversity (Benton and Emerson, 2007). The first class includes global-level correlates of population growth models that invoke logistic growth models and either global carrying 186â /â Douglas H. Erwin capacities (Raup, 1972; Carr and Kitchell, 1980) or coupled logistic mod- els. One example is Sepkoskiâs description of the diversity patterns of the Cambrian, Paleozoic, and Modern evolutionary marine faunas (Sepkoski, 1984); see Alroy (2004) for a critique. The alternative class was labeled expansionist by Benton and Emerson (2007) as it does not invoke an explicit carrying capacity, or it suggests that it may never have been reached, possibly because of recurrent disturbances (Valentine and Walker, 1986; Benton, 1997; Stanley, 2007). The utility of a global carrying capac- ity is extremely doubtful (Benton and Emerson, 2007; Stanley, 2007; del Monte-Luna et al., 2004). The critical question for understanding biotic recoveries is in under- standing how the network of ecological and environmental interactions facilitates the construction of biodiversity, which is a network issue, not one that is properly addressed by borrowing models of population demog- raphy. Thus understanding the growth of taxic diversity after mass extinc- tions requires understanding the ecological relationships that build these networks, including both the positive feedbacks (such as niche construc- tion and environmental engineering) and the more commonly invoked negative feedbacks such as competition. At present we have no theoretical models applicable to this problem. Our knowledge of the response of most of the other metrics dur- ing postextinction biotic recoveries is generally even more fragmentary than our knowledge of their behavior during the extinctions. The highly uneven branching structure of most phylogenetic trees reflects uneven rates of diversification along different branches of a tree and the loss of some branches through extinction (Nee and May, 1997). With the exception of the substantial literature on the relationship of the bird and placental mammals across the Cretaceous-Tertiary boundary, there are relatively few large-scale phylogenetic studies of post-mass extinction biotic recoveries. Despite this absence, many evolutionary radiations of single clades are well studied during biotic recoveries. Examples include trilobites in the Late Cambrian, ammonoids after the Late Devonian, end-Permian, and end-Triassic episodes, and quillworts in the Early Triassic. As discussed above, where it has been studied among marine taxa, morphologic dis- parity rapidly expands after mass extinctions (Erwin, 2007a). Significantly for the structure of these recoveries, disparity often expands into different dimensions than were occupied by the preextinction taxa, demonstrating that recoveries have their own dynamic and are not simply the refilling of previously occupied morphospace. Without detailed studies, my impres- sion is that architectural diversity as measured by the reappearance of framework-bound reefs is often one of the last segments of diversity to rebound, and in almost all cases (the Early Jurassic is a possible exception) does so by the appearance of new groups. This apparent delay could reflect Extinction as the Loss of Evolutionary Historyâ /â 187 the fact that a considerable ecological network needs to be constructed, in appropriate environmental settings, before such architectural diversity can succeed. Although there are a growing number of case studies of biotic recov- eries after mass extinctions and some smaller biotic crises, our theoretical understanding of increases in taxic diversity remains lacking, as does our knowledge of the response of some of the other diversity metrics described here and the factors underlying them. One hesitates to suggest that there is a considerable empty niche here for future research. CONCLUSION This survey of mass extinction episodes illustrates that different metrics capture different dimensions of the loss of evolutionary history. Although these extinction events have been defined by loss of taxic diversity, this metric often captures only one perspective on the loss of biodiversity and evolutionary history. Indeed, debates continue among paleontologists about whether some of these episodes (particularly the Late Devonian and end-Triassic) actually constitute mass extinctions on the scale of the end-Permian and end-Cretaceous events. Fully appreciating the extent of the loss of evolutionary history during any biodiversity crisis requires a more complete accounting of other dimensions of biodiversity, a task that is in its infancy for some of the metrics discussed here. The metrics of past loss of evolutionary history may provide some insights into more recent events. Although this survey illustrates that the available data on these various metrics are often meager, enough information is available to suggest that the loss of different aspects of evolutionary history may portend very different outcomes for recovery. For example, if architectural diversity is lost early in a biodiversity crisis one might expect greater loss of other aspects of diversity than if architec- tural diversity remains high. Empirical investigations of such effects will require very high-resolution studies, but may be possible in the Cenozoic. This is clearly an area where well-designed modeling studies may prove useful. ACKNOWLEDGMENTS I appreciate the invitation of John Avise, Francisco Ayala, and Steve Hubbel to contribute to the symposium, discussions with David Krakauer and David Jablonski, and the editorial comments of the organizers and two anonymous reviewers. This research was funded by the Smithsonian Institution, the National Aeronautics and Space Administration Astrobiol- ogy Institute, and grants to the Santa Fe Institute.
205	dbpedia	2	16	https://offscreen.com/view/body-of-evidence-uli-edel	en	Body of Evidence (Uli Edel, 1993)	https://offscreen.com/im…e_%281993%29.jpg	https://offscreen.com/im…e_%281993%29.jpg	[ "https://offscreen.com/assets/img/logo.png", "https://offscreen.com/images/made/images/articles/_resized/Review_104_Photo_1_-_Body_of_Evidence_(1993)_1000_420_90_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/Review_104_Photo_2_-_Body_of_Evidence_(1993)_400_554_90.jpg", "https://offscreen.com/images/made/images/contributors/_resized/Douglas_Buck2_200_200_90_c1.jpg", "https://offscreen.com/images/sponsors/Fantasia_2020-promo.jpg", "https://offscreen.com/images/made/images/articles/_resized/INSIDE_OUT_2-ONLINE-small_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/DevilTimesFive_thumb_400_258_90_s_c1.jpeg", "https://offscreen.com/images/made/images/articles/_resized/Clinton_Street_Theater-banner2_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/As_Long_as_We_Both_shall_live-small_400_258_90_s_c1.jpg", "https://offscreen.com/assets/img/logo-canada-council.png", "https://offscreen.com/assets/img/logo-funio.png", "https://offscreen.com/assets/img/logo-horschamp-2020.png", "https://offscreen.com/assets/img/logo-zoomout.png" ]	[]	[]	[ "" ]	null	[]	null	After the somewhat classy French thriller Les Orguiellieux, Buck’s column moves onto the more dubious merits of the “erotic thriller” from 1993, Body of Evidence.	en			https://offscreen.com/view/body-of-evidence-uli-edel	A successful defense lawyer (Willem Dafoe) finds himself in way over his head with the money-loving seductress (Madonna) he’s hired to defend after she’s been accused of, yes, actually fucking to death her filthy rich old man lover to the tune of his entire inheritance and is now intent on opening up the lawyer to his nasty side, to the harm of his wife and family. Body of Evidence is one of those wonderfully indulgent attempts (and I stress attempts) at provocative neo-noir eroticism rushed into production immediately following the massive success of Paul Verhoeven’s astoundingly assured and wildly entertaining Basic Instinct from the year before; in fact, “Body” hues so closely with its coastal settings, style, story and characters, it’s surprising they didn’t get sued for copyright infringement. As similar as they are, however, if “Body” proves anything, it’s just how effectively constructed Verhoeven’s film was and how impressive Sharon Stone and Michael Douglas were at delivering those over-sexualized to the point of absurdity lines with such scenery-chewing gusto (then again, I’m not sure any actor could have made it through dialogue sequences that are so bad you have to wonder if the director Edel would have been better served playing them as parody, such as the infamous “Have you ever watched animals make love, Frank? It’s intense” that poor Madonna, never much of a thesp on her best day, is saddled with). Madonna never comes close to rising to the level of a convincing femme fatale, but, to be fair, she’s not given anywhere near a developed sense of a female character who is an empowered manipulator and danger to patriarchal control (as Stone’s mystery novelist Catherine Trammel was in Basic Instinct). I’m not even sure, other than managing to get into all sorts of drugged out and sexually adventuresome relationships with lots of über wealthy older men, exactly what Madonna does for a living. One thing is clear, though, as influential and provocative as she’s been with her musical persona, she’s unfortunately equally incapable of emanating any sense of danger on-screen. I give her props though, she was certainly willing to get naked and go for broke (which I remain thankful for), but there’s an underlying awkwardness to her displays before the gaga defense lawyer… and it just reminds us once again of how perfectly cast Stone was in “Instinct”. The court room scenes are so over-the-top sensationalistic and ridiculous, with surprise witnesses willy-nilly called all over the place, evidence admitted from out of the blue, a judge whose decision making as far as overruling and sustaining is just all over the map, sexual secrets revealed ad infinitum (including the shocking confession by the weeping Madonna that her last high-wire relationship with a rich guy played by Frank Langella ended not because he had an operation on his heart and she had no more chance at killing him as the prosecution contends, but that she walked in on him in bed with – gasp! – another man, providing one of the many perfect illustrations in how “Body” may fail in almost every way in comparison with “Basic”, but it certainly gets the underlying prurient perspective correct – after all, they’re both American studio films) and gasping jury members at every turn, you have to wonder how long it’ll be before a mistrial judgement is delivered. There’s supporting character actors galore (including the then very popular David Mamet favorite Joe Mantegna as the cynical prosecuting attorney, a pre-fame, very young, baby fat faced Julianne Moore in the thankless role of the shafted wife of Dafoe’s defense lawyer who I’m sure looks back and wishes she didn’t bare all for this one, the sexy Anne Archer and the great pockmark-faced German Jurgen Prochnow who managed to emerge on the film scene with his brilliant performance as the doomed U-Boat Captain in 1981’s Das Boot and then descend into an underwhelming typecast Hollywood career as a sleazy heavy) and noir-style lighting add to the fun. Body of Evidence may be a bad movie (okay, it is) when you consider it against any standard notions of cinematic quality, but — as a mindbogglingly misguided parody of the masterfully conceived, yet also vapid Basic Instinct? – its decadent pleasures, as prurient as they often are, remain numerous.
205	dbpedia	2	41	https://www.wweek.com/arts/movies/2023/01/24/when-madonna-corrupted-willem-dafoe-in-portland/	en	When Madonna Corrupted Willem Dafoe in Portland	https://www.wweek.com/re…=1200&height=630	https://www.wweek.com/re…=1200&height=630	[ "https://sb.scorecardresearch.com/p?c1=2&c2=8030908&cv=2.0&cj=1", "https://www.facebook.com/tr?id=1955258371407056&ev=PageView&noscript=1", "https://pixel.quantserve.com/pixel/p-devwm660sKDlc.gif", "https://static.themebuilder.aws.arc.pub/wweek/1672942374436.png", "https://www.wweek.com/resizer/v2/NXYQBWGV75BYFAW776XMQ3CYLQ.jpg?focal=633%2C294&auth=e7c9afc495a851fe632e433e2700ffc68e678316de6455eefffc3d6edf767b41&width=1023&height=575" ]	[ "https://www.youtube.com/embed/51xEHzC-rjQ?feature=oembed" ]	[]	[ "" ]	null	[]	2023-01-24T00:00:00		en	/pf/resources/favicon.ico?d=85	Willamette Week	https://www.wweek.com/arts/movies/2023/01/24/when-madonna-corrupted-willem-dafoe-in-portland/	Thirty years ago, a Portland jury convened to decide whether sex with Madonna was a deadly weapon. So it goes in Body of Evidence (1993), the locally shot erotic thriller starring the pop icon, Willem Dafoe and some choice S&M candle drippings. Madonna, entering the career valley dominated by Erotica and her Sex coffee table book, plays Rebecca Carlson. She’s accused of killing her wealthy, older boyfriend at the Pittock Mansion with cocaine and a particularly strenuous lay. Frank Dulaney (Dafoe) enters as her defense attorney and—in accordance with neo-noir prescription—needs to try the potentially fatal domination himself. Body of Evidence is an Oregon-made film worth recalling for its massive swing and miss: constantly ripping off Basic Instinct (1992). It’ll likely never be celebrated with loving repertory screenings or an Oregon Film Trail placard. (Imagine a sign at Pittock reading, “Man With Heart Disease F*cked to Death Here.”) Still, while shoddy, unoriginal and curiously not even that hot, Body of Evidence makes ample use of downtown Portland and even has its own (baseless) takes on local values. In honor of the film’s unimpeachable legal verisimilitude, let’s do a forensic breakdown. Artifactual Worth: Remember when sense of place mattered in Hollywood films? Portland doesn’t fit perfectly as a glassy noir backdrop, but it’s entertaining to see the city put to work by the genre: the attorney spending his evenings in downtown coffee shops, the mystery manor perched on the hillside, the temptress’s sex trap down on the Willamette. Best Location: With respect to the rainy opening tracking shot through Pittock, it’s Madonna’s swanky houseboat at Sellwood Riverfront Park. Naturally, marital vows and attorney-client boundaries apply only on land. Best Scene: In general, German director Uli Edel (Christiane F.) doesn’t film sex compellingly in Body of Evidence, but tryst No. 2 in the courthouse parking garage is hard to deny. The blocking is gymnastic and environmental, as Madonna climbs onto a car and hangs from a ceiling pipe while reverse-sitting on Dafoe’s shoulders. Only here does film play with public scrutiny as a turn-on and tension source. Worst Scene: The jig-is-up action closer. Madonna goes arch, and Edel is in a hapless hurry to wrap things up. Underrated Performance: Joe Mantegna gives a sturdy performance as the district attorney. By this time, he’d won a Tony for Glengarry Glen Ross and starred in The Godfather Part III. Bringing requisite gravitas to some boilerplate courtroom scenes is a walk in the park. Strength-Turned-Weakness: Madonna claims the sex scenes were improvised to create surprise and authenticity. That comes across, but so does the camera not knowing where to look. The way Madonna douses Dafoe’s chest, abs and nethers with burning candle wax and Champagne comes off like a kid indecisively inventing a cake recipe. The Portland Take: Body of Evidence insists that ours is a prudish city. “People here have very conservative views about sex,” Frank warns his client. Later, the judge clears her courtroom because the gallery so loves making disapproving peas-and-carrots murmurs. Loosest End: Madonna’s character, who supposedly roams the country ensnaring wealthy men with bad hearts, owns an enormous Portland art gallery, seen and referenced only once. Leading any viewer to ask: Where? Why? How? What? Sickest Burn: The scalding candle wax, obviously. But also, Roger Ebert hated this film: “It has to be seen to be believed—something I do not advise.” Ultimate Bummer: Julianne Moore later said she felt exploited; it’s easy to see why. Playing Frank’s wife in one of her first roles, Moore endures a gratuitous sex scene that adds nothing but skin. PDX Foreshadowing: Doughnuts play a critical role in one scene. Can’t say they look particularly artisanal, though. What Could Have Saved the Film: Since he borrowed everything else from Basic Instinct, Edel should’ve tried some of Paul Verhoeven’s lens gels and intricate boudoir choreography. More importantly, should Madonna and Dafoe have switched roles? One of this film’s worst-conceived ideas is casting the toothy, subversive Dafoe as the Michael Douglas archetype—the white-collar family man primed for a corrupting influence. Madonna might have been better as the corruptee, not the vacant femme fatale who ended up on screen. After all, her whole career gleefully plays with the iconography of the good girl gone bad.
205	dbpedia	2	57	https://uk.chili.com/content/body-of-evidence-1993/f042469b-5598-485a-9973-d5c25706f443	en	CHILI	http://cdn.chili.com/images/web/logoChili.png?width=800&height=800	http://cdn.chili.com/images/web/logoChili.png?width=800&height=800	[]	[]	[]	[ "" ]	null	[]	null	Without subscription, wherever you are, forever. LIVE YOUR MOVIE!	en	/favicon/favicon.ico	CHILI	null
205	dbpedia	1	1	https://en.wikipedia.org/wiki/Body_of_Evidence_(1993_film)	en	Body of Evidence (1993 film)	https://upload.wikimedia…yofevidence1.jpg	https://upload.wikimedia…yofevidence1.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/bb/Bodyofevidence1.jpg/220px-Bodyofevidence1.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2006-10-17T20:49:18+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Body_of_Evidence_(1993_film)	1993 film by Uli Edel Body of EvidenceDirected byUli EdelWritten byBrad MirmanProduced byDino De LaurentiisStarringCinematographyDouglas MilsomeEdited byThom NobleMusic byGraeme Revell Production company Dino De Laurentiis Communications[1] Distributed byMetro-Goldwyn-Mayer[1] Release dates Running time 99 minutes[1]Countries Germany[1] United States[1] LanguageEnglishBudget$30 million[2]Box office$38 million[3] Body of Evidence is a 1993 erotic thriller film directed by Uli Edel, written by Brad Mirman, and starring Madonna and Willem Dafoe, with Joe Mantegna, Anne Archer, Julianne Moore, and Jürgen Prochnow in supporting roles. Widely considered to be a vanity project for Madonna and derided for its plot inconsistencies and incongruous dialogue, it marked her fourth film performance to be universally panned by critics, following Shanghai Surprise, Who's That Girl, and Bloodhounds of Broadway.[4] In France and Japan, the film was released under the name Body. In Japan, Madonna's other 1993 film Dangerous Game was released there as Body II even though the films have nothing in common nor are related to each other in narrative. Plot [edit] The elderly and wealthy Andrew Marsh dies from complications stemming from an erotic incident involving bondage and homemade pornography. The main suspect is his lover Rebecca Carlson who proclaims her innocence to lawyer Frank Dulaney. Initially believing her, Frank agrees to represent her. District Attorney Robert Garrett seeks to prove that Rebecca deliberately killed Marsh in bed to receive the $8 million he left her in his will. As the trial begins, Rebecca and Frank enter a sadomasochistic sexual relationship behind the back of Frank's unsuspecting wife, Sharon. During their first sexual encounter, Rebecca secures Frank's arms behind his back using his own belt and alternately pours hot wax and champagne on him before having sex. After an ex-lover of Rebecca's, Jeffrey Roston, testifies that he also had a heart condition, and both changed his will to favour Rebecca, and that she was sexually domineering and compelled him to engage in sexual activity with no regard to his health, describing an incident that clearly resonates with Frank's own experience, Frank attempts to end their affair. Sharon confronts him about the affair having figured it out from a phone call with Rebecca as well as the strange marks on his body from the hot wax. Frank goes to Rebecca's home and accuses her of telling his wife about them (although Sharon says she worked it out from her tone alone). Rebecca taunts Frank, and he pushes her to the ground. Rebecca begins to masturbate on the floor in front of him. Rebecca pulls out handcuffs, Frank forcibly cuffs her hands instead and sexually assaults her. Initially she resists before appearing to enjoy the assault. Footage from Marsh's home video reveals that he had an affair with his secretary, Joanne Braslow, who is a key witness against Rebecca. He also had previously left Joanne more money in his will before beginning his relationship with Rebecca. She says that she was hurt but she loved him and would never hurt him. However, there is evidence that she bought the murder weapon. Rebecca suggests to Frank that the secretary tried to frame her, but he is now less sure of her innocence in the crime. Rebecca takes the stand and her surprising testimony that Roston had an affair with another man convinces the jury, which acquits her. Before leaving court, she mockingly thanks Frank and indicates that she is guilty after all. Frank still cannot resist going to Rebecca's home, where he overhears an incriminating conversation between her and Marsh's doctor, Alan Paley. He confronts the co-conspirators, realizing that it was Paley who supplied the fatal dose of cocaine. Rebecca is amused by Frank's discovery of her manipulating him, but Paley is shocked to learn that she was in a sexual relationship with Frank as well. Rebecca mocks both men, bluntly acknowledging that she used her sexual prowess to control and humiliate both of them, as well as Marsh. Paley realizes she does not care about him and becomes enraged. After a struggle with Frank who tries to save Rebecca, Paley shoots her twice. She plunges from a window to her death. Paley is arrested for murdering her. Before leaving the scene with his wife to repair their relationship, Frank then tells Garret he should've won the case with Garrett replying: "I did". Cast [edit] Madonna as Rebecca Carlson Willem Dafoe as Frank Dulaney Joe Mantegna as Robert Garrett Anne Archer as Joanne Braslow Julianne Moore as Sharon Dulaney Stan Shaw as Charles Briggs Charles Hallahan as Dr. McCurdy Lillian Lehman as Judge Mabel Burnham Mark Rolston as Detective Reese Jeff Perry as Gabe Richard Riehle as Detective Griffin Jürgen Prochnow as Dr. Alan Paley Frank Langella as Jeffrey Roston Michael Forest as Andrew Marsh Corey Brunish as Jamie Production [edit] Body of Evidence was filmed in Portland, Oregon, with the Pittock Mansion serving as a primary location.[5] The cemetery scene featured in the beginning of the film was shot on location at Lone Fir Cemetery. Julianne Moore said her nude scene in this movie was "just awful": "I was too young to know better. It was the first time I'd been asked to get naked and it turned out to be completely extraneous and gratuitous."[7] Release [edit] Box office [edit] Body of Evidence performed poorly at the box office.[8] In its second week it experienced a 60% drop.[9] It grossed $13 million in the United States and Canada and $25 million internationally for a worldwide total of $38 million.[3] Censorship [edit] The film originally received the rare NC-17 rating from the Motion Picture Association of America.[10] The first theatrical release was censored for the purpose of obtaining an R rating, reducing the film's running time from 101 to 99 minutes.[11] The video premiere, however, restored the deleted material. Critical response [edit] Body of Evidence has an 8% rating at Rotten Tomatoes based on 38 reviews, with a rating average of 3.10/10. The critical consensus reads, "Body of Evidence's sex scenes may be kinky, but the ludicrous concept is further undone by the ridiculous dialogue."[12] Metacritic assigned the film a weighted average score of 29 out of 100, based on 17 critics, indicating "generally unfavorable reviews".[13] Audiences surveyed by CinemaScore gave the film a grade of "C" on scale of A+ to F.[14] The film appeared on the 2005 list of Roger Ebert's most hated films.[15] The screenplay and performances were especially disparaged.[16] His colleague Gene Siskel called Body of Evidence a "stupid and empty thriller" that is worse than her softcore coffee table book Sex.[17] Julianne Moore later regretted acting in the film and went on to call it "a big mistake".[18] Accolades [edit] Award Category Recipient Result Fantasporto Best Film Uli Edel Nominated Golden Raspberry Awards[19][20] Worst Picture Dino De Laurentiis Nominated Worst Director Uli Edel Nominated Worst Actor Willem Dafoe Nominated Worst Actress Madonna Won Worst Supporting Actress Anne Archer Nominated Worst Screenplay Brad Mirman Nominated MTV Movie Awards Most Desirable Female Madonna Nominated Stinkers Bad Movie Awards Worst Actress Nominated References [edit] Sources [edit] Bergen, Teresa; Davis, Heide (2021). Historic Cemeteries of Portland, Oregon. Charleston, South Carolina: Arcadia Publishing. ISBN 978-1-467-14861-0.
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205	dbpedia	1	22	https://comiconomicon.com/videomedia/8066/Body_of_Evidence	en	Body of Evidence Actor and Crew Appearances	https://comiconomicon.co…social-image.jpg	https://comiconomicon.co…social-image.jpg	[ "https://comiconomicon.com/images/logo.svg" ]	[]	[]	[ "" ]	null	[]	null	Appearances for: Mark Rolston (Detective Reese), Christopher Lawrence (costumer), Douglas Milsome (as Doug Milsome), Joe Mantegna (Robert Garrett), Michael Forest (Andrew Marsh), Stan Shaw (Charles Biggs), Victoria Paul (production_designer)...	en	/favicon.ico	comiconomicon	https://comiconomicon.com/videomedia/8066/Body_of_Evidence
205	dbpedia	2	20	https://www.brightwalldarkroom.com/2021/07/26/body-of-evidence-and-looking-camp-right-in-the-eye/	en	Body of Evidence (1993): Looking Camp Right in the Eye	https://www.brightwallda…vidence_r1v2.jpg	https://www.brightwallda…vidence_r1v2.jpg	[ "https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/BWDR_Body_of_Evidence_r1v2.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/BWDR_Body_of_Evidence_r1v2.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2019/01/fullsizeoutput_b50-100x100.jpeg", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/Screen-Shot-2021-07-28-at-10.10.54-PM-293x293.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/image4-293x293.jpeg", "https://www.brightwalldarkroom.com/wp-content/uploads/2024/05/38878714-1716857330308-f2c12d5ef4057-293x293.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/BWDR_Sopranos_r1v2-293x293.jpg", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/seidelman-directing-150x150.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/07/Screen-Shot-2021-07-28-at-10.10.54-PM-150x150.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2017/05/footerlogo.fw_-1.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2017/11/header2017.fwlight.png", "https://www.brightwalldarkroom.com/wp-content/uploads/2021/09/round-logo.512-500x500.png" ]	[]	[]	[ "" ]	null	[ "Spencer Williams" ]	2021-07-26T00:00:00	To view Body of Evidence through the lens of Camp is to acknowledge the film’s aesthetic merits despite its emotional ineptitude	en	https://www.brightwallda…go.512-32x32.png	Bright Wall/Dark Room	https://www.brightwalldarkroom.com/2021/07/26/body-of-evidence-and-looking-camp-right-in-the-eye/	If you hang around me long enough, you’ll learn my one true flaw is that my taste in pop culture is too widespread to be considered taste at all. Like a charcuterie board picked at with a salad fork, I take from pop culture everything that draws the eye and triggers my IBS, from Ashlee Simpson’s brief discography to anything fingerprinted with Ryan Murphy’s homosexual terrorism. I’ll say it here in writing so there’s no confusion: I love, more than any sapiosexual arthouse handjob, my exquisite garbage, my gauche array of dejected objects and medias the zeitgeist has archived into the “should not be enjoyed” bins out back. There is no known cure for my sparkling brain rot. My daily core workout includes at least four reps of full-bodied cringe followed by three sets of straight gagging over Imagine Dragons. I love the aura of all things tacky, from skinny scarves (objectively useless as a neck warmer) to Third Eye Blind’s most recent output (the ‘90s need not apply) to ghost hunting reality television (the best way to find out if your house is haunted is to yell slurs into the open dark of a nursery). My affinity for trash is so severe that many things the education system has deemed “important to know” have been permanently replaced in my brain hemispheres by cultural events no straight person would appreciate—I can’t remember how to write cursive letters anymore, but I can sing every word of Ali Lohan’s pop single allegedly released by Interscope, “All the Way Around.” I can no longer do long division—I’m 26—but I can tell you the exact time and place I first witnessed Madonna superimposing BDSM whips over Nelson Mandela’s face on Instagram in 2015 to promote the album Rebel Heart (3:00 p.m. CST, at Iowa City’s one and only Which Which location). And it is still Madonna who stands in the center of my wretched J-14/Perez Hilton/Super Rush symposium because she represents all things camp: the horrific, the iconic, the dazzling, the boring, the colorful, the nauseating, the offensive, and the brilliant. From her perpetual “I’m British” cosplay to her party-hat cone bras, Madonna might be the only artist with a Mike Tyson album feature who can spin every cultural and fashion faux pas into shiny fool’s gold. A glamorous vulture, she brought voguing into the mainstream by picking at its bones, rolling the meat of queer culture around in her mouth like a lozenge. She’s released numerous gay club staples, single-handedly putting the “pop” back in poppers. And for those unaware, the “M” in BDSM stands, obviously, for Madonna. In 2005, the crimson-haired, ABBA-sampling Madonna on the cover of “Confessions on a Dance Floor” was my Virgil lighting the way through those tricky closeted homosexual caves. But these days, she is to the zeitgeist what a post-Regan bathhouse is to a puritanical zoomer twink. While best known for her music—which still lives on at T.J.Maxx and at any gay club named after a cocktail—she is also a notorious filmmaker and an infinitely watchable actress. As a filmmaker, Madge has directed two narrative films: 2008’s Filth and Wisdom and 2011’s W.E., the latter of which premiered at the Venice Film Festival and then promptly faded into obscurity. It’s a shame—the film is a balls-to-the-wall shot of excess, a gloriously trashy empirical romance with absurd blocking and fantastic music. It also features an incredible Andrea Riseborough performance, along with Oscar Isaac doing a Russian accent ripped straight from my bedroom after four tequila shots and zero attention. To the benefit of absolutely no one, Madonna hasn’t directed a narrative film since W.E. flopped both financially and spiritually. I imagine myself—a nothing if not dutiful faggot—to be the only person dismayed by the hole she’s left in the festival circuit since. And though you could have warmed your hands over the fierce critical resentment W.E. inspired after its world premiere, I found the film to be a much-needed shot into the pretentious arm of the arthouse, a Party-City-leased disco ball beaming neon onto every navel-gazing period piece set on an unlit moor. Despite her lofty, high-brow aspirations, Madonna couldn’t help but hit the concept of auteur filmmaking square in the nuts, giving us (fags) the most chic husk of a narrative since Inception. Madonna the actress is certainly more varied than Madonna the director, but she’s no less ballsy, willing to try literally anything as long as she gets a chance to convince you she’s from the U.K. She’s magnetic, for example, in A League of Their Own, playing a sassy center fielder with Madonna-like dance moves. She’s also good in Desperately Seeking Susan, playing what Pauline Kael called an “indolent, trampy goddess.” But nothing can prepare an unexpecting public for her turn in the largely forgotten 1993 erotic thriller Body of Evidence, directed by Uli Edel. As much as I’d like to be the first person in the world to dub Body of Evidence an unparalleled masterpiece, all evidence suggests the opposite. For example, Edel has since turned his artistic eye to the lesser appreciated art form known as the “TV movie.” Even Julianne Moore has called her participation in this film “a big mistake,” despite remaining suspiciously silent about her involvement in 2007’s equally campy though significantly more morose Savage Grace. I digress. Anyone with a sense of humor won’t find better entertainment fodder for a night in with the in-laws. It is here that I declare bravely, with one hand on my heart, the following: Body of Evidence is the Citizen Kane of movies that won’t put you to sleep like Citizen Kane. For this alone, it deserves your open eyes, your wagging tongue, your generous pour of Barefoot wine. In Body of Evidence, Madonna stands accused of fucking an older man to death, a real “we’ve all been there” scenario if I’ve ever heard one. Here, I use “Madonna” in place of the character’s name because it quite simply doesn’t matter what any character’s name in this movie is. What does matter is that Madonna is put on trial because her WAP is lethal enough to cause fatal heart attacks in millionaires (welcome to The Revolution, Madge!), and if that doesn’t get the blood flowing, Willem Dafoe—toothed-up like Jack Skellington—is hired as her lawyer, and…well, you know what happens next. Willem Dafoe is an interesting foil to Madonna here since his wide grin and hollow eyes aren’t the first things that come to mind when I think “If I don’t cum right now, I’ll probably die.” And yet, as Madonna pours hot candle wax over his bare chest and reportedly sizable family jewels, it’s impossible not to feel an ever-so-slight cramp of ovulation. While the plot of Body of Evidence is secondary to the trauma of its psychic impact on the viewer, the sparknotes rundown is: Madonna playing a woman who looks like Madonna is charged with the murder of an older gentleman via erotic asphyxiation. Willem Dafoe plays her lawyer, who attempts to prove that, no, actually, Madonna’s hot bod did not shawty-get-low this man to death. In between court proceedings, Willem Dafoe and Madonna bump uglies behind Dafoe’s wife’s back (Julianne Moore) and because he’s a cuck, he starts to wonder if Madonna actually threw it back hard enough to cause a Mortal Kombat fatality. Regardless, Madonna gets off (in more ways than one) and everything seems to go back to normal (whatever that means in a film like this), except for the fact that Madonna actually did conspire with a doctor to kill the older gentleman because her sexual powers make it so that she can get “any man to do anything she wants”—her words. Then, she is shot through a window by the doctor she conspired with and dies. Oops. Roll credits. Throughout the film, Madonna pouts and vamps like Dracula forced into Veronica Lake drag. The misogyny coursing through the veins of the film is enough to OD on, though this isn’t entirely shocking when you consider the entire takeaway of the movie is that beauty is criminal and good pussy is a weapon wielded by women with nothing else to offer. One need not stretch their imagination too far to imagine Ben Shapiro’s reaction to seeing Madonna dominate Willem Dafoe sexually with Yankee Candle’s fall-scented inventory. She’s a harlot, an unrepentant slut, says the film. And like any woman without a visible halo hovering above her head in the ‘90s, you bet she gets what she deserves in the end. It doesn’t matter if Madonna caused her older lover’s heart attack or not—the minute she’s put on trial, she is guilty of having too much agency. In this sense, the film is like any other male-directed ‘90s erotic thriller that encourages you to ogle its main actress before sledgehammering you to death about how good women don’t have vocal fry or own dark clothing. Even the film’s attempts at positioning Madonna as a “strong woman” are reduced to her position in the bedroom. The film operates on the working thesis that if you are a woman and you like to fuck on top, you’ve probably killed before. To this, I say: sure, why not. And of course, she does murder her lover. Not with sex, but with cocaine-infused poppers. And because she is guilty, she must die. Brutally, in fact. The final shots of the film feature Madonna blasted through a glass window into dark bay waters below—did I mention she lives in a houseboat? In the end, while she avoids jail time in court, she can’t outrun the entitlement of men who view her sexuality as synonymous with depravity. If this all sounds too dour and depressing for a wine-and-cheese night at home, I promise you that Body of Evidence succeeds on a level of awfulness that needs to be seen to be believed, brie or not. While the misogyny in the film comprises most of its DNA, it features so outlandishly, is so totally devoid of subtlety or intelligence as to become subversively genius. If the point of the film is to critique the misogyny it so bluntly creates, it fails with aplomb. It’s almost admirable, how the film wants so badly for its viewers to buy into its warped visions of femininity, to glimpse some fragment of selfhood in the turgid waters we watch Madonna’s corpse float in. In fact, my refusal to include Madonna’s character’s name here is because I refuse to make the same mistake the film does—I refuse to acknowledge any of these characters as concrete, three-dimensional human beings. They are not. They are merely variables in this strange, overblown sex Olympics hiding out in the human condition’s clothing. The magic of the film, then, is simple. It foams at the mouth. It’s as hollow as the center of a fleshlight, as the feeling after using one. Body of Evidence is a small, disgusting wonder. Like a Reddit user posting Pepe memes under any display of womanly confidence, its impact on the culture is microscopic, laughably non-existent. What survives is Madonna, that vital organ pumping lifeblood into the film’s otherwise rampant decay. She dies in the film, but she’s also the only reason it lives on in my imagination. In Susan Sontag’s seminal essay “Notes on Camp,” she states: “In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails.” In my mind, naïve Camp is the best camp because it is unaware of itself as Camp. Like an acquaintance that isn’t funny, but is funny to be around (an important distinction), naïve Camp shimmies with abandon, unaware that its goals are too lofty, too out there to inspire straight faces. In trying to make an “important statement,” texts that fall under naïve Camp tend to feel vapid in the most delicious sense, sour candy with little depth but sweet enough to frack some holes in your teeth. On the other hand, deliberate Camp, Camp that tries explicitly to be considered Camp, ends up smelling a bit like 2019’s Met Gala, a confusing disaster I’m convinced I fever dreamed after eating one too many edible gummies. Besides being an occasion where the most high-profile celebrities inadvertently revealed to the public that they don’t read, the clear deliberateness with which Camp had been thrust upon us viewers on Twitter—and for the most part incorrectly—felt too curated to be surprising or enjoyable. That being said, the event wasn’t completely devoid of naïve Camp. We did get one shining example: Karlie Kloss looking Camp right in the eye, before delivering one of the most flaccid looks that carpet had ever seen. The confident air Kloss brought to the assignment, paired with the utter failure to follow the prompt, constituted the purest form of Camp 2019 could offer us. It is an iconic moment that lives on in infamy. Every year, Kloss resurfaces on the timeline, one eye captured in her concealer’s oval mirror as a ghost of Met Galas past. In other words, retrospective Camp, naïve to the core. In trying to achieve one thing, she achieved something entirely different, something the world (but mostly me) could partake in with ravenous glee. This is also how I view Body of Evidence. I believe the film is an example of naïve Camp, a serious film failing utterly to convince the viewer to buy into its framing of self. Body of Evidence is so convinced of the importance of its message about misogyny, that women are viewed as objects by men and are punished for their sexuality every time they so much as try to exert dominance over their circumstances, that it fails to see how it recycles the same tired tropes of the erotic thriller by punishing its central woman to death. The film’s attempts at dark and sensual aesthetic-making are stifled by piss-poor lighting—has a courtroom ever been so unconvincingly tailored as to cast Madonna’s face in constant shadow?—dialogue so bad it makes Shyamalan read like Donna Tartt, and incomprehensible scenes of flirtation between its stars that could double as AI communication test demos. At one point, Madonna’s character asks Willem’s lawyer “Have you ever seen animals make love to each other, Frank? It’s intense. It’s violent.” “We’re not animals,” he replies. “Yes, we are,” she retorts. And that, my friends, is how I met your mother. Even the casting of Madonna, a figure one could argue is both naïve and deliberate, is Camp to the bone. One need not look further than the tackiness of her Hard Candy album art as proof. Featuring Madonna snatched in a WWE-esque belt while licking her hand wrap with a lollipop backdrop, deliberate doesn’t get more deliberate. As she neared her 50s in 2008, the album art was a clear provocation to the generally straight-minded public at the time, and the message of the image was simple: sex appeal has no expiration date. However, the underlying thesis of the image also seemed to suggest: neither does garishness. Explaining the art to Entertainment Weekly, Madonna summed it up best: “I’m gonna kick your ass, but it’s going to make you feel good.” It doesn’t get more deliberate than that. But the Madonna in Body of Evidence is naïve Camp at its best. Watching the film, it’s clear Madonna thinks she’s in a “serious thriller.” The utter sincerity with she delivers lines like “That’s what I do; I fuck. And it made me $8 million!” is symptomatic of an actress unaware of just how much the camera gawks at her character with shoddy, objectifying angles. The humorlessness of the film ends up spotlighting its ridiculousness, thereby dragging it in a circle with a dominatrix leash all the way back to being funny again. Upon its release, critics noted the utter lack of chemistry between its leads. I argue that this sparkless eroticism serves the film’s campy exterior and explicit lack of interior. In a film where Madonna’s beauty is the source of so much chaos, Willem’s straining to appear seduced causes him to look always on the verge of aneurysm. This seems counter to what the film wants us to believe—that Madonna’s seduction prowess is inescapable, a black widow’s snare. But the graveness with which he simulates sex immediately contradicts this. A performance akin to a tectonic plate cosplay, Dafoe turns himself and his co-lead into two soulless masses with one united goal: to create friction no matter the cost.
205	dbpedia	3	83	https://www.facebook.com/maddie.kern.35/	en	Facebook			[]	[]	[]	[ "" ]	null	[]	null		it	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		null
205	dbpedia	1	75	https://pubs.acs.org/doi/10.1021/acs.accounts.3c00194	en	Molecular Self-Organization in Surfactant Atmospheric Aerosol Proxies	https://pubs.acs.org/cms/10.1021/acs.accounts.3c00194/asset/images/acs.accounts.3c00194.social.jpeg_v03	https://pubs.acs.org/cms/10.1021/acs.accounts.3c00194/asset/images/acs.accounts.3c00194.social.jpeg_v03	[ "https://pubs.acs.org/pb-assets/ux3/pubs-logo-481x82-1523435513963.png", "https://pubs.acs.org/cms/10.1021/achre4/asset/16ad63d1-7e16-d63d-17e1-ad63d117e16a/title.png", "https://pubs.acs.org/specs/products/achs/releasedAssets/images/loading/loading-018624cffd023ad5641b8e99931a80e6.gif", "https://pubs.acs.org/doi/10.1021/specs/products/achs/releasedAssets/images/loading/loader-128b5db1cc3a83761a15cf2e5c9b452d.gif", "https://pubs.acs.org/specs/products/achs/releasedAssets/images/access-control/open-access.svg", "https://pubs.acs.org/products/achs/releasedAssets/images/orchid-2856f829046fbda55b90e1582edf0e9a.png", 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"https://pubs.acs.org/pb-assets/images/footer_logos/logo-orcid-1525375623187.png", "https://pubs.acs.org/pb-assets/images/footer_logos/logo-portico-1525375623203.png", "https://pubs.acs.org/pb-assets/ux3/ACSPubs_logo_tagline_Knockout-1718648850557.svg" ]	[]	[]	[ "" ]	null	[ "Adam Milsom", "Adam M. Squires", "Andrew D. Ward", "Christian Pfrang", "Christian Pfrang", "Adam Milsom", "Adam M. Squires", "Andrew D. Ward" ]	2023-09-09T00:00:00	ConspectusAerosols are ubiquitous in the atmosphere. Outdoors, they take part in the climate system via cloud droplet formation, and they contribute to indoor and outdoor air pollution, impacting human health and man-made environmental change. In the indoor environment, aerosols are formed by common activities such as cooking and cleaning. People can spend up to ca. 90% of their time indoors, especially in the western world. Therefore, there is a need to understand how indoor aerosols are processed in addition to outdoor aerosols.Surfactants make significant contributions to aerosol emissions, with sources ranging from cooking to sea spray. These molecules alter the cloud droplet formation potential by changing the surface tension of aqueous droplets and thus increasing their ability to grow. They can also coat solid surfaces such as windows (“window grime”) and dust particles. Such surface films are more important indoors due to the higher surface-to-volume ratio compared to the outdoor environment, increasing the likelihood of surface film–pollutant interactions.A common cooking and marine emission, oleic acid, is known to self-organize into a range of 3-D nanostructures. These nanostructures are highly viscous and as such can impact the kinetics of aerosol and film aging (i.e., water uptake and oxidation). There is still a discrepancy between the longer atmospheric lifetime of oleic acid compared with laboratory experiment-based predictions.We have created a body of experimental and modeling work focusing on the novel proposition of surfactant self-organization in the atmosphere. Self-organized proxies were studied as nanometer-to-micrometer films, levitated droplets, and bulk mixtures. This access to a wide range of geometries and scales has resulted in the following main conclusions: (i) an atmospherically abundant surfactant can self-organize into a range of viscous nanostructures in the presence of other compounds commonly encountered in atmospheric aerosols; (ii) surfactant self-organization significantly reduces the reactivity of the organic phase, increasing the chemical lifetime of these surfactant molecules and other particle constituents; (iii) while self-assembly was found over a wide range of conditions and compositions, the specific, observed nanostructure is highly sensitive to mixture composition; and (iv) a “crust” of product material forms on the surface of reacting particles and films, limiting the diffusion of reactive gases to the particle or film bulk and subsequent reactivity. These findings suggest that hazardous, reactive materials may be protected in aerosol matrixes underneath a highly viscous shell, thus extending the atmospheric residence times of otherwise short-lived species.	en	/pb-assets/ux3/favicon-1635812676023.ico	ACS Publications	https://pubs.acs.org/doi/10.1021/acs.accounts.3c00194
205	dbpedia	1	63	https://www.alabar.org/news/from-the-alabama-lawyer-who-do-we-think-we-are/	en	Alabama State Bar	http://www.alabar.orghttps://www.alabar.org/assets/2022/09/1-1.png	http://www.alabar.orghttps://www.alabar.org/assets/2022/09/1-1.png	[]	[]	[]	[ "" ]	null	[]	null	In the final scenes of the movie “A Few Good Men” – one of the great classics of legal cinema – under dramatic, but extremely risky cross-examination by Lt. Daniel Kaffee (played by Tom Cruise), Col. Nathan Jessup (played by Jack Nicholson) admitted to directing the kind of “Code Red” discipline which led to the unintentional death of a Marine stationed at Guantanamo Bay, Cuba.	en	/images/icons/favicon.png	Alabama State Bar	https://www.alabar.org/news/from-the-alabama-lawyer-who-do-we-think-we-are/	Getting your Trinity Audio player ready... By Marc James Ayers Introduction: Lawyers as Stewards of a Noble Profession In the final scenes of the movie “A Few Good Men” – one of the great classics of legal cinema – under dramatic, but extremely risky cross-examination by Lt. Daniel Kaffee (played by Tom Cruise), Col. Nathan Jessup (played by Jack Nicholson) admitted to directing the kind of “Code Red” discipline which led to the unintentional death of a Marine stationed at Guantanamo Bay, Cuba. Although contrary to military law, Col. Jessup explains that he did it for what he personally determined to be the greater good. When he is being arrested following this in-court admission, he is outraged, and he and Lt. Kaffee – who has up until this trial spent his career simply processing cases, looking for the easy way out and using his status for his own comfort, but is now finally embracing his true calling as a lawyer – have the following exchange: Col. Jessup: … You have no idea how to defend a nation. All you did was weaken a country today, Kaffee. That’s all you did. You put people’s lives in danger. Sweet dreams, son. Lt. Kaffee: Don’t call me son. I’m a lawyer and an officer in the United States Navy. And you’re under arrest…. While the status of military officer is generally held in high esteem, one wonders about how the public views the status of the typical modern lawyer. We certainly do ourselves no favors with overly-aggressive and uncharitable litigation antics, unprofessional and sometimes simply humiliating television commercials, and the like (as well-known and long-circulating lawyer jokes demonstrate). Of course, there are some perceptions that may linger regardless of how we hold ourselves out. Regardless, we should do whatever we can to help our profession regain and maintain its dignity. In that regard, perhaps a better starting question is: Who do we think we are? What do we think our profession is, and what should it be? Are we true professionals who care deeply about the law and its role in preserving society, or are we, as some have asserted, mere claims processors or technicians? Such an inquiry should drive us to recall the great historic legal tradition into which we entered when we became members of the bar – a tradition that is one of the core pillars of Western civilization. We often call it the legal “industry,” which in many ways is unfortunate. Historically, the legal profession was seen as a true profession, as a calling. Indeed, in the past – meaning in our past as a body of lawyers – entry into the profession followed one’s being literally “called to the bar.”[1] Remember that even terms like bar connect us to our history, and show that the profession was intended to have a particular dignity. The bar refers to a wooden rail or partition in a court room which separated the public area from those qualified to address the court on the law. To be called to the bar is to be recognized and received into this body of professionals.[2] How does such an ancient and noble profession lose its perspective and lose the sense of dignity that should follow? It is actually quite easy, especially given the hectic schedules that many of us follow, to allow what we do to become a mere technical, plug-and-chug industry. We either never learned, or have long forgotten, the roots of our noble profession. So many things that we do day to day without much thought are actually tools that have been handed down as a part of the great and ancient English law tradition. We are not mere technicians or claims processors, loudmouth braggards or bullies who manipulate the law. Rather, we need to think of ourselves as stewards entrusted with a sacred duty to the public and society, a notion aptly summarized by the Florida Supreme Court in a 1942 decision: The administration of justice is a composite rather than an individual concept. It is a derivative of Christian ethics and with us has attained a significance that it has nowhere else on earth. It contemplates the righteous settlement of every controversy that arises affecting the life, liberty, or property of the individual. Lawyers and judges are stewards of the law provided for this purpose. … Since the practice of the law deals with the most abiding and the most vital relations of life, we speak of it as a great and honored profession. Mr. Justice Brandeis characterized a profession as “an occupation for which the necessary preliminary training is intellectual in character, involving knowledge and to some extent learning as distinguished from mere skill, an occupation which is pursued largely for others and not merely for one’s self, an occupation in which the amount of financial return is not the accepted measure of success.” In fact, the practitioner who makes financial return his main objective will experience little of the real joy that come to those whose interest in the law rises above the economic. The administration of justice is the business of the public. Members of the bar are stewards commissioned to perform that business. Their stewardship will be successful in proportion to the manner in which they take the public into their confidence and perform it with a fidelity alike to the state, to client, and to the profession. … … Whatever truth there is to the charge that the public no longer trusts the bar is not due to the fact that a majority have become ethically obtuse. It is due to the fact that an unscrupulous minority are unfaithful stewards, who insist on placing the emphasis in the wrong place; too much concern about fees and winning cases and too little concern about administering justice in the way to inspire public confidence. Making a fee is important but it is incidental to doing justice and is not the “accepted measure of success” at the bar….[3] And as stated by a California federal district court: … We live in a nation governed by the rule of law. We’ve constructed a powerful government to administer that law – a government that can deprive a person of property, liberty, and even life. But unlike governments of men, which depend on might, our government of law ultimately depends on the consent of the governed for its continued existence. The public must trust that the government and the legal system that undergirds it are fair and just. Lawyers serve as both stewards and servants of that trust. Since well before the law was an industry, our society looked to the profession to safeguard a complex system that keeps our country going….[4] The goal of this article is to briefly examine just a few of the many aspects of our day-to-day practice of quite ancient and distinguished lineage which should generate deeper appreciation. As will be necessary for an article of this length, the discussion is highly generalized, and each subject is certainly worthy of more detailed consideration. The hope is, however, that by even taking a quick look at the historical development and weight of many of the tools entrusted to us, we will be given pause to consider and reevaluate the true dignity of our profession. A Short History of Some of the Tools of Our Profession The Common Law Alabama has always been, of course, a common law state.[5] This principle is expressly stated in the Alabama code, which provides that “[t]he common law of England, so far as it is not inconsistent with the Constitution, laws and institutions of this state, shall, together with such institutions and laws, be the rule of decisions, and shall continue in force, except as from time to time it may be altered or repealed by the Legislature.”[6] As Alabama practitioners, we frequently call upon and utilize the tools of the common law – elements of common law causes of action, common law remedies and defenses, etc. – as we have been trained to do, but without much thought to the fact that those tools are the end product of an ancient development which has been entrusted to us to maintain for the good of society. What we know as the common law – often referred to as judge-made law or case law, as it evolved through the application of general maxims, logic, and reason to individual cases – began to come into existence almost 1,000 years ago from a need to bring a sense of uniformity and consistency to what was a patchwork of differing local legal systems. Many historians trace the beginnings of the English common law system to the Norman Conquest by William the Conqueror in 1066. Prior to the Conquest, law in Anglo-Saxon England was controlled by various local practices and customs: There were three distinct systems in place: the law of Wessex, the law of Mercia, and the Danelaw. But there were differences of detail, particularly in procedure, in each of the 32 counties. Oath [and] ordeal … were universal modes of proof; but their detailed operation varied from place to place and according to the status of the parties. Since all proceedings were oral, legal tradition was unstable. Litigation … was as uncertain as a game of dice.[7] Following the Conquest, however, now-King William I recognized that any effective lordship over the great island required a much more organized administration of justice and a uniform system of law. One of the major components of William’s efforts in this regard was his establishment of the Curia Regis (“King’s Court”). The Curia Regis was a royal household of advisors and counsellors – something which was not unusual and existed in some form even under the Anglo-Saxon kings[8] – but which also became, under William, an actual body which would, along with the king, hear petitions and administer the king’s justice.[9] As noted above, the king and his advisors would sit on a literal bench against a wall, a practice which eventually provided the name of one of the most important of the king’s courts: the Court of King’s Bench. However, the king did not administer his justice in this way solely from London. Along with his Curia, King William would actually travel throughout the realm to hear and resolve various matters and petitions. In this way, the king could actually begin to create some level of uniformity in the legal principles that would bind the whole of the country as the law of the land. Development of the common law was somewhat interrupted during the turbulent times following William’s death – in particular stemming from the civil war between King Stephen and Empress Matilda[10] – but took major steps forward during the reign of Henry II (1154-89).[11] Like William, Henry II also had a strong desire to centralize his authority and to have a uniform system of law. One of the innovations implemented by Henry was to create justices in eyre – eyre meaning circuit.[12] Also known as itinerant justices, these judges would ride circuit through the country and hear matters in the name of the king.[13] In Henry’s time there were only 18 judges in the country, and, of these, five remained in London and comprised the Court of King’s Bench in Westminster.[14] Under this system, the itinerant justices, who were versed in the laws and legal principles established at Westminster in London, would take and apply those same laws and principles in the various areas of the realm. While this system of itinerant justices applying a growing, more consistent corpus of English law accomplished much in the creation of the common law, that process was greatly aided with the advent of the written decision. In the mid-13th century, court decisions and judgments, which until then were oral, began to be recorded, thus giving rise to a more concrete application of precedent. Indeed, the earliest system of law reporting was known as The Year Books, which were written in either Latin or French and contain decisions issued during the reign of Edward I (1272-1307).[15] From this point forward, the decisions handed down in English law courts could now be read and applied as precedent in similar cases in other locales. It is from these beginnings that the law in England could become truly common, and that resultant common law – with all of its reasoned intricacies and underlying policies developed over a millennium – continues on as one of the great treasures of our society. When we become members of the bar, we, like so many before us, are entrusted to serve as stewards of that treasure. Equity and Equitable Remedies Today, few of us would consider the seeking of equitable remedies such as injunctions, decrees of specific performance, rescission, and reformation, etc. as particularly noteworthy. Such litigation tools are so familiar and frequently invoked today that it would be easy to forget that the only reason we are able to seek such remedies is due to exceptional developments in England which occurred many hundreds of years ago and have since been handed down to us by our predecessors at the bar – a body into which we have now been called. Although the gradual establishment of the English common law provided uniformity and consistency, the procedures and remedies developed by the common law courts also began to be criticized at times as being overly rigid, overly technical, and slow. Bringing an action before the justices could be expensive and often required one to fit their particular cause of action within a tightly-defined set of authorized writs in order to be permitted to have a case heard.[16] And the common law courts had limited remedies. The primary remedy – often the sole available remedy – was money damages, even when such damages did not actually provide effective relief under the circumstances. These and other difficulties left many searching for other avenues to seek redress for their grievances. One historically-available avenue for those who could not achieve an effective remedy in the law courts was to petition the king directly, as the king was always considered to be the Fount of Justice.[17] Such petitions began to increase in frequency, and the resolution of such petitions was eventually given over to the king’s chancellor. The chancellor was one of the king’s chief advisors and was considered to be “the keeper of the King’s conscience.”[18] Perhaps not surprisingly, therefore, in earlier years the chancellor was often a cleric (with some exceptions such as Sir Thomas More, called to the bar in 1502, who served under King Henry VIII and who was “the first chancellor since the fourteenth century to have been educated in the common law”).[19] In resolving petitions directed to the king, the chancellor was therefore not limited by the strict rules developed under the common law and was not limited to awarding money damages. Rather, the chancellor’s focus was on achieving a just and fair result in the name of the king – an equitable result – under the particular circumstances of the case. As Lord Chancellor Ellesmere explained in 1615, this power existed because men’s actions are so diverse and infinite that it is impossible to make a general law which may aptly meet with every particular and not fail in some circumstances. The office of the chancellor is to correct men’s consciences for frauds, breaches of trust, wrongs, and oppressions of what nature soever they be, and to soften and mollify the extremity of the law.[20] In the 15th century, these petitions began to be sent directly to the chancellor, and the chancellor worked through a specialized court to hear these petitions, the Court of Chancery.[21] Early on, the availability of equitable remedies was criticized for being too arbitrary, too varied from case to case (as opposed to the common law courts, which, by that point, maintained uniformity and consistency through established procedures, defined causes of action and written precedent). Indeed, jurist John Selden, called to the bar in 1612, famously quipped that equity varied like the length of the chancellor’s foot.[22] However, the application of equity still followed certain recognized equitable maxims, and eventually written precedent for equitable decisions was available as well. Accordingly, as with common law actions and remedies, the availability of equitable remedies likewise became subject to recognized rules, elements and precedent, providing a level of consistency which we in the bar utilize and benefit from even today, centuries later.[23] Trial by Jury Another concept that is frequently mentioned in our profession, and appropriately so, is the right to trial by jury. Alabama has always enshrined this as a constitutional right,[24] currently found in Article I, § 11 of the Alabama Constitution of 1901, which states “[t]hat the right of trial by jury shall remain inviolate” as an essential component of “the great, general, and essential principles of liberty and free government may be recognized and established.”[25] As lawyers, we know this to be a bedrock, sacred principle. But, again, we often forget the ancient roots of this right which our profession is entrusted to protect. It is difficult to pinpoint precisely when the jury system first took form in England, but there are many indications that the seeds were growing at a very early stage, even prior to the Norman Conquest. One oft-cited pre-Conquest example hails from the time of King Aethelred II (978-1016). From Anglo-Saxon times, England was divided into shires (counties) and further divided into hundreds (referred to as wapentakes in the Danish areas).[26] Each area was presided over by an official: the reeve for the shires/counties – from which we get the office of shire-reeve or sheriff – and the bailiff or hundredman for the hundreds.[27] In 997, Aethelred decreed that, in the Danish districts, 12 men should serve as a sort of presenting grand jury: “A court is to be held in each wapentake [i.e., shire/county], and the twelve leading thegns [i.e., nobles], and with them the reeve, are to come forward and swear on the relics that are put into their hands that they shall accuse no guiltless man nor conceal any guilty one.”[28] However, different components of what would become the jury system as we now know it – both the grand jury and the petit jury – would become much more concrete following the Conquest. Indeed, there is some evidence that a form of jury established in France in the early ninth century may have traveled with William I to England during the Conquest. For example, in 829, Emperor Louis the Pious, the son of Charlemagne, ordered that royal rights would not be determined by witness testimony but by “the sworn statement of the best and most credible people of the district.”[29] Continuing and expanding upon a Norman process occasionally used by William I, Henry II established by assize[30] various forms of trial by inquisition (also known as inquest).[31] Originally, inquisitions were administrative devices used in England following the Conquest to obtain information useful to the government, such as general census information; particulars concerning land, land ownership and valuation information; etc.[32] This information would be collected by directing, often with the assistance of the local sheriff, the presence of a group of local people to answer questions. Such information formed the basis for official records some as the famous Domesday Book compiled under William I.[33] Through his Assize of Clarendon in 1166, Henry II established the inquisition – one involving 12 persons – as a core aspect of criminal procedure that ultimately would form the basis for the grand jury.[34] Under the Assize, Henry II directed: … that inquiry shall be made in every county and in every hundred by the twelve most lawful men of the hundred … upon oath that they shall speak the truth, whether in the hundred or vill there be any man who is accused or believed to be a robber, murderer, thief, or a receiver of robbers, murderers or thieves since the King’s accession. And this the justices and sheriffs shall enquire before themselves.[35] Once such an accused was captured, they were to be brought before the justices where the accused must make their law before the justices.[36] Making one’s law was one of the accepted modes of trial, in addition to trial by ordeal (where the accused would hold a hot iron or a stone from boiling water and would be proclaimed innocent if the burn would begin to heal in three days – a method later abolished following its condemnation by the Catholic Church in the Fourth Lateran Council of 1215[37]), and trial by battle.[38] To make one’s law the accused needed to find a certain number of people (often 12) who would swear by oath that the accused was a credible person; they did not swear as to the facts of the case.[39] The abolition of the trial by ordeal and the fundamental limitations inherent in the process of making one’s law eventually led many justices in the mid-13th century to begin to select a petit jury to hear and decide cases on the merits (at times from the members of the presenting jury, which raised obvious fairness concerns), and trial by jury in criminal actions was effectively imposed by statute in 1275.[40] By the 15th century, the use of the jury – and many of its particulars, such as the separation of issues of fact from issues of law – effectively reflected the modern use. The use of the jury to determine rights and find facts has certainly evolved over more than a millennium. However, the key characteristic remains: that judgments will be rendered not by royal or government fiat but upon the consideration of one’s peers. As one scholar put it, “[a]n administrative device became in the fullness of time a part of the judicial system, and, adding to this its old representative character, finally grew into a cherished safeguard of liberty.”[41] Accordingly, as members of the profession empowered and entrusted to engage this system, we should strive to maintain its historic meaning, dignity, and importance. Due Process Attorneys often invoke the concept of “due process” in any number of contexts. The right to due process is of course guaranteed in both the Alabama and the United States Constitutions.[42] But when we invoke this important notion we are tapping into a central concept of free society – namely that law and legal process is over and binds even royal authority – which flowered in the Magna Carta itself. Most are likely familiar with the origins of the Great Charter. In 1215, King John (1199-1216), who came to the throne following the death of his much-more-popular brother Richard I (“the Lionheart”), was facing open rebellion by many of his barons. This rebellion stemmed from many abuses of royal power by John including, among other things, oppressive taxation, misuses of the courts, and illegal imprisonment. In return for their continued loyalty, John met with his barons at Runnymede on June 15, 1215 and agreed to be bound by certain written guarantees that purported to limit royal power in various ways. Among these was Section 39, which guaranteed that the king could not unilaterally sanction or punish any free man and that such power – meaning the reach of the king himself – was limited by and must be in conformity with the law of the land: No free man shall be seized or imprisoned, or stripped of his rights or possessions, or outlawed or exiled, or deprived of his standing in any other way, nor will [the King] proceed with force against him, or send others to do so, except by the lawful judgment of his equals or by the law of the land.[43] This notion – that even the king is subject to the law of the realm – is obviously one of the most important and enduring aspects of Magna Carta. Also, the possibility of enforcing such a concept was strengthened by the fact that, as discussed above, England now had, in growing form, a law of the realm that was truly common and identifiable.[44] As scholars have noted, “[i]ndeed, the idea of the ‘the law of the land’ was itself a fairly new one, as England could only be said to have a ‘common law,’ a law in use in all the English king’s domain, from the reign of Henry II….”[45] Later, in a statute confirming Magna Carta enacted during the reign of Edward III (1327-1377), the king slightly revised this language, “ordain[ing] that ‘the Great Charter . . . be kept and maintained … and that no Man of what Estate or Condition that he be, shall be put out of Land or Tenement, nor taken or imprisoned nor disinherited, nor put to death, without being brought in Answer by due Process of Law.’”[46] This phrasing – and the novel use of the phrase due process of law – is almost an exact parallel to the guarantees found in the Fifth Amendment to the United States Constitution (“No person shall be … deprived of life, liberty, or property, without due process of law”[47]), the Fourteenth Amendment to the United States Constitution (“nor shall any State deprive any person of life, liberty, or property, without due process of law”[48]), and Article I, Section 6 of the Alabama Constitution (“in all criminal prosecutions, the accused … shall not … be deprived of life, liberty, or property, except by due process of law”[49]). Writing for the Court in Kerry v. Din, 576 U.S. 86 (2015), Justice Scalia noted that “at the time of the Fifth Amendment’s ratification, the words ‘due process of law’ were understood ‘to convey the same meaning as the words “by the law of the land” in Magna Carta.’”[50] It goes without saying that the notion of due process – the idea that an accused is entitled to notice and a fair hearing before his life, liberty, or property can be put in jeopardy, regardless of the political or social status of the accuser – is a notion that bears tremendous historic weight. In protecting and defending the right of due process, “we stand in the long line of fellow lawyers who worked to create, develop and protect this ancient right. As one modern jurist put it, “if we, as lawyers and judges … want to preserve and protect the 800-year-old legacy of Magna Carta, we must be ever vigilant in the performance of our duties as stewards and ‘guardians of the law.’”[51] Conclusion As noted above, many more examples of the historic jewels of (what should be) our noble profession could be given, and we would benefit from reviewing that – our – history.[52] As stewards of the law, we are called to protect its dignity for the sake and protection of the citizenry, whom we also serve. In this way, we help ensure that we are a “government of laws, not of men,”[53] and that persons – all persons – will be judged not by power, bullying, or fiat, but by a uniform law. By doing so, our profession helps maintain peace, stability, and consistency in society, as those who act in accord with the “law of the land” can rest safe in their person or property. A good example of this sense of safety by law is seen in Robert Bolt’s famous play concerning Sir Thomas More, mentioned above: “A Man for All Seasons” – itself a legal classic, the film version of which won the Academy Award for Best Picture in 1966 – which dramatizes the events leading up to More’s execution by Henry VIII for his refusal to swear an oath to Henry’s radical claim to be the head of the English Church. More was an extraordinary lawyer and is in fact recognized by the Catholic Church as the patron saint of lawyers. Bolt sets forth More’s solid legal defense, in which More simply refused to speak on the matter of the king under the English common law maxim qui tacet consentire (“silence gives consent”). Under this maxim, one could not be convicted of high treason without making an actual treasonous statement, and if one was to presume anything from More’s silence they must, under the law, presume his consent. It is only through corruption of the law (perjury) – and by the failure of other lawyers to properly act as stewards of the law – that More was ultimately executed. But, as Bolt reflects in a powerful scene in Act Two, More knew that, properly and consistently followed and applied, the law provided him protection from even the most powerful people in the realm: MORE: For myself, I have no doubt. THOMAS CROMWELL: No doubt of what? MORE: No doubt of my grounds for refusing this oath. Grounds I will tell to the King alone, and which you, Master Secretary, will not trick out of me. . . . CROMWELL: You don’t seem to appreciate the seriousness of your position. MORE: I defy anyone to live in that cell for a year and not appreciate the seriousness of his position. CROMWELL: Yet the State has harsher punishments. MORE: You threaten like a dockside bully. CROMWELL: How should I threaten? MORE: Like a Minister of State, with justice! CROMWELL: Oh, justice is what you’re threatened with. MORE: Then I’m not threatened. May we strive to be good stewards of the law and of the great legal traditions handed down by those in our profession who went before us, that the law and our profession will be seen and recognized by others as a source of dignity, stability, and protection, and not of embarrassment, ridicule, or threat. Endnotes [1] See generally Sir John Baker, An Introduction to English Legal History 165-71 (Oxford Univ. Press 2019) (discussing the origins of the law as a profession). [2] Likewise, as referenced below, speaking of judges as the “bench” is a reference to the ancient practice of judges sitting on a literal bench to hear and decide cases, sometimes with the king present (as in the English Court of King’s Bench discussed below). [3] Lambdin v. State, 9 So. 2d 192, 193–94 (Fla. 1942) (emphasis added). [4] State Comp. Ins. Fund v. Drobot, 192 F. Supp. 3d 1080, 1083–84 (C.D. Cal. 2016) (emphasis added). [5] Hollis v. Crittenden, 251 Ala. 320, 323, 37 So. 2d 193, 195 (1948) (noting that “Alabama is a common law state”) (citing Ala. Code 1940, Title 1, § 3). [6] Ala. Code 1975, § 1-3-1. [7] Sir John Baker, An Introduction to English Legal History 16 (Oxford Univ. Press 2019) (discussing the Leges Henrici Primi (c. 1118), which, as Baker points out, was not actually a law code of Henry I). Baker’s quoted discussion of the Leges Henrici Primi actually describes the situation during the first 50 years after 1066, but it is a fairly apt description of the pre-Conquest legal systems in England. The original quote includes a reference to trial by battle, which did not appear until after the Conquest. See John Hudson, The Formation of the English Common Law: Law and Society in England From King Alfred to Magna Carta 114 (Routledge, 2d ed. 2018)). For an excellent summary and discussion of the development of the laws of England, and on the study of those laws, one should certainly read the Introduction to Sir William Blackstone’s masterpiece, his Commentaries on the Laws of England. [8] See Brockelbank, W.J., Beginners’ Notes on the History of the English Courts, 4:4 Ala. L.J. 249, 252-55 (May 1929). [9] Id.; Baker, supra n.7 at 20-21. [10] See Hudson, supra n.7 at 119-22. [11] Baker, supra n.7 at 16 (“The foundation of the common law is usually traced to the reign of Henry II….”). [12] See id. at 19; Hudson supra n. 7 at 122-24. [13] See Baker, supra n.7 at 19; Hudson, supra n.7 at 122-24. [14] Baker, supra n.7 at 21; Hudson, supra n.7 at 130; Sir Frederick Pollock & Frederic William Maitland, The History of English Law Before the Time of Edward I 163 (Cambridge University Press, 2d ed. 1898) (republished by permission by Liberty Fund, Inc.). [15] Baker, supra n.7 at 189-90; Pollock & Maitland, supra n.14, Vol. 1 at 229-30. [16] See Baker, supra n.7 at 60-77. [17] See 1 Lord Campbell, Lives of the Lord Chancellors and Keepers of the Great Seal of England 3 (Soule, Thomas & Wentworth 1874) (“With us the King has ever been considered the fountain of justice.”). [18] Id. at 4. [19] Baker, supra n.7 at 115. [20] Id. [21] Theodore F.T. Plucknett, A Concise History of the Common Law 161-62 (The Lawyers Co-operative Publishing Co., 2d ed. 1936). [22] See Baker, supra n.7 at 118-19. [23] Id. [24] This right has been expressly recognized in Alabama from the beginning of its statehood. See Ala. Const. 1819, Art. I, § 28 (“The right of trial by jury shall remain inviolate.”). [25] Ala. Const. 1901, Art. I, § 11. [26] Baker, supra n.7 at 9; Pollock & Maitland, supra n.14, Vol. 1 at 561-89. [27] See Baker, supra n.7 at 9, 12; Pollock & Maitland, supra n.14, Vol. 1 at 587; Brockelbank, W.J., Beginners’ Notes on the History of the English Courts, 4:4 Ala. L.J. 249, 250-53 (May 1929). [28] Hudson, supra n.7 at 59; Pollock & Maitland, supra n.14, Vol. 1 at 151-52; Baker, supra n.7 at 79-80. [29] Plucknett, supra n.21 at 104. [30] An “assize,” while initially meaning a type of convening council, eventually came to mean an enactment made at such a gathering. See id. at 106. [31] Plucknett, supra n.21 at 105-06; Pollock & Maitland, supra n.14, Vol. 1 at 152-54. [32] See Plucknett, supra n.21 at 106-07; Baker, supra n.7 at 79-80, 242-43. [33] Plucknett, supra n.21 at 107; Baker, supra n.7 at 242-43. [34] Plucknett, supra n.21 at 107-08. [35] Id. at 107. [36] Id. at 108. [37] Id. at 112. [38] Id. at 108-09. [39] Id. at 109. [40] Id. at 118-19. [41] Plucknett, supra n.21 at 127. [42] See John Hudson, The Formation of the English Common Law: Law and Society in England From King Alfred to Magna Carta 24-26 (Routledge, 2d ed. 2018). [43] Magna Carta, § 39 (1215) (reprinted in Contexts of the Constitution 662 (Neil H. Cogan ed., Foundation Press 1999)). The reader may note the phrase “except by the lawful judgment of his peers,” but, as Baker notes, this phrase did not refer to a jury trial. See Baker, supra n.7 at 548 & n.52. [44] Of course, historians may point out that John repudiated Magna Carta not long after it was signed. However, Magna Carta set a precedent that was re-adopted by English sovereigns at various times in later years and has become a fundamental aspect of the English Constitution. [45] Douglas W. Kmiec & Stephen B. Presser, The History, Philosophy and Structure of the American Constitution 26 (Anderson Publishing Co. 1998). [46] Brockelbank, W.J., The Role of Due Process in American Constitutional Law, 39:4 Cornell L.Q. 561-62 (summer 1954) (quoting 1 Statutes of the Realm 345. Stat. 28 Edw. III cc. 1 and 2 (1335)) (emphasis added). See also Petition of Right (1628) (authored by Sir Edward Coke, noting the enactment under Edward III as following from Magna Carta) (reprinted in Kmiec & Presser, supra n.45 at 49). [47] U.S. Const. amend. V. [48] U.S. Const. amend. XIV. [49] Ala. Const. 1901, Art. I, § 6. [50] Kerry v. Din, 576 U.S. 86, 91 (2015) (quoting Murray’s Lessee v. Hoboken Land & Improvement Co., 18 How. 272, 276, 15 L. Ed. 372 (1856)). [51] Benge v. Williams, 472 S.W. 3d 684, 739 (Tex. App. – Houston [1st Dist.] 2014) (Jennings, J., dissenting from denial of en banc reconsideration), aff’d, 548 S.W. 3d 466 (Tex. 2018) (emphasis added). [52] As indicated above, there are numerous other aspects of our day-to-day practice worthy of analysis for its historic lineage. One example would be the commonly-used tool of petitioning for extraordinary “prerogative” writs, such as the writ of mandamus. Under the Alabama Constitution and the legislative enactments flowing from those constitutional provisions, Alabama’s appellate and circuit courts are expressly empowered to issue such writs. See Ala. Const. Art. VI, §§ 140-142 (noting the writ powers of Alabama’s appellate and circuit courts); Ala. Code 1975, §§ 12-2-7 (2&3) (Supreme Court), 12-3-11 (Courts of Appeals). Seeking these writs is a common and familiar process to attorneys in Alabama, as they are in virtually every jurisdiction. One could consider just the numerous petitions for writs of mandamus routinely sought from Alabama’s appellate courts every year on everything from discovery fights to venue decisions to jurisdictional issues and so forth. See Ex parte U.S. Bank Nat’l Ass’n, 148 So. 3d 1060, 1064 (Ala. 2014) (listing several types of decisions concerning which review by mandamus has been deemed appropriate). In so doing, we are, again, engaging legal remedies of an ancient and honorable lineage. See, e.g., Geoffrey C. Hazard, Jr., The Early Evolution of the Common Law Writs: A Sketch, 6 Am. J. Legal Hist. 114 (1962); Baker, supra n.7 at 153-60; Robert H. Howell, An Historical Account of the Rise and Fall of Mandamus, 15 Victoria U. Wellington L. Rev. 127 (1985); see generally Baker & Milsom, Sources of English Legal History (Sir John Baker ed., 2d ed. 2010) (discussing various forms of historic writs from original sources). Also, while this article focuses on the English historical roots relating to our profession, our laws and legal system were no doubt greatly influenced by other sources – for example, biblical sources, canon law, Roman law, etc. There is certainly no attempt to diminish the impact of such other sources, but they are simply beyond the scope of this article. [53] John Adams, “Letters of Novanglus No. 7,” Boston Gazette (1774). See Ala. Const. 1901, Art. III, § 42 (providing that “the government of the State of Alabama may be a government of laws and not of individuals”). [1] See generally Sir John Baker, An Introduction to English Legal History 165-71 (Oxford Univ. Press 2019) (discussing the origins of the law as a profession). [1] Likewise, as referenced below, speaking of judges as the “bench” is a reference to the ancient practice of judges sitting on a literal bench to hear and decide cases, sometimes with the king present (as in the English Court of King’s Bench discussed below). [1] Lambdin v. State, 9 So. 2d 192, 193–94 (Fla. 1942) (emphasis added). [1] State Comp. Ins. Fund v. Drobot, 192 F. Supp. 3d 1080, 1083–84 (C.D. Cal. 2016) (emphasis added). [1] Hollis v. Crittenden, 251 Ala. 320, 323, 37 So. 2d 193, 195 (1948) (noting that “Alabama is a common law state”) (citing Ala. Code 1940, Title 1, § 3). [1] Ala. Code 1975, § 1-3-1. [1] Sir John Baker, An Introduction to English Legal History 16 (Oxford Univ. Press 2019) (discussing the Leges Henrici Primi (c. 1118), which, as Baker points out, was not actually a law code of Henry I). Baker’s quoted discussion of the Leges Henrici Primi actually describes the situation during the first 50 years after 1066, but it is a fairly apt description of the pre-Conquest legal systems in England. The original quote includes a reference to trial by battle, which did not appear until after the Conquest. See John Hudson, The Formation of the English Common Law: Law and Society in England From King Alfred to Magna Carta 114 (Routledge, 2d ed. 2018)). For an excellent summary and discussion of the development of the laws of England, and on the study of those laws, one should certainly read the Introduction to Sir William Blackstone’s masterpiece, his Commentaries on the Laws of England. [1] See Brockelbank, W.J., Beginners’ Notes on the History of the English Courts, 4:4 Ala. L.J. 249, 252-55 (May 1929). [1] Id.; Baker, supra n.7 at 20-21. [1] See Hudson, supra n.7 at 119-22. [1] Baker, supra n.7 at 16 (“The foundation of the common law is usually traced to the reign of Henry II….”). [1] See id. at 19; Hudson supra n. 7 at 122-24. [1] See Baker, supra n.7 at 19; Hudson, supra n.7 at 122-24. [1] Baker, supra n.7 at 21; Hudson, supra n.7 at 130; Sir Frederick Pollock & Frederic William Maitland, The History of English Law Before the Time of Edward I 163 (Cambridge University Press, 2d ed. 1898) (republished by permission by Liberty Fund, Inc.). [1] Baker, supra n.7 at 189-90; Pollock & Maitland, supra n.14, Vol. 1 at 229-30. [1] See Baker, supra n.7 at 60-77. [1] See 1 Lord Campbell, Lives of the Lord Chancellors and Keepers of the Great Seal of England 3 (Soule, Thomas & Wentworth 1874) (“With us the King has ever been considered the fountain of justice.”). [1] Id. at 4. [1] Baker, supra n.7 at 115. [1] Id. [1] Theodore F.T. Plucknett, A Concise History of the Common Law 161-62 (The Lawyers Co-operative Publishing Co., 2d ed. 1936). [1] See Baker, supra n.7 at 118-19. [1] Id. [1] This right has been expressly recognized in Alabama from the beginning of its statehood. See Ala. Const. 1819, Art. I, § 28 (“The right of trial by jury shall remain inviolate.”). [1] Ala. Const. 1901, Art. I, § 11. [1] Baker, supra n.7 at 9; Pollock & Maitland, supra n.14, Vol. 1 at 561-89. [1] See Baker, supra n.7 at 9, 12; Pollock & Maitland, supra n.14, Vol. 1 at 587; Brockelbank, W.J., Beginners’ Notes on the History of the English Courts, 4:4 Ala. L.J. 249, 250-53 (May 1929). [1] Hudson, supra n.7 at 59; Pollock & Maitland, supra n.14, Vol. 1 at 151-52; Baker, supra n.7 at 79-80. [1] Plucknett, supra n.21 at 104. [1] An “assize,” while initially meaning a type of convening council, eventually came to mean an enactment made at such a gathering. See id. at 106. [1] Plucknett, supra n.21 at 105-06; Pollock & Maitland, supra n.14, Vol. 1 at 152-54. [1] See Plucknett, supra n.21 at 106-07; Baker, supra n.7 at 79-80, 242-43. [1] Plucknett, supra n.21 at 107; Baker, supra n.7 at 242-43. [1] Plucknett, supra n.21 at 107-08. [1] Id. at 107. [1] Id. at 108. [1] Id. at 112. [1] Id. at 108-09. [1] Id. at 109. [1] Id. at 118-19. [1] Plucknett, supra n.21 at 127. [1] See John Hudson, The Formation of the English Common Law: Law and Society in England From King Alfred to Magna Carta 24-26 (Routledge, 2d ed. 2018). [1] Magna Carta, § 39 (1215) (reprinted in Contexts of the Constitution 662 (Neil H. Cogan ed., Foundation Press 1999)). The reader may note the phrase “except by the lawful judgment of his peers,” but, as Baker notes, this phrase did not refer to a jury trial. See Baker, supra n.7 at 548 & n.52. [1] Of course, historians may point out that John repudiated Magna Carta not long after it was signed. However, Magna Carta set a precedent that was re-adopted by English sovereigns at various times in later years and has become a fundamental aspect of the English Constitution. [1] Douglas W. Kmiec & Stephen B. Presser, The History, Philosophy and Structure of the American Constitution 26 (Anderson Publishing Co. 1998). [1] Brockelbank, W.J., The Role of Due Process in American Constitutional Law, 39:4 Cornell L.Q. 561-62 (summer 1954) (quoting 1 Statutes of the Realm 345. Stat. 28 Edw. III cc. 1 and 2 (1335)) (emphasis added). See also Petition of Right (1628) (authored by Sir Edward Coke, noting the enactment under Edward III as following from Magna Carta) (reprinted in Kmiec & Presser, supra n.45 at 49). [1] U.S. Const. amend. V. [1] U.S. Const. amend. XIV. [1] Ala. Const. 1901, Art. I, § 6. [1] Kerry v. Din, 576 U.S. 86, 91 (2015) (quoting Murray’s Lessee v. Hoboken Land & Improvement Co., 18 How. 272, 276, 15 L. Ed. 372 (1856)). [1] Benge v. Williams, 472 S.W. 3d 684, 739 (Tex. App. – Houston [1st Dist.] 2014) (Jennings, J., dissenting from denial of en banc reconsideration), aff’d, 548 S.W. 3d 466 (Tex. 2018) (emphasis added). [1] As indicated above, there are numerous other aspects of our day-to-day practice worthy of analysis for its historic lineage. One example would be the commonly-used tool of petitioning for extraordinary “prerogative” writs, such as the writ of mandamus. Under the Alabama Constitution and the legislative enactments flowing from those constitutional provisions, Alabama’s appellate and circuit courts are expressly empowered to issue such writs. See Ala. Const. Art. VI, §§ 140-142 (noting the writ powers of Alabama’s appellate and circuit courts); Ala. Code 1975, §§ 12-2-7 (2&3) (Supreme Court), 12-3-11 (Courts of Appeals). Seeking these writs is a common and familiar process to attorneys in Alabama, as they are in virtually every jurisdiction. One could consider just the numerous petitions for writs of mandamus routinely sought from Alabama’s appellate courts every year on everything from discovery fights to venue decisions to jurisdictional issues and so forth. See Ex parte U.S. Bank Nat’l Ass’n, 148 So. 3d 1060, 1064 (Ala. 2014) (listing several types of decisions concerning which review by mandamus has been deemed appropriate). In so doing, we are, again, engaging legal remedies of an ancient and honorable lineage. See, e.g., Geoffrey C. Hazard, Jr., The Early Evolution of the Common Law Writs: A Sketch, 6 Am. J. Legal Hist. 114 (1962); Baker, supra n.7 at 153-60; Robert H. Howell, An Historical Account of the Rise and Fall of Mandamus, 15 Victoria U. Wellington L. Rev. 127 (1985); see generally Baker & Milsom, Sources of English Legal History (Sir John Baker ed., 2d ed. 2010) (discussing various forms of historic writs from original sources). Also, while this article focuses on the English historical roots relating to our profession, our laws and legal system were no doubt greatly influenced by other sources – for example, biblical sources, canon law, Roman law, etc. There is certainly no attempt to diminish the impact of such other sources, but they are simply beyond the scope of this article. [1] John Adams, “Letters of Novanglus No. 7,” Boston Gazette (1774). See Ala. Const. 1901, Art. III, § 42 (providing that “the government of the State of Alabama may be a government of laws and not of individuals”).
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"https://filmfixer.co.uk/wp-content/uploads/2022/04/28.jpg", "https://filmfixer.co.uk/wp-content/uploads/2022/04/30.jpg", "https://filmfixer.co.uk/wp-content/uploads/2023/04/34.jpg", "https://filmfixer.co.uk/wp-content/uploads/2023/04/20.jpg", "https://filmfixer.co.uk/wp-content/uploads/2023/02/filmfixer-logo.svg" ]	[]	[]	[ "" ]	null	[]	2023-02-09T15:30:19+00:00	As the UK’s leading film service, FilmFixer handles approximately 8,000 film shoots a year and works with every major production filming in London and South East England.	en	https://filmfixer.co.uk/…er-fav-32x32.jpg	FilmFixer	https://filmfixer.co.uk/about/	As the UK’s leading film service, FilmFixer handles approximately 8,000 film shoots a year and works with every major production filming in London and South East England. We help local authorities and landowners to generate revenue from location filming, and make film permitting simple. Recognising the need for stronger links between local authorities, stakeholders and filmmakers, company directors Andrew Pavord and Karen Everett founded FilmFixer in 2007. Their experience working in locations departments gave them invaluable insight into how local authorities could better meet the needs of the film industry, whilst maximising income and protecting local communities. Our clients and their objectives are at the heart of the service we provide. We proudly manage filming on behalf of 13 London boroughs – more than any other provider – as well as a diverse array of private landowners, including Lee Valley Regional Park Authority and The Peabody Group. We also deliver Screen Suffolk on behalf of all district, county, and borough councils. From its inception, FilmFixer’s purpose has been to realise the potential of locations. Using our bespoke suite of products and services, we smooth the application process for film crews, providing dedicated support – from scouting to wrap. To ensure location filming is sustainable, we work with local communities and key stakeholders to secure charitable donations and provide employability training. We know a well-managed film shoot can have far-reaching benefits not only for the film industry and landowners but, crucially, for the areas that host filming. Our wraparound service makes location filming simple and straightforward, building relationships and securing return custom. FilmFixer’s expertise and capability achieve the best results for local communities, landowners, local authorities, and filmmakers alike. Apply4 provides a flexible online permitting service for local authorities, government agencies and private landowners. Our clients are worldwide from Miami, Seattle and Honolulu in the US to Auckland and Wellington in New Zealand. Our dedicated location management software, FilmApp, enables our clients to offer online applications and to administer the permitting process in the most effective way. Applicants supply their information using a simple interface and the resulting data is stored safely in the cloud, allowing the administrator to generate invoices, stakeholder notifications, reports, and filming permits. Made by filmmakers, for filmmakers, FilmApp is the global industry standard in online film permitting and is used by 23 London boroughs and the City of London Corporation to process their filming applications. Set Ready is our non-profit training and employment programme. In order to connect our local communities to the productions we support, we offer essential training for people wishing to start a career in the film and TV industry. Through a series of masterclasses, seminars, and session-based Q&As, Set Ready training is specially designed to teach participants crucial skills for working on set. Upon completion of the course, trainees are offered entry-level, paid work experience on major productions to practise their new skills and start their career on set. We are proud to support the crews of the future. FilmFixer is committed to reducing air pollution caused by location filming. Working alongside film and TV crews, production companies, fellow film offices and equipment suppliers, The Generator Project is a collaborative effort to speed up our industry’s transition to greener methods of power supply. We understand the impact traditional generators have on the environment and public health, and our unique position in the industry affords us the opportunity to play a pivotal role in supporting cleaner methods of temporary power supply in public spaces. The Generator Project’s aim is to promote emerging Battery Technology, to increase the availability of Stage V generators, and to advocate for the use of Green HVO, Hydrogen & LPG fuels. Via an easy-to-use app, we collect data about generator usage on sets and use this to demonstrate the scale of the issue and incentivise the increased production of greener alternatives.
205	dbpedia	2	61	https://supermarcey.com/tag/willem-dafoe/	en	The Super Network	https://supermarcey.com/…-25-pm.png?w=200	https://supermarcey.com/…-25-pm.png?w=200	[ "https://supermarcey.com/wp-content/uploads/2020/08/https___cdn.evbuc_.com_images_105199852_113356951783_1_original-e1598264577345.jpg?w=160&h=120&crop=1", "https://supermarcey.com/wp-content/uploads/2019/02/mv5bmje2mdg1otg5nf5bml5banbnxkftztgwmtiwmtg0njm40._v1_sx1777_cr001777999_al_-e1549871680422.jpg?w=160&h=120&crop=1", "https://supermarcey.com/wp-content/uploads/2020/02/patreon.png?w=620", "https://supermarcey.com/wp-content/uploads/2013/10/consbutton.png", "https://supermarcey.com/wp-content/uploads/2022/01/pop4dlogo.png?w=200", "https://supermarcey.com/wp-content/uploads/2023/12/photo-21-7-2022-2-44-25-pm.png?w=50", "https://supermarcey.com/wp-content/uploads/2023/12/photo-21-7-2022-2-44-25-pm.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Willem Dafoe written by blj4 and supermarcey	en	https://supermarcey.com/…4-25-pm.png?w=32	The Super Network	https://supermarcey.com/tag/willem-dafoe/	Hey, everyone! Welcome to the 86th edition of my Bad Movie Tweet-A-Thon series. Apologies for the lateness of this edition. I was going to post this at the end of July as originally planned but due to moving to a new place and buch of other stuff, I didn’t get a chance to do it … Continue reading → Even though he has been one of the most beloved and major superheroes of the DC universe for decades, it has taken a very long time for Aquaman to make the leap from the comic book page to the big screen. There have been many attempts to make a film based around him but for … Continue reading → Dir: Daniel Nettheim Starring: Daniel Nettheim, Sam Neill, Frances O’Connor The Film: A merc named Martin David is hired by a mysterious scientific corporation to head into the wilds of Australia to hunt down the Thylacine, or Tasmanian Tiger. Martin’s presence in the area attracts the attention of more than a few locals who are … Continue reading →
205	dbpedia	1	34	https://mubi.com/en/cast/douglas-milsome/films/cinematography	en	Douglas Milsome – Cinematographer	https://images.mubicdn.n…6/image-w856.jpg	https://images.mubicdn.n…6/image-w856.jpg	[]	[]	[]	[ "" ]	null	[]	null	Watch truly great cinema. Wherever you are. From iconic, award-winning directors to emerging auteurs. Transformative films from all over the world. Stream Now. Download to watch Offline. Start your free 7 day trial now.	en	/favicon.ico		https://mubi.com/en/cast/douglas-milsome/films/cinematography
205	dbpedia	3	17	https://www.theatlantic.com/entertainment/archive/2017/10/the-alien-majesty-of-kubricks-barry-lyndon/543993/	en	The Alien Majesty of Kubrick's Barry Lyndon	https://cdn.theatlantic.…don/original.jpg	https://cdn.theatlantic.…don/original.jpg	[ "https://cdn.theatlantic.com/_next/static/images/nav-archive-promo-5541b02ae92f1a9276249e1c6c2534ee.png", "https://www.theatlantic.com/magazine/images/current-issue.large.jpg", "https://cdn.theatlantic.com/media/img/specialreports/lead/2020/10/14/Thumbnail.jpg", "https://cdn.theatlantic.com/assets/media/files/nav-crossword.png", "https://cdn.theatlantic.com/media/files/archive-thumbnail.png", "https://cdn.theatlantic.com/media/files/YourSubscription_300x300.jpg", "https://cdn.theatlantic.com/thumbor/AIVTesGVrWwknz6DJdpnTV3cUS4=/47x29:1223x690/750x422/media/img/mt/2017/10/lyndon/original.jpg 750w, https://cdn.theatlantic.com/thumbor/xXG0zDfjFa-tsWFaJykO2GxZFTA=/47x29:1223x690/828x466/media/img/mt/2017/10/lyndon/original.jpg 828w, https://cdn.theatlantic.com/thumbor/F_6WZuS3oGDV2-swtlROCbpiRD0=/47x29:1223x690/960x540/media/img/mt/2017/10/lyndon/original.jpg 960w, https://cdn.theatlantic.com/thumbor/UVIt6sSuAi6kXozm4GZBa7Gd8Ds=/47x29:1223x690/976x549/media/img/mt/2017/10/lyndon/original.jpg 976w", "https://cdn.theatlantic.com/thumbor/nplRYClwnGW3zp8C-k3TS_3uf78=/561x0:1685x1124/80x80/media/img/mt/2019/06/Negotiating/original.jpg, https://cdn.theatlantic.com/thumbor/ZSgiB5VaHXLgpRjuFzUtdt_zu1I=/561x0:1685x1124/160x160/media/img/mt/2019/06/Negotiating/original.jpg 2x", "https://cdn.theatlantic.com/thumbor/b_SosJe8WZX3BCHM2k8F2vATYg8=/0x376:3456x3832/80x80/media/img/mt/2018/08/GettyImages_871752262/original.jpg, https://cdn.theatlantic.com/thumbor/jslBnFHJLl4sCOgd3EXGlnjkyAo=/0x376:3456x3832/160x160/media/img/mt/2018/08/GettyImages_871752262/original.jpg 2x", "https://cdn.theatlantic.com/thumbor/lYFuNkz4bmZIDhEOTjQ1-Ecw0lo=/300x0:1068x768/120x120/media/None/sims/original.png" ]	[]	[]	[ "Barry Lyndon", "Kubrick", "favorite Kubrick works", "Stanley Kubrick", "Lady Lyndon", "Kubrick film", "scenery Kubrick", "Kubrick’s shots", "light—a miraculous achievement", "classic historical drama", "similarly hypnotic impact", "special camera lenses", "opportunistic 18th-century Irishman", "similarly dramatic decline", "focus puller Douglas", "William Makepeace Thackeray", "picaresque hero—a man", "major repertory cinemas", "18th-century high society", "Clockwork Orange", "Stephen King adaptation", "giant canvas landscapes", "Criterion Collection", "Criterion disc", "magisterial sense", "unknowable protagonist", "auteur filmmaker", "Criterion effort", "magical candles", "epic manse", "movie set", "gigantic lenses", "film camera", "moon landings", "behind-the-scenes features", "little illumination", "hermetic environment", "sumptuous mansions", "cowardly behavior", "live orchestra", "classical pieces", "better time", "surprising details", "great empathy", "cinematic impact", "past look", "period pieces", "film chronicles" ]	null	[ "David Sims" ]	2017-10-26T13:34:00+00:00	A new Criterion Collection release of the 1975 period piece highlights just how unique the director’s vision of the past was.	en	https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico	The Atlantic	https://www.theatlantic.com/entertainment/archive/2017/10/the-alien-majesty-of-kubricks-barry-lyndon/543993/	Every time I watch Barry Lyndon, my eye is immediately drawn to the candles. They’re in dozens of scenes in Stanley Kubrick’s 1975 classic historical drama, sometimes as the only form of light—a miraculous achievement of cinematography that required special camera lenses borrowed from NASA. With any Kubrick work, there’s a magisterial sense of control and overreach present in every frame, an approach that helped make him the (sometimes clichéd) embodiment of the auteur filmmaker. In Barry Lyndon, that attention to extravagant detail lies in those candles, which can make the most epic manse feel chillingly intimate. The behind-the-scenes features on the Criterion Collection’s remastered release of Barry Lyndon, out this month, make it clear just what a struggle it was to light scenes with tiny flames. Capturing even a still image with so little illumination is a challenge; using a film camera was much harder, necessitating the use of gigantic lenses developed for NASA’s moon landings. Beyond that, candles themselves are ill-suited to the hermetic environment of a movie set. “[They] would burn down very quickly, people had to refuel every time … and they give off an enormous amount of smoke,” the focus puller Douglas Milsome recalls in a documentary included on the Criterion disc. “You would open all the windows, put the [fans] on, extract all the dirt and dust and the smell, because it eats up oxygen.” Barry Lyndon is the kind of film that deserves to be seen on the biggest screen possible. There’s a good reason it’s revived with some frequency at major repertory cinemas, sometimes with a live orchestra to replicate its memorable score (which consists entirely of classical pieces, especially Handel’s “Sarabande” from his Keyboard suite in D minor). But the Criterion effort to replicate Barry Lyndon’s cinematic impact is impressive. The Blu-ray has a similarly hypnotic impact at home as it does in the theater, drawing the audience’s focus to the surprising details in the background of each long, stately shot. It’s a movie that actually makes the past look otherworldly, unlike many period pieces, which strive to make history seem easy to slip into. Based on the novel The Luck of Barry Lyndon by William Makepeace Thackeray, Kubrick’s film chronicles the rise and fall of an opportunistic 18th-century Irishman who ascends, through a mixture of luck and ambition, to success and nobility and then experiences a similarly dramatic decline. Barry (Ryan O’Neal) is a frustrating, foolish, and often unknowable protagonist, prone to hot-headed and cowardly behavior, capable of both great empathy and callousness for those closest to him. The character is an unsurprisingly clear-eyed take on the picaresque hero—a man who vaults from a low status into aristocracy but seems to exist only as a vehicle for the audience to witness the general amorality of the elite. Kubrick wants to keep Barry Lyndon at arm’s length: He employs deliberate, majestic shots of battlefield landscapes and sumptuous mansions that zoom farther and farther out, filling in more of the environment around the protagonist while pulling the audience away from him. When Kubrick picked Barry Lyndon as his next project, the director was at the forefront of futurism, having made 2001: A Space Odyssey in 1968 and A Clockwork Orange in 1971. After these films, Lyndon was an odd choice, a turn back to the historical dramas that had helped make Kubrick’s name (like Paths of Glory and Spartacus). But the 18th-century high society the director depicts is just as unsettling as the austere spaceships of 2001 and the violent dystopia of A Clockwork Orange. The scenery Kubrick conjures is deeply foreign and gorgeous to behold, reminiscent of the giant canvas landscapes of painters like William Hogarth that he used as inspiration. That feeling of alienation matters because Barry is an interloper wherever he goes, first bouncing through the English and Prussian armies, then becoming a high-stakes gambler in Europe, then marrying into nobility and taking the title of Lady Lyndon (Marisa Berenson). So many of Kubrick’s shots are entrancing in their utter lack of movement, taking in a tableau of people seated for dinner or playing cards, with only their hands in motion. And then there are those magical candles, which help authentically recreate a time about which much has been forgotten. It all adds up to a setting that doesn’t make sense to the modern eye, and is even more engrossing because of it. Like many a Kubrick film, Barry Lyndon debuted to mixed reviews, with many critics considering it too cold and august for the very personal tale of triumph and tragedy being told. The response was enough to drive Kubrick to choose something more commercial for his next movie: the Stephen King adaptation The Shining, which would come out five years later. But ever since my first viewing, Barry Lyndon has been one of my favorite Kubrick works, a window onto the past that actually tries to wrestle with how intimidating that world should appear to an outsider. If you’ve never seen it, there’s no better time to light a few candles and soak it all in.
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205	dbpedia	3	40	https://medium.com/feverdreams/the-making-of-a-killer-full-metal-jacket-1987-383d22ddb83b	en	The Making of a Killer: ‘Full Metal Jacket’ (1987)	https://miro.medium.com/…dGrd_bbGqTpg.png	https://miro.medium.com/…dGrd_bbGqTpg.png	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/17YJpSz2BKZRmfSSJ2XxwEg.jpeg", "https://miro.medium.com/v2/resize:fill:48:48/1clTOvROXHUuStJrd-hIVCA.png", "https://miro.medium.com/v2/resize:fill:144:144/17YJpSz2BKZRmfSSJ2XxwEg.jpeg", "https://miro.medium.com/v2/resize:fill:64:64/1*clTOvROXHUuStJrd-hIVCA.png" ]	[]	[]	[ "" ]	null	[ "Lary Wallace", "medium.com", "@lary.wallace" ]	2019-10-23T05:33:38.650000+00:00	Making the publicity rounds for Full Metal Jacket in 1987, Stanley Kubrick was talking with the Paris paper Le Monde about his new film and the contradictory interpretations it was bound to provoke…	en	https://miro.medium.com/…jr1YbyOIJY2w.png	Medium	https://medium.com/feverdreams/the-making-of-a-killer-full-metal-jacket-1987-383d22ddb83b	Making the publicity rounds for Full Metal Jacket in 1987, Stanley Kubrick was talking with the Paris paper Le Monde about his new film and the contradictory interpretations it was bound to provoke. “You shouldn’t make a war film,” he said, “if all you have to say is, ‘There should be no more wars.’ Even the generals will agree with you about that.” So he’d made a movie instead about what war does to people, to some people, beginning with the rigors and rituals of basic training, and then taking his examination all the way into the chaos of battle its brutal self. We witness the making of a killer — of two killers, really, but the journey that takes us from the beginning of the movie to its end is that of the character nicknamed Joker (Matthew Modine). His is the longer journey to killerhood. He begins boot camp an irreverent wiseass (hence the nickname), competent but not gung-ho about it, just smart and energetic. After basic training, he’s assigned to a journalism outfit, the military’s Stars and Stripes newspaper, and from there, at his request, he’s sent into combat. By the end of the movie, he has taken a life — a young female life, at that — at close range. He’s the same person, of course, but he’s a different person, too — he’s been made into a killer. The same thing happened, on a more accelerated track, to his boot-camp buddy Private Pyle (Vincent D’Onofrio). Pyle’s swift descent into insanity and its grotesque outcome is what people remember most about the movie, while the second half and the continuation of Joker’s journey are typically forgotten or, worse, actively dismissed. But we do ourselves a favor if we look at the movie as Joker’s movie. By doing so, we witness a methodical, elaborate psychological evolution — a larger structure in which the boot-camp sequence takes its proportional part. The fact is, Full Metal Jacket delivers a whole lot of movie after what too many consider its (premature) climax, and it deserves to be considered in its totality. At the time of Full Metal Jacket, Kubrick had “economy of statement” very much on his mind. I put it in direct quotes because that’s exactly the way he kept saying it in interviews, and not only about his own movie. He said it about television commercials, which he admired vis-a-vis his own chosen form because “[e]conomy of statement is not something that films are noted for.” That was him talking to Frances Cline of the New York Times. That very same day, the Chicago Tribune published an interview he did with Gene Siskel, in which he talked about the “tremendous economy of statement” in The Short-Timers, the book on which Full Metal Jacket was based — “which I have tried to retain in the film. All of the ‘mandatory’ scenes, explaining who everybody is — this guy had a drunken father and that guy’s wife is a…are left out. What you find out about the characters all comes from the main action of the story.” Growing familiar with his lines, he was soon in Rolling Stone, telling the interviewer that The Short-Timers is “a very short, very beautifully and economically written book, which, like the film, leaves out all the mandatory scenes of character development: the scene where the guy talks about his father, who’s an alcoholic, his girlfriend — all that stuff that bogs down and seems so arbitrarily inserted into every war story.” There’s nothing wrong with this sort of backstory, of course, particularly in war films, where the characters all tend to look and dress alike, absent those social signifiers that can distinguish characters in other contexts. But I think I know why Kubrick was averse to the idea here, even though he never said so explicitly and for the record. I think he meant to show that, more than anything else in their young lives, these military recruits were shaped by their barbaric and belligerent drill instructor — the values he instilled, and the hardships he imposed. I think that before Kubrickknew the boot-camp sequence would swallow the rest of his movie, he wanted it to stand as the central influence in how his characters behave during the war — the courage and cruelty they manage to find within themselves. You can understand why the sequence is so celebrated — a 45-minute masterpiece of high humor and powerful pathos that’s worked itself so thoroughly into the cultural DNA, you can’t even think about boot camp — especially boot camp for the screen — without reckoning with its legacy. It begins with the recruits being shorn of their hair like animals (indeed, animal razors had to be used in order for the hair to surrender so easily). They’re being shorn of their individual identities, too, as if all that backstory Kubrick wanted to disregard in the interest of “economy of statement” had never even existed. The sequence ends with a murder-suicide so grotesque, so profoundly hideous, it renders all previous experience moot. As far as this movie’s concerned, their personal histories before boot camp don’t exist. The boot-camp stuff wouldn’t be half what it is without R. Lee Ermey, who’d advised on military films before and was brought on to serve a similar function here. It wasn’t long into preproduction, however, when Ermey let Kubrick know he’d been eyeing a bigger part for himself, that of the drill instructor, Sergeant Hartman, which had already been cast. Instead of putting him off entirely, Kubrick had Ermey interview those actors auditioning for the roles of recruits. Ermey later claimed that Kubrick believed he couldn’t be vicious enough, although Kubrick, in his interviews on the matter, never mentions this. Whatever the case, when Kubrick saw tape of Ermey’s interviews, It was even crazier than anything I had ever imagined. Lee Ermey had gone into this whole wild improvisation, where he started insulting these young men, literally terrifying them. And he had a huge repertoire of insults. He had a new one for each guy who came in, whatever his name was, whether he was small or large, whether he had a pimple on his nose or a dimple in his chin. He was a walking encyclopedia of insults. So he got the role right away. Kubrick then made a wonderful distinction about Ermey’s abilities, one that — mutatis mutandis — is applicable to so many realms of human endeavor: “I wouldn’t say that Lee is the greatest actor in the world, but I do think that the greatest actor in the world couldn’t have played the role better than Lee did.” Those cast in the other major roles were more experienced actors than Ermey, but they were hardly better-known. Matthew Modine had some small renown for having played a Vietnam vet in a movie called Birdy (1984; which is where Kubrick got the notion to cast him), while Vincent D’Onofrio (recommended to Kubrick by Modine) was known only in theater circles. Kubrick found his other Marine recruits through an elaborate videotape casting call that allowed him to conduct auditions via the comfort and privacy of his English estate. He had Warner Bros. place ads in the trades letting young actors know they were to send in tapes. There were military-specific instructions: In T-shirt and pants, they were to perform a three-minute scene pertaining to Vietnam, then talk about themselves and their interests. At the end of this, they were to hold up a large card with their vital information — name, address, phone number, age, date of birth — and then a series of shots of themselves: close-up, full-length, left and right profile. It might sound silly, but this is how it was. Kubrick’s staff received some 3,000 tapes, of which 800 were deemed worthy of Kubrick’s personal perusal. So it went with Kubrick at this stage of his career. He had become increasingly reluctant to leave the comfort of his residence and its environs, even for location shooting, and so, for this — his first film in seven years — many were wondering how he would pull off Vietnam. Not even Kubrick himself could have anticipated the answer that soon arrived. In the East London neighborhood of Beckton, it turned out, was an abandoned coke-smelting plant that had been bombed out during World War II, just as the buildings of Hue had been bombed out during Vietnam, giving it the same urban-war-torn look Kubrick needed for his climactic battle scene, as well as for the scenes that occur in Da Nang and Phu Bai. What’s more, the buildings of Beckton had been designed by some of the same French architects who later designed the buildings of Hue. Some of those buildings were identical. And, what’s even more, the company that owned those buildings, Britsh Gas, had scheduled the whole lot of them for demolition — meaning that Kubrick and his team could arrange to have them further destroyed precisely to their specifications. The odds of this serendipity occurring at just this moment belong to the realm of astrophysics. As for recreating this set of structures, in this particular way: you can forget it. “It’s beyond any kind of economic possibility,” said Kubrick. “To make that kind of three-dimensional rubble, you’d have to have everything done by plasterers, modeled, and you couldn’t build that if you spent $80 million and had five years to do it. You couldn’t duplicate, oh, all those twisted bits of reinforcement. And to make rubble, you’d have to go find some real rubble and copy it.” At the end of it all, Kubrick was able to say with apparent wonder, “It looks absolutely perfect, I think. There might be some other place in the world like it, but I’d hate to have to look for it. I think even if we had gone to Hue, we couldn’t have created that look.” All that rubble finds its starring role in the film’s finale, unique among Vietnam-movie battle scenes in that it involves urban warfare, unique among almost all movie battle scenes in that you can feel both the eminence and imminence of danger. You really do get the sense that anything can happen. Shots zip out randomly from amidst the abandoned buildings, and we can see and hear them as individual shots, and imagine just how much damage they could if they made human contact. Then we see it for ourselves, and suddenly war-on-film is no longer an abstraction. When the unit is secreting itself behind the wall looking for the sniper, there are fires burning all throughout the vicinity, because this is a movie where bullets have visible consequences that remain long after their initial discharge. (There’s also, incidentally, a black slate that eerily resembles the monolith of 2001, but it’s a Kubrick-certified accident.) To get the right light, to make the fires really stand out, they filmed the sequence at sunset only, which meant hours of rehearsal followed by just 45 minutes of actual shooting. “Light,” Kubrick said: “that’s the key to everything.” And so it is in the abandoned building where they eventually find the sniper. Again there is fire. In stroboscopic slow-mo, the sniper turns around and we see that she is female, barely a teenage one at that. “We used a take where she looked strange as she turned around,” cinematographer Douglas Milsome said, “where the fires blazing in the room seem almost to eat into her face as they bleed in from the background.” Kubrick once said that the only character in Full Metal Jacket who’s “absolutely beyond the pale” — the only one who’s morally unambiguous — is the helicopter door gunner who, when asked how he can kill women and children, replies, “Easy! You just don’t lead ’em so much.” In practically the same breath, however, Kubrick was able to say that American soldiers in Vietnam were “unprepared culturally” for “the fact that every man and woman and child might have been a V.C.” Incidentally, the person who asks the door gunner the question that sets him up for one of the movie’s best-remembered lines is Private Joker, who by the end of the movie has killed someone who is both a woman and a child, and his reasons for doing so — at last merciful in nature — are more complex than he ever could have imagined. “What is this Mickey Mouse shit!?” That’s Sergeant Hartman storming into the barracks head to find out why Private Pyle is reciting the “Rifleman’s Creed” at the top of his lungs. It’s the middle of the night, their last night on Parris Island; the recruits have graduated and are no longer recruits. They’re fully certified Marine killers-in-waiting. Hartman asks what’s this Mickey Mouse shit and gets his chest blown open for it. At the journalism headquarters where Joker ends up, there’s a Mickey Mouse doll positioned just off the conference table where Joker is trying to explain to his editor — a commissioned officer — that there are rumors the Vietcong may take advantage of the Tet holiday to attack U.S. forces. The editor says this rumor comes around every year, essentially dismissing it as so much Mickey Mouse shit. When, in the very next sequence, the journalists’ own unit is attacked by VC on what’s now known to history as the Tet Offensive, a leader of men in Vietnam once again pays for his all-too-cavalier dismissal of what he takes to be Mickey Mouse shit. When, in the film’s very last frames, Joker and the rest of his platoon are heard singing the Mickey Mouse Club theme song (official name, appropriately, “Mickey Mouse March”), there are connotations that both enhance and transcend Kubrick’s own stated intentions for including the song: “What I wanted to suggest here was that these boys who are fighting this war are very close to the children they used to be, when they sat in front of the television and sang the Mickey Mouse song.” Joker, like Sergeant Hartman and his commanding officer before him, has seen enough of war to dismiss it as mere Mickey Mouse shit, and we can be pretty sure that he’s about to make a mistake similar to theirs.
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With four decades worth of movie reviews for the Chicago Sun-Times and his famous co-hosted program with acclaimed critic Gene Siskel, Ebert's love for cinema and distaste for bad movies ricocheted through the cinephile and box-office community. He was authentic in his approach, never shying away from going against the popular vote and awarding one, half, or no stars to films that became cult classics, Oscar winners, and all-around fan favorites. There was no genre left untouched by his crisp, cutting words, with a batch full of thrillers tallying up Ebert's worst of all time and some landing on his infamous Most Hated List. Ebert's controversial opinions on the thriller genre included low-rating movies that everyone else adored and respected like The Usual Suspects and Blue Velvet. According to Ebert, the worst thrillers of his career included star-studded features, an underdeveloped sequel, a based-on-a-true-story creature feature, and many more numbing thrillers. 10 'Color of Night' (1994) Directed by Richard Rush In an ambitious attempt to secure a place among genre greats like Fatal Attraction and Basic Instinct, this seduction thriller is a melodramatic whodunnit that Ebert called "a sex-crazed slasher film" with "a frenzy of recycled thriller elements."Color of Night stars Bruce Willis as Bill Capa, a psychologist who develops color blindness after the harrowing suicide of a patient. After relocating to Los Angeles, Bill connects with his friend and fellow psychologist Bob (Scott Bakula), but a short while later, Bob is murdered and his group therapy patients are prime suspects. Bill takes over leading the group in hopes of uncovering who killed his friend. "To call it absurd would be missing the point, since any shred of credibility was obviously the first thing thrown overboard." Besides its infamously rotten reception from critics and audiences alike, this film also raised censorship eyebrows for its addition of the sexual relationship between Bill and Rose (Jane March), some scenes including full-frontal nudity from Willis. A notorious one-and-a-half-star review from Ebert confirmed that Color of Night is indeed one of the worst thrillers of all time as it smashed together the worst tropes of Agatha Christie-style mysteries while trying to capitalize on the damning stereotypes of psychotherapy. Siskel and Ebert both boldly declared the film a thumbs down, Ebert bashing the portrayal of therapy to be more like a zoo than an accurate depiction of a group session. Buy on Prime 9 'Snake Eyes' (1998) Directed by Brian De Palma For some, Snake Eyes is a crime movie that's so bad it's good (and to be fair, it got some good reviews), but for Ebert, it's one of the worst thrillers of all time. Nicolas Cage stars as Rick Santoro, a corrupt detective, who attends an Atlantic City high-profile boxing match that turns deadly when the Defense Secretary in attendance is assassinated. With the entire arena locked down, Santoro must piece together exactly what happened to catch the killer. Ebert rated the thriller a lonely one-star in his review. "It's the worst kind of bad film: the kind that gets you all worked up and then lets you down, instead of just being lousy from the first shot." The final package of the film was a massive letdown for Ebert. The opening sequence, masterfully created by director Brian De Palma, misled audiences and Ebert because it went all downhill from there. Snake Eyes retains multiple shining moments, including Cage's performance and De Palma's overall craftsmanship, but those are disappointingly offset by what Ebert called "moments of dreadful implausibility," culminating in a final third act that Ebert alluded to was a textbook mistake-riddled effort that is probably used to teach film students what not to do. Watch on Paramount+ 8 'Toy Soldiers' (1991) Directed by Daniel Petrie Jr. A "nothing new here" type of movie for Ebert, Toy Soldiers is "utterly predictable" and a one-star thriller. It's a rebellious coming-of-age thriller about a group of prep school troublemakers who channel their unruly energy into saving their school from Columbian terrorists who take the students hostage to trade for their drug baron's release.Toy Soldiers stars Sean Astin, Andrew Divoff, Wil Wheaton, Keith Coogan, Lou Gossett Jr., and Denholm Elliott. Ebert's review aligns with the critic consensus, while moviegoers appreciated a Sunday-style popcorn movie. "Did anyone connected with the production notice that they were making a movie that, in essence, had already been made?" Ebert's primary critique lies within the originality of the R-rated teenage rebellion film, and why no one sought to make it even marginally different. Its predictable formulas left Ebert believing "the movie is so disappointing that [he] wonder[ed] if the screenwriters were really trying." In his one-star review, he praised the performances and production value, but it was not enough to make Ebert believe Toy Soldiers was anything other than a bad thriller. Buy on Prime 7 'The Vanishing' (1993) Directed by George Sluizer If it's not broke, don't fix it was advice not taken by director George Sluzier, in Ebert's opinion, when he recreated an American version of his 1988 French-Belgian hit, The Vanishing. The original Ebert praised as "one of the most intelligent thrillers;" however, the 1993 version starring Jeff Bridges and Kiefer Sutherland was "an insult to the intelligence and also, by implication, to American audiences." In this crime thriller, Bridges is a serial abductor who unexpectedly confronts the boyfriend (Sutherland) of one of his victims (Sandra Bullock). "I sat with a sinking heart as the movie methodically rewrote all that was good in the earlier version, turning its cold logic into trashy commercialism." Incredibly disappointed by Sluzier's slashing redo of his original film, Ebert's one-star review is provocative in asking how filmmakers approach American audiences versus European audiences and whether is one more intelligent and/or worthy than the other. He doesn't answer the question, rather leaving it up for discussion among his readers and fellow cinephiles. The Vanishing in its original form was a true psychological thriller whereas the American version is, in Ebert's opinion, "laughable, stupid and crude." Watch on The Roku Channel 6 'The Ghost in the Darkness' (1996) Directed by Stephen Hopkins This dramatized retelling of the maneless lions of Tsavo wasn't worth a full star, the acclaimed critic awarding The Ghost and the Darkness only half a star. This creature thriller stars Val Kilmer as Colonel John Henry Patterson as he travels the Tsavo River in Africa to engineer and oversee the construction of a railway bridge. He quickly witnesses the man-eating spree of the local lions and is joined by reinforcements in the form of famous hunter Charles Remington (Michael Douglas) to stop them. In his review, Ebert doesn't touch on the fact that the movie is based on a true story and that Colonel Patterson was indeed a real person who shot and killed the lions which are on display at the Chicago's Field Museum of Natural History. Val Kilmer and Michael Douglas never for a second look like anything other than thoroughly unhappy movie stars stuck in a humid climate and a doomed production. Ebert took issue with various production elements, like the staging of the lion attacks, and rather frantic editing that was meant to elevate the tension but only gave the characters, audiences, and Ebert whiplash. The staccato scene pacing grew monotonous only to be interrupted by scenes Ebert referred to as "so inept as to beggar description." Its over-the-top dramatization became its greatest downfall in creating a monster movie instead of a retelling of genetic disposition. Watch on PlutoTV 5 'The Limits of Control' (2009) Directed by Jim Jarmusch In his playful review of this empty thriller, Ebert awarded only half a star toJim Jarmusch's The Limits of Control. In a dreamlike 116-minute runtime, the mysterious Lone Man (Isaach de Bankolé) travels through Spain, meeting strangers at cafés to exchange matchboxes, always ordering two espressos in two separate cups. Operating within Jarmusch's signature minimalist style,The Limits of Control is a visually appealing art thriller that somehow did and yet didn't get away with its empty premise. "[Jarmusch] is making some kind of a point. I think the point is that if you strip a story down to its bare essentials, you will have very little left." While obviously poking fun at the staccato, disconnected pacing of the film, Ebert's review is poignant as it mirrors the viewing experience for his readers. A meta reading experience, his half-star review says a lot while saying nothing, revealing zero absolute truths about Ebert's usually fiery opinion while simultaneously expressing his dissatisfaction with the thriller that was capable of more if given more. Watch on Apple TV+ 4 'Body of Evidence' Directed by Uli Edel With a spot on Ebert's Most Hated list and a star-studded leading cast, Body of Evidence couldn't secure a full star rating from the tough critic. With an on-the-nose title, the thriller features Madonna as Rebecca Carlson, a young woman left $8 million by the rich elderly man she was having an affair with. While being prosecuted for intentionally having sex with him with the intent it would kill him, she begins a second affair with her defense attorney, Frank Dulaney (Willem Dafoe). "It's an excruciatingly incompetent entry in the "Basic Instinct" genre, filled with lines that only a screenwriter could love, and burdened with a plot that confuses mystery with confusion." Body of Evidence is riddled with problems, from its "murky plot debris" to poor technical choices to the "bizarre sex" and copious amounts of implausible nudity. The movie intended to be a courtroom and erotic thriller set against a murder mystery, a premise that was doomed from the start, according to Ebert. His half-star review and elevated dislike for the film led the critic and audience consensus that Body of Evidence is just a bad movie, in addition to one of the worst thrillers of all time. Watch on Tubi 3 'The Life of David Gale' (2003) Directed by Alan Parker A polarizing thriller that fumbles in hammering home its primary ethical objective, The Life of David Gale was a zero-star thumbs down for Ebert and like critics, but a divisive win with viewers. The movie is told in real-time and flashbacks as the titular character, David Gale (Kevin Spacey), a fierce opponent of capital punishment, is given the death penalty after being convicted of the rape and murder of his fellow activist Constance Hallaway (Laura Linney). Maintaining his innocence, Gale offers the story of a lifetime to hungry reporter Bitsey Bloom (Kate Winslet). "The secrets of the plot must remain unrevealed by me, so that you can be offended by them yourself, but let it be said this movie is about as corrupt, intellectually bankrupt and morally dishonest as it could possibly be..." In a damning review, Ebert criticizes the film's choice of setting, Texas (the state with the highest execution rate), in addition to its messaging, saying, "I am sure the filmmakers believe their film is against the death penalty. I believe it supports it and hopes to discredit the opponents of the penalty as unprincipled fraudsters." He acknowledges that well-done movies tackling capital punishment exist, but the convoluted and implausible implementation of ethical dilemmas in The Life of David Gale isn't one of them. Buy on Prime 2 'Death Wish II' (1982) Directed by Michael Winner A negative review he didn't want to author given his admiration for the first film and its leading stars, Ebert maintained his critical authority by awarding this 80s crime thriller a thumbs down. The sequel installment in the franchise, Death Wish II finds Charles Bronson returning to vigilante justice as Paul Kersey when his daughter is murdered after they relocate to Los Angeles for a safer life. Kersey goes back to the streets to track down the criminals responsible. Ebert called the film a "disaster" that was "underwritten and desperately underplotted." "I award 'no stars' only to movies that are artistically inept and morally repugnant. So 'Death Wish II' joins such unsavory company as 'Penitentiary II' and 'I Spit on Your Grave.' And that, in a way, is a shame." His review expressed deep disappointment in the follow-up to the controversial thriller, where Kersey's revenge tour felt justifiable despite promoting lawless retribution. Here, with an almost carbon copy repeat, Ebert described it as "a series of dumb killings." The continuing sequels through the rest of the 80s wouldn't fair much better with Ebert or crime thriller fans, opting for camp instead cinematic. Watch on Max 1 'Last Rites' (1988) Directed by Donald P. Bellisario Receiving number of negative accolades from Ebert, he dubbed this Tom Berenger-led film the worst movie of 1988, one of the worst thrillers of all time, and one of his most hated movies.Last Rites is a confessional thriller about Father Michael Pace's (Berenger), a New York priest, involvement in affair gone deadly when a wife kills her cheating husband and confesses her sins to Pace, while simultaneously, the husband's lover unknowingly also finds solace in her newfound relationship with the priest. In his zero-star review, Ebert called it a "shocking exploitation of the religious material" with utter disregard for the audience" among other things. "Was there no one connected with this project who read the screenplay, considered the story, evaluated the proposed film and vomited?" With plot points that come across as twists but are just due to mismanaged filmmaking and poorly scripting, Last Rites relies on audiences to put two and two together that should have been explicitly revealed. Ebert takes aim at a number of the film's wrongdoings, including how "the sacrament of confession is handled throughout this movie as a cheap gimmick, without the slightest evidence that any of the characters or filmmakers understand how it works."Last Rites offers little to no redeeming qualities except it falls into the running for a movie so bad it's laughable. Watch on Tubi
205	dbpedia	1	13	http://www.filmreference.com/film/71/Douglas-Milsome.html	en	Douglas Milsome Biography ((?)-)			[ "http://www.filmreference.com/bs/i/film-sm.png", "https://a.advameg.com/matomo.php?idsite=29&rec=1" ]	[]	[]	[ "" ]	null	[]	null		en			null	Theatre, Film, and Television Biographies Lynn Milgrim to Rob Morrow Douglas Milsome Biography ((?)-) Born in England. Addresses: Agent: The Mirisch Agency, 1801 Century Park East, Suite 1801, Los Angeles, CA 90067. Nationality British Gender Male Occupation Cinematographer Famous Works CREDITS Film Cinematographer Takes This Job and Shove It, Avco Embassy Pictures, 1981 Wild Horses, Satori, 1983 Full Metal Jacket (also known as Stanley Kubrick's Full Metal Jacket), Warner Bros., 1987 Hawks, Skouras Pictures, 1988 The Beast of War (also known as The Beast), Columbia, 1988 Desperate Hours, Metro-Goldwyn-Mayer, 1990 If Looks Could Kill (also known as Teen Agent), Warner Bros., 1991 Robin Hood: Prince of Thieves, Warner Bros., 1991 (As Doug Milsome) Body of Evidence (also known as Deadly Evidence), Metro-Goldwyn-Mayer, 1993 Sunset Grill, New Line Cinema, 1993 (Second unit) Nowhere to Run, Sony Pictures Releasing, 1993 (As Doug Milsome) Rumpelstiltskin, Spelling Films International, 1996 (As Doug Milsome) The Sunchaser, Warner Bros., 1996 (As Doug Milsome) Breakdown, Paramount, 1997 Sinbad: The Battle of the Dark Knights, 1998 Legionnaire, Twentieth Century-Fox, 1998 Highlander: Endgame, Miramax, 2000 Dungeons & Dragons (also known as Dungeons & Dragons: The Movie), New Line Cinema, 2000 Ritual (also known as Tales from the Crypt Presents: Revelation and Tales from the Crypt Presents: Voodoo), Miramax, 2001 Standing in the Shadows of Motown (documentary; also known as Standing in the Shadows of Motown: The Story of the Frank Brothers), Artisan Entertainment, 2002 Dracula II: Ascension (also known as Wes Craven Presents Dracula II: Ascension), Buena Vista Home Video, 2003 Dracula III: Legacy, Dimension Films, 2004 Film Work Camera assistant, The Yellow Rolls Royce, 1964 Camera assistant, The Curse of the Mummy's Tomb, 1964 Camera assistant, Modesty Blaise, 1965 Camera assistant, Sands of the Kalahari, 1965 Camera assistant, When Eight Bells Toll, 1969 Focus puller, Barry Lyndon, Warner Bros., 1975 (As Doug Milsome) Assistant camera, Who Is Killing the Great Chefs ofEurope? (also known as La grande cuisine, Ein Kochtopf voller Leichen, Qualcuno sta uccidendo i piu grandi cuochi d'europa, Die Schlemmerorgie, Someone Is Killing the Great Chefs of Europe, and Too Many Chefs), Warner Bros., 1978 Focus assistant and photographer: second unit, The Shining (also known as Stanley Kubrick's "The Shining"), Warner Bros., 1980 Camera assistant, Ragtime, 1980 Second unit photographer, Race for the Yankee Zephyr (also known as Gold Hunt and Treasure of the Yankee Zephyr), ARC, 1981 Second unit camera operator, Better Late Than Never (also known asWhose Little Girl Are You?), Warner Bros., 1982 Second unit camera operator, Yentl, Metro-Goldwyn-Mayer, 1983 Camera operator, Space Riders, 1983 (As Doug Milsome) Second unit camera operator, The Bounty, Orion,1984 Camera operator, Greystoke: The Legend of Tarzan, Lord of the Apes, Warner Bros., 1984 (As Doug Milsome) Aerial camera operator, A View to a Kill (also known as Ian Fleming's "A View to a Kill"), Metro-Goldwyn-Mayer/UnitedArtists Entertainment Company, 1985 Camera operator, Plenty, Twentieth Century-Fox, 1985 Camera operator, King David, Paramount, 1985 Camera operator, Highlander, Twentieth Century-Fox, 1986 Lighting cameraman, Full Metal Jacket (also known as Stanley Kubrick's Full Metal Jacket), Warner Bros., 1987 Camera operator, The Beast of War (also known as The Beast), Columbia, 1988 Camera operator, Desperate Hours, Metro-Goldwyn-Mayer, 1990 Additional photographer, The Last of the Mohicans, Twentieth Century-Fox, 1992 Film Appearances Himself, Stanley Kubrick: A Life in Pictures (documentary), WarnerBros., 2001 Television Cinematographer Series Dirty Dozen: The Series, Fox, 1988 Miniseries Lonesome Dove, CBS, 1989 (As Doug Milsome) Great Expectations, The Disney Channel, 1989 Family of Spies, CBS, 1990 Diana: Her True Story, NBC, 1993 Return to Lonesome Dove, CBS, 1993 The Old Curiosity Shop, The Disney Channel, 1995 Liz: The Elizabeth Taylor Story, NBC, 1995 (Second unit) Buffalo Girls, CBS, 1995 Johnson County War, Hallmark Channel, 2002 Television Second Unit Director Miniseries Return to Lonesome Dove, CBS, 1993 Buffalo Girls, CBS, 1995 Television Cinematographer Movies The Hollywood Detective, USA Network, 1989 Seasons of the Heart, NBC, 1994 Following Her Heart, NBC, 1994 Hart to Hart: Secrets of the Hart, NBC, 1995 (Second unit) An Unfinished Affair, ABC, 1996 (As Doug Milsome) Glory & Honor, TNT, 1998 Sinbad: The Battle of the Dark Knights, HBO, 1999 (As Doug Milsome) Santa, Jr., Hallmark Channel, 2002 Television Camera Operator Movies Following Her Heart, NBC, 1994
205	dbpedia	2	11	https://www.roxycinemanewyork.com/screenings/body-of-evidence/	en	Body of Evidence - 35MM	https://djmzubtjl6upi.cl…e-1500x900-1.jpg	https://djmzubtjl6upi.cl…e-1500x900-1.jpg	[ "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2023/08/RoxyCinema-logo.png", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2023/07/body-of-evidence-720x510-1.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2023/07/body-of-evidence-2000x1415-1.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/last-summer-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/loft-movie-club-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/cryptozoo_still-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/tabu-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/kinds-of-kindness-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/01/soft-in-the-head-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/meantime-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/crossing-delancey-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/tabu-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/meantime-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/BGGD-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/crossing-delancey-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/crossing-delancey-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/eyes-widde-shut-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/maxxxine-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/meantime-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/eyes-widde-shut-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/the-ghost-writer-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2022/05/City-Dudes-1500x900-1-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2024/07/Mary-Heilmnann-Waves-Roads-Hallucinations-1500x900-2-768x461.jpg", "https://djmzubtjl6upi.cloudfront.net/wp-content/uploads/sites/9/2023/08/RoxyCinema-logo.png" ]	[]	[]	[ "" ]	null	[]	2023-07-12T23:04:18+00:00	A lawyer defends a woman accused of killing her older lover by having sex with him and soon finds himself lured in by her charms.	en	https://djmzubtjl6upi.cl…/05/favicon.jpeg	Roxy Cinema	https://www.roxycinemanewyork.com/screenings/body-of-evidence/	A critical misfire, Vincent Canby said of Body of Evidence: “As a movie, it looks as if it wanted to be Basic Instinct, though it winds up more like Ilsa, She-Wolf of the SS.” Madonna displays all her Skinimax super-soft-smut skills in this overheated courtroom thriller by Uli Edel (Christiane F, Last Exit to Brooklyn) and co-starring Willem Dafoe. Slightly far-reaching in its commercial agenda, Body of Evidence’s release was timed around Madonna’s Erotica album, and the perversely bestselling (1.5 million copies worldwide in three days), fantasy-cum-photography folio Sex – a triptych that established the Madonna empire as an explicitly radical, button-pushing monolith. Video: JUSTIFY MY LOVE (Jean-Baptiste Mondino, 1990):
205	dbpedia	3	26	https://nofilmschool.com/2018/05/watch-zoom-dolly-shot	en	Watch: The Subtle Differences Between a Zoom and a Dolly Shot	https://nofilmschool.com…es=0%2C0%2C0%2C0	https://nofilmschool.com…es=0%2C0%2C0%2C0	[ "https://nofilmschool.com/media-library/jaws-jaws-jaws.jpg?id=34072716&width=1245&height=700&quality=90&coordinates=41%2C0%2C25%2C0", "https://nofilmschool.com/media-library/how-to-write-your-script-s-climax.jpg?id=34065553&width=1245&height=700&quality=90&coordinates=34%2C0%2C0%2C0", "https://nofilmschool.com/media-library/the-longlegs-ending-explained.webp?id=52683112&width=600&height=600&quality=90&coordinates=263%2C0%2C264%2C0", "https://nofilmschool.com/media-library/challengers.webp?id=52168117&width=600&height=600&quality=90&coordinates=104%2C0%2C104%2C0", "https://nofilmschool.com/media-library/the-best-screenwriting-software-with-free-options.jpg?id=34071569&width=600&height=600&quality=90&coordinates=175%2C0%2C175%2C0", "https://nofilmschool.com/media-library/what-are-the-best-film-noir-movies-of-all-time.jpg?id=52875163&width=600&height=600&quality=90&coordinates=139%2C0%2C109%2C0", "https://nofilmschool.com/media-library/runway-gen-3-alpha-image-to-video.png?id=53100618&width=600&height=600&quality=90&coordinates=467%2C0%2C276%2C0", "https://nofilmschool.com/media-library/sandisk-4tb-microsd-and-8tb-sd-cards.png?id=53144049&width=600&height=600&quality=90&coordinates=500%2C0%2C500%2C0", "https://nofilmschool.com/media-library/which-screenwriting-competitions-are-worth-entering.png?id=34049145&width=600&height=600&quality=90&coordinates=280%2C0%2C280%2C0", "https://nofilmschool.com/media-library/ssff-asia-open-submissions-for-kodansha-cinema-creators-lab-2025.jpg?id=53123942&width=600&height=600&quality=90&coordinates=0%2C0%2C517%2C0", "https://nofilmschool.com/media-library/jurassic-park.jpg?id=53021939&width=600&height=600&quality=90&coordinates=217%2C0%2C217%2C0", "https://nofilmschool.com/media-library/hunter-schafer-in-cuckoo.jpg?id=53141433&width=600&height=600&quality=90&coordinates=393%2C0%2C319%2C0", "https://nofilmschool.com/media-library/get-free-high-resolution-pdf-of-how-to-write-a-screenplay.png?id=33771744&width=78&height=116" ]	[ "https://www.youtube.com/watch?v=7QeMMF7J2OU" ]	[]	[ "zoom", "dolly", "cinematography", "crash zoom", "fandor", "video essays", "filmmaking 101" ]	null	[ "Erik Luers" ]	2018-05-31T20:10:11+00:00	There are numerous way to dive deeper into an image.	en	https://assets.rebelmous…h=192&height=192	No Film School	https://nofilmschool.com/2018/05/watch-zoom-dolly-shot	But how can you write those scenes with confidence and learn how to master writing the climax? Today, we'll learn how to write a climax in your script and talk about the basic tenents that can push your climax over the edge. Let's go. How to Write a Climax Many people cite the climax as their favorite part of a movie or television episode. But what does the climax truly mean? A climax is the most intense, exciting, or important point of a movie or television show. It marks the amalgamation of all the scenes that came before it and includes most of the payoffs within the film or episode. When you're writing the climax there are certain elements you want to keep in mind no matter what genre you're writing. The climax may involve: 1. Expensive set-pieces Climaxes are usually where all the money is spent. They have set pieces that are huge. Think about what has never been done before? Where can you do something that blows an audience away and showcases your unique talents? How and you amp up your wow factor? Example: Think the helicopter chase from Mission Impossible: Fallout 2. Outrageous stunts As a Jackie Chan fan, I knew the best stunts came at the end of the movie. You can write anything and let the coordinators figure it out later. So write something nuts. It can even be as nuts as just getting hit by a bus, like in Mean Girls. Just make it memorable. Example: Think the ending on Police Story 3. Intense emotional payoffs Climaxes don't only happen in action movies. And no matter what your story is about either, you need people juked ed at the end. That means giving them all the emotions they can handle. In a drama, that might be a final farewell or just the reunion of two characters kept apart. You want the emotions to mix with both points above to make the story exciting. Example: Mad Men's last call between Betty and Don The beats of the climax Every climax has specific story beats that make them clue the audience in that we're approaching the end. Take a look at these examples from our Beat Sheet. Story Beats: Rock Bottom What's the lowest point for your character? The Bounce Back How does your protagonist face the odds to persevere? Triumphs How does your character win out against the odds? Or maybe they lose... Climax examples While these beats don't have to happen in the climax, I thought it would be good to look at some examples as you structure your climaxes. When you think about your climax, you want to approach it like writing any other scene. There should be conflict, drama, and intrigue. But this time, since it's at the end of your movie or episode, you want it to pay off what we've seen previously. So, in something like Breaking Bad S05 E16, when Walt takes on the meth-making gang of white supremacists, you want to understand everything he's set up with the machine gun, car, and remote control. We also know his continued losses to this gang and his determination to make them pay. His triumph here comes at a great coast, but it frees his best friend. Again, this doesn't all have to be action. One of my favorite movies of all time is Young Adult. The climax of that underrated film happens at a baby shower, where Mavis tries to get the father of the baby -- and her old crush -- to leave the city with her. Here, we get a huge reveal of who the self-centered Mavis is and why she behaves this way. We find out about the trauma she has endured and actually begin to feel sorry for her. In this drama, the bounce back and triumph come a scene later: She finds the adulation she's always wanted and therefore is able to revert to her high school mindset once again. Summing up how to write climaxes Now that you understand what goes into the climax, it's time for you to assess your own story and see what it needs. As you approach your screenplay, ask yourself what character moments you can pay off to see the arc. These answers should be in your character's development. If you're struggling for a place for the climax to be set, go back to act one and see if you can plant a location and then pay it off later. And if you're having trouble writing the final pages, maybe scrolls through our action genre and comedy genre pages to see how the masters do it. Now get out there and get writing!
205	dbpedia	1	68	https://www.ncbi.nlm.nih.gov/books/NBK532378/	en	List of Excluded Studies	https://www.ncbi.nlm.nih…th-es168-lrg.png	https://www.ncbi.nlm.nih…th-es168-lrg.png	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/bookshelf/thumbs/th-es168-lrg.png", "https://www.ncbi.nlm.nih.gov/stat?jsdisabled=true&ncbi_db=books&ncbi_pdid=book-part&ncbi_acc=NBK532378&ncbi_domain=es168&ncbi_report=record&ncbi_type=fulltext&ncbi_objectid=&ncbi_pcid=/NBK532378/&ncbi_pagename=List of Excluded Studies - Behavioral and Pharmacotherapy Weight Loss Interventions to Prevent Obesity-Related Morbidity and Mortality in Adults: An Updated Systematic Review for the U.S. Preventive Services Task Force - NCBI Bookshelf&ncbi_bookparttype=appendix&ncbi_app=bookshelf" ]	[]	[]	[ "" ]	null	[ "Erin L. LeBlanc", "Carrie D. Patnode", "Elizabeth M. Webber", "Nadia Redmond", "Megan Rushkin", "Elizabeth A. O’Connor" ]	2018-09-09T00:00:00		en	//www.ncbi.nlm.nih.gov/favicon.ico	NCBI Bookshelf	https://www.ncbi.nlm.nih.gov/books/NBK532378/	E1.Study aim: Not behavioral or pharmacologic treatment for weight lossE2a.Setting: Not conducted in a ‘very high’ HDI countryE2b.Setting: Conducted in or recruited from settings not generalizable to primary care (e.g., worksites)E3a.Population: Not selected based on weight-related measureE3b.Population: Adults with a chronic disease for which weight loss/maintenance is part of disease management (e.g., asthma, DM)E3c.Population: Adults with a known chronic disease not generalizable or with secondary causes of obesity (e.g., steroid use)E3d.Population: Other population not relevant to current review (e.g., children, pregnant women, institutionalized adults)E4a.Outcomes: No relevant outcomesE4b.Outcomes: Weight and/height via self-report onlyE4c.Outcomes: Studies not performed in a exclusively overweight or obese population where results for overweight/obese participants were not reported separatelyE5a.Interventions: Intervention out-of-scopeE5b.Interventions: Surgical procedure or nonsurgical deviceE6a.Study design: Excluded study designE6b.Study design: <12 months follow up (no minimum for harms)E6c.Study design: not an included comparator (e.g., active intervention, control told not to change diet and/or PA)E7.Study quality: Poor quality ratingE8.Language
205	dbpedia	3	67	https://variety.com/1996/film/reviews/the-sunchaser-1200445782/	en	The Sunchaser	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Todd McCarthy" ]	1996-05-20T08:00:00+00:00	"The Sunchaser," Michael Cimino's return to filmmaking after a six-year layoff, is a conceptually bold tale marked both by visceral intensity and dramatic sloppiness. Pitting two men who are diametrically opposed, the rugged yarn gives the director the chance to demonstrate that he still possesses his flair for physical cinema, but also includes any number of implausibilities that seriously reduce pic's credibility.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/1996/film/reviews/the-sunchaser-1200445782/	“The Sunchaser,” Michael Cimino’s return to filmmaking after a six-year layoff, is a conceptually bold tale marked, in its execution, both by visceral intensity and dramatic sloppiness. Pitting two men who are diametrically opposed in class, prospects and philosophy, the rugged yarn gives the director the chance to demonstrate that he still possesses his flair for physical cinema, but also includes any number of implausibilities and gaffes that seriously reduce pic’s credibility and resulting viewer involvement. This looks like an iffy commercial bet for Warner Bros., with best chances lying in quick, wide playoff with general and action-oriented audiences. This is a film with a number of things on its mind, including issues related to the tremendously different mindsets that exist within American society, Western medical practices vs. ancient treatments, and practical, materialistic values contrasted with more mystical, spiritual ones. These oppositions provide the picture with a strong dramatic fulcrum, but their uses are often crude or slipshod, giving the piece overall an uneven, unfulfilled feel. A barrage of intercutting introduces the two principals: Dr. Michael Reynolds (Woody Harrelson) is a fastidious UCLA medic defined by his brand new Porsche, his table at Morton’s and the $ 2 million house he’s about to buy for his trophy wife. He is, in short, a yuppie wimp, who seems more concerned about what kind of cheese is on his pizza than about the welfare of his patients. Brandon “Blue” Monroe (Jon Seda), on the other hand, is a born loser, a 16 -year-old, shaven-headed half-Navajo from the hood, whose muscular body is marked by tattoos and bullet wounds and who is in the pen for killing his stepfather. He also has an abdominal tumor, for which he needs to be examined by Dr. Reynolds. The two are instantly at odds, and when Blue learns his cancer is inoperable and he’s only got a month or two to live, he manages to kidnap the doc and, at gunpoint, force him to drive toward the Navajo reservation in Arizona. Limited as Blue’s education may be, he carries around a mystical book called “The Man Who Travels” and knows enough about Indian lore to seek the healing waters of a magical lake and the care of a legendary medicine man. Reynolds thinks this is all a joke and at first is more upset about missing an important dinner appointment, at which he believes he will be receiving a major promotion, than he is worried that he may actually be in serious danger. The petty, selfish, irritable side of Reynolds predominates, as he is constantly complaining about what a big inconvenience this excursion is for him, and this makes him an increasingly unlikeable character; with Blue repeatedly threatening him if he misbehaves or tries to escape, one begins to wonder why the kid, who has absolutely nothing to lose, just doesn’t polish his captive off once and for all and just get on with the trip by himself. But part of the point is that Blue shows enough humanity and latent decency that Reynolds will move past his preconceived notions about this common criminal and start responding to him as a human being. But also serving to connect the doc to his kidnapper is his deepest secret, revealed in intermittent flashbacks, concerning the cancer his own brother died from as a boy. While police rather ineptly pursue the men as they race across the desert, Reynolds and Blue have a rough encounter with some nasty bikers in a small town, Reynolds is bitten by a rattlesnake but is cleverly, if incredibly, treated for it by Blue, and the two briefly encounter a leftover hippie (Anne Bancroft) who is heading for a convergence and with whom they discuss different approaches to healing and cures. At Flagstaff, Blue becomes so sick that Reynolds resorts to illegal means to obtain the needed medicine. Eluding the authorities and finally committed to helping his abductor, Reynolds manages to whisk Blue up the mountain to his destination, where a mystical and rather too unspecific a fate awaits the ailing young man. Although the idea that a speeding car would be able to get all the way across two big states without being apprehended by police cars and helicopters is a lot to swallow whole, Cimino puts enough muscle into the visuals and physical staging of the action that one is swept up in the journey. The standoff between the two men also creates an ample share of elemental drama, even if Blue softens rather sooner than seems plausible and Reynolds disappointingly shows not even a shade of decency and grit until very late in the trip. Unfortunately, the serious ideas in Charles Leavitt’s screenplay come off as very half-baked, and their speciousness eventually defeats the legitimate effort put into making the characters and situation credible and involving. To really work, pic would need to have had Reynolds undergo a palpable transformation, and neither the script nor Woody Harrelson’s sincere but constrained performance achieves the desired depth. Until close to the very end, Reynolds becomes increasingly annoying, which could have been alleviated had the character been given more complexity. Seda doesn’t quite pass as a 16-year-old, but his imposing looks and forceful presence bump up the energy quotient considerably. Again, it would have helped if more details of his past had been filled in because numerous character traits come jumping out without any warning or explanation. But Seda strongly provides the dramatic bedrock for the action. Bancroft is amusing in her brief role, while other thesps are serviceable in small parts. Still, there are several incongruities, including the presence of a gospel-singing black church congregation straight out of the deep South in small-town Arizona that doesn’t ring very true for the area in question. Mobility of Doug Milsome’s lensing helps keep things interesting, although Maurice Jarre’s score lays things on a bit thick. Joe D’Augustine’s editing creates tension in numerous sequences, and a final credit announces that “The Sunchaser” was “cut entirely on film.”
205	dbpedia	1	91	https://journals.humankinetics.com/view/journals/ijsnem/30/4/article-p280.xml	en	Training Load and Carbohydrate Periodization Practices of Elite Male Australian Football Players: Evidence of Fueling for the Work Required	https://journals.humanki…ijsnem_cover.jpg	https://journals.humanki…ijsnem_cover.jpg	[ "https://journals.humankinetics.com/view/journals/ijsnem/30/4/full-ijsnem.2019-0311figuref1.jpg", "https://journals.humankinetics.com/view/journals/ijsnem/30/4/full-ijsnem.2019-0311figuref1.jpg", "https://journals.humankinetics.com/view/journals/ijsnem/30/4/full-ijsnem.2019-0311figuref1.jpg", "https://journals.humankinetics.com/coverimage?doc=%2Fjournals%2Fijsnem%2Fijsnem-overview.xml&width=200", "https://journals.humankinetics.com/view/journals/ijsnem/30/4/inline-ijsnem.2019-0311figuref1.jpg", "https://journals.humankinetics.com/view/journals/ijsnem/30/4/inline-ijsnem.2019-0311figuref1.jpg", "https://journals.humankinetics.com/fileasset/logo_no_text.jpg", "https://journals.humankinetics.com/view/journals/ijsnem/30/4/full-ijsnem.2019-0311figuref1.jpg" ]	[]	[]	[ "" ]	null	[ "Harry E. Routledge", "Stuart Graham", "Rocco Di Michele", "Darren Burgess", "Robert M. Erskine", "Graeme L. Close", "James P. Morton" ]	2020-05-29T00:00:00	The authors aimed to quantify (a) the periodization of physical loading and daily carbohydrate (CHO) intake across an in-season weekly microcycle of Australian Football and (b) the quantity and source of CHO consumed during game play and training. Physical loading (via global positioning system technology) and daily CHO intake (via a combination of 24-hr recall, food diaries, and remote food photographic method) were assessed in 42 professional male players during two weekly microcycles comprising a home and away fixture. The players also reported the source and quantity of CHO consumed during all games (n = 22 games) and on the training session completed 4 days before each game (n = 22 sessions). The total distance was greater (p < .05) on game day (GD; 13 km) versus all training days. The total distance differed between training days, where GD-2 (8 km) was higher than GD-1, GD-3, and GD-4 (3.5, 0, and 7 km, respectively). The daily CHO intake was also different between training days, with reported intakes of 1.8, 1.4, 2.5, and 4.5 g/kg body mass on GD-4, GD-3, GD-2, and GD-1, respectively. The CHO intake was greater (p < .05) during games (59 ± 19 g) compared with training (1 ± 1 g), where in the former, 75% of the CHO consumed was from fluids as opposed to gels. Although the data suggest that Australian Football players practice elements of CHO periodization, the low absolute CHO intakes likely represent considerable underreporting in this population. Even when accounting for potential underreporting, the data also suggest Australian Football players underconsume CHO in relation to the physical demands of training and competition.	en	/fileasset/favicon.ico	Human Kinetics	https://journals.humankinetics.com/view/journals/ijsnem/30/4/article-p280.xml	Discussion Using a seasonal long analysis, we report for the first time that (a) “in-season” AF training sessions exhibit marked reductions in physical load compared with game play, (b) players’ reported daily CHO intake varies during the weekly microcycle, and (c) players consume greater amounts of CHO (predominantly from fluid sources) during game play versus training. Altogether, these data suggest that players adjust their daily CHO intake in accordance with periodization of the weekly loading patterns. However, an evaluation of reported daily CHO intake suggests that players are likely underconsuming CHO, especially when considered in the context of CHO loading for match play. To the authors’ knowledge, we are the first group to quantify physical loading of multiple training sessions as opposed to weekly accumulative loads (Ritchie et al., 2016). We report that physical loads of training sessions were significantly less than game play, as quantified according to the total distance in both the home and away fixture weeks. The training session data are in conjunction with previous authors (Bartlett et al., 2017) who highlighted training session distance to be 6,389 ± 3,315 m. Total running, high-speed running, and sprinting metrics were all lower during training compared with games. Nonetheless, the distances covered during running (1,400 m) and high-speed running (550 m) in AF training are greater than the absolute distances observed in soccer (Anderson et al., 2016), where values of 500 and 100 m were reported, respectively. Such differences between codes are perhaps a reflection of the greater duration of training sessions in AF versus the training sessions observed by Anderson et al. (2016) (i.e., approximately 20 min longer), although we acknowledge this hypothesis is limited to the data provided for only two professional clubs. However, the present data clearly illustrate the periodization of training load across a weekly training microcycle. In accordance with the evidence of training load periodization, our data also highlight practices of nutritional periodization, whereby a greater amount of CHO (5 g/kg) was consumed on the day prior to game play compared with lower relative CHO intakes (i.e., <3 g/kg) on training days. The CHO intake reported here on GD-1 agree with previous data, where AF players reported consuming an average of 4.1 g ± 1.6 g/kg CHO per day, as estimated from a 24-hr dietary recall (Bilsborough et al., 2016). However, the low CHO intakes reported on the remainder of the training days do not seem conducive to supporting the daily energetic requirement of male athletes (ranging from 80 to 90 kg), even when considering rest days. As such, we acknowledge the potential of underreporting as a limitation of the present study. Support for the hypothesis of specifically underreporting CHO is provided by the observation that similar periodization patterns of daily energy and CHO intake were observed (see Table 1), whereas daily fat and protein intake did not follow similar patterns. When considering that daily protein and fat intakes were also within the recommended ranges for elite athletes, our data therefore suggest that players may be specifically underreporting CHO intakes. In an attempt to account for the magnitude of potential underreporting (e.g., 10–45%) previously observed in athletic populations (Magkos & Yannakoulia, 2003), the range of players’ self-reported CHO intakes on GD-1 can be recalculated to 5.3–6.9 g/kg, a range that is somewhat closer to the CHO loading guidelines (i.e., 7–12 g/kg) advised for the 24 hr prior to competition. Nonetheless, even when accounting for such magnitudes of underreporting of daily CHO intake on the remaining training days (i.e., GD-4, GD-3, and GD-2), recalculation of players’ CHO intake is still <3.6 g/kg. Such intakes may be considered suboptimal when compared with the CHO guidelines (i.e., 5–7 g/kg) for athletes performing moderate-intensity training for 1–2 hr per day (Thomas et al., 2016). When considered this way, our data therefore suggest that the current cohort of AF players is likely underconsuming CHO in relation to contemporary guidelines, even when accounting for underreporting. In relation to the quantity of CHO consumed during exercise, we observed marked differences between training (1 ± 1 g/hr) and match play (34 ± 11 g/hr). This apparent difference between CHO intake during each activity is similar to that reported by professional soccer players of the English Premier League, where values of 3 ± 4 and 32 ± 22 g/hr were reported in training and match play, respectively (Anderson et al., 2017). In a case study account, we reported that consumption of 54 g/hr of CHO during AF match play reduced muscle glycogen utilization compared with consumption of 0 g/hr (Routledge et al., 2019). Of the athletes studied here, 53% achieved CHO intakes in the recommended range of 30–60 g/hr. This finding contrasts with soccer players, where only 33% of the players consumed >30 g/hr (Anderson et al., 2017). Furthermore, although we reported that 63% of the CHO consumed by soccer players was from gel sources (Anderson et al., 2017), the athletes studied here consumed 75% of the CHO from fluid sources and only 25% from gel sources. Such differences between studies may be related to regular access to fluids and CHO gels during rotations in AF match play, as well as higher ambient temperatures observed during AF game play (as opposed to that typically observed during the annual English Premier League), potentially suggesting that players consciously practice a CHO feeding strategy that simultaneously intends to promote hydration. In contrast, the choice of gels may offer a superior strategy to English Premier League soccer players, as opposed to fluids per se (usually 6–8% CHO solutions), owing to the flexibility for achieving CHO targets regardless of individual differences in body mass, hydration requirements, and differences in interchange number inherent to AF. It is difficult to ascertain if the low absolute CHO intake reported here and the apparent CHO periodization practices were a deliberate choice of the player or alternatively, an unconscious decision. All players had access to the same array of CHO foods and fluids during games and training, and they were not following any coach-led nutritional program, with the exception of receiving prior dietary education on increasing CHO portion sizes on the day before a game. Nonetheless, the CHO periodization practices reported here appear in accordance with the principle of “fuel for the work required” that suggests that athletes should adjust their daily CHO intake in accordance with the workload (Impey et al., 2018). When considered with our previous observations of professional rugby league (Morehen et al., 2016), rugby union (Bradley et al., 2015), and soccer players (Anderson et al., 2017), the present data contribute to the emerging evidence that team sport athletes habitually adjust both the total daily CHO intake and CHO intake during exercise in accordance with the upcoming workload. Nonetheless, even when accounting for potential underreporting of CHO, the low CHO intakes reported here (considered indicative of underfueling) suggest that the current cohort of AF players would benefit from specific education on the CHO requirements of training and GDs. This is especially relevant when considering the training loads completed on GD-4 and GD-2, where total distances >7 km were completed. In summary, we simultaneously quantified for the first time the daily physical loading and habitual daily CHO intakes during two weekly in-season microcycles of elite-level AF players. When such data are considered in conjunction with the seasonal quantification of CHO intake during training and matches, our data demonstrate that AF players appear to practice elements of CHO periodization. Furthermore, although we acknowledge that the low absolute CHO intakes likely represent considerable underreporting in this population, the data also suggest that the current cohort of AF players underconsume CHO in relation to the physical demands of training and competition.
205	dbpedia	3	88	https://online.bright-publishing.com/view/337696813	en	Definition February 2023 - Web	https://fbo-b.flippingbook.com/FacebookThumbnail.aspx?hid=337696813&v=KmicrH9U9nRpPdlX30a0KA--	https://fbo-b.flippingbook.com/FacebookThumbnail.aspx?hid=337696813&v=KmicrH9U9nRpPdlX30a0KA--	[]	[]	[]	[ "" ]	null	[]	null	The February edition of Definition has a special focus on studios. We speak with the man behind the new Shinfield Studios in Berkshire and find out how he found a gap in the market for streamers. We also learn about the growth plans of Netflix, Milk, Garden and Space. We also talk to the director behind the ITVX series Litvinenko, the dramatisation of the death of the famous Russian dissident starring David Tennant in the titular role		https://online.flippingbook.com/favicon.image?hid=337696813		https://online.bright-publishing.com/view/337696813	The February edition of Definition has a special focus on studios. We speak with the man behind the new Shinfield Studios in Berkshire and find out how he found a gap in the market for streamers. We also learn about the growth plans of Netflix, Milk, Garden and Space. We also talk to the director behind the ITVX series Litvinenko, the dramatisation of the death of the famous Russian dissident starring David Tennant in the titular role FEBRUARY 2023 DEFINITIONMAGAZINE.COM GROWING YOUR BUSINESS INDUSTRY BRIEFINGS House of cards A horror story that very nearly collapsed To subscribe visit definitionmagazine.com I tâs the February edition, which means awards season is upon us! The American Society of Cinematographers has announced outstanding achievement award nominees in feature film, documentary and television categories ahead of the 37th annual ASC Awards ceremony on 5 March. Before that, France hosts its César Awards on 24 February. Of course, there wouldnât be any awards ceremonies without the studios that keep the industry ticking. We talk to the brains behind Shinfield Studios, an exciting development located just south of Reading, Berkshire. Our production features couldnât be in starker contrast: one goes behind the scenes with Pope Francis; another concerns the dramatisation of Alexander Litvinenkoâs tragic death. The third, House Red , had to feature real-life mob wives to get made! If youâre interested in events, check out our feature on BSC Expo â the film and TV production extravaganza returns to Battersea Park in London this month. Read our interview with the event organiser on page 26 to find out who will be showcasing at this must-attend show. 62 ACTING EDITOR BRIGHT PUBLISHING LTD Bright House 82 High Street Sawston Cambridgeshire CB22 3HJ, UK EDITORIAL EDITORIAL DIRECTOR Roger Payne rogerpayne@bright.uk.com ADVERTISING SALES DIRECTOR Sam Scott-Smith samscott-smith@bright.uk.com 01223 499457 SALES MANAGER Emma Stevens emmastevens@bright.uk.com 01223 499462 MEDIA PARTNERS & SUPPORTERS OF DESIGN DESIGN DIRECTOR Andy Jennings DESIGNER AND AD PRODUCTION Man-Wai Wong DESIGNER Emma DiâIuorio JUNIOR DESIGNER Hedzlynn Kamaruzzaman ACTING EDITOR Robert Shepherd FEATURES WRITER Lee Renwick Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press. Cover image © 2022 Home Box Office, Inc. All rights reserved. HBO® and all related programs are the property of Home Box Office, Inc. DEPUTY CHIEF SUB EDITOR Matthew Winney SUB EDITORS Harriet Williams, Ben Gawne PUBLISHING MANAGING DIRECTORS Andy Brogden & Matt Pluck DEFINITIONMAGAZINE.COM @definitionmags @definitionmagazine 3. FEBRUARY 2023 Industry 19 ASC NOMINATIONS REVEALED Production 08 THE ITALIAN JOB How a beleaguered horror set in Tuscany survived shooting Cinematographers go head to head for the big prize, plus other industry headlines 38 FATHER NATURE 68 This film gets rare access to Pope Francis as he meets eco activists at the Vatican 62 ALEXANDER THE GREAT The chilling dramatisation of Alexander Litvinenkoâs killing 26 WALK THE FLOOR BSC Expo is back â we speak to the organiser of the Battersea Park event 44 WHERE STREAMS COME TRUE Gear 57 FINDING THE An interview with Nick Smith, MD of Shinfield Studios 68 GROWING PAINS RIGHT BALANCE Tips on choosing monopods, tripods and heads Experts give advice on how to boost the coffers without taking on debt 75 T HE FUTURE OF VFX 84 CHARGED UP Industry luminaries share their thoughts on whatâs ahead Battery solutions to keep your kit going Regulars 95 CAMERA LISTINGS 38 A look at the latest products 08 57 44 26 5. FEBRUARY 2023 THE LAST OF US ON THE COVER. SPREAD THE NEWS HBOâs latest big-ticket Sunday night series depicts a fungal zombie apocalypse THE LAST OF US Game changer ADAPTATIONS FINALLY CRACKED? M aking a video game adaptation for the big or small screen is always a risk, as many producers can attest. Even a heavyweight cast including when it debuted on Sunday 15 January. HBOâs adaptation of the hit Playstation game drew the channelâs second-biggest debut of the last 13 years â 4.7 million US viewers across the linear HBO channel and streamer HBO Max â behind only House of the Dragon . The drama, starring Pedro Pascal the late Bob Hoskins, John Leguizamo and Dennis Hopper couldnât save Super Mario Bros (1993) from being slated by critics and audiences alike. A similar fate awaited Mortal Kombat: Conquest when the fighting game franchise became a series. More recent examples of, shall we say, disappointing efforts include the science-fiction thriller Assassinâs Creed and Netflixâs Resident Evil . Although Sonic the Hedgehog went some way to reclaiming respectability for the video game adaptation, the eagerly awaited The Last of Us took things to a new level and Bella Ramsey and set in a zombie- ravaged US, was adapted by the gameâs creator Neil Druckmann and Chernobyl writer Craig Mazin. Itâs been described in some quarters as âthe best video game adaptation everâ, with five-star reviews aplenty. Sky Atlantic and Now are airing the series in the UK 07. FEBRUARY 2023 PRODUCTION. HOUSE RED The Italian job A movie of its own could be made about the filming of House Red. This horror, set in a Tuscan vineyard, was hexed from the start WORDS. Robert Shepherd IMAGES. Candida Storey 08. DEFINITIONMAGAZINE.COM HOUSE RED PRODUCTION. SEEING THE LIGHT The embattled production faced difficulties from all angles, from funding and equipment going missing to threats of Mafia retribution I f it wasnât for bad luck, the team behind recent horror film House Red wouldnât have had any luck at all. Initially, it was set to be a breeze. A beautiful Tuscan castello and vineyard; Tamer Hassan ( Layer Cake, The Business ), Clara Paget ( Fast & Furious 6 ) and Natasha Henstridge ( The Whole Nine Yards ); legendary DOP Douglas Milsome, with the late Darius Campbell Danesh as executive producer â the film, on the surface at least, couldnât have looked much better. But things started to take a turn for the worse when the truck carrying all the crewâs equipment got stuck in Switzerland â the result of poor decision making by the driver. The situation was compounded just four days into what was supposed to be a 20-day shoot (later cut down to 16), when a call from producer Camilla Storey to Hassan almost brought House Red down. âCamilla called and asked if I was sitting down,â recalls Hassan. âThat can mean good or bad news. She then told me that a key investor had pulled out.â The British actor had asked several friends and contacts to work on the film, so he desperately wanted to make sure he didnât let any of them down. Instead of panicking, Hassan was pragmatic. âThese things happen, people let you down all the time,â he rationalises. âThe problem was that we didnât have a backup. So, I called in some favours from actors and people in the industry I have known for years and handed Camilla my credit card. Something had to be done, because we had a hardcore landlady who had said: âIf you donât pay me, Iâm calling my Sardinian friends to come and sort you out!ââ Hassan invested £200k of his own money, and the figure was matched âWe had a hardcore landlady who had said: âIf you donât pay me, Iâm calling my Sardinian friends to come and sort you outââ 09. FEBRUARY 2023 PRODUCTION. HOUSE RED HOLY TERROIR This slow-burning horror was filmed on location at a beautiful Tuscan vineyard and castello like The Shining â a psychological film in which you donât know whatâs going on until right at the very end.â He settled on a vineyard in Seggiano â a Tuscan commune located about 100km south of Florence â as the setting for the movie. âMy family had been there for a summer holiday, so my dad told me I had to check it out because it would make the perfect setting for a creepy horror film,â Greenop says. âI couldnât afford to go, so I just looked it up and realised it would be a great place to shoot a by Storeyâs friend and property investor George Michael Georgiou. It was a far cry from Bitter Harvest , the Storey-produced film Hassan had just finished shooting with Terence Stamp. âThat was a £30m film,â he says. âWe had no runners on House Red , our line producer had to go on another job. I was delivering dialogue in character, then after a scene Iâd run off and clean the car for the next scene. It was a labour of love.â PICTURE PERFECT House Red centres on a couple going on a summer vacation to Italy to rekindle their relationship. They travel to a remote vineyard to spend the summer grape- picking, but soon discover there is more to the terroir than meets the eye, as their time descends to a hellish spiral. Director Coz Greenop says he got the idea for House Red from his previous film, Dark Beacon . âI knew one of the things that had going for it was its location [La Corbière Lighthouse in Jersey],â he says. âI then had this idea to film a Sweeney Todd-style film on a vineyard. I started writing it and researching all the wines from the region, while looking back at Hammer Horrors and other slow-burning films, rather than the shock to your face or jump scare type. I wanted something âI was delivering dialogue in character, then after a scene Iâd run off and clean the car for the next scene. It was a labour of loveâ ON WITH THE SHOW When a key investor pulled out, the team had to go ahead and shoot with a smaller budget 10. DEFINITIONMAGAZINE.COM PRODUCTION. HOUSE RED chance meeting with one of Hollywoodâs finest living cinematographers. âWe were looking for DOPs at the time and I went to a screening of Bitter Harvest ,â explains Greenop. âI recognised the DOP as Douglas Milsome ( Full Metal Jacket , Robin Hood: Prince of Thieves ) â he worked on Stanley Kubrickâs films. I wanted to just walk over and sniff him or rub some Kubrick off him. Iâd had a few glasses of wine by this point and I told him he was a hero of mine. I asked if I could give him my script so he could give me some notes on it, because any feedback would be amazing.â The next thing he knew, Greenop had unwittingly â and via Storey â secured Milsomeâs services. âThe next morning, he called me asking when I was looking to shoot the film,â says Greenop. âI told him August or September and he said, âDebbie wants me out of the house so Iâll do it, as long as you have a glass of wine with me at every dinner.ââ AN OFFER THEY COULDNâT REFUSE Having scrabbled together the funds to finance the shoot, there was another major hurdle to clear. When filming began, Storey approached Greenop and Hassan after a visit from some locals. âOne morning, Camilla approached me and Tamer and told us the Mafia film. Whenever Iâm doing things like this, I always think about my passions. Iâm a massive oenophile, so it got me thinking about what I could do with the vineyard and wine that wasnât vampire-esque. Red wine has these eerie, old-school, theological connotations.â When youâre working with a tight budget, itâs ambitious to expect big names to join the party. However, Greenop had a âCamilla approached me and said the Mafia had shown up asking for â¬200k for us to shoot in this villageâ AS LUCK WOULD HAVE IT A chance encounter with Doug Milsome resulted in him working as director of photography 12. DEFINITIONMAGAZINE.COM HOUSE RED PRODUCTION. had shown up asking for â¬200k for us to shoot in this village,â Greenop says. âBeing a low-budget film, we of course didnât have that kind of money to pay them off, so I said we should just find another place to shoot. Then, two men in suits approached us and began staring at Tamer. Pointing at him, they asked: âYou are the playboy?â Tamer looked at me and then it clicked. They were referring to his iconic role in the movie The Business . Tamer replied, âYeah thatâs me.â All of a sudden the two men were all smiles and shook everyoneâs hands. âFilm as much as you want,â they said. We even put their wives in the movie.â TECH TALK With one of the industryâs most esteemed cinematographers on the team, Greenop expected Milsome to insist on shooting on 35mm. âFrom the start, I made it clear that we are very independent, with a budget of under £500,000, and that we certainly canât afford it,â insists the director. âHe said: âThatâs no problem, I get great deals at Provision and they all know me down there.â I sent him a lot of references and movies that I loved â old horrors, as THE COOKE LOOK An Arri Alexa was selected for the film, along with a set of Cooke S4/i Prime lenses 13. FEBRUARY 2023 HOUSE RED PRODUCTION. well as Korean and Japanese ones. I had many conversations with Doug on how we could achieve those shots with the limited resources we had.â Greenop and Milsome chose an Arri Alexa along with Cooke S4/i Prime lenses, which he says were more than ideal for the job at hand. âIâve never been a camera snob and it used to frustrate me when filmmakers would say we have to use certain lenses and this or that camera to shoot a movie,â he explains. âI certainly know from film school that some students will say they need a specific camera to tell the story. For me this is so ridiculous â if youâre a real storyteller, you can tell it on an iPhone. I shot my first film, Wandering Rose , on a Lumix GH2 stills camera. I had the firmware to up the bit rate and used a super-old Voigtlander World War II-era lens I acquired on eBay.â Every piece of kit used in House Red had to be shipped from the UK, which added to the delay. âWe were in the middle of Tuscany and the closest place for camera hire was Milan,â says Greenop. âWe had no cranes, no giant jibs. We had a Steadicam operator and what was then an 80-year-old Doug running around with a camera and a rig.â THE GREATEST FILM SCHOOL Greenop describes how working with the best people in the industry teaches a lot more than any formal education could. âGoing to film school is like getting a degree in finger painting â it doesnât help you become a filmmaker,â he says. âFor for Full Metal Jacket.â That was just one of Milsomeâs several collaborations with the legendary Stanley Kubrick, first as camera operator for most of the seventies and eighties â and then cinematographer. âBut I told Doug that weâll be getting these aerial shots sitting by the pool, drinking a glass of wine. He likes to be behind the lens â watching on a monitor isnât really his thing.â me, working with Doug is the greatest film school. We were there with Tamer Hassan and Natasha Henstridge in this castle in Tuscany. Doug says, âSo what are we doing?â I said weâll set up here, do 50mm there etc. He asked why 50mm, as opposed to 25mm or 75mm? Immediately he was questioning me and my shot list. With Doug, every day it was about why I wanted to use certain lenses.â However, when the idea of drones was raised, Milsome was adamant. No. âHe asked, âWhy canât we have a helicopter?ââ recalls Greenop. ââI want to be up there shooting it.â He told us a story on day one about shooting in a helicopter SECURING ACCESS The crew had to tell the castelloâs management they were shooting a love film in order to get permission to use the property âDoug likes to be behind the lens â watching on a monitor isnât really his thingâ MASTER OF PAIRINGS Director Coz Greenop had his lens selection repeatedly quizzed by veteran DOP Doug Milsome 15. FEBRUARY 2023 PRODUCTION. HOUSE RED GRAPES OF WRATH The horror draws on the ecclesiastical associations of red wine BAD FOR BUSINESS Due to the fact House Red is a small film, Storey was in dialogue with many different agents as well as a large studio to secure backing. âThe studio wanted to make a TV show out of it,â she says. âJust as that was happening, the global pandemic started. We were messed around by several Hollywood big dogs and sales agents, which slowed the process down. At the start of 2022, we were approached by a distributor, but it all came to nothing. There are a lot of empty promises in this business.â However, Storey does single out Final Frame, a New York-based boutique post-production company, for special praise. âThe company is very supportive of independent filmmakers, was hugely supportive of us, this project and me as an independent producer,â she beams. While independent filmmaking will always introduce challenges, it also affords a lot more autonomy. Even then, Hassan explains he and the crew âdid tell a few white lies to the castelloâ in order to get the film over the line. âThey said, âWe donât want any horror films made here,â so I told them, âItâs not a horror film, itâs a love story,ââ recalls Hassan. âWe gave them a completely different script, which meant we had to shoot specific scenes really early in the âItâs why I always want to shoot on location â once youâre there, it doesnât matterâ morning, before the management had woken up. This shoot couldnât have been more guerrilla.â As Greenop declares: âItâs all part and parcel of being an indie filmmaker. Roll with the punches and make the best film you can with nothing. âItâs why I always want to shoot on location â once youâre there, it doesnât matter. Tuscany is such a beautiful place, youâre just happy to be there. I was happy to be trapped on a vineyard, drinking red wine at lunch. If I was shooting in Croydon, Iâd have taken the Tube home.â Storey is used to dealing with the trials and tribulations that come with independent filmmaking, but she doesnât recall ever being so indebted to the team both in front of and behind the camera before. âTamer and George rescued the film and my career with it,â she insists. âAnd I know that Darius was smiling down on us.â Watch House Red via Amazon Prime Video, Sky Store in the UK and Vudu in the US A FINE VINTAGE Milsome lent an immense degree of experience and esteem to the production 16. DEFINITIONMAGAZINE.COM BRIEFINGS INDUSTRY. Industry briefings The latest news, views and hot tips from the world of video production ON THE BALL Unilumin, whose LED panels are used in Sky TVâs sport studio, has announced a new partnership with Pixotope PIXOTOPE AND UNILUMIN PARTNER ON TURNKEY LED/XR SOLUTION FOR BROADCAST INDUSTRY The companies will showcase their partnership at ISE, where Pixotope XR Edition will power a two-wall Unilumin LED volume XR stage with graphics and camera tracking capabilities. Pixotope has partnered with LED volume manufacturer Unilumin to create purpose-built XR solutions especially for the broadcast industry. The partnership provides an advanced XR solution in a simple-to-deploy turnkey package, the companies said. Uniluminâs LED volumes have been used on The X Factor and Sky TVâs sport studio, featuring a high-tech, small-pixel âPixotopeâs technology removes much of the guesswork around XRâ design that preserves output quality in XR environments. Marcus Brodersen, Pixotope CEO, said the partnership enables the companies to achieve a mutual goal of making extended reality more accessible to the broadcast market. âBy cross-leveraging our individual expertise, we can optimise and problem solve to make workflows more streamlined and efficient,â he added. Jaelyn Li, sales director at Unilumin Rental, said Pixotope is a âcomplementary partnerâ because its XR Edition âremoves much of the complexity and guesswork around XR, allowing users to tap into the creative potential it stages without expertise or bespoke solutionsâ. 19. FEBRUARY 2023 INDUSTRY. BRIEFINGS French film awards bans sex crime suspects The César Awards â Franceâs national film awards â has banned any nominee being investigated in connection with sex offences from this yearâs ceremony, âout of respect for possible victimsâ. Announced 2 January, the ban also impacts people who have been convicted of acts of violence. The César Academyâs decision does not preclude actors, directors or producers subject to the ban from being nominated for or receiving awards. However, they wonât be invited to the ceremony and no speech will be given on their behalf if they win a gong. This means French actor Sofiane Bennacer will be barred from the ceremony, due to be held on 24 February in Paris. The 25-year-old, who had been shortlisted in the best newcomer category for his role in Forever Young , was dropped from the list of nominees in November 2022. The same day, he took to Instagram to deny the accusations against him. In 2020, the César Awards ceremony was thrown into turmoil after French-Polish director Roman Polanski won top awards, prompting walkouts from actors and protests outside the Salle Pleyel. Polanskiâs film, An Officer and a Spy , won awards for best director, best costume and best adapted screenplay â controversial choices for the French film industry in the #MeToo era. Polanski, who did not attend the ceremony, pleaded guilty in the US to the statutory rape of Samantha Geimer when she was 13 years old in 1977. He fled the country before sentencing and has been a fugitive ever since. ECOFLIX APPOINTS MIA AS CIO Ecological streaming platform Ecoflix has named industry veteran Ray Mia as its chief innovation officer. The not-for-profit platform, privately funded and dedicated to the conservation of nature, provides filmmakers and viewers the opportunity to upload their own content relating to wildlife and the natural environment. In the newly created role, Mia will be charged with looking at the convergence between content, technology, commerce and communities through UX and UI. Earlier in his career, Mia was channel head of Richard Desmond-owned gaming Reuters and the UN. He was also an award-winning UN TV producer and EVP of Universal Music Group, where he pioneered its immersive audio capabilities and launch strategy. Mia says Ecoflix, which recently celebrated its first birthday, welcomes user-generated content, new stories and innovative ways of telling them. âWe want everything from super- sexy slow-motion drone footage over canyons and high-definition capture, to more diverse storytelling,â he said. âNot everyone has a Blue Planet budget. We are currently focusing on Ecoflix Originals, which are made more cost-effective by being the first streaming platform to advocate and support fully sustainable production techniques, using local content, producers and kit.â He added that Ecoflix is the first and only platform that donates 100% of its subscription fees to NGOs. channel Xleague.tv. He later launched the low-latency livestreaming service Streamworks International â at one stage delivering live content for AP, Sundance is back â with an Adobe record Sundance Film Festival is running from 19-29 January in Salt Lake City and Park City, Utah, with a record 67% of the 99 films that are set to premiere having used Adobe Premiere Pro or Frame.io Camera to Cloud. Movies that made use of the software suite include Jeen-yuhs: A Kanye Trilogy , Palm Trees and Power Lines and I Didnât See You There . âItâs truly an honour, and a bit humbling, for us to see their work come to life through our work,â said Paul Saccone, senior director of Adobe Pro Video Marketing. 20. DEFINITIONMAGAZINE.COM BRIEFINGS INDUSTRY. MANDY WALKER, ASC, ACS ELVIS (WARNER BROS) DARIUS KHONDJI, ASC, AFC BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (NETFLIX) ROGER DEAKINS, ASC, BSC EMPIRE OF LIGHT (SEARCHLIGHT PICTURES) BARDO, ELVIS AND TOP GUN: MAVERICK RECEIVE NOMINATIONS FROM ASC The DOPs behind Bardo , Elvis , The Batman , Empire of Light and Top Gun: Maverick have been nominated by the American Society of Cinematographers (ASC) in the feature film category. Darius Khondji has been shortlisted for his work on Bardo, False Chronicle of a Handful of Truths , while Mandy Walker received a nomination in the theatrical film category for her work on Warner Brosâ Elvis , becoming the third woman ever nominated by the guild. Last yearâs ASC feature film winner was sci-fi epic Dune from cinematographer Greig Fraser â who has landed a place on the shortlist this year for his work on DC Filmsâ The Batman . Claudio Miranda is in contention for his role on Top Gun: Maverick , while Roger Deakins completes the list with British romantic drama Empire of Light . The 37th annual ASC Outstanding Achievement Awards Gala will be held at The Beverly Hilton in Beverly Hills, Los Angeles on 5 March. GREIG FRASER, ACS, ASC THE BATMAN (WARNER BROS) CLAUDIO MIRANDA, ASC TOP GUN: MAVERICK (PARAMOUNT PICTURES) 23. FEBRUARY 2023 ADVERTISEMENT FEATURE. MPB Itâs always tempting to buy the latest, shiniest kit, but newer does not necessarily mean better. Matt Barker, CEO of MPB, explains why RING OUT THE NEW, BRING IN THE USED THE FILM AND TV industry is acutely aware that the delivery and general availability of some brand-new camera models has been seriously affected by ongoing issues with the global supply chain. As frustrating as this is for all concerned, itâs certainly led to more people buying more used cameras and lenses instead. However, while youâd be forgiven for thinking that the problems emanating from the South China Sea were the sole driver for acquiring pre-loved kit, Matt Barker â CEO and founder of MPB, the largest global platform for buying, selling and trading used photography and videography kit â says consumersâ eyes have simply opened to what was already a growing trend. âWeâre proud to champion circularity,â he says. âA circular business model will always be more sustainable than a linear model of manufacture, consumption and waste.â SUSTAINABILITY AND TRANSPARENCY When a camera operator â be that a videographer or photographer â is building their set-up, budget may well be the first consideration. Often, theyâre able to afford a better camera or add a few more lenses, which improves the overall set-up while staying within an original budget. For those that canât â or who decide against spending beyond what they can afford â Barker says itâs important to remember the durability of modern kit. âCamera equipment, in particular, is built to last for many years,â he explains. âIncreasing numbers of people are realising that buying and selling used just makes sense. If properly checked, used camera kit offers the same performance as brand new â just at a fraction of the price.â It isnât just about cost; sustainability is increasingly important to users. Buying, selling and trading used equipment is an easy way for photographers and videographers to make a greener choice â with MPB making that choice even easier, says Barker. âOur business model is 100% circular,â he adds. âToday, more than half of the electricity we use is renewable, and we aim to reach 100% by 2025. Weâre targeting net zero carbon for our buildings by 2025, for our data centres by 2030 and for our courier services by 2035.â However, Barker says sustainability isnât just about circularity. MPB takes inclusivity and diversity seriously, by supporting the training and development of its employees and promoting inclusive visual storytelling. âEthics and trust are equally important â we provide excellent customer experience and accurate pricing, and we make sure our data security is robust,â he says. âItâs important to be transparent about our sustainability performance, which is why weâre publishing all of our sustainability data at mpb.com/impact.â SAVINGS Interested consumers will want to see examples of potential savings. On average, used cameras and lenses from MPB cost a third less than new. âMany people also choose to trade in their existing set-ups, which helps reduce the cost even further,â continues Barker. âSome trade in their existing DSLR lenses, for example, to fund the purchase of a mirrorless camera without having to spend a single penny. The process is simple and completely free of charge, as MPB covers the cost of fully insured collection and delivery.â While MPB might not be the only company in this space, itâs certainly the most competitively priced. Its team of experts make sure of that by monitoring the wider camera market. âThis is to make sure we offer accurate pricing for buyers TRUST THE PROS All items on the MPB website have been approved by product specialists 24. DEFINITIONMAGAZINE.COM MPB ADVERTISEMENT FEATURE. âIf properly checked, used camera kit offers the same performance as brand new â just at a fraction of the priceâ explains how the company gets plenty of positive feedback from the 400,000+ people using the platform. âMany say they prefer going with MPB instead of listing sites, for example, because weâre quicker, easier and more secure,â he continues. âTrust is also really important to us. Our award-winning support teams, based in Brighton, Brooklyn and Berlin, are available to ensure every user is happy with their experience at MPB. Our team of developers work hard to upgrade the platform, and we always welcome suggestions of ways we can improve the experience.â MPB is endeavouring to make it as quick and easy as possible for people to make the move from new to used. and sellers. Whether youâre buying used, trading in or selling to MPB, youâre always getting a fair priceâ, asserts Barker. Although MPB is not a marketplace, it does buy directly from visual storytellers, and its product specialists will evaluate all items before reselling them. Every single one gets approved, so you need never question the quality. âOur dynamic pricing engine is data driven, providing the right price upfront,â Barker explains. âThe value of kit is determined by its age, popularity, brand and condition.â For even more peace of mind, thereâs zero risk involved. MPBâs specialists check, grade and verify every camera and lens to make sure theyâre all in good working order. âFor each individual item, we include photos taken from every angle â we donât use stock imagery â so you can see exactly what youâre getting,â says Barker. âOur five condition ratings make it easy to find the best-value camera for you, based on your cosmetic preferences. Then, your item will arrive in 100% plastic-free packaging.â Every used item also includes a free warranty, for extra peace of mind. BEST SELLERS Photographers tend to have a few lenses to fit a camera body, so optics often outsell bodies, according to Barker. âThe Canon EF 50mm f/1.8 STM is usually popular, itâs regularly one of the first lenses people buy when theyâre building a Canon DSLR set-up,â he adds. âBut as youâd expect, weâre seeing increasing popularity in mirrorless cameras and lenses.â Barker says itâs not just about the benefits offered by the MPB platform. He MOVING THROUGH THE GEAR Consider swapping out unused equipment for your dream kit 25. FEBRUARY 2023 INDUSTRY. BSC EXPO PARKLIFE This yearâs expo will be hosted at Evolution London in Battersea Park BSC Expo returns to Battersea Park this month â and itâs going to be bigger than ever WORDS. Robert Shepherd IMAGES. Richard Blanshard Walk the floor T he British Society of Cinematographers Expo has established itself as a key fixture in the film industry calendar. Having started out on the sound stages of Elstree, the two-day show is now one of the most recognised events for the sector, drawing in a global audience. After moving to Pinewood Studios, then Warner Bros Studios Leavesden, then back to Pinewood in 2015, the event was a victim of its own success. Like anything that gains in popularity or harbours ambition, there came a point where it started to outgrow its surroundings. In 2016, the organisers decided to move the expo to its current home. âThe studios were always popular, as they produced a very close environment where professionals could gather,â explains Rob Saunders, director at event organiser SCS Exhibitions. âHowever, as the studiosâ schedules became busier, it became impossible to ensure that these industry can meet and learn from some of the top cinematographers and masters of their professions.â For those unfamiliar with Evolution London, itâs a purpose-built events spaces would be available each year. Therefore, an equally unique location was found in Battersea at Evolution London,â explains Saunders. âItâs a place where students and those that are new to the 26. DEFINITIONMAGAZINE.COM BSC EXPO INDUSTRY. MIX AND MINGLE As a huge industry get-together, BSC Expo is a key opportunity for networking Key exhibitors Exhibitors at the expo include: Arri Rental, Panavision, Aputure, Leitz, AC Entertainment Technologies, LCA, Zeiss, Kodak, Fujifilm, Canon, Red, Grip Factory Munich, Prolight Direct, Lightbridge, Power Gems, Sony, Cooke, Blackmagic Design and Cirro Lite. A full list of companies is available at bscexpo.com/exhibitors-2023 Like most in-person events, BSC Expo experienced a bit of a hiatus â there was no 2021 edition thanks to the pandemic. In fact, Saunders says the BSC Expo was the last major event within the sector to take place before the global lockdowns â and also the first to physically return post-lockdown. He explains that the industry is a very social- and network-orientated venue in the heart of Battersea Park. Easily accessible by rail and road, itâs a convenient location to bring every level of the industry together. What will be familiar is an audience made up of all parts of the production process â camera, lighting, grips, DIT and post-production, together with manufacturers and rental houses. âPost-pandemic, we had around 6000 people attend the event in 2022 (there were 8500 attendees pre-pandemic) and we expect an increase on this number â although itâs always difficult to predict,â maintains Saunders. âWhat we certainly anticipate this year is to see many of our international visitors return.â LISTEN AND LEARN An array of seminars and panels with industry leaders will be taking place throughout the event HANDS-ON EXPERIENCE The event is also a chance to get to grips with the very latest in cinema equipment 27. FEBRUARY 2023 INDUSTRY. BSC EXPO LIGHTS, CAMERA, ACTION Demonstrations and exhibits from all areas of the production process will be on show Each year, BSC is blessed with exhibitors showcasing a wide range of products for visitors to try out and test. In this iteration, the event will introduce a larger selection of outdoor exhibits for the visitors to enjoy. âOur exhibitor list will once again represent an international array of manufacturers and suppliers,â says Saunders. âIn addition to these, we have the highly anticipated BSC panels and seminars, where we will be hosting some of the most internationally renowned cinematographers. Every stand will offer exciting opportunities for visitors.â Unlike many other expos, BSC doesnât have a specific theme each year. Instead, it prides itself as a celebration of all things cinematography, film and TV. âWe know that certain subjects will be represented through the products and seminar sessions, such as green energy, sustainability, virtual production as well as inclusion and diversity within the industry,â confirms Saunders. âItâs a technology event where the latest kit can be seen and tested, and itâs a creative event where â through panel discussions and presentations â the challenges that affect the industry are discussed â and solutions shared.â Whether you want to try out the newest tech, see some seminars or simply get networking, Evolution London is the place to be, from 24-25 February. BSC Expo 2023 pre-registration is available at bscexpo.com âThe panels and seminars will be hosting some of the most globally renowned cinematographersâ one, and that the expo has always been very hands-on, offering the best of the best in equipment and services as well as the opportunity to meet associates, colleagues and peers in a social and relaxed environment. So, it works best as a physical rather than a hybrid event, unlike other shows which have transitioned to a fully hybrid setting. âThat said, there are certain elements â such as the BSC panel discussions â which will be broadcast online and through social media platforms, so that a wider audience can tune in and experience them,â he adds. âThe seminars and technical content are always really popular, so this helps to share knowledge from the speakers to a global audience.â BLEEDING EDGE Leading manufacturers, rental companies and service providers will be among the exhibitors 28. DEFINITIONMAGAZINE.COM INDUSTRY. BSC PREVIEW WHATâS ON SHOW AT BSC 2023? via either traditional V-Mount or Gold- Mount batteries. bebob.de/en CODEX AND PIX Stand 405 Codex and Pix will be presenting the comprehensive camera-to-cloud workflow and tool. Pix partners with Teradek to provide camera-to-cloud workflows with live video playback, integrating the Teradek Serv 4K capturing colour-accurate H.264/H.265 proxy files that upload directly to Pix for immediate review, and shared securely beyond the set. A Codex Compact Drive containing the Original Camera Files (OCF) from an Alexa Mini LF/35 is backed up to Codex Transfer Drive, applying High Density Encoding at the point of offload to significantly reduce the data size while retaining full original image quality and information. The Transfer Drive is moved to Codex Mediavault Edge, where further copies can be made â and once secure, the OCF is pushed up to Codex Cloud, giving all departments access to the OCF worldwide. Codex is an Emmy award-winning group that creates high- performance recording media, workflow tools and production solutions to support leading camera manufacturers and key creatives for feature, television and commercial production. Pix is an Academy award-winning production management platform, delivering industry-leading service for secure asset review and approval, with powerful collaboration throughout the end-to-end production pipeline process of media creation on a global scale. codex.online pix.online POWERFUL Bebobâs B-Mounts are an industry favourite â catch them on the brandâs Stand 435 APUTURE Stand 117 provides reliable wireless camera and lens control in demanding situations on-set. The most recent additions to Arriâs Camera Stabiliser System range, Trinity 2 and Artemis 2, will be available for guests to demo. arri.com ARRI RENTAL Stand 418 Arri Rental is displaying its latest exclusive products. These include the brand-new Heroes lens collection, comprising Look primes that allow instant detuning and T.One primes that retain contrast at T1.0, as well as a new fleet of Monochrome cameras covering 65mm, full-frame and Super 35 formats. arrirental.com Curious about the lights that Aputure has to offer? With its reputation as an up-and-coming LED manufacturer with thousands of fans around the world, itâs bound to spark the interest of industry professionals eventually. Stop by the booth if you would like to learn more. The Aputure Europe team will be there to bring you up to speed about its latest developments. It can tell you everything about the flagship models like the LS 600c Pro, LS 1200d Pro and Nova P600c, plus the yet to be released MC Pro. aputure.com ARRI Stand 323 Arri will be showcasing its latest camera and lighting products at this yearâs BSC Expo. Included in this line-up will be the Arri Orbiter with its accessories such as the Orbiter Docking Ring and the new Orbiter Projection Optics 25° and 35°. The new Arri Alexa 35 and Alexa Mini LF cameras will be prominently positioned on the show floor along with the Arri Signature Prime and Signature Zoom lenses, which continue to offer state-of- the-art precision with an organic and emotional quality. Visit the booth and discover exactly how vintage filmmaking techniques such as dioptres can help you customise the look of Signature lenses. Arriâs Hi-5 ecosystem will also be on display, complete with new firmware update and features. In addition, the powerful radio performance of Arriâs swappable radio modules can be experienced with the Radio Interface Adapter RIA-1. This well-received system BEBOB Stand 435 COOKE Stand 258 The market entry of Bebobâs B-Mount batteries has been a tremendous success. To meet the strong demand for high- performance power supply for even more applications, Bebob is now introducing various additions to its B-Mount portfolio at BSC Expo. Users of the Sony Venice 2, for example, will be pleased that they can now supply their favourite camera with persistent power via B-Mount â thanks to the new Coco Venice 2 battery plate. Rentals Cooke will showcase the new Varotal/i FF 19-40mm wide zoom lens, which joins the 30-95mm medium and 85-215mm long zooms to complete the Varotal/i series, enabling Cooke to offer broad focal length coverage for the majority of production needs. All Varotal/i FF zooms deliver will be delighted to see a new, highly efficient wall- mounted B-Mount charger. Amidst the broad variety of innovations are also adapters for lighting and options to power B-Mount equipment 30. DEFINITIONMAGAZINE.COM INDUSTRY. BSC PREVIEW WHATâS ON SHOW AT BSC 2023? continued... GLOBAL DISTRIBUTION/SYMPLY Stand 30 Global Distribution can talk you through acquisition, storage, workflow and archive solutions. From camera recording media and peripherals, to on-set collaborative storage, secure asset archiving and media sharing through the cloud, the company provides a service to more than 70 countries worldwide. globaldistribution.com GRIP FACTORY MUNICH Stand 145 Stop by to see a range of GFM- manufactured dollies, cranes, sliders, track and camera support equipment. gripfactory.com HAWK-WOODS Stand 413 Hawk-Woods shows off its newly released B-Lok batteries for Arri Alexa 35, mainly the BL-350, with âthe biggest capacity in the industryâ, multiple outputs and all the safety features, straight 26v with 20A output and drop resistance. It will also display its flagship floor battery, MXB-880, with dual voltage, multiple XLR outputs, drop resistance and only weighing 7.2kg. hawkwoods.com HOLDAN Stand 127 UK distributor Holdan will showcase its complete range of on-camera and cloud monitor/recorders and production monitors from Atomos, as well as the ultra-lightweight, high-performance Xeen Cine prime lenses by Samyang, including 8K and full-frame Xeen Meister optics. Also featured are Hollyland for a variety of audio solutions, Teradek âVisitors will have an opportunity to explore an interactive virtual production stageâ the famed Cooke Look, offering natural, flattering skin tone and character, which enables cinematographers to preserve their creative intent when switching between primes and zooms. Cooke will also show its S8/i FF, the flagship Cooke prime lens series designed from the ground up for motion picture cameras. These optics are capable of achieving the highest resolution yet, while an advanced, all-spherical design produces an evolution of the iconic Cooke Look and beautiful bokeh. In addition, Cooke will have a selection of lenses from Panchro/i Classic, Macro/i and Anamorphic/i series available to view on request. cookeoptics.com CORE SWX Stand 110 The Apex 360 battery system is designed to answer the call for an onboard battery solution to increase runtimes for high- powered LED lighting. Apex packs offer a 367Wh lithium-ion V-Mount solution capable of outputting up to 24A continuously. With Apex, the production team can focus on video production rather than restricting light usage because of limiting onboard powering options. Plus with up to 24A load output, the user will enjoy a more âtrueâ runtime while operating the high-power LED lighting systems. Apex is offered in a 14.8v (#APX-360V) pack suitable for most lights as well as a higher voltage 29.6v variant (#APX-360HV). coreswx.com CVP The Mezzanine Floor CVP will once again inhabit the Mezzanine level of BSC Expo in 2023, bringing a full showcase of the latest production solutions, ably supported by the expert impartial advice of its many technical consultants, product specialists and engineers. Visitors will have the opportunity to explore an interactive virtual production stage designed to demonstrate the newest technology and creative solutions to appeal to a range of applications, budgets and specifications. The popular Lens Bar is back with a more extensive collection of new and vintage glass for evaluation and comparison, with combinations of lenses and filters on a variety of cameras. The Monitor Wall returns to provide the perfect backdrop to view over 35 of the best monitors the industry currently has to offer â all displayed side by side. Also featured are the latest fully rigged cine-style cameras from leading manufacturers including Sonyâs Venice 2, Rialto 2 and HDC F5500, Arri Alexa 35, Redâs V-Raptor XL and V-Raptor S35. With large-sensor, or large format, cinematography and broadcast workflows more closely aligning, CVP will present fibre channel solutions that allow broadcast and studio productions to integrate cine cameras into their workflows. Explore how to manage connectivity for multicamera shoots from one master controller, as well as individual configurations. CVPâs team of ProRepairs engineers are dedicated to restoring your equipment back to A1 condition. They will be on- site to demonstrate and discuss how to maintain your kit and provide advice and tips for keeping your set-up running smoothly, whatever it may be. cvp.com FUJIFILM Stand 121 Fujifilm will be presenting its premium range of Fujinon lenses as well as its latest mirrorless digital cameras. Pride of place on its stand will be the brand-new Fujinon HZK25-1000mm f/2.8-5.0 PL mount box lens, which boasts an unparalleled combination of magnification and telephoto reach for large cinema sensors. Also on the stand will be the full range of Premista series lenses, with their stunning optical performance to allow you to express your creativity without compromise when using a large format sensor. While on the stand, you must check out the industry-leading GFX 100S which has 102 megapixels and the latest fifth-generation X Series cameras, the X-H2S with its open gate 6.2K shooting and ultra-low rolling shutter â and the 8K-capable X-H2. Both will be displayed with the stunning MKX cine lenses to showcase how Fujifilm can offer the complete solution of camera and lens. fujifilm-x.com 32. DEFINITIONMAGAZINE.COM FORMATT-HITECH ADVERTISEMENT FEATURE. THROUGH THE LENS Formatt-Hitech has been a leading manufacturer of motion picture and photography filters since it was formed. Today, itâs still a first choice for Hollywood cinematographers CUTTING EDGE Formatt-Hitech filters have been used in some of the highest-profile blockbusters of the past few years FORMATT-HITECH HAS manufactured filters for over a quarter of a century. A specialist in professional cinematography and photography filters, it prides itself on all of its equipment being made and hand- finished in the UK. The companyâs forensic approach to the research and development of its filters was originally established by Reginald Morris â grandfather to the company founder â who for many years was chief physicist at Kodak. He helped develop whatâs now known as the Kodak Wratten standard. Now, in 2023, this remains the worldwide standard in technical colour correction â a benchmark in all Formatt-Hitech filter production to this day. âDOPs can come to us to test filters and even request unique effectsâ âWe follow this tradition in making the most advanced photographic and cinematic filters on the market, with an excellent reputation for colour reproduction and build quality,â explains David Lutwyche, chief marketing officer at Formatt-Hitech. Unlike many manufacturers, Formatt- Hitech involves the end user when it comes to research and design. âWe pride ourselves on working closely with industry partners, and often directly with cinematographers,â Lutwyche explains. âDOPs can come to Formatt-Hitech to test filters and even request unique effects.â This year, the company is looking to expand this service, with rental houses using the companyâs âspecial combination kitsâ â starting in Los Angeles and then eventually in the UK, too. An ever-popular option with cinematographers and camera operators, Formatt-Hitech is known in the cinema field for excellent performance. In recent years alone, itâs become the filter of choice for many of the worldâs largest prestige (for which Fraser was shortlisted for an American Society of Cinematographers award), Black Adam and Shazam 2 . Although the company has a number of filters to its name, itâs perhaps best known for Firecrest ND â which is available in a variety of sizes and densities. This allows the user to match diffusion across a range of cameras without calibration. âFirecrest was the first bonded ND filter, so the coating is contained within the glass before undergoing extensive polishing, giving it unrivalled optical flatness and resolution,â Lutwyche says. âWe can also offer a service of filter matching for commercial clients, so you know that even if you have an accident, you can get a replacement which will match your previous filter exactly.â projects, including Rogue One: A Star Wars Story , Solo: A Star Wars Story , Dune (for which cinematographer Greig Fraser won an Oscar), The Batman SPOILT FOR CHOICE The popular Firecrest Ultra Cine Superslim filters come in a range of densities for easy diffusion matching formatt-hitech.com 33. FEBRUARY 2023 BSC PREVIEW INDUSTRY. WHATâS ON SHOW AT BSC 2023? continued... lens design and unique character. Leitz Hugo primes, also delivering now, share their optical design with Leicaâs iconic M photography lenses and feature compact, production-ready mechanics. The Leitz Zooms, 25-75mm and 55-125mm, offer a consistent T2.8 aperture and pair excellently with both sets of primes. And the new Leitz LPL Mount for Sony Venice with PL adapter is the metadata-enabled solution to quickly change formats. leitz.com MARSHALL Stand 219 Marshall leapt out of the gates in the new year with the release of a brand-new high-performance NDI\|HX3 camera with up to UHD (4K) at 60fps. The CV730-ND3 camera utilises the brand-new NDI\|HX3 codecs, which significantly improves NDI performance over network in all three categories; better lossless video quality, even lower latency and less bandwidth required. The CV730-ND3 achieves near full NDI (~250Mbps) delivery with less bandwidth required (~80Mbps) for NDI\|HX3. Built around a 9.2-megapixel back-side illuminated Sony Exmor 1/1.8in sensor with 30x optical zoom range, itâs an elevated offering at the same affordable price point. CV730-ND3 greatly improves NDI\|HX3 delivery over challenging IP networks while offering traditional outputs such as 12G SDI, HDMI, IP (HEVC) and USB 3.0. Itâs fully compatible with the latest NDI 5.5 and an extensive suite of NDI\|Tools are available. marshall-usa.com MO-SYS Stand TBC Visit Mo-Sys to learn about virtual production solutions, Academy virtual production training, camera tracking, robotics and remote production systems. The company has more than 20 years of industry experience in the conception, production and installation of full turnkey and bespoke solutions. mo-sys.com ROTOLIGHT Stand 440 As well as its award-winning Titan range that has been used by filmmakers including Stefan Lange, Denson Baker and Roy Wagner, Rotolight will be showcasing the new AEOS 2 and Neo 3 Pros, which have already received several awards âand the worldâs first electronic Smartsoft Box. Rotolight Pros feature numerous upgraded features including a brightness boost of up to 25%, Master of Light preset packs with up to 100+ built-in exclusive special effects, GEL and HSI presets from Emmy-winning filmmakers as well as four new special effects (SFX). Delivering a genuine revolution in lighting control, the technology from the diffusion in the Titan range has been built into the Rotolight Smartsoft Box. Saving filmmakers both time and money, users can electronically adjust diffusion, focus and spread without the need for gels and additional modifiers. rotolight.com raft of innovative LED light systems â Lightstation, Lightwall 20, Four Spot and Five Me Five. It says strong, high-quality lighting with a wireless total recall system mean operators can set and store light scenes, fading and light preset playlists. senna.hr VOCAS SYSTEMS Stand 18 Vocas Products will be showcasing its most popular accessories for cameras like the Sony Venice 2, FX9, FX6, Arri Alexa 35 and Red DSMC3 line. Also on the stand is co-exhibitor Casecart, which is showing off its revolutionary hard case and production cart in one. vocas.com ZEISS Stand 319 SENNA Stand 423 Among Sennaâs new reveals is a Zeiss will display its extensive range of high-end cine lenses, including the highly anticipated wide-angle 15mm T1.8 lens which completes the 14-lens Supreme Prime set. Attendees will also be able to get hands-on with the Supreme Prime Radiance family â known for its stunning blue flare capability â as well as CZ.2 full-frame Cinema Zooms and CP.3 cinematography lenses. Furthermore, the company will be demonstrating its new solution for the compositing and match moving VFX workflows, the Zeiss Cincraft Mapper. Opening the door to an entirely new workflow ecosystem, the groundbreaking digital service quickly and easily provides frame-accurate shading and distortion data at the click of a button, completely removing the need to shoot and analyse lens grids. zeiss.com with its wireless transmission workflow, Orca with premium bags for cameras and audio, as well as Kondor Blueâs cages and accessories. DIT and post solutions will also be present with Inovativâs world-class mobile workstations, plus Sonnetâs Duomodo expansion system and Thunderbolt card readers. holdan.co.uk IDX Stand 358 IDX will be showcasing IPL Powerlink batteries and new charging solutions; D-Tap Advanced, X-Tap socket and stacked charging. idx-europe.co.uk LCA Stand 133 LCA is once again highlighting the latest innovative lights in film and broadcast with Litegearâs new Auroris V alongside its larger sibling the Auroris X â plus the full complement of Creamsource products, including the Vortex series. See how using CreamOS Framesync can open up new creative lighting techniques. And DoPchoice shows off its larger-than-life 8ft Doublehex Snapbag for large LED panels. lcauk.com LEITZ Stand 419 See Ernst Leitz Wetzlarâs newest Leitz Cine Lenses at BSC Expo. Leitz Elsie primes, delivering now, combine a gentle field curvature and fall-off with modern 35. FEBRUARY 2023 Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 definitionmagazine.com
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With Madonna, Michael Forest, Joe Mantegna, Charles Hallahan. A lawyer defends a woman accused of killing her older lover by having sex with him.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0106453/	Rebecca Carlson: All we did was make love. Frank Dulaney: In handcuffs. Rebecca Carlson: It was different, but it was still making love. Have you ever seen animals make love, Frank? It's intense. It's violent. But they never really hurt each other. Frank Dulaney: We're not animals.
205	dbpedia	3	47	https://github.com/thunlp/RE-Context-or-Names/blob/master/finetune/fewshotRE/FewRel/data/val_nyt.json	en	RE-Context-or-Names/finetune/fewshotRE/FewRel/data/val_nyt.json at master · thunlp/RE-Context-or-Names	https://opengraph.githubassets.com/91d07c30402a5accb39a08a0de9704f557aa46897fa03d4b7a1aae1ea051a70b/thunlp/RE-Context-or-Names	https://opengraph.githubassets.com/91d07c30402a5accb39a08a0de9704f557aa46897fa03d4b7a1aae1ea051a70b/thunlp/RE-Context-or-Names	[]	[]	[]	[ "" ]	null	[]	null	Bert-based models(BERT, MTB, CP) for relation extraction. - RE-Context-or-Names/finetune/fewshotRE/FewRel/data/val_nyt.json at master · thunlp/RE-Context-or-Names	en	https://github.com/fluidicon.png	GitHub	https://github.com/thunlp/RE-Context-or-Names/blob/master/finetune/fewshotRE/FewRel/data/val_nyt.json	Skip to content Navigation Menu
205	dbpedia	3	10	https://www.alternateending.com/2014/07/stanley-kubrick-you-will-find-us-always-on-the-job-the-united-states-marines.html	en	Full Metal Jacket - Movie Review	https://1.bp.blogspot.co…lmetaljacket.jpg	https://1.bp.blogspot.co…lmetaljacket.jpg	[ "https://www.alternateending.com/wp-content/uploads/2019/12/unnamed.png", "https://www.alternateending.com/wp-content/uploads/2019/12/unnamed.png", "https://www.alternateending.com/wp-content/uploads/2019/12/zoiGcNlYBR0r2fO2uP44XQF6S1W-200x300.jpg 200w, https://www.alternateending.com/wp-content/uploads/2019/12/zoiGcNlYBR0r2fO2uP44XQF6S1W-192x288.jpg 192w, https://www.alternateending.com/wp-content/uploads/2019/12/zoiGcNlYBR0r2fO2uP44XQF6S1W-100x150.jpg 100w, https://www.alternateending.com/wp-content/uploads/2019/12/zoiGcNlYBR0r2fO2uP44XQF6S1W.jpg 300w", "https://www.alternateending.com/wp-content/uploads/2019/12/zoiGcNlYBR0r2fO2uP44XQF6S1W.jpg", "https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM-300x168.jpg 300w, https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM-349x196.jpg 349w, https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM-533x300.jpg 533w, https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM-768x431.jpg 768w, https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM-1024x575.jpg 1024w, https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM.jpg 1300w", "https://www.alternateending.com/wp-content/uploads/2019/12/cVkTGLthpromkyzyCFLvvLPZxFM.jpg", "https://www.alternateending.com/wp-content/uploads/2016/12/fb.png", "https://www.alternateending.com/wp-content/uploads/2016/12/fb.png", "https://www.alternateending.com/wp-content/uploads/2016/12/twitter.png", "https://www.alternateending.com/wp-content/uploads/2016/12/twitter.png", "https://www.alternateending.com/wp-content/uploads/2017/06/patron-logo.png", "https://www.alternateending.com/wp-content/uploads/2017/06/patron-logo.png", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif", "https://www.alternateending.com/wp-content/uploads/2022/06/Merch.png", "https://www.alternateending.com/wp-content/uploads/2022/06/Merch.png", "https://www.alternateending.com/wp-content/uploads/2021/08/Discord.png", "https://www.alternateending.com/wp-content/uploads/2021/08/Discord.png" ]	[]	[]	[ "" ]	null	[ "Tim Brayton" ]	2014-07-03T06:26:00+00:00	Full Metal Jacket - Movie review by film critic Tim Brayton		https://www.alternateend…6/11/favicon.png	Alternate Ending	https://www.alternateending.com/2014/07/stanley-kubrick-you-will-find-us-always-on-the-job-the-united-states-marines.html	Stanley Kubrick Retrospective: You will always find us on the job, the United States Marines Everybody thinks everything is overrated or underrated. That's the fun of it: it's why we get to latch onto certain books or movies or video games or whatever as the objects of our special, private passions, and why we get to feel superior to all the people who like... that. In the career of Stanley Kubrick, a director whose mature work I tend to adore (though to disprove what I just said, I think his reputation is just about perfectly rated, if we take it as an average between the loudest internet fanboys and the more dubious humanist critics who see him as too icy), my pick for his most overrated film is A Clockwork Orange, a technically flawless work of audience manipulation at its most unrelenting, yet which I find to be a little bit too smug in its satire and exaggerated in its cruelty. And my pick for his most underrated is Full Metal Jacket, a movie that's often described even by Kubrick lovers as a fantastic opening 45 minutes with a concluding 70 minutes that simply aren't up to the task of following that opening (actually, it's often described in terms of a first and second half; but the time imbalance is to stark for me to let that slide). So underrated and mis-read; I might go so far as to propose - though quietly and hesitantly, so nobody gets too mad at me - that the second part of Full Metal Jacket is actually the better part, and that the opening is there to give context and background to the rest, not to serve as a self-contained mini-movie. Of course, the opening 45 minutes, which follows the eight weeks of boot camp for a platoon of new recruits to the United States Marine Corps, at Parris Island in 1967, is a lot more energetic and easy to like, particularly if one elects to view R. Lee Ermey's star-making performance as the foul-mouthed drill instructor Sgt. Hartman as largely entertaining. And certainly, appreciated in a vacuum, lines of dialogue (many of them invented by Ermey, a former drill instructor himself; others are taken verbatim from Gustav Hasford's semi-autobiographical novel The Short-Timers) like "I bet you're the kind of guy that would fuck a person in the ass and not even have the goddamn common courtesy to give him a reach-around!" or "God has a hard-on for Marines because we kill everything we see! He plays His games, we play ours! To show our appreciation for so much power, we keep Heaven packed with fresh souls!" are nothing if not quotable. But it's also more than a little terrifying, and the fact that Hartman chokes a recruit in the first scene for daring to grin at the sergeant's apparent buffonery, I think the film's intentions are clear enough. The training segment of Full Metal Jacket is not entertaining: it is savage, and it helps to remember that it's not even really an exaggeration of reality. I am not, mind you, trying to downplay how well the film's opening act works; I merely wish to deny that it's somehow a different and vastly superior movie to what follows. It's all part of one great long arc that presents the most interesting variation in Kubrick's career on one of the theme he nurtured from 1956's The Killing onward: the breakdown of systems. Perfect crimes, military justice, nuclear fail-safes, artificial intelligence, 18th Century European social codes: over and over, Kubrick tells stories about what happens when a stable system is infected by sloppy human emotions. The system in Full Metal Jacket is spelled out in dialogue by the unfailingly blunt Hartman: it's the program of training that breaks down human beings and turns them into warriors, perfect killing machines with no trace of whatever resistance - the film's not sentimental enough to invite us to call it "morality" - prevents normal people from going to war and feeling good about killing people by the handful. And we see the breakdown of this system from two directions: first, what happens when it works too well, and the removal of a subject's humanity goes all the way 'round the other side and turns into an inhuman madness; second, what happens when these flawless devices, these Marines, are dropped into a crazed environment of the purest unfathomable chaos. Kubrick, fairly or unfairly, has been typically defined as a filmmaker with detached, chilly style that takes a remote, objective stance to his characters; a God's-eye view, I have seen it called. That's truer of some of his movies than other, but it is most true of this film, which is the most observational and least-invested movie of the director's career. Of his ten canonical films (the ones he didn't later reject), Full Metal Jacket is the only one that found the famously diverse Kubrick return to a genre: it is his second war film, thirty years after Paths of Glory. But the two are about as different as war films could be. Paths of Glory is a righteous howl of moral frustration, one of the most direct and piercing anti-war arguments ever filmed. I honestly don't know that Full Metal Jacket could even be described as anti-war; it's certainly not pro-war, but more than anything else, it simply attempts to comprehend war, even as it admits repeatedly that war is inherently incomprehensible. Far less interested in critiquing the dehumanising effect of military training and the noisome brutality of combat than in documenting it, Full Metal Jacket is focused entirely on "what"-oriented questions: what kind of person fights, what makes them that way, what does it do to them? And if in proffering its inconclusive answers to those questions, it manages to argue that war is wicked, and breaking a man's soul till he can perform that wickedness is wickeder still, I'm sure Kubrick and his co-writers Michael Herr and Gustav Hasford himself (there was a whole conflict over working together and if Hasford would get a credit) weren't trying to hide from being called anti-war It is, in the main, a very clinical film, which I mean to be a description more than a criticism. It's an interesting mood for a relatively mainstream film about a very prominent political and social event to adopt; light years away from Oliver Stone's heated Vietnam picture Platoon, which came out the preceding year. The two make for an illuminating contrast in how cinema was ready to start processing the trauma of Vietnam; they're so distinct in approach and motivation that it's barely worth comparing them, and yet they compliment each other so well that they make about as natural a double feature as I could imagine. Kubrick's film is more detached, of course, and far more methodical in its aesthetic, as should hardly be surprising. Indeed, "methodical" is almost too general a word: it's repetitive and mechanical in exactly the ways it attempt to dramatise within its characters, repeating movements and echoing shot set-ups in multiple locations and contexts, using the visual structure of the film to imply and demonstrate the burned-in training of the well-oiled fighting machine. And while the very precise construction of visuals implies order, the narrative destroys that order, and maybe this is what makes people so antipathetic towards the film's second portion. Full Metal Jacket has the weirdest narrative structure of any Kubrick film, even more than 2001: A Space Odyssey: it can't rightly be called two, three, or four acts, though it mimics elements of all of them. The first 45 minutes play like a classic second act with only a single scene to function as a first act, and the remainder of the film ends like it had a three-act structure but doesn't build up to it, instead allowing the narrative to shuttle around from one stop to another without forming any kind of arc of events, and barely chaining things together outside of the fact that they take place in chronological order and all involve Private "Joker" (Matthew Modine), the recruit from the first half the film selects as its protagonist for no reason. The interchangeability of the recruits is, in fact, heavily insisted-upon in the first sequence, with its unbelievably deep focus that refuses to foreground any one character. Most of the invidividual men are seen in identical, repeated shot set-ups, and only the wild card Private Leonard Lawrence (Vincent D'Onofrio, giving one of the great performances in all of Kubrick) is consistently shot in different angles from odd directions. And he ushers us into the film's pointedly aimless, messy second half by killing himself, in a scene of wonderful tension amped up by D'Onofrio's performance and Vivian Kubrick's scraping, mechanical music. The aesthetic in the second half attempts to retain the rigid compositions and precise, right-angle camera positions of the opening, but events keep pushing it in off directions; Kubrick and Douglas Milsome's cinematography imposes order, the action and sound mix and Martin Hunter's editing keep violating it, and so it goes on and on. It's the best kind of cinema, unifying everything that makes a movie a movie into creating its message of the chaos and confusion of war. And yet, it never sentimentalises that chaos, making us feel for the poor soldiers caught up in them; it simply diagnoses it. It is as remote and chilly as Kubrick gets, with exterior lighting that's hellbent on making the sky seem as blank and white as could possibly have been achieved. It makes the world look blank, and it flattens things out - and that's the other thing, this is a flat movie, with action occurring on multiple planes without depth, and with people lit to seem two-dimensional. Like nearly all of Kubrick's films, it even had a mono sound mix initially, that later home video releases have unwisely converted to 5.1 surround; it's not a huge bother in most cases, though it's unquestionably one of the worst of the many ways that Warner Home Video has mistreated Kubrick on DVD and Blu-ray. In Full Metal Jacket, though, it's an absolute crime: the mono mix is absolutely suberb, rendering everything from speech to bullets to the devilishly ironic music (all upbeat pop from the period, along with a lacerating use of the "Mickey Mouse Club March" in the finale moments to drive home how divorced the film's Marines are from their actions) in a single wall with every sound clearly audible, but incapable of emerging from the greater morass of disordered noise. There are enough individual moments that don't quite work that I wonder about tempering my overall enthusiasm for the film slightly - the death of one Marine, in slow-motion, is weird sensationalism and much beneath the film's dignity, and I don't really know that we needed two hooker scenes - but that would be silly. Full Metal Jacket has always been, to me, one of Kubrick's foremost triumphs, a genuinely challenging and uncomfortable war film that follows through on all of its ideas even when cinematic convention demands that it find something, anything humane to lean back on. It's not cruel, and it's not nihilistic, but it's harsh as anything; it creates an experience of constant abuse of one sort or another that does not let us or the characters out of hell for one minute, but this approach is so fully supported by the material that even at the film's bleakest, I still love it as one of the greatest English-language films of the 1980s.
205	dbpedia	1	48	https://thinkingautismguide.com/page/14	en	THINKING PERSON'S GUIDE TO AUTISM	https://thinkingautismgu…85_c-7687616.jpg		[ "https://thinkingautismguide.com/wp-content/uploads/2021/03/20201124_0348452B252822529-7796517.jpg", "https://thinkingautismguide.com/wp-content/uploads/2021/03/Screen2BShot2B2021-03-062Bat2B12.24.482BPM-5588828.png", "https://thinkingautismguide.com/wp-content/uploads/2021/03/Screen2BShot2B2021-02-282Bat2B8.52.512BPM-1361832.png", "https://thinkingautismguide.com/wp-content/uploads/2021/03/6792819478_ce19ec1b85_c-7687616.jpg", "https://thinkingautismguide.com/wp-content/uploads/2021/02/Screen2BShot2B2021-02-272Bat2B12.07.462BPM-1186495.png", "https://thinkingautismguide.com/wp-content/uploads/2024/07/LoopMarcusReneeTPGA-6679839-8464150.-e1722228850659-660x577.jpg", "https://thinkingautismguide.com/wp-content/uploads/2021/02/ZannahZadsby-4354929-660x577.jpg", "https://thinkingautismguide.com/wp-content/uploads/2021/01/image001-1705081.jpg", "https://thinkingautismguide.com/wp-content/uploads/2021/01/Screenshot-2024-06-29-at-4.13.21 PM-2745196-660x577.png", "https://thinkingautismguide.com/wp-content/uploads/2021/01/Loop_alt01_rainbowTPGA-8784749.jpg", "https://pbs.twimg.com/profile_images/1634380489820708864/VQ05Ee4w_normal.jpg", "https://pbs.twimg.com/profile_images/1583385001361608704/FiS8Q0F5_normal.jpg", "https://pbs.twimg.com/profile_images/1721183266802188288/zpVXICKt_normal.jpg", "https://pbs.twimg.com/profile_images/1804600425695363072/KC2oc6sb_normal.jpg" ]	[]	[]	[ "" ]	null	[ "Shannon Des Roches Rosa", "Anne Borden King", "Sonia Boué" ]	2021-03-12T19:49:00-08:00	Autism news and resources: from autistic people, professionals, and parents	en		THINKING PERSON'S GUIDE TO AUTISM	https://thinkingautismguide.com/page/14	Non-autistic people harbor assumptions about autistic people, whether they’re aware of them or not. And those biases can get in the way of autistic people being included both socially and professionally. We talked with Desi Jones, a Doctoral Student at the University of Texas at Dallas, whose recent paper Effects of autism acceptance training on explicit and implicit biases toward autism examines how autistic acceptance efforts both succeed and fail in addressing stereotypes about autism, and what this means. We also discussed her work on structural racism in autism research, and how institutions can do better by their autism researchers of color—and why that doesn’t merely mean recruiting more POC. Photo courtesy Desi Jones [image: Desi Jones, a smiling Black woman with curly shoulder length purple-tinged hair.] TPGA: Can you tell us about your background, and what drew you to autism research? Desi Jones: I double majored in Neuroscience and Psychology… Sunday Stillwell For the past three years, I have worked in a local elementary school as a one-to-one support aide to a handful of K-2 students with various intellectual disabilities, in a self-contained functional academic life-skills (FALS) classroom. My job is to assist the student I am working with in all aspects of their day. I sing songs during circle time, help them learn to request items with their communication devices, teach ABCs and 123s, and during recess I play tag because it made everyone giggle and little bodies have a lot of energy to burn in the last two hours of school. But, hands-down my favorite days are the ones when we draw pictures, sculpt creatures out of clay, or create masterpieces in art class using bits of rolled up tissue paper, glue, and a vivid imagination. My favorite days. Then, in March 2020, COVID-19 hit, and those in… Anne Borden King twitter.com/AgainstCures The NOIT device in use [image: Screen capture from a video, showing the back of a person’s neck with a small buzzing device attached with a gel pack or some such.] The NOIT product was first flagged by Rory McCarthy, an advocate in the ADHD and autistic communities. The device is attached to the base of a child’s neck with glue. It stays attached to the child throughout the day, emitting loud beeps every eight seconds. Its marketers claim that this “Natural Orientation Inducing Tool (NOIT)” is a “tool to create and maintain focused attention.” There is no research or evidence to support this claim. Despite this, NOIT marketers earned nearly $150,000 promoting the product on Kickstarter, even as members of the ADHD and autistic community reached out to Kickstarter, asking it to remove the product from its platform and calling it a torture device. A petition… Photo © VCUCNS \| Flickr / Creative Commons [image: A person wearing a black tank top getting a vaccine injection in their shoulder.] by Kate On Monday, February 15, I was lucky enough to get my first dose of the new Moderna vaccine for the COVID-19 virus. I say lucky, but in reality, it was a matter of various privileges, such as race, class, and education, all combined with the fact that I moved into a certain type of housing last summer. I had been communicating with a staff member for my local health department about something else related to the pandemic, and when the subject of vaccines came up, this person told me that I qualified and I should make an appointment right then. So I did: CVS, a local pharmacy chain, had just been allocated a large number of vaccines, so it was fairly easy for me at that… We initially published this letter in June 2020, while President Biden was campaigning for the office he now holds. On this joyous inauguration day, we’re republishing it with renewed enthusiasm and hope for how the Biden Administration can best serve its autistic and disabled constituents. January 20, 2021 Dear President Biden, We would like to reaffirm our June 17, 2020 letter to your campaign: Your campaign’s new disability policy makes us hopeful about the future for our autistic children with high-support needs. Thank you for taking the Americans With Disabilities Act (ADA), disability rights, inclusion, and quality of life issues seriously, and also for addressing how the COVID-19 pandemic impacts the disability community. Many of our children are already adults, and many require full-time supports, which means we share your campaign’s concerns. We also want to emphasize areas in which the campaign can deepen and reaffirm its commitment to disabled… [Image: The logo for PIXAR’s animated short film Loop. The word “loop” is written in rainbow-gradient lowercase script, on a white background.] Content note: Flashing graphic below Almost exactly one year ago, PIXAR released the short film Loop as part of its SPARKSHORTS program. In Loop, Renee and Marcus, “a non-verbal, autistic girl and a chatty boy are partnered on a canoeing trip. To complete their journey across an urban lake, they must both learn how the other experiences the world.” Marcus and Renee [Image: Still from PIXAR’s animated film Loop. A Black teen boy and girl are seated in a red canoe together. The boy is holding a paddle.] Renee is PIXAR’s first-ever autistic character, and is voiced by autistic actress Madison Bandy. Loop was also developed in close consultation with the Autistic Self Advocacy Network, which provided “feedback on what to them was feeling real, what felt funny and sad and… @thinkingautism I have talked with many parents of recently diagnosed Autistic kids. Pretty much 100% of the time we eventually get to discussing how Autistic traits have run in their family for generations and that they have an intuitive understanding of what their kid is going through. Ten years ago our family was in poverty. This year that time of scarcity has returned. We're out of work and struggling to meet needs, keep our home and stay in community. If you can help or share our story, please do. It could make such a difference.
205	dbpedia	3	51	https://medieval.ox.ac.uk/category/around-oxford/page/12/	en	Around Oxford – Page 12 – Oxford Medieval Studies	https://medieval.ox.ac.u…-round-32x32.png	https://medieval.ox.ac.u…-round-32x32.png	[ "https://medieval.ox.ac.uk/wp-content/uploads/2022/10/image-3.png", "http://medieval.seh.ox.ac.uk/wp-content/uploads/2022/10/image-1.png", "http://medieval.seh.ox.ac.uk/wp-content/uploads/2022/10/image-2.png", "https://medieval.ox.ac.uk/wp-content/uploads/2022/10/6a00d8341c464853ef027880576def200d-800wi-e1665498254408.jpeg", "https://medieval.ox.ac.uk/wp-content/uploads/2022/10/Wulfila_bibel-e1665056211948.jpeg", "https://medieval.ox.ac.uk/wp-content/uploads/2022/10/cpg848_0243-e1664890833532.jpeg", "https://medieval.ox.ac.uk/wp-content/uploads/2022/10/image.png", "https://medieval.ox.ac.uk/wp-content/uploads/2022/09/image-2.png", "https://medieval.ox.ac.uk/wp-content/uploads/2022/09/image-5.png", "http://medieval.seh.ox.ac.uk/wp-content/uploads/2022/09/image-4.png", "https://medieval.ox.ac.uk/wp-content/uploads/2022/09/image.png", "http://medieval.seh.ox.ac.uk/wp-content/uploads/2023/03/image-7-1024x692.png", "https://medieval.ox.ac.uk/wp-content/uploads/2022/09/matthew-paris-elephant.jpg", "https://medieval.ox.ac.uk/wp-content/uploads/2022/06/image-1.png", "http://medieval.seh.ox.ac.uk/wp-content/uploads/2023/08/OMS-logo.jpg" ]	[]	[]	[ "" ]	null	[ "Luisa Ostacchini", "Eugenia Vorobeva", "Henrike Lähnemann", "Carolin Gluchowski" ]	null		en	https://medieval.ox.ac.u…-round-32x32.png		null	St John’s Film Club presents two new short films on Love, Hope, Death and Eternity. The first of these, Complete Surrender (dir. Louise Nelstrop) will be of particular interest to Medievalists. When: Wednesday 26th October, 5pm-6.30pm Where: St John’s College, the Mark Bedingham Room (located in St John’s Library) Both films have won numerous awards in recent film festivals and are not currently on general release. There will be an opportunity to discuss the films with the directors after the screening. Film Synopsis Complete Surrender 2020 (29 mins), directed by Louise Nelstrop (UK) and Pol Herrmann (Belgium), is a short documentary that explores what love is through the eyes of five celebrated Belgian artists and three religious sisters as they engage with the erotic mysticism of the female medieval mystics Hadewijch and Marguerite Porete. Official Trailer: https://bit.ly/3ywk4Bm Facebook: https://bit.ly/3epZYSk Bizzarro e Fantastico 2020 (26 mins), directed Kris Krainock (USA), by is a dark comedy that explores the meaning of life and morality. A Roman everyman discovered a violently ill intruder on his sofa after returning from the market, who he must to health. He discovers his mysterious guest has otherworldly intentions — a reminder that life is for the living. Official Trailer: https://imdb.to/3Mrs1gB Facebook: https://bit.ly/3Crmylx Review: https://filmthreat.com/reviews/bizzarro-e-fantastico/ About the Directors Louise Nelstrop is a member of the Department of Theology and a non-stipendiary lecturer in theology at John’s College, where she teaches papers on Mysticism, Medieval Religions and Jesus through the Centuries. This is her first short film made in collaboration with Belgian filmmakers, including cinematographer Pol Herrmann, who co-directed and shot the film. Kris Krainock is an American filmmaker and playwright, who began his professional career with the publication of poetry and short stories in local and national literary journals. Krainock’s major upcoming projects include the feature motion picture ‘Madame X,’ where he’s been able to collaborate with legends in the field such as Stanley Kubrick’s director of photography Douglas Milsome and Stanley’s widow, the artist Christiane Kubrick. Krainock is also developing the television series ‘The Idiot’ and the darkly comedic web series ‘It’s All Downhill From Here.'” (https://www.kriskrainock.com/) The screening is open to anyone interested. Please email Louise Nelstrop if you have any questions: louise.nelstrop@theology.ox.ac.uk Update: Registration for the Memorial Event is now open! Please register by 23 April 2023. What: Literary, religious and manuscript cultures of the German-speaking lands: a symposium in memory of Nigel F. Palmer (1946-2022) When: 19/20 May 2023 Where: Oxford, Bodleian Library, Taylor Institution Library, St Edmund Hall To celebrate the life and scholarship of Nigel F. Palmer, Professor of German Medieval Literary and Linguistic Studies at the University of Oxford, we invite expressions of interest from those who wish to honour his memory with an academic contribution to speak at a symposium in Oxford that is to take place 19-20 May 2023. Presentations of twenty minutes’ length are sought. They should speak to an aspect of the wide spectrum of Nigel’s intellectual interests, which ranged extensively within the broad scope of the literary and religious history of the German- and Dutch-speaking lands, treating Latin alongside the vernaculars, the early printed book alongside the manuscript, and the court and the city alongside the monastery and the convent. His primary intellectual contributions were methodological rather than theoretical, and he brought together a study of the book as a material object with the philological and linguistic discipline of the Germanophone academic tradition. The first session planned for the afternoon of Friday 19 May will take place consequently in the Weston Library, and will consider the manuscript cultures of the German-speaking lands; presentations may take a workshop format, and may – though need not – focus upon one or more manuscripts in the Bodleian collections. The second and third sessions will take place on Saturday 20 May in the Taylorian Library, and will consider the religious and literary history of the German-speaking lands in relation to the questions, issues and working methods central to Nigel’s published scholarship. We would request expressions of interest, of not more than one full page, to be received by 11 November 2022, to be sent to Stephen Mossman. We ask in advance for the understanding of all who submit that we anticipate receiving many more expressions of interest than we can accommodate within the schedule. A reception will be held at St Edmund Hall on the Saturday afternoon, to which all are cordially invited and welcome, followed by a dinner in College. Those planning to attend are advised to reserve accommodation in good time, e.g. via universityrooms. We hope to secure funding to support early career researchers in attending the symposium, but anticipate that participants will need to cover their travel and accommodation expenses. Details of the symposium and registration will be available through the Faculty of Medieval and Modern Languages web-site in early 2023. For the organising committee: Racha Kirakosian, Henrike Lähnemann, Stephen Mossman, Almut Suerbaum Image: Nigel F. Palmer studying the facsimile of the Osterspiel von Muri on the gallery of the Taylor Institution Library. Photograph by Henrike Lähnemann When: 3-6 April 2023 Where: Multiple Locations in Oxford, including the Bodleian Library, the Ashmolean and the archive of Balliol College What: In recent years, various terms and concepts have emerged to analyse the phenomena of use and re-use of medieval objects. This workshop will work towards a common terminological and methodological framework, starting with two key approaches: recycling and reframing. An interdisciplinary group of scholars will offer insights into their own research and their respective academic fields in a series of seminars and visits to collections based in Oxford. Programme: Monday, 3 April 17.00-18.45 Opening Keynote Lecture, Weston Library Lecture Theatre 17.00-18.45: Lisa Fagin Davis (Boston, USA): Framing Fragments Tuesday, 4 April 9.00-10.30 & 11.00-12.30 Weston Library Sessions 14.00-17.00 Paper Panel Session, St Cross Church, Balliol College Archives 14.00-14.30: Catherine Casson (Mancester, UK): Pioneers of Sustainability: Repair, Reuse and Recycling in the Middle Ages and its Relevance for Today 14.30-15.00: Reinhold Reith/Georg Stöger (Salzburg, AT): Materials, Things and Actors in Pre-Industrial Reuse and Recycling 15.00-15.30: David Rundle (Kent, UK): Why would they do that? Binders Choices in Reusing Manuscript and Print ‘Waste’ 16.00-16.30: Orietta Da Rold (Cambridge, UK): Paper Reborn: Collecting and Repurposing Practices by Antiquaries in Late 17th- and 18th-Century England 16.30-17.00: Anna Reynolds (Steffield, UK): The Material and Imaginative Lives of Waste Paper and Waste Parchment in Early Modern England Wednesday, 5 April 9.00-10.30 & 11.00-12.30 Ashmolean Museum Session with Dr Jim Harris (Teaching Curator at the Ashmolean Museum) 14.00 – 17.00 Paper Panels, Lecture Room 23, Balliol College Main Site 14.00-14.30: Malena Ratzke (Jena, DE): Reframing the Lives of Christ and Mary in Codices of the Speculum humanea salvationis 15.00-15.30: Magdalena Butz (Munich, DE): Reframing “Beichtformulare”: From Paraliturgical Contexts to Middle High German Poetry 16.00-16.30: Stefanie Seeberg: Reuse and Reframing of Textiles in the Middle Ages 16.30-17.00: Juliette Calvarin (Berlin, DE): Looking for Amices: Reused or purpose-made Embroideries of the Holy Face Thursday, 6 April 9.30-11.00 Paper Panel Session, St Cross Church, Balliol College Archives 9.30-10.00: Alison Ray (Oxford, UK): Veneration and Preservation: the Role of Christ Church Priory Library in the Cult of St Thomas Becket 10.00-10.30: Henry Ravenhall (Cambridge, UK): Studying Cultures of Touch and Use in the Illuminated Manuscripts of the Medieval French Biography of Julius Caesar (Faits des Romains) 10.30-11.00: Katarzyna Kapitan (Oxford, UK): Priceless or Valueless: Fragments in the Arnamagnæan Collection 11.30-13.00 Roundtable Discussion 14.00-15.45 Closing Keynote, Weston Library Theatre 14.00-15.45 Feature it, or hide it? (Kate Rudy, St Andrews, UK) Keynote Lectures: We are delighted to have Lisa Fagin Davis and Kate Rudy as keynote speakers for our workshop. Both keynote lectures are free, but registration is required. For futher information, please click on the names of the respective keynote speakers. Convenors: JProf. Dr Julia. von Ditfurth (Faculty of Art History, University of Freiburg); Dr Hannah Ryley (Balliol College, University of Oxford); Carolin Gluchowski, M.A. (New College, University of Oxford) in collaboration with the Ashmolean Museum Oxford, the Bodleian Libraries Oxford, and Balliol College Library. This event this generously supported by the Oxford Berlin Research Partnership, New College, Balliol College, the Centre for the Study of the Book, the Ashmolean Museum, and the Bodleian Library. We are delighted to collaborate with Henrike Lähnemann, Alexandra Franklin, Andrew Dunning, and Jim Harris. Image: Bodleian Library MS. Lat. liturg. f. 4, 9r: The prayerbooks of the Cistercian convent of Medingen are an outstanding example for the reworking of manuscripts in the course of late-medieval church reforms. OMS is one of the largest forums in the world for interdisciplinary research on the Middle Ages, bringing together over 200 academics and a large body of graduate students. If you would like to be involved behind the scenes, we have three exciting (paid) opportunities to get involved! Though these are advertised as three separate posts, we welcome applications from students who would like to combine two or even all three posts: 1) OMS Social Media Officer: The Social Media Officer is in charge of connecting all of Oxford’s medievalists via the OMS Facebook, Twitter, and Instagram accounts and also occasionally posting on here, the OMS blog. You will be responsible for posting across these platforms to advertise OMS events, opportunities and news. You will work closely with the OMS directors (Profs Henrike Lähnemann and Lesley Smith), the Communications Officer (Dr Luisa Ostacchini) and the Events Coordinator. Familiarity with social media advertising is beneficial but not essential: this is an ideal way to gain technical know-how about social media, advertising and marketing that can be used in your academic career and beyond. The post usually comprises an hour or two a week. To read more about the post from the out-going postholder, Llewelyn Hopwood, including tips and tricks for social media success, see his blog post here. 2) OMS Events Coordinator: The Events Coordinator ensures that all of our in-person and online OMS events run smoothly. You will organise the google calendar, oversee the OMS Teams and YouTube Channels, respond to email queries about events, set up Zoom streaming events, assist in the real-time running of events (mostly hybrid and online, but also in-person), and serve as a point of liaison point between events organisers and the rest of the OMS Team. You will work closely with the OMS directors (Profs Henrike Lähnemann and Lesley Smith), the Communications Officer (Dr Luisa Ostacchini) and the Social Media Officer. Some familiarity with Teams and Zoom is necessary, but you by no means need to be an expert in these software packages as you can learn on the job. The post usually comprises an hour or two a week. To read more about the post from the out-going postholder, Tom Revell, including insight into the exciting range of events he helped to facilitate, see his blog post here. 3) Graduate Convenor for the Medieval Mystery Cycle 2023: the graduate convenor will take the mantle of the operation from Dr Eleanor Baker by organising the Medieval Mystery Cycle, which takes place on 22 April 2023. You will liase with the various Mystery Players and directors, help to coordinate workshops, and ensure that the plays run smoothly on the day. Experience in events organisation and a love of theatre are beneficial, but not essential. You will work closely with the OMS directors (Profs Henrike Lähnemann and Lesley Smith), the Communications team, and Mystery Players from across the university and beyond. To get a sense for the scope of the project, and to see the plays performed in previous years, see seh.ox.ac.uk/mystery-cycle. Payment for all of these roles is at the standard rate for graduate students, and is billed by timesheet — up to a maximum of six hours per week per role, although actual hours will usually comprise one or two hours per week per role. Please send expressions of interest to Co-Directors Henrike Lähnemann and Lesley Smith by 30 September 2022, 12noon, at medieval@torch.ox.ac.uk, including a one-page CV and a cover email explaining why you are interested in the job(s) and what experience you bring to it. Header image: Matthew Paris Elephant from Parker MS 016II fol 152v (See the manuscript online via Parker Library on the Web) The Art of Illumination: makers and users of medieval manuscripts Prof Michelle Brown, Patricia Lovett MBE, Dr Andrew Dunning June 25, Lecture Theatre, Weston Library, 2pm – 4.30pm “It is the brilliance of yellow gold set off by jewel colours that makes so many mediaeval manuscripts so eye-catching.” Join us for fascinating insight with our festival triumvirate of experts on illuminated manuscripts. Fresh from her involvement in the British Library’s journey from East to West through the dazzling beauty of fifty spectacular manuscripts across cultures for their exhibition ‘Gold’, world-renowned scribe and illuminator, Patricia Lovett MBE will talk about the origin and use of pigments and the mediaeval craft processes that enabled these luminous manuscripts to ‘catch the light’. Professor Emerita of Medieval MS Studies (SAS, University of London) and former Curator of Illuminated Manuscripts at the British Library, Michelle Brown will discuss these wonders from an historical perspective, using the manuscripts as windows into the lives of those who made and used them, and into the age in which they were made. This evening of medieval wonder is made whole by the display on manuscripts curated by Dr Andrew Dunning, R.W. Hunt Curator of Medieval Manuscripts; Supernumerary Fellow in Book History (Jesus College), who will speak to the manuscripts. This event was curated to coincide with Sensational Books – a Bodleian Libraries exhibition at ST Lee Gallery, Weston Library. Details & Booking for THE ART OF ILLUMINATION. Illuminated Manuscript Workshop with Patricia Lovett MBE June 26, Magdalen College School Studio, 10am – 5pm Patricia Lovett MBE is a world-renowned scribe and illuminator who has taught and lectured at many prestigious institutions in the UK and abroad. This is your chance to join the Festival Glitterati! Spend a day illuminating with real gold leaf and painting an animal from a medieval bestiary (book of beasts). You will be able to choose your own animal to copy from a small selection and be shown how to prepare calfskin vellum for painting, how to apply gold leaf and the sequence of medieval painting for miniatures using a fine Kolinsky sable brush. You will go home with your illumination on vellum ready to frame. Since this workshop is one which will have a focus on one-to-one instruction, it is restricted to 16 people. We suggest early booking. Anyone taking part in this workshop will need to be contacted by Patricia in advance of the session, so please be aware that email and/or other contact will be required. Details & Booking for ILLUMINATED MANUSCRIPT WORKSHOP. Professor Robert Bartlett: The Middle Ages and the Movies June 27, Festival Marquee, 8pm ‘This book will entertain and intrigue historians and film buffs alike. In a wide-ranging critical study of the creative process that tackles head-on the exchange between historical fact and artistic licence, Robert Bartlett shows how twentieth-century cinema’s variously imagined Middle Ages speak as much to modern sensibilities as to any reconstructed past.’ – Professor Christopher Tyerman How was Umberto Eco’s Name of the Rose translated from page to screen? Why is Monty Python and the Holy Grail funny? And how was Eisenstein’s Alexander Nevsky shaped by the Stalinist tyranny under which it was filmed? These, and many more questions will be answered tonight by eminent historian Robert Bartlett, who takes a fresh, cogent look at how our view of medieval history has been shaped by eight significant films of the twentieth century: from the concoction of sex and nationalism in Mel Gibson’s Braveheart, to Fritz Lang’s silent masterpiece Siegfried; the art-house classic The Seventh Seal to Tarkovsky’s Andrei Rublev and the epic historical drama El Cid. Robert Bartlett is Bishop Wardlaw Professor of Mediaeval History Emeritus at the University of St Andrews, Scotland. His many books include the Wolfson Prize-winning The Making of Europe: Conquest, Colonization and Cultural Change, 950–1350 (1994), and he has written and presented three television series for the BBC, Inside the Medieval Mind, The Normans and The Plantagenets. Details & Booking for ROBERT BARTLETT. Treasures from Around the World at New College Library July 2, 11am-4pm, Lecture Room 4, New College More manuscripts survive from the medieval library of New College than from that of any other Oxford or Cambridge college. Today, New College Library holds what is probably the finest collection of medieval manuscripts of any of the Oxford colleges, also holding more incunabula (15th-century European imprints) than any other undergraduate college at Oxford. The Library’s collections of rare and early printed books are likewise spectacular. View some of the Library’s fabulous manuscript and rare book treasures from around the world. Our world tour starts from 13th-century Catte Street, Oxford with one of the world’s great illuminated manuscripts (now housed just a few hundred metres away from where it was first created), and it takes in gorgeous and resplendent manuscripts and printed books from China to Constantinople, by means of Arabic, Armenian, Belgian, Dutch, English, French, German, Greek, and Syrian treasures, which date from the 11th century onwards. Details & Booking for TREASURES FROM NEW COLLEGE. Entrance is free British Society of Master Glass Painters Centenary Touring Exhibition The Chapter House, Christ Church Cathedral (throughout the festival) Coming to Oxford from the cathedrals of Ely, Winchester, Wells and Worcester, this touring exhibition of stained glass panels celebrates the centenary of the British Society of Master Glass Painters. Over 90 artists from across the UK and overseas contributed to the exhibition. The tour highlights 60 of these panels that celebrate the unique art of glass. The works have been created using both traditional and modern glass techniques, demonstrating the extraordinary range of stained glass currently practiced. The artists explore a variety of subjects such as the environment and the beauty of nature. The exhibition portrays an understanding of the concerns of glass artists a hundred years after the society was established to help stained glass remain relevant today. Displayed in the Chapter House of Christ Church Cathedral, this exhibition will also give the visitor the chance to explore the Romanesque doorway and interior. Founded in 1921, the British Society of Master Glass Painters is the UK’s leading organisation devoted exclusively to the art and craft of stained glass. In collaboration with Christ Church Cathedral, Oxford. Dr Janina Ramirez in discussion with Peter Frankopan July 5, 7.30pm, Festival Marquee, Magdalen College School, Oxford We look forward to a stimulating and lively conversation between two brilliant Oxford historians; Dr Janina Ramirez, cultural historian, broadcaster and author, whose passion for communicating ideas about the past is always conveyed with an infectious enthusiasm, as exemplified in her brand new book FEMINA: A New History of the Middle Ages Through the Women Written Out of It; and the acclaimed historian Peter Frankopan, Professor of Global History and Director of the Centre for Byzantine Research at Oxford University, who is particularly interested in ‘exchanges and connections between regions and peoples’. Peter’s seminal book The Silk Roads: A New History of the World, (Dazzling – The Guardian; Phenomenal – Die Welt) was an international bestseller, topping the non-fiction charts all around the world, followed by The New Silk Roads: The Present and Future of the World, a ‘masterly mapping out of a new world order’ (Evening Standard). Join us tonight to see the medieval world with fresh eyes and discover why the remarkable women ‘rediscovered’ in Janina’s Femina were removed from our collective memories. This book is a ground-breaking reappraisal of medieval history revealing why women were struck from our historical narrative, and restoring them to their rightful positions as the power-players who shaped the world we live in today. Details & Booking for DR JANINA RAMIREZ IN DISCUSSION WITH PETER FRANCOPAN. John Leighfield: Atlases and Maps July 6, 5pm-7pm, Magdalen College School Studio Join John Leighfield CBE, for his highly illustrated talk about how the maps of Oxford have developed from the 16th century until the present. Highly respected for his knowledge of the maps of the county and city of Oxford, John has had a passion for maps since his schooldays and has built a marvellous collection, some of which will be on display after the talk. Details & Booking for ATLASES AND MAPS.
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"https://www.youtube.com/embed/LMTVVplDEno?feature=oembed", "https://www.youtube.com/embed/WOLZMr52Wcc?feature=oembed", "https://www.youtube.com/embed/fb7Meqaz7Aw?feature=oembed", "https://www.youtube.com/embed/kfNB4YepvTA?feature=oembed", "https://www.youtube.com/embed/a_MNryycOF4?feature=oembed", "https://www.youtube.com/embed/_E8C-3MU00g?feature=oembed", "https://www.youtube.com/embed/h4qdVX9YeTs?feature=oembed", "https://cinephiliabeyond.org/donation.html" ]	[]	[ "" ]	null	[ "cinephiliabeyond" ]	2020-03-02T11:17:46+01:00	By Tim Pelan I have had a complete set of Thackeray sitting on my bookshelf at home for years, and I had to read several of his novels before reading 'Barry Lyndon.' At one time, 'Vanity Fair' interested me as a possible film but, in the end, I decided the story could not	en	https://cinephiliabeyond.org/wp-content/uploads/2014/12/favicon.ico?x97248	Cinephilia & Beyond	https://cinephiliabeyond.org/barry-lyndon/	By Tim Pelan I have had a complete set of Thackeray sitting on my bookshelf at home for years, and I had to read several of his novels before reading ‘Barry Lyndon.’ At one time, ‘Vanity Fair’ interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film. This problem of length, by the way, is now wonderfully accommodated for by the television miniseries which, with its ten- to twelve-hour length, pressed on consecutive nights, has created a completely different dramatic form. Anyway, as soon as I read ‘Barry Lyndon’ I became very excited about it. I loved the story and the characters, and it seemed possible to make the transition from novel to film without destroying it in the process. It also offered the opportunity to do one of the things that movies can do better than any other art form, and that is to present historical subject matter. Description is not one of the things that novels do best but it is something that movies do effortlessly, at least with respect to the effort required of the audience. This is equally true for science-fiction and fantasy, which offer visual challenges and possibilities you don’t find in contemporary stories. —Stanley Kubrick Barry Lyndon is, like the Hogarth paintings its setting emulates, a Rake’s Progress of a kind, yet progress, our hero does not. It is the tale of a naïf: vain, selfish, constantly arriving, on the cusp of obtaining what he believes he holds most dear in the world: status. Barry subsumes his somewhat transparent persona to fit what he imagines are the societal norms he finds himself elevated to. He is the Zelig of the Age of Enlightenment, a state that passes our “shop dummy” hero (as Ryan O’Neill was unfairly criticized) by. Adapted by Stanley Kubrick from William Makepeace Thackeray’s novel, the story is split into two parts; how Irish rogue Redmond Barry achieves title and trappings of wealth as Barry Lyndon; and how misfortune dogs him from then on and leads to his downfall. The film replaces the novel’s unreliable first-person narrative in favor of a dryly ironic third-person one from Michael Hordern. After taking part in a duel for the affections of his cousin Nora with British officer Captain Quinn (Leonard Rossiter), Barry flees Ireland, mistakenly believing he has killed him. His family have in fact tampered with the shot, reluctant to lose the valuable stipend Quinn has promised in exchange for Nora’s hand. Barry enlists in the British army after being robbed at the outset of his odyssey. Deserting, he becomes press-ganged into the Prussian army, then becomes the protégé of gambler and spy Chevalier de Balibari (Patrick Magee), before eventually meeting Lady Lyndon (Marisa Berenson) at a game of cards. He marries her, achieving wealth and some social standing, before ultimately undoing all he achieved through financial profligacy and vanity, ensuring the venomous enmity of his stepson, Lord Bullingdon (Leon Vitali). Martin Scorsese said of the film, “I’m not sure if I can say that I have a favorite Kubrick picture, but somehow I keep coming back to Barry Lyndon. I think that’s because it’s such a profoundly emotional experience. The emotion is conveyed through the movement of the camera, the slowness of the pace, the way the characters move in relation to their surroundings. People didn’t get it when it came out. Many still don’t. Basically, in one exquisitely beautiful image after another, you’re watching the progress of a man as he moves from the purest innocence to the coldest sophistication, ending in absolute bitterness—and it’s all a matter of simple, elemental survival. It’s a terrifying film because all the candlelit beauty is nothing but a veil over the worst cruelty. But it’s real cruelty, the kind you see every day in polite society. His audacity is to insist on slowness in order to recreate the pace of life, and to ritualise behaviour of the time. A great example is the seduction scene, which he stretches until it settles into a sort of trance, what always struck me is the ballet of emotions of the film, watch the tension between the camera’s movements and the characters body language orchestrated by the music in this scene.” Leonard Rosenman’s incredibly powerful orchestration of Handel’s Sarabande drives home the inevitable, tragicomic downfall of our foolish hero. When first heard, it embellishes the pomp both of Barry’s ambitions and the old order; but as it recurs during Barry’s troubles the different orchestration suggests a funereal undertow. In his book, Screen, Culture, Psyche: A Post Jungian Approach to Working with the Audience, author John Izod states that Michel Sineux believes that with Barry Lyndon, as well as 2001: A Space Odyssey, and A Clockwork Orange, “music dominates, with the consequence that each film is rooted in the emotional and the sensorial. It addresses the intellect via feeling, and reaches the conscious mind only after having energized the unconscious.” In April 2017, the 50-piece Wordless Music Orchestra performed the score to a screening of the film in Kings Theatre on Flatbush Avenue, Brooklyn, New York. “Barry Lyndon lies at the exact corner of total freedom and total fidelity when it comes to music,” conductor Ryan McAdams told Bilge Ebiri for The Village Voice. “So many film scores today are pitched sound effects. It’s often a drone, or a hum, meant to heighten or deepen an emotional place; you’re not even supposed to be conscious of it. But with Kubrick, when music is played, it often dominates the film as much as any particular visual does. He traps you in that world, sometimes when the movie itself is not moving at a breakneck pace.” “If you listen to the music,” McAdams continues, “you realize that this film is not an attempt to re-create life in the eighteenth century, but an attempt to bring to life how these people wanted to have been seen.” Ebiri considers that, with the actors often in carefully framed repose, “the preponderance of zooms instead of tracking shots in the film may also have been a logistical choice: the production often shot in well-preserved historical homes and castles, and may have wanted to avoid damaging the delicate floors with heavy dolly tracks.” The one possible true note of passion, of the masks slipping, between Barry and Lady Lyndon occurs when they first meet across the card table. They are illuminated only by candles and captured by cinematographer John Alcott with those incredible space-age Zeiss lenses developed by NASA that Kubrick specifically sought out to capture the authentic, immersive reality of the period (not a single studio set was used—Kubrick had considered this lighting method as far back as production on 2001: A Space Odyssey, when he was planning his ultimately unmade epic on Napoleon). Scored by Leonard Rosenman to Franz Schubert’s Piano Trio in E-Flat, Op. 100, they exchange lingering looks. She excuses herself and goes outside to the terrace for some air. Barry follows. They gaze again into each other’s eyes and kiss gently. Not a single word is spoken. Kubrick stated, “It suggests the empty attraction they have for each other that is to disappear as quickly as it arose. It sets the stage for everything that is to follow in their relationship.” Mark Crispin Miller notes that Rosenman’s adaptation does not progress into Schubert’s passionate middle section but repeats the major theme. As Kubrick notes, this underscores both Lady Lyndon’s frustration and Barry’s failure to develop by committing to an enduring relationship. Kubrick settled on the choice of music during the editing of this scene. “I think I must have listened to every LP you can buy of eighteenth-century music. One of the problems which soon became apparent is that there are no tragic love-themes in eighteenth-century music. So eventually I decided to use Schubert’s Trio in E Flat, Opus 100, written in 1828. It’s a magnificent piece of music and it has just the right restrained balance between the tragic and the romantic without getting into the headier stuff of later Romanticism.” Kubrick supposedly shot 100 takes of this meeting. “He was incredibly careful, he shot for a long time and shot an enormous amount of footage. But you know, so what! He wanted to get it right,” Jan Harlan told Paul Whitington. Those Zeiss lenses required very exacting camera movement and placement of actors, as they greatly reduced depth of field, requiring other workarounds. Harlan elaborated: “You couldn’t move around, you could barely stand up, you know. It all had to be carefully rehearsed. If you moved your head forward five inches you’re totally out of focus. That’s why they sometimes look a little bit stiff! The background almost didn’t matter, it just had to have good colors, but we knew it was all totally out of focus. It didn’t matter, because the paintings of the time were also a little bit not sharp. But you had to get the lips and the eyes sharp, because that’s where people look. And that sometimes left you with a depth of field of only two to three inches. The candlelight photography was a real pain, but on the other hand it looked gorgeous. It would be a walk in the park today with all the new technology, but it wouldn’t look the same.” Throughout, Kubrick exposes the frailties, foolishness and frivolities of characters through slow reverse zoom outs from medium close-ups, to revealing tableaux through which they parade, as if paintings by Gainsborough and Hogarth, come to life. He reveals a beautiful, indifferent world that will endure beyond our short time. Kubrick spent almost a year touring the great houses of southeastern Ireland for locations; the actual shoot lasted around 300 days, the director tripling his budget. He was as meticulous with research on costumes and production design. “On Barry Lyndon, I accumulated a very large picture file of drawings and paintings taken from art books. These pictures served as the reference for everything we needed to make—clothes, furniture, hand props, architecture, vehicles, etc. Unfortunately, the pictures would have been too awkward to use while they were still in the books, and I’m afraid we finally had very guiltily to tear up a lot of beautiful art books. They were all, fortunately, still in print which made it seem a little less sinful. Good research is an absolute necessity and I enjoy doing it. You have an important reason to study a subject in much greater depth than you would ever have done otherwise, and then you have the satisfaction of putting the knowledge to immediate good use. The designs for the clothes were all copied from drawings and paintings of the period. None of them were designed in the normal sense. This is the best way, in my opinion, to make historical costumes. It doesn’t seem sensible to have a designer interpret— say—the eighteenth century, using the same picture sources from which you could faithfully copy the clothes. Neither is there much point sketching the costumes again when they are already beautifully represented in the paintings and drawings of the period. What is very important is to get some actual clothes of the period to learn how they were originally made.” Kubrick had also spent a year in pre-production on his “epic poem of action” Napoleon, visiting Elba, Waterloo and Austerlitz, and was disappointed that he could not ultimately get it made. “The two films would have had little in common, if Napoleon had gotten made,” Jan Harlan recalled. “But with Napoleon, he did want to find a new way of photographing the look of the time, and he did plan to use a very fast lens in order to achieve that painterly look on the screen.” The Kubrick Lyndon circus arrived in Dublin in May 1973, shooting one scene in Bray’s Ardmore Studios, before heading out on location. “Our base was Waterford, and then we went to Thomastown, Carrick-on-Suir, Ballynatray, that whole area, they were beautiful locations and landscapes. We had a wonderful time in Ireland. Hard work, though!” Kubrick fled Ireland when he received a death threat purporting to come from the IRA, supposedly for making a film with British soldiers on Irish soil. “Whether the threat was a hoax or it was real, almost doesn’t matter,” Jan Harlan said. “Stanley was not willing to take the risk. He was threatened, and he packed his bag and went home. And the whole crew went with him. Within 48 hours, we were all back in the southwest of England. Luckily we had really what we needed: one or two shots we would have done in Dublin Castle, we then transferred to a stately home in England. But the bulk of the film was made in Ireland.” An unusual “supercut” video is The Hats of Barry Lyndon, which illustrates Barry’s odyssey via costume. Its commissioner, Robert Everett-Green, said in WornJournal (the site is now no more): “Barry Lyndon spends the entire film trying to push his way up through a society in which clothes transmitted everyone’s status at a glance. His story is that of a man struggling to assemble and maintain the right appearances. The aristocratic widow he manages to marry is so perfectly projected by her clothing that she hardly needs to do or say anything. What Lyndon doesn’t realize is that her inertia is proof she belongs, while his pushing creates an appearance that dooms all his efforts.” Indeed, there is very little introspection and true communication in the stifling society presented. Kubrick reflected to Michel Ciment that, “At the beginning of the story, Barry has more people around him to whom he can express his feelings. As the story progresses, and particularly after his marriage, he becomes more and more isolated. There is finally no one who loves him, or with whom he can talk freely, with the possible exception of his young son, who is too young to be of much help. At the same time I don’t think that the lack of introspective dialogue scenes are any loss to the story. Barry’s feelings are there to be seen as he reacts to the increasingly difficult circumstances of his life. I think this is equally true for the other characters in the story. In any event, scenes of people talking about themselves are often very dull.” Each failing monetary transaction of Barry’s in an attempt to ingratiate himself into the society within which he has married drives a wider wedge between him and his wife, and ensuring the enmity of her lickspittle servant Rev. Runt (Murray Melvin) and Lord Bullingdon, finally resulting in the young man challenging him querulously but determinedly to a duel. The script for this scene simply reads, Barry duels with Lord Bullingdon. Yet this is one of the most powerful, tense and engaging sequences in the entire film, from the setting, the dread-inducing reprise of Handel’s Sarabande, and Barry’s naivety. Composer Frank Cogliano, who transcribed the score for the aforementioned Wordless Orchestra screening, noted that, “For the big duel scene at the end, you have this timpani part that’s playing these sixteen measures of Handel. It’s so little material, but it’s played in this way that goes on—I think one of the cues is eleven minutes. It’s always underlying, it’s always there. If you were to detach it from the movie, it would be monotonous.” Instead, it has the grim inevitability of death’s march—this film’s equivalent of the shark approach in John Williams’ Jaws score. Barry deliberately miss-aims, and leaves himself open to being shot in the leg by his quailing opponent. Paid off by Bullingdon and the smirkingly triumphant Rev Runt, Barry ends up abed in a Coach House, dismembered, attended by his mother. The final shot of Barry is a freeze-frame of his back as he awkwardly enters a carriage to return to Ireland, one leg amputated below the knee, face obscured, stripped of the social masks he displayed previously that hid whatever inner life he had. The film’s reverse zooms and this “turning away” of Barry at his end serve to remind us that, however much we seek to understand these characters, they are ultimately unknowable to our modern mores. The past, as L.P. Hartley’s The Go-Between opens, is a foreign country: they do things differently there. Kubrick’s painterly eye invites us to be all-seeing, but ultimately, unknowing. Tim Pelan was born in 1968, the year of ‘2001: A Space Odyssey’ (possibly his favorite film), ‘Planet of the Apes,’ ‘The Night of the Living Dead’ and ‘Barbarella.’ That also made him the perfect age for when ‘Star Wars’ came out. Some would say this explains a lot. Read more » “I wrote the screenplay for Barry Lyndon alone. The first draft took three or four months but, as with all my films, the subsequent writing process never really stopped. What you have written and is yet unfilmed is inevitably affected by what has been filmed. New problems of content or dramatic weight reveal themselves. Rehearsing a scene can also cause script changes. However carefully you think about a scene, and however clearly you believe you have visualized it, it’s never the same when you finally see it played. Sometimes a totally new idea comes up out of the blue, during a rehearsal, or even during actual shooting, which is simply too good to ignore. This can necessitate the new scene being worked out with the actors right then and there. As long as the actors know the objectives of the scene, and understand their characters, this is less difficult and much quicker to do than you might imagine.” —Stanley Kubrick A monumentally important screenplay. Screenwriter must-read: Stanley Kubrick’s screenplay for Barry Lyndon [PDF]. (NOTE: For educational and research purposes only). The DVD/Blu-ray of the film is available from the Criterion Collection and other online retailers. Absolutely our highest recommendation. STANLEY KUBRICK ON ‘BARRY LYNDON’ The following interview with Stanley Kubrick is excerpted from the book Kubrick by Michel Ciment. It was conducted upon the release of Barry Lyndon in 1975 and published in a partial form at the time. In 1981 Stanley Kubrick revised and approved the complete text of the interview for the English edition of Ciment’s book on his films. You have given almost no interviews on Barry Lyndon. Does this decision relate to this film particularly, or is it because you are reluctant to speak about your work? I suppose my excuse is that the picture was ready only a few weeks before it opened and I really had no time to do any interviews. But if I’m to be completely honest, it’s probably due more to the fact that I don’t like doing interviews. There is always the problem of being misquoted or, what’s even worse, of being quoted exactly, and having to see what you’ve said in print. Then there are the mandatory—“How did you get along with actor X, Y or Z?”—“Who really thought of good idea A, B or C?” I think Nabokov may have had the right approach to interviews. He would only agree to write down the answers and then send them on to the interviewer who would then write the questions. Do you feel that Barry Lyndon is a more secret film, more difficult to talk about? Not really. I’ve always found it difficult to talk about any of my films. What I generally manage to do is to discuss the background information connected with the story, or perhaps some of the interesting facts which might be associated with it. This approach often allows me to avoid the “What does it mean? Why did you do it?” questions. For example, with Dr. Strangelove I could talk about the spectrum of bizarre ideas connected with the possibilities of accidental or unintentional warfare. 2001: A Space Odyssey allowed speculation about ultra-intelligent computers, life in the universe, and a whole range of science-fiction ideas. A Clockwork Orange involved law and order, criminal violence, authority versus freedom, etc. With Barry Lyndon you haven’t got these topical issues to talk around, so I suppose that does make it a bit more difficult. Your last three films were set in the future. What led you to make an historical film? I can’t honestly say what led me to make any of my films. The best I can do is to say I just fell in love with the stories. Going beyond that is a bit like trying to explain why you fell in love with your wife: she’s intelligent, has brown eyes, a good figure. Have you really said anything? Since I am currently going through the process of trying to decide what film to make next, I realize just how uncontrollable is the business of finding a story, and how much it depends on chance and spontaneous reaction. You can say a lot of “architectural” things about what a film story should have: a strong plot, interesting characters, possibilities for cinematic development, good opportunities for the actors to display emotion, and the presentation of its thematic ideas truthfully and intelligently. But, of course, that still doesn’t really explain why you finally chose something, nor does it lead you to a story. You can only say that you probably wouldn’t choose a story that doesn’t have most of those qualities. Since you are completely free in your choice of story material, how did you come to pick up a book by Thackeray, almost forgotten and hardly republished since the nineteenth century? I have had a complete set of Thackeray sitting on my bookshelf at home for years, and I had to read several of his novels before reading Barry Lyndon. At one time, Vanity Fair interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film. This problem of length, by the way, is now wonderfully accommodated for by the television miniseries which, with its ten-to twelve-hour length, pressed on consecutive nights, has created a completely different dramatic form. Anyway, as soon as I read Barry Lyndon I became very excited about it. I loved the story and the characters, and it seemed possible to make the transition from novel to film without destroying it in the process. It also offered the opportunity to do one of the things that movies can do better than any other art form, and that is to present historical subject matter. Description is not one of the things that novels do best but it is something that movies do effortlessly, at least with respect to the effort required of the audience. This is equally true for science-fiction and fantasy, which offer visual challenges and possibilities you don’t find in contemporary stories. How did you come to adopt a third-person commentary instead of the first-person narrative which is found in the book? I believe Thackeray used Redmond Barry to tell his own story in a deliberately distorted way because it made it more interesting. Instead of the omniscient author, Thackeray used the imperfect observer, or perhaps it would be more accurate to say the dishonest observer, thus allowing the reader to judge for himself, with little difficulty, the probable truth in Redmond Barry’s view of his life. This technique worked extremely well in the novel but, of course, in a film you have objective reality in front of you all of the time, so the effect of Thackeray’s first-person story-teller could not be repeated on the screen. It might have worked as comedy by the juxtaposition of Barry’s version of the truth with the reality on the screen, but I don’t think that Barry Lyndon should have been done as a comedy. You didn’t think of having no commentary? There is too much story to tell. A voice-over spares you the cumbersome business of telling the necessary facts of the story through expositional dialogue scenes which can become very tiresome and frequently unconvincing: “Curse the blasted storm that’s wrecked our blessed ship!” Voice-over, on the other hand, is a perfectly legitimate and economical way of conveying story information which does not need dramatic weight and which would otherwise be too bulky to dramatize. But you use it in other way—to cool down the emotion of a scene, and to anticipate the story. For instance, just after the meeting with the German peasant girl—a very moving scene—the voice-over compares her to a town having been often conquered by siege. In the scene that you’re referring to, the voice-over works as an ironic counterpoint to what you see portrayed by the actors on the screen. This is only a minor sequence in the story and has to be presented with economy. Barry is tender and romantic with the girl but all he really wants is to get her into bed. The girl is lonely and Barry is attractive and attentive. If you think about it, it isn’t likely that he is the only soldier she has brought home while her husband has been away to the wars. You could have had Barry give signals to the audience, through his performance, indicating that he is really insincere and opportunistic, but this would be unreal. When we try to deceive we are as convincing as we can be, aren’t we? The film’s commentary also serves another purpose, but this time in much the same manner it did in the novel. The story has many twists and turns, and Thackeray uses Barry to give you hints in advance of most of the important plot developments, thus lessening the risk of their seeming contrived. When he is going to meet the Chevalier Balibari, the commentary anticipates the emotions we are about to see, thus possibly lessening their effect. Barry Lyndon is a story which does not depend upon surprise. What is important is not what is going to happen, but how it will happen. I think Thackeray trades off the advantage of surprise to gain a greater sense of inevitability and a better integration of what might otherwise seem melodramatic or contrived. In the scene you refer to where Barry meets the Chevalier, the film’s voice-over establishes the necessary groundwork for the important new relationship which is rapidly to develop between the two men. By talking about Barry’s loneliness being so far from home, his sense of isolation as an exile, and his joy at meeting a fellow countryman in a foreign land, the commentary prepares the way for the scenes which are quickly to follow showing his close attachment to the Chevalier. Another place in the story where I think this technique works particularly well is where we are told that Barry’s young son, Bryan, is going to die at the same time we watch the two of them playing happily together. In this case, I think the commentary creates the same dramatic effect as, for example, the knowledge that the Titanic is doomed while you watch the carefree scenes of preparation and departure. These early scenes would be inexplicably dull if you didn’t know about the ship’s appointment with the iceberg. Being told in advance of the impending disaster gives away surprise but creates suspense. There is very little introspection in the film. Barry is open about his feelings at the beginning of the film, but then he becomes less so. At the beginning of the story, Barry has more people around him to whom he can express his feelings. As the story progresses, and particularly after his marriage, he becomes more and more isolated. There is finally no one who loves him, or with whom he can talk freely, with the possible exception of his young son, who is too uoung to be of much help. At the same time I don’t think that the lack of introspective dialogue scenes are any loss to the story. Barry’s feelings are there to be seen as he reacts to the increasingly difficult circumstances of his life. I think this is equally true for the other characters in the story. In any event, scenes of people talking about themselves are often very dull. In contrast to films which are preoccupied with analyzing the psychology of the characters, yours tend to maintain a mystery around them. Reverend Runt, for instance, is a very opaque person. You don’t know exactly what his motivations are. But you know a lot about Reverend Runt, certainly all that is necessary. He dislikes Barry. He is secretly in love with Lady Lyndon, in his own prim, repressed, little way. His little smile of triumph, in the scene in the coach, near the end of the film, tells you all you need to know regarding the way he feels about Barry’s misfortune, and the way things have worked out. You certainly don’t have the time in a film to develop the motivations of minor characters. Lady Lyndon is even more opaque. Thackeray doesn’t tell you a great deal about her in the novel. I found that very strange. He doesn’t give you a lot to go on. There are, in fact, very few dialogue scenes with her in the book. Perhaps he meant her to be something of a mystery. But the film gives you a sufficient understanding of her anyway. You made important changes in your adaptation, such as the invention of the last duel, and the ending itself. Yes, I did, but I was satisfied that they were consistent with the spirit of the novel and brought the story to about the same place the novel did, but in less time. In the book, Barry is pensioned off by Lady Lyndon. Lord Bullingdon, having been believed dead, returns from America. He finds Barry and gives him a beating. Barry, tended by his mother, subsequently dies in prison, a drunk. This, and everything that went along with it in the novel to make it credible would have taken too much time on the screen. In the film, Bullingdon gets his revenge and Barry is totally defeated, destined, one can assume, for a fate not unlike that which awaited him in the novel. And the scene of the two homosexuals in the lake was not in the book either. The problem here was how to get Barry out of the British Army. The section of the book dealing with this is also fairly lengthy and complicated. The function of the scene between the two gay officers was to provide a simpler way for Barry to escape. Again, it leads to the same end result as the novel but by a different route. Barry steals the papers and uniform of a British officer which allow him to make his way to freedom. Since the scene is purely expositional, the comic situation helps to mask your intentions. Were you aware of the multiple echoes that are found in the film: flogging in the army, flogging at home, the duels, etc., and the narrative structure resembling that of A Clockwork Orange? Does this geometrical pattern attract you? The narrative symmetry arose primarily out of the needs of telling the story rather than as part of a conscious design. The artistic process you go through in making a film is as much a matter of discovery as it is the execution of a plan. Your first responsibility in writing a screenplay is to pay the closest possible attention to the author’s ideas and make sure you really understand what he has written and why he has written it. I know this sounds pretty obvious but you’d be surprised how often this is not done. There is a tendency for the screenplay writer to be “creative” too quickly. The next thing is to make sure that the story survives the selection and compression which has to occur in order to tell it in a maximum of three hours, and preferably two. This phase usually seals the fate of most major novels, which really need the large canvas upon which they are presented. In the first part of A Clockwork Orange, we were against Alex. In the second part, we were on his side. In this film, the attraction/repulsion feeling towards Barry is present throughout. Thackeray referred to it as “a novel without a hero.” Barry is naive and uneducated. He is driven by a relentless ambition for wealth and social position. This proves to be an unfortunate combination of qualities which eventually lead to great misfortune and unhappiness for himself and those around him. Your feelings about Barry are mixed but he has charm and courage, and it is impossible not to like him despite his vanity, his insensitivity and his weaknesses. He is a very real character who is neither a conventional hero nor a conventional villain. The feeling that we have at the end is one of utter waste. Perhaps more a sense of tragedy, and because of this the story can assimilate the twists and turns of the plot without becoming melodrama. Melodrama uses all the problems of the world, and the difficulties and disasters which befall the characters, to demonstrate that the world is, after all, a benevolent and just place. The last sentence which says that all the characters are now equal can be taken as a nihilistic or religious statement. From your films, one has the feeling that you are a nihilist who would like to believe. I think you’ll find that it is merely an ironic postscript taken from the novel. Its meaning seems quite clear to me and, as far as I’m concerned, it has nothing to do with nihilism or religion. One has the feeling in your films that the world is in a constant state of war. The apes are fighting in 2001. There is fighting, too, in Paths Of Glory, and Dr. Strangelove. In Barry Lyndon, you have a war in the first part, and then in the second part we find the home is a battleground, too. Drama is conflict, and violent conflict does not find its exclusive domain in my films. Nor is it uncommon for a film to be built around a situation where violent conflict is the driving force. With respect to Barry Lyndon, after his successful struggle to achieve wealth and social position, Barry proves to be badly unsuited to this role. He has clawed his way into a gilded cage, and once inside his life goes really bad. The violent conflicts which subsequently arise come inevitably as a result of the characters and their relationships. Barry’s early conflicts carry him forth into life and they bring him adventure and happiness, but those in later life lead only to pain and eventually to tragedy. In many ways, the film reminds us of silent movies. I am thinking particularly of the seduction of Lady Lyndon by Barry at the gambling table. That’s good. I think that silent films got a lot more things right than talkies. Barry and Lady Lyndon sit at the gaming table and exchange lingering looks. They do not say a word. Lady Lyndon goes out on the balcony for some air. Barry follows her outside. They gaze longingly into each other’s eyes and kiss. Still not a word is spoken. It’s very romantic, but at the same time, I think it suggests the empty attraction they have for each other that is to disappear as quickly as it arose. It sets the stage for everything that is to follow in their relationship. The actors, the images and the Schubert worked well together, I think. Did you have Schubert’s Trio in mind while preparing and shooting this particular scene? No, I decided on it while we were editing. Initially, I thought it was right to use only eighteenth-century music. But sometimes you can make ground-rules for yourself which prove unnecessary and counter-productive. I think I must have listened to every LP you can buy of eighteenth-century music. One of the problems which soon became apparent is that there are no tragic love-themes in eighteenth-century music. So eventually I decided to use Schubert’s Trio in E Flat, Opus 100, written in 1828. It’s a magnificent piece of music and it has just the right restrained balance between the tragic and the romantic without getting into the headier stuff of later Romanticism. You also cheated in another way by having Leonard Rosenman orchestrate Handel’s Sarabande in a more dramatic style than you would find in eighteenth-century composition. This arose from another problem about eighteenth-century music—it isn’t very dramatic, either. I first came across the Handel theme played on a guitar and, strangely enough, it made me think of Ennio Morricone. I think it worked very well in the film, and the very simple orchestration kept it from sounding out of place. It also accompanies the last duel—not present in the novel—which is one of the most striking scenes in the film and is set in a dovecote. The setting was a tithe barn which also happened to have a lot of pigeons resting in the rafters. We’ve seen many duels before in films, and I wanted to find a different and interesting way to present the scene. The sound of the pigeons added something to this, and, if it were a comedy, we could have had further evidence of the pigeons. Anyway, you tend to expect movie duels to be fought outdoors, possibly in a misty grove of trees at dawn. I thought the idea of placing the duel in a barn gave it an interesting difference. This idea came quite by accident when one of the location scouts returned with some photographs of the barn. I think it was Joyce who observed that accidents are the portals to discovery. Well, that’s certainly true in making films. And perhaps in much the same way, there is an aspect of film-making which can be compared to a sporting contest. You can start with a game plan but depending on where the ball bounces and where the other side happens to be, opportunities and problems arise which can only be effectively dealt with at that very moment. In 2001: A Space Odyssey, for example, there seemed no clever way for HAL to learn that the two astronauts distrusted him and were planning to disconnect his brain. It would have been irritatingly careless of them to talk aloud, knowing that HAL would hear and understand them. Then the perfect solution presented itself from the actual phsical layout of the space pod in the pod bay. The two men went into the pod and turned off every switch to make them safe from HAL’s microphones. They sat in the pod facing each other and in the center of the shot, visible through the sound-proof glass port, you could plainly see the red glow of HAL’s bug-eye lens, some fifteen feet away. What the conspirators didn’t think of was that HAL would be able to read their lips. Did you find it more constricting, less free, making an historical film where we all have precise conceptions of a period? Was it more of a challenge? No, because at least you know what everything looked like. In 2001: A Space Odyssey everything had to be designed. But neither type of film is easy to do. In historical and futuristic films, there is an inverse relationship between the ease the audience has taking in at a glance the sets, costumes and decor, and the film-maker’s problems in creating it. When everything you see has to be designed and constructed, you greatly increase the cost of the film, add tremendously to all the normal problems of film-making, making it virtually impossible to have the flexibility of last-minute changes which you can manage in a contemporary film. You are well-known for the thoroughness with which you accumulate information and do research when you work on a project. Is it for you the thrill of being a reporter or a detective? I suppose you could say it is a bit like being a detective. On Barry Lyndon, I accumulated a very large picture file of drawings and paintings taken from art books. These pictures served as the reference for everything we needed to make—clothes, furniture, hand props, architecture, vehicles, etc. Unfortunately, the pictures would have been too awkward to use while they were still in the books, and I’m afraid we finally had very guiltily to tear up a lot of beautiful art books. They were all, fortunately, still in print which made it seem a little less sinful. Good research is an absolute necessity and I enjoy doing it. You have an important reason to study a subject in much greater depth than you would ever have done otherwise, and then you have the satisfaction of putting the knowledge to immediate good use. The designs for the clothes were all copied from drawings and paintings of the period. None of them were designed in the normal sense. This is the best way, in my opinion, to make historical costumes. It doesn’t seem sensible to have a designer interpret—say—the eighteenth century, using the same picture sources from which you could faithfully copy the clothes. Neither is there much point sketching the costumes again when they are already beautifully represented in the paintings and drawings of the period. What is very important is to get some actual clothes of the period to learn how they were originally made. To get them to look right, you really have to make them the same way. Consider also the problem of taste in designing clothes, even for today. Only a handful of designers seem to have a sense of what is striking and beautiful. How can a designer, however brilliant, have a feeling for the clothes of another period which is equal to that of the people and the designers of the period itself, as recorded in their pictures? I spent a year preparing Barry Lyndon before the shooting began and I think this time was very well spent. The starting point and sine qua non of any historical or futuristic story is to make you believe what you see. The danger in an historical film is that you lose yourself in details, and become decorative. The danger connected with any multi-faceted problem is that you might pay too much attention to some of the problems to the detriment of others, but I am very conscious of this and I make sure I don’t do that. Why do you prefer natural lighting? Because it’s the way we see things. I have always tried to light my films to simulate natural light; in the daytime using the windows actually to light the set, and in night scenes the practical lights you see in the set. This approach has its problems when you can use bright electric light sources, but when candelabras and oil lamps are the brightest light sources which can be in the set, the difficulties are vastly increased. Prior to Barry Lyndon, the problem has never been properly solved. Even if the director and cameraman had the desire to light with practical light sources, the film and the lenses were not fast enough to get an exposure. A 35mm movie camera shutter exposes at about 1/50 of a second, and a useable exposure was only possible with a lens at least 100% faster than any which had ever been used on a movie camera. Fortunately, I found just such a lens, one of a group of ten which Zeiss had specially manufactured for NASA satellite photography. The lens had a speed of fO.7, and it was 100% faster than the fastest movie lens. A lot of work still had to be done to it and to the camera to make it useable. For one thing, the rear element of the lens had to be 2.5mm away from the film plane, requiring special modification to the rotating camera shutter. But with this lens it was now possible to shoot in light conditions so dim that it was difficult to read. For the day interior scenes, we used either the real daylight from the windows, or simulated daylight by banking lights outside the windows and diffusing them with tracing paper taped on the glass. In addition to the very beautiful lighting you can achieve this way, it is also a very practical way to work. You don’t have to worry about shooting into your lighting equipment. All your lighting is outside the window behind tracing paper, and if you shoot towwards the window you get a very beautiful and realistic flare effect. How did you decide on Ryan O’Neal? He was the best actor for the part. He looked right and I was confident that he possessed much greater acting ability than he had been allowed to show in many of the films he had previously done. In retrospect, I think my confidence in him was fully justified by his performance, and I still can’t think of anyone who would have been better for the part. The personal qualities of an actor, as they relate to the role, are almost as important as his ability, and other actors, say, like Al Pacino, Jack Nicholson or Dustin Hoffman, just to name a few who are great actors, would nevertheless have been wrong to play Barry Lyndon. I liked Ryan and we got along very well together. In this regard the only difficulties I have ever had with actors happened when their acting technique wasn’t good enough to do something you asked of them. One way an actor deals with this difficulty is to invent a lot of excuses that have nothing to do with the real problem. This was very well represented in Truuffaut’s Day For Night when Valentina Cortese, the star of the film within the film, hadn’t bothered to learn her lines and claimed her dialogue fluffs were due to the confusion created by the script girl playing a bit part in the scene. How do you explain some of the misunderstandings about the film by the American press and the English press? The American press was predominantly enthusiastic about the film, and Time magazine ran a cover story about it. The international press was even more enthusiastic. It is true that the English press was badly split. But from the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But, of course, the lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have. You are an innovator, but at the same time you are very conscious of tradition. I try to be, anyway. I think that one of the problems with twentieth-century art is its preoccupation with subjectivity and originality at the expense of everything else. This has been especially true in painting and music. Though initially stimulating, this soon impeded the full development of any particular style, and rewarded uninteresting and sterile originality. At the same time, it is very sad to say, films have had the opposite problem—they have consistently tried to formalize and repeat success, and they have clung to a form and style introduced in their infancy. The sure thing is what everone wants, and originality is not a nice word in this context. This is true despite the repeated example that nothing is as dangerous as a sure thing. You have abandoned original film music in your last three films. Exclude a pop music score from what I am about to say. However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you’re editing a film, it’s very helpful to be able to try out different pieces of music to see how they work with the scene. This is not at all an uncommon practice. Well, with a little more care and thought, these temporary music tracks can become the final score. When I had completed the editing of 2001: A Space Odyssey, I had laid in temporary music tracks for almost all of the music which was eventually used in the film. Then, in the normal way, I engaged the services of a distinguished film composer to write the score. Although he and I went over the picture very carefully, and he listened to these temporary tracks (Strauss, Ligeti, Khatchaturian) and agreed that they worked fine and would serve as a guide to the musical objectives of each sequence he, nevertheless, wrote and recorded a score which could not have been more alien to the music we had listened to, and much more serious than that, a score which, in my opinion, was completely inadequate for the film. With the premiere looming up, I had no time left even to think about another score being written, and had I not been able to use the music I had already selected for the temporary tracks I don’t know what I would have done. The composer’s agent phoned Robert O’Brien, the then head of MGM, to warn him that if I didn’t use his client’s score the film would not make its premiere date. But in that instance, as in all others, O’Brien trusted my judgment. He is a wonderful man, and one of the very few film bosses able to inspire genuine loyalty and affection from his film-makers. Why did you choose to have only one flashback in the film: the child falling from the horse? I didn’t want to spend the time which would have been required to show the entire story action of young Bryan sneaking away from the house, taking the horse, falling, being found, etc. Nor did I want to learn about the accident solely through the dialogue scene in which the farm workers, carrying the injured boy, tell Barry. Putting the flashback fragment in the middle of the dialogue scene seemed to be the right thing to do. Are your camera movements planned before? Very rarely. I think there is virtually no point putting camera instructions into a screenplay, and only if some really important camera idea occurs to me, do I write it down. When you rehearse a scene, it is usually best not to think about the camera at all. If you do, I have found that it invariably interferes with the fullest exploration of the ideas of the scene. When, at last, something happens which you know is worth filming, that is the time to decide how to shoot it. It is almost but not quite true to say that when something really exciting and worthwhile is happening, it doesn’t matter how you shoot it. In any event, it never takes me long to decide on set-ups, lighting or camera movements. The visual part of film making has always come easiest to me, and that is why I am careful to subordinate it to the story and the performances. Do you like writing alone or would you like to work with a script writer? I enjoy working with someone I find stimulating. One of the most fruitful and enjoyable collaborations I have had was with Arthur C. Clarke in writing the story of 2001: A Space Odyssey. One of the paradoxes of movie writing is that, with a few notable exceptions, writers who can really write are not interested in working on film scripts. They quite correctly regard their important work as being done for publication. I wrote the screenplay for Barry Lyndon alone. The first draft took three or four months but, as with all my films, the subsequent writing process never really stopped. What you have written and is yet unfilmed is inevitably affected by what has been filmed. New problems of content or dramatic weight reveal themselves. Rehearsing a scene can also cause script changes. However carefully you think about a scene, and however clearly you believe you have visualized it, it’s never the same when you finally see it played. Sometimes a totally new idea comes up out of the blue, during a rehearsal, or even during actual shooting, which is simply too good to ignore. This can necessitate the new scene being worked out with the actors right then and there. As long as the actors know the objectives of the scene, and understand their characters, this is less difficult and much quicker to do than you might imagine. VISUALISATION DRAWING Jan Harlan: “Storyboard is not the right word for what this is; Stanley did not construct his sequences in that kind of detail, but he certainly prepared himself well. Barry Lyndon has all these battle scenes, with lots of action, and Stanley would say: ‘How are we going to do this? I want some action.’ The art department would then come up with a visualisation of how to do a scene. Stanley wouldn’t have done this drawing himself; he was not a great pencil illustrator.” Stanley Kubrick sent a personal note to every projectionist, in every country that released the movie, giving them extremely detailed instructions of how his movie needed to be presented. New documentary featuring cast and crew interviews as well as audio excerpts from a 1976 interview with director Stanley Kubrick. KUBRICK’S GRANDEST GAMBLE In a December 1975 cover story, TIME magazine examines Barry Lyndon and the many paradoxes of Stanley Kubrick, covering the filmmaker’s Herculean task in bringing the 18th century novel by William Makepeace Thackeray to the screen and the near impossibility of selling a three hour art film spectacle to the masses. —New Beverly Cinema CASTLES, CANDLES AND KUBRICK In the summer of 1973, director Stanley Kubrick arrived in Ireland to make his period masterpiece Barry Lyndon. On an overcast night the following January, the director fled Ireland on a ferry from Dun Laoghaire. Within 48 hours the entire production also abandoned their stations. Produced by Pavel Barter, Castles, Candles and Kubrick tells, for the first time, the story behind the making of Barry Lyndon in Ireland, featuring interviews with cast and crew from the film. HOLLYWOOD IN ÉIRINN Subtitled Irish language documentary on Kubrick shooting Barry Lyndon in Ireland. When a major movie production machine rumbles into town, anything can happen and frequently does. An invigorating injection of magic, money and mayhem arrives along with it, all contributing to a wild sense of excitement and anticipation. Denis Conway travels to four such locations, small villages and towns, in search of the memories of residents who witnessed the high and low jinks during the making of four major Hollywood blockbusters: The Wind That Shakes the Barley, Barry Lyndon, Moby Dick and Song for A Raggy Boy. Contributors include film actors Aidan Quinn, Iain Glenn, Jan Harlan and Pádraig Delaney. Produced by Seabed Productions. KUBRICK RECALLED BY LEGENDARY SET DESIGNER SIR KEN ADAM “In 1972 he approached me about designing Barry Lyndon but I think he decided I was too expensive and he employed someone else. Three weeks later I was in the south of France doing a film and the phone went. It was Stanley sounding like a little New York boy: he said the designer hadn’t worked out and he needed me. He schmoozed me into doing the film and I was never happy about it.” Barry Lyndon was an ambitious historical epic to be shot on location. But there was a problem: Kubrick wanted to find locations while barely leaving his family home in Elstree, north of London. “So we set up in his garage a little war room, with Ordnance Survey maps on the walls and pins everywhere. We had an army of young photographers to go looking at buildings and possible locations and every evening we looked at what they’d done. He would be enthusiastic about a particular bed or whatever in a slightly voyeuristic way. But we’d have big arguments because I would say: ‘No that’s Victorian but the film is set in Georgian times.’ Well Stanley was so competitive that he bought almost every book available on Georgian architecture so he could argue with me. But none of this was getting the movie made because the buildings and peaceful locations he wanted just don’t exist anymore near London. “It was nerve-destroying. But after five months I got Stanley to switch production to the Republic of Ireland—which I thought was my masterstroke.” As Sir Ken recalls it, once in Ireland Kubrick changed totally. “He saw himself as General Rommel, who he admired greatly. He equipped all of us with Volkswagens so we became a complete mobile unit driving around Ireland finding locations. I spent weeks being chased through fields by bloody bulls. I was going crazy but this was Stanley’s character—with all his fears and anxieties he was relentless.” When Letizia, Sir Ken’s Italian-born wife, came out to Ireland she was shocked at his state of mind. She persuaded him to return to England and see a doctor for the sake of his health. “So now I was in hospital in England with a breakdown. Stanley rang the hospital every day to see how I was doing and if I was still alive. The day I left he phoned me at home. He said: ‘Ken you were right: we’re going to change the way we’re making the film and you’ll love it. I’m sending a second unit to Potsdam in Germany to pick up extra material and I want you to direct it.'” Sir Ken laughs. “Well I found that idea such a huge shock I had to go straight back to the clinic and check in again.” After Barry Lyndon, Sir Ken decided this time, whatever his admiration for Kubrick, the two would never work together again. It was a vow he adhered to with one brief and slightly bizarre exception. In 1977, designing the Bond film The Spy Who Loved Me, Sir Ken had built a vast set at Pinewood studios. It included a supertanker which was proving hard to light. “So I called Stanley up and asked him down to Pinewood to give me ideas. At first he said I was out of my mind but eventually he agreed to come on a Sunday when only security were around. He spent three or four hours with me telling me how he would light the stage. And of course the whole thing being in secret appealed to Stanley’s sense of drama. But I knew we would never work together again. And Stanley didn’t ask—he’d been so scared when he saw what happened to me half way through Barry Lyndon.” —Kubrick recalled by influential set designer Sir Ken Adam JOHN ALCOTT, BSC: PHOTOGRAPHING STANLEY KUBRICK’S ‘BARRY LYNDON’ March 1976 edition of American Cinematographer magazine with two Kubrick-related articles, each covering the photographing of the film Barry Lyndon. One article, Photographing Stanley Kubrick’s Barry Lyndon, focuses generally on the cinematography by John Alcott, while the other, Two Special Lenses for Barry Lyndon, focuses more closely on the specialized lenses utilized for the film. Subscribing to American Cinematographer is highly recommended. You’ve worked with Stanley Kubrick on three pictures: 2001: A Space Odyssey, A Clockwork Orange and now Barry Lyndon. Can you tell me a bit about that working relationship? We have a very close working relationship, which began on 2001. I had been assisting Geoffrey Unsworth [BSC] on that picture and then, when Geoff had to leave after the first six months, I was asked to carry on—so it was Stanley Kubrick who gave me my break. Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photography. What about the preplanning phase of Barry Lyndon? There was a great deal of testing of possible photographic approaches and effects—the candlelight thing, for example. Actually, we had talked about shooting solely by candlelight as far back as 2001, when Stanley was planning to film Napoleon, but the requisite fast lenses were not available at that time. In preparation for Barry Lyndon we studied the lighting effects achieved in the paintings of the Dutch masters, but they seemed a bit flat—so we decided to light more from the side. You photographed both A Clockwork Orange and Barry Lyndon for Stanley Kubrick and, obviously, the photographic styles of these two pictures were quite different from each other. Comparing the two, purely as a point of interest, how would you describe those stylistic differences? Well, A Clockwork Orange employed a darker, more obviously dramatic type of photography. It was a modern story, taking place in an advanced period of the 1980s—although the period was never actually pinpointed in the picture. That period called for a really cold, stark style of photography; whereas, Barry Lyndon is more pictorial, with a softer, more subtle rendition of light and shadow overall than A Clockwork Orange. As I saw it, the story of Barry Lyndon took place during a romantic type of period—although it didn’t necessarily have to be a romantic film. I say “a romantic period” because of the quality of the clothes, the dressing of the sets and the architecture of that period. These all had a kind of soft feeling. I think you probably could have lighted Barry Lyndon in the same way as A Clockwork Orange, but it just wouldn’t have looked right. It wouldn’t have had that soft feeling. How did you translate “that soft feeling” into cinematic terms, and what technical means did you use to achieve it? In most instances we were trying to create the feeling of natural light within the houses, mostly stately homes, that we used as shooting locations. That was virtually their only source of light during the period of the film, and those houses still exist, with their paintings and tapestries hanging. I would tend to re-create that type of light, all natural light actually coming through the windows. I’ve always been a natural light source type of cameraman—if one can put it that way. I think it’s exciting, actually, to see what illumination is provided by daylight and then try to create the effect. Sometimes it’s impossible when the light outside falls below a certain level. We shot some of those sequences in the wintertime, when there was natural light from perhaps 9 o’clock in the morning until 3 o’clock in the afternoon. The requirement was to bring the light up to a level so that we could shoot from 8 o’clock in the morning until something like 7 o’clock in the evening—while maintaining the consistent effect. At the same time, we tried to duplicate the situations established by research and reference to the drawings and paintings of that day—how rooms were illuminated and so on. The actual compositions of our setups were very authentic to the drawings of the period. In other words, then, you would take your cue from the way the natural light actually fell and then you would build that up or simulate it with your lighting units in an attempt to get the same effect, but at an exposurable level? Yes. In some instances, what we created looked much better than the real thing. For example, there’s a sequence that takes place in Barry’s dining room, when his little boy asks if his father has brought him a horse. That particular room had five windows, with a very large window in the center that was much greater in height than the others. I found that it suited the sequence better to have the light coming from one source only, rather than from all around. So we controlled the light in such a way that it fell upon the center of the table at which they were having their meal, with the rest of the room falling off into nice subdued, subtle color. In creating that particular effect, did you use any of the light actually coming through the windows? No, it was simulated by means of Mini-Brutes. I used Mini-Brutes all the time, with tracing paper on the windows—plastic material, actually. I find it to be a little bit better than the tracing paper. Was most of the picture shot in actual locations, or did you have to build some sets? Oh, no—every shot is an actual location. We didn’t build any sets whatsoever. All of the rooms exist inside actual houses in Ireland and the southwest of England. What about the physical problems of shooting inside those actual stately homes? Well, we did have problems, although they didn’t affect me too much. For instance, many of those stately homes are open to the public. We couldn’t restrict the public from going through—so we had to cater to them. We would use certain rooms with visitors virtually walking past in the corridor. They would simply close off that one room and have the public bypass it. However, at times our shooting schedule would be limited to the point where we had to work when they weren’t touring. They would go around in groups and we would virtually shoot when they were changing over from one group to another. In many of the locations, though, we had complete freedom of the house. We didn’t really have too many problems, except for having to build very large rostrums for the lighting in certain rooms. I also had rostrums built around the exterior windows. They could be wheeled out of the way for reverse angles when we were shooting toward the windows and wanted to show the view outside as well. Such was the case in the sequence that takes place in Countess Lyndon’s bedroom. Did you have to gel the windows, or were you using a daylight balance? In the actual interiors, most of the time, we did gel the windows, although there were a very few instances when we didn’t do it. We had neutral density filters made, as well—ND3, ND6 and ND9—so that we had a complete range to accommodate whatever light situation prevailed outside the windows. Also, on all the exterior shooting, I never used an 85 filter. What was your reason for not using 85? One reason was to get an overall consistent balance throughout the entire picture. In that sense, I tend to use it as I use forced development—that is, in every scene (including those that don’t actually need it), in order to maintain a consistency of visual character throughout. The second reason was simply that the exterior light was sometimes so low that I needed the extra two-thirds of a stop. Although we mostly used the zoom lens outdoors, there were many instances in which we ended up shooting wide open with the Canon T/1.2 lens. In other words, the light was sometimes so dull, so overcast that you had to open up that lens all the way. Is that right? Oh, yes—all the way. That was especially true in the holdup ambush sequence. We started off with a good day and there was plenty of light in the beginning, but the last part of that sequence was shot with the T/1.2 lens wide open. In order to match the brilliance of the normal daylight one had to be very fully exposed. I needed that fast lens. Can you tell me to what extent you used diffusion in shooting Barry Lyndon? When I went around looking at locations with Stanley we discussed diffusion, among other things. The period of the story seemed to call for diffusion, but on the other hand, an awful lot of diffusion was being used in cinematography at the time. So we tended not to diffuse. We didn’t use gauzes, for example. Instead I used a No.3 Low Contrast filter all the way through—except for the wedding sequence, where I wanted to control the highlights on the faces a bit more. In that case, the No.3 Low Contrast filter was combined with a brown net, which gave it a slightly different quality. We opted for the Low Contrast filter rather than actual diffusion because the clarity and definition in Ireland create a shooting situation that is very like a photographer’s paradise. The air is so refined, I think, because Ireland is in the Gulf Stream. The atmosphere is actually perfect and we thought it would be a pity to destroy that with diffusion, especially for the landscape photography. That’s rather refreshing. There seems to be a tendency these days, despite the nice sharp lenses that are available, to just fuzz everything out as a matter of course. Yes, it’s done a lot. I’ve even done it myself in shooting commercials. We did discuss the possibility for Barry Lyndon, but then we thought: “Well, it’s been done before so many times; let’s try for something different. Let’s go into low contrast.” We tested many filters and of all those we tested the Tiffen Low Contrast filters came out the best quality-wise. With the Tiffen filters we didn’t lose any quality whatsoever, even when shooting wide open, in fact. They were the best. Did you use any of the 5247 color negative, or was it all 5254? We used the 5254, because the 5247 wasn’t available even at the time when we finished shooting. It came out something like two months after we had finished the main shooting of the film. Now I find that, because of the fineness of the grain with the 5247, I would have had to use a No.5 Tiffen Low Contrast filter in order to get the same effect I got using the No.3 with the old stock. Do you find, as many other cinematographers have found, that the 5247 negative has an inherently higher contrast than the 5254? Well, they say it’s higher contrast, but I really think it’s not so much the contrast as the fact that the grain is so much finer. If the grain is finer, this will increase the apparent contrast. In other words, you’ve got to dress and color your sets to accommodate the film stock. Even the tiniest ornaments which are red will kick out on the new stock, whereas on the old stock they wouldn’t. This is because of the finer grain. It’s the color, in fact, which is building up the contrast. However, I can’t understand why anybody wouldn’t go for the finer grain, because that’s what it’s all about. The thing is to try to make it work by knocking down the contrast in some other way. We must either modify the lighting or design the set in a way to tone it down. For instance, in some of the interiors used for shooting Barry Lyndon there were lots of white areas—fireplaces and such. If you put a light through a window these would stick out like a sore thumb, as they say. So, most of the time, I covered them with a black net—the white marble of the fireplaces, the very large white three-foot-wide panels on the walls, and the door frames that were white. I covered them with a black net having about a half-inch mesh. You could never see it photographically unless you were really close to it—but in the long shots it wasn’t visible at all. It did wonders in toning down the white. I also used graduated neutral density filters on certain light parts of the set when the illumination was coming from a natural light source and there was no way to gobo it off. For example, if the light source were coming from the left and hitting something that it was not possible to put a net over, I would put a neutral density filter on the right side—an ND3 or ND6, depending upon the brightness. You would actually use graduated neutral density filters for shooting interiors? That’s not done very often, is it? I don’t think so—no. I know that when I use them now in different types of work that I do, some of the people on the set wonder what I’m up to, using graduated filters for interiors. But they work very well indeed. In fact, we had a matte box made to accept the three filters on the Arriflex 35BL. Incidentally, we used the Arriflex 35BL all the way through the picture. Can you give me some of your impressions of that camera? I think it’s a fantastic camera. To me, it’s a cameraman’s camera—mainly because the optical system is so good. Some optical systems give you a much more exaggerated tunneling effect than others, and I even came across someone the other day who prefers that long tunneling effect because it makes him feel like he’s in a cinema. Personally, I prefer it when my eye is filled with the actual picture image. You find that this only really occurs with the Arriflex 35BL. Another feature I like about the camera is that you’ve got the aperture control literally at your fingertips. It’s got a much larger scale and, therefore, a finer adjustment than most cameras. This feature is especially important when you’re working with Stanley Kubrick, because he likes to continue shooting whether the sun is going in or out. In Barry Lyndon, during the sequence when Barry is buying the horse for his young son, the sun was going in and out all through the sequence. You’ve got to cater to this. That old bit that says you cut because the sun’s gone in doesn’t go anymore. Instead, you try to ride it out by varying the aperture opening during the shooting of the scene? Yes, that’s why the Arriflex 35BL offers such an advantage. It’s got a finer aperture adjustment—more so than most other cameras—which allows you to cater to light variations while you’re actually shooting. On most lenses there’s not a great distance between one aperture stop and the next. There isn’t actually on the Arriflex 35BL lenses either, but it’s the gearing mechanism on the outside that offers the larger scale and, therefore, the possibility of more precise adjustment. It’s like converting a ¼-inch move into a 1-inch move. What about the use of the zoom lens in this film? Oh, yes—we used it a great deal. The Angenieux 10-to-1 zoom was used on the Arriflex 35BL, in conjunction with Ed DiGiulio’s Cinema Products “Joy Stick” zoom control, which is an excellent one. It starts and stops without a sudden jar, which is very important, and you can manipulate it so slowly that it almost feels like nothing is happening. This is very difficult to do with some of the motorized zoom controls. I find that this one really works. What types of lighting equipment did you use? We used Mini-Brutes and we used a lot of Lowel-Lights—all the time. I used the Lowel-Lights in umbrellas for overall fill. I always use the umbrellas—ever since A Clockwork Orange. I would find that the Lowel-Light has a far greater range of illumination from flood to spot than any other light I know of. In fact, it’s the only light of its type that gives you a fantastic spot, if you need it, and an absolute overall flood. Also, when you put a flag in front of most quartz lights you get a double shadow—but not with the Lowel-Lights. But then, of course, they were designed by a cameraman. What about the use of the moving camera in Barry Lyndon? We used it in certain sequences, but not too many. We had one very long tracking shot in the battle sequence, with the cameras on an 800-foot track. There were three cameras on the track, moving with the troops. We used an Elemack dolly, with bogie wheels, on ordinary metal platforms, and a five-foot and sometimes six-foot wheel span, because we found that this worked quite well in trying to get rid of the vibrations when working on the end of the zoom. It seemed to take the vibration out better than going directly onto the Elemack. Do I understand that you were racked out to the end of the zoom on that tracking shot? Yes, virtually all close-ups made from the track during that battle sequence were on the 250mm end of the zoom. That is really living dangerously. I made a test beforehand with the camera traveling on an ordinary track and one with this base, and the difference was quite amazing. That’s what got us round to building these platforms and using the Elemack with the bogie wheels on the four corners. They are really quite handy for doing all kinds of shots. What would you say was your most difficult sequence to shoot in this film? I think the most difficult bit was the scene in the club when Barry comes over to confront the nobleman sitting at the other table, is given the cold shoulder and then goes back to his own table. That involved a 180-degree pan and what made it difficult was the fluctuations in the weather outside. There were many windows and I had lights hidden behind the brickwork and beaming through the windows. The outside light was going up and down so much that we had to keep changing things to make sure the windows wouldn’t blow out excessively. This was the most difficult to do, because any time I changed the gels on the windows, I also had to change the lights outside in order to avoid getting too much light inside and not enough outside. I would say that was the most difficult shot in the whole picture, in terms of lighting. What complicated it further was the fact that this was one of those stately houses that had the public coming through and visiting at the same time we were shooting. Did you use much colored light during the filming? Yes, many times. An example that comes to mind is the scene in Barry’s room after he has had his leg amputated. I used a light coming through the window with an extra ½ sepia over it in order to give a warm effect to the backlight and sidelight. In other words, a 50% overcorrection. A similar effect was used on Barry in the sequence when his boy is dying. In some instances, I let the natural blue daylight come through in the background without correcting it. The result looked pleasing and it created a more “daylight” sort of effect. I can’t recall any night-for-night shots in the picture. Were there any, perhaps, that didn’t appear in the final cut? There weren’t really any night shots. There’s that one twilight scene of Barry by the fire meditating after he’s joined up, but that was shot at the “magic hour” and wasn’t a true night shot. Now we come to the scenes which have caused more comment than anything else in this overall beautiful film—namely the candlelight scenes. Can you tell me about these and how they were executed? The objective was to shoot these scenes exclusively by candlelight—that is, without a boost from any artificial light whatsoever. As I mentioned earlier, Stanley Kubrick and I had been discussing this possibility for years, but had not been able to find sufficiently fast lenses to do it. Stanley finally discovered three 50mm t/0.7 Zeiss still-camera lenses which were left over from a batch made for use by NASA in their Apollo moon-landing program. We had a non-reflexed Mitchell BNC which was sent over to Ed DiGiulio to be reconstructed to accept this ultra-fast lens. He had to mill out the existing lens mounts, because the rear element of this t/0.7 lens was virtually something like 4mm from the film plane. It took quite a while, and when we got the camera back we made quite extensive tests on it. The Zeiss lens was like no other lens in a way, because when you look through any normal type of lens, like the Panavision T/1.1 or the Angenieux f/0.95, you are looking through the optical system and by just altering the focus you can tell whether it’s in or out of focus. But when you looked through this lens it appeared to have fantastic range of focus, quite unbelievable. However, when you did a photographic test you discovered that it had no depth at all — which one expected anyway. So we literally had to scale this lens by doing hand tests from about 200 feet down to about 4 feet, marking every distance that would lead up to the 10-foot range. We had to literally get it down to inches on the actual scaling. You say that the focal length was 50mm? It was 50mm, but then we acquired a projection lens of the reduction type, which Ed DiGiulio fitted over another 50mm lens to give us a 36.5mm lens for a wider-angle coverage. The original 50mm lens was used for virtually all the medium shots and close shots. And those scenes were illuminated entirely by candlelight? Entirely by the candles. In the sequence were Lord Ludd and Barry are in the gaming room and he loses a large amount of money, the set was lit entirely by the candles, but I had metal reflectors made to mount above the two chandeliers, the main purpose being to keep the heat of the candles from damaging the ceiling. However, it also acted as a light reflector to provide an overall illumination of toplight. How many foot-candles—no pun intended—would you say you were using in that case? Roughly, three foot-candles was the key. We were forcing the whole picture one stop in development. Incidentally, I found a great advantage in using the Gossen Panalux electronic meter for those sequences because it goes down to half foot-candle measurements. It’s a very good meter for those extreme low-light situations. We were using 70-candle chandeliers, and most of the time I could also use either five-candle or three-candle table candelabra as well. We actually went for a burnt-out effect, a very high key on the faces themselves. What were some of the other problems attendant to using this ultra-fast lens to shoot entire by candlelight? There was, first of all, the problem of finding a side viewfinder that would transmit enough light to show us where we were framed. The conventional viewfinder would not do at all, because it involves prisms which cause such a high degree of light loss that very little image is visible at such low light levels. Instead, we had to adapt to the BNC a viewfinder from one of the old Technicolor three-strip cameras. It works on a principle of mirrors and simply reflects what is “sees,” resulting in a much brighter image. There is very little parallax with that viewfinder, since it mounts so close to the lens. What about the depth of field problem? As I suggested before, that was indeed a problem. The point of focus was so critical and there was hardly any depth of field with that f/0.7 lens. My focus operator, Doug Milsome [ASC], used a closed-circuit video camera as the only way to keep track of the distances with any degree of accuracy. The video camera was placed at a 90-degree angle to the film camera position and was monitored by means of a TV screen mounted above the camera lens scale. A grid was placed over the TV screen and by taping the various artists’ positions, the distances could be transferred to the TV grid to allow the artists a certain flexibility of movement, while keeping them in focus. It was a tricky operation, but according to all reports, it worked out quite satisfactorily. Douglas Milsome, ASC, BSC discusses his work on Barry Lyndon as a “focus puller,” or camera assistant. Also working as an AC for Kubrick and Alcott on A Clockwork Orange (1971) and The Shining (1980), Milsome would later collaborate with the director again as the lighting cameraman on Full Metal Jacket (1987). Stanley Kubrick’s Barry Lyndon candlelit photography tests. Photo taken from Stanley Kubrick and me, the compelling memoir of Emilio D’Alessandro, personal assistant to Stanley Kubrick for thirty years. Stanley Kubrick’s Barry Lyndon is often lauded as one of the greatest achievements in the history of cinematography. And in a decade or even a year with some of the toughest competition you can think of, Barry Lyndon always seems to stick out just a little bit more. But what sets the cinematography of Barry Lyndon apart from other movies? And how was it done? Another excellent video essay by CinemaTyler. A complete guide to the lenses used by Stanley Kubrick. Cinema Tyler takes an in-depth look at the many cameras used by the legendary director over the course of his career. The final duel in Barry Lyndon is one of our favorite scenes in all of Kubrick’s work. You could say that the sequence actually starts in the previous scene where Bullingdon challenges Barry. This beautiful composition of a grieving Barry alludes to one of the “Marriage A-la-Mode” series paintings by William Hogarth, which BFI notes is referenced in the original novel. The dueling theme music begins when Bullingdon asks to speak with Barry Lyndon and carries over into the dueling sequence. SIX KINDS OF LIGHT: JOHN ALCOTT John Alcott, the great cinematographer who worked with Stanley Kubrick for some time, speaks at length about Kubrick and his additional work on 2001: A Space Odyssey, for which he took over as lighting cameraman from Geoffrey Unsworth in mid-shoot, A Clockwork Orange, Barry Lyndon, the film for which he won his Oscar, andThe Shining. Kubrick promoted Alcott to lighting cameraman in 1968 while working on 2001: A Space Odyssey and from there the two created an inseparable collaboration, in which they worked together on more than one occasion. In 1971, Kubrick then elevated Alcott to director of photography on A Clockwork Orange. Alcott studied lighting and how the light fell in the rooms of a set. He would do this so that when he shot his work it would look like natural lighting, not stage lighting. It was this extra work and research that made his films look so visually beautiful. Along with his Academy award for Barry Lyndon, the film is considered to be one of the greatest and most beautiful movies made in terms of its visuals. Not one, but three films worked on by Alcott were ranked between 1950–1997 in the top 20 of ‘Best Shot,’ voted by the American Society of Cinematographers. Yet another great accomplishment made possible by John Alcott. Six Kinds Of Light (Masters Of Cinematography), a look at the work of six cinematographers—including Gordon Willis; Vilmos Zsigmond; Sven Nykvist, and, of course, John Alcott—was shown on PBS as part of their Film On Film series in 1986. A huge thanks to the original uploader, J Willoughby. Focus puller Douglas Milsome, BSC, ASC, gaffer Lou Bogue, and cinematographer John Alcott, BSC (archival audio) on the elaborate process of shooting Stanley Kubrick’s Barry Lyndon. THE EDITOR OF ‘BARRY LYNDON,’ TONY LAWSON “I do remember that Warner Bros. was expecting it for a Christmas release, and it wasn’t out until the following Christmas. We took a long time. Just to give you an example, the duel scene with Bullingdon in the barn took us around six to eight weeks to edit. It was a 10-minute scene, and the process of getting there was quite long. At some point during the editing of that scene, we got the Handel ‘Sarabande’ as the soundtrack. I was surprised, watching the film again recently, the number of variations of that “Sarabande” we ended up [using in the film].” —Tony Lawson During a break in filming Pat Heavin approached O’Neal for a photograph. “I was a member of the Waterford Camera Club at the time. I was conscious that no press were allowed on set so I kept it very low key. I asked Ryan O’Neal if I could take his picture. He was extremely friendly to me.” Then he spotted the famously irascible Kubrick, who hated being photographed, taking a break. “I said ‘To hell with it. I’ll go for broke.’ I asked if I could take his picture and with a bit of encouragement from Ryan O’Neal, Stanley smiled and I had my picture.” Kubrick is seen smiling in the photograph, something he rarely did and certainly not for the press. Heavin says he respected the circumstances in which he was allowed to take the photographs and has never released them publicly before now. —When Ryan O’Neal and Stanley Kubrick made a film in Waterford Here are some great photos taken behind-the-scenes during production of Stanley Kubrick’s Barry Lyndon. Photographed by Keith Hamshere © Peregrine, Hawk Films, Warner Bros. Kubrick on the set of Barry Lyndon, Waterford in 1973 by Pat Heavin. Photographs: SK Film Archives LLC, Warner Bros. and University of the Arts London. Courtesy of British Film Institute. Intended for editorial use only. All material for educational and noncommercial purposes only.
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Tying in with my recent post about shooting with two cameras, here are a number of extracts demonstrating how we used our Alexa Plus XR (operated by me) and Alexa Studio XR (operated by Tim Gill). I definitely won’t say that we made the most effective and efficient use of two cameras the whole time, but I certainly learnt a lot about the pros and cons of having a B-cam. Day 1 We start in a third floor bedroom… After we get the main coverage, we head out to the garden for the next scene, while the B-camera team steps in to pick up a couple of inserts. As soon as we’re outside, the sun starts to dick around. Those clouds are scudding in and out faster than we can swap ND filters and fly in Ultrabounce to fill the shadows. Eventually we get the three-channel Preston (which only arrived this morning) hooked up so I can pull the iris remotely for our big jib shot. B-camera arrives and picks up alternate angles, and using the two cameras we’re able to wrap out the scenes by lunchtime. Now we’re inside, on the first floor this time, in a beautiful little circular study. The electrical department have already set up the lamps, so it doesn’t take much tweaking to get us ready to go. Over the course of the afternoon we shoot out our scenes in the study, while B-camera gets various POVs out of windows and establishers of the house exterior. Although the G&E (grip and electric) crew are thinly stretched to support both camera crews, having that second camera is incredibly useful. Day 2 This morning we’re in a church, shooting a montage scene in which Cam interviews a number of locals. We use two cameras to capture a locked-off wide of the interviewee (which can be jump-cut between characters) and a roaming CU simultaneously. Since Tim’s B-camera is doing the roaming shot, I spend the morning at the monitors, keeping an eye on both feeds… Day 3 The forecast says cloudy all week, and we dearly want our exteriors at Lorene’s House to be sunny and beautiful. But actually the dark, overcast skies work in our favour when the AD has us spend the morning shooting a “sunset” exterior. Our 12K HMI, gelled with full CTS, has enough power to cut through the dim natural light and give the impression of a gentle sunset. Working with both cameras, we get a great tracking shot, a jib shot and some other coverage. Then we leave the B-camera team behind, under the direction of VFX supervisor Rich (for the above green-screen shot), while we move back inside to block and light other scenes… Day 8 … We have planned our day to maximise our two cameras. We’ve only been getting about eight set-ups a day, and we knew that with the stunts and effects we have today we would be pushed to even get that many. So we planned six two-camera set-ups and an insert, and we stick closely to this plan. A-camera lives on the crane with the (Angenieux 19.5-94mm Optimo) zoom most of the day, getting the most out of the scale and height of the big top and the action, while B-camera – using the (Cooke S4/i) primes for a change – gets the closer shots. This leaves me free to look at the monitors, which is useful but often boring. (All the material from this day sadly hit the cutting room floor.) Day 12 Our last day at the circus… For most of the day the B-camera is nearby shooting different stuff. This is great in principle, but in practice we tend to get in each others’ way, our lighting affecting their shots and vice versa. Day 24 … After lunch we have a big fight scene to shoot, and the pace of work kicks up several gears. I light a small clearing so we can shoot 180 degrees with two cameras simultaneously. Some directions look better than others, but in an action scene no shot will be held for very long, so it’s not necessary to get every angle perfect. Normally I open the Cooke S4s no wider than 2 and two thirds, as no lens performs at its best when wide open, but my resolve on this is slipping, and it’s really hard to get a decent amount of light through the dense trees at this location, so I go wide open (T2) for this sequence. Day 25 Our last day on Tybee Island. We start with pick-ups in the woods for various scenes shot over the last few days, then move to the beach, a portion of which we’re cheating as a “river marsh” location. This is a night scene, so we have to go through the slow process of moving the condor (cherry-picker) around from the woods. This involves a police escort to get it across the highway… Meanwhile B-camera are shooting a shot of a car driving along the road behind the beach. Since the G&E crew are all tied up, at (co-director) Chris Bouchard’s suggestion they use the location work-light and have to fiddle with the white balance to render it a reasonable colour on camera. More and more micro-budget cheats are being employed as the production goes on, and to most of the crew, who are used to big-budget stuff, it’s ridiculous. I don’t mind so much, but I feel bad for the B-camera team. Day 26 We are back on the stage, in three different sets. I’ve lit them all before, but most of the lamps are gone and some require a new look because the time of day is different. Towards the end of the night we leap-frog from set to set, sending G&E and the B-camera ahead to set up while we’re still shooting. To my surprise it works. The sets are small enough that we have enough G&E crew to split up like that. For more extracts from my Little Mermaid diary, visit these links: “Prep Diary Part 1” – arriving in the US, crewing up and choosing gear “Shooting Shirley” – the pre-shoot with Hollywood legend Shirley MacLaine “Prep Diary Part 2” – scouting locations, and the page-turner “Circus Cinematography” – lighting the huge night exteriors “Pools of Light” – creating a watery, magical look for the mermaid’s scenes “Boats, Trains and Automobiles” – shooting in moving vehicles “Lighting from the Back” – using cross-backlighting for cinematic dialogue scenes “Sun, Sea and Cinematography” – filming in the ocean at sunset The Little Mermaid is currently available on Netflix in the UK – but hurry because it leaves on November 30th – and Showtime in the US. We’ve all been there. Schedules are tight. Sooner or later the 1st AD, a producer or even the director is going to want to save time by “shooting the rehearsal”. I strongly disagree with this and here’s why. No matter how great an actor is, they have only a finite amount of performance energy. They can only do so many takes before the results start to go downhill. In my experience, most actors deliver their best performance on take one or two. So those first takes need to be useable. They need to be in focus. The timing of the camera movement needs to be right. The boom needs to be out of frame. The prop in the drawer that the talent has to take out halfway through the scene needs to be in position, not still in the standby props person’s hand because they didn’t realise we were going that far. The view out of the door that the talent opens at the very end needs to have been dressed and lit. What, you didn’t know they were opening the door because they skipped that in the block-through and you didn’t get a rehearsal? Bummer. The purpose of a camera rehearsal is to find all these problems without burning the actors’ performance energy. If you roll the camera on the “rehearsal” – and I use quote marks because it isn’t a rehearsal any more – the cast have to deliver a full performance. Maybe a great, spontaneous performance that can’t be repeated. The last thing you want is for a boom shadow to be hovering over their forehead for half the scene. Things like boom positions and focus pulling especially can only be properly rehearsed with the camera up and the cast moving through their actual positions. And you can talk about a scene all you want, but a moving picture is worth a million words. There’s no substitute for everyone watching the monitor during that rehearsal and seeing exactly what’s required. Is a camera rehearsal always necessary on every set-up? No, especially if the scene has already been shot from several other angles, or if everyone’s confident that they know how it’s going to unfold, or if the scene demands little emotional commitment from the cast. But it should be the default practice. Will a camera rehearsal always throw up problems? Of course not. And if it goes perfectly, people will curse that you didn’t roll, and start asking why we bother with camera rehearsals anyway. That’s life. Shooting on one camera, getting the lighting and framing perfect for just one angle at a time, used to be a hallmark of quality in film and television. Nowadays many drama DPs are expected to achieve comparable quality while photographing two or more angles simultaneously, with all the attendant problems of framing out booms, lights and other cameras. So what is the best way to tackle multi-camera shooting? Let’s consider a few approaches. 1. Two sizes The most straightforward use of a B camera is to put it close to the A camera and point it in the same direction, just with a different lens. One disadvantage is that you’re sacrificing the ability to massage the lighting for the closer shot, perhaps bringing in a bounce board or diffusion frame that would flatter the actor a little more, but which would encroach on the wider frame. Another limitation is that the talent’s eye-line will necessarily be further off axis on one of the shots. Typically this will be the wider camera, perhaps on a mid-shot including the shoulder of the foreground actor, while the other camera is tighter in terms of both framing and eye-line, lensing a close-up through the gap between the shoulder and the first camera. The sound department must also be considered, especially if one camera is very wide and another is tight. Can the boom get close enough to capture the kind of close-miked audio required for the tight shot without entering the wide frame? Some TV series are solving this problem by routinely painting out the boom in the wider shots. This is usually easy enough in a lock-off, but camera movement will complicate things. It’s an approach that needs to be signed off by all the major players beforehand, otherwise you’re going to get some panicked calls from a producer viewing the dailies. 2. Cross-shooting This means filming a shot-reverse simultaneously: over character A’s shoulder onto character B, and over character B’s shoulder onto character A. This approach is an editor’s delight because there is no danger that the performance energies will be different when they cut from one person to the other, nor that arm or head positions will throw up continuity errors. Keeping the cameras out of each other’s frames is of course an issue, one usually handled by backing them off and choosing tighter lenses. (Long lenses are an unavoidable side effect of multi-camera cinematography.) Two booms are required, and keeping their shadows out is four times as difficult. Lighting can take twice as long too, since you now have two cast members who need to look their best, and you need to maintain mood, shape and contrast in the light in both directions simultaneously. Softer and toppier light is usually called for. The performances in certain types of scene – comedy with a degree of improvisation, for example – really benefit from cross-shooting, but it’s by far the most technically challenging approach. 3. Inserts Grabbing inserts, like close-ups of people’s hands dealing with props, is a quick and simple way of getting some use out of a second camera. Lighting on such shots is often not so critical, they don’t need to be close-miked, and it’s no hassle to shoot them at the same time as a two-shot or single. There is a limit to how many inserts a scene needs though, so sooner or later you’ll have to find something else to do with the camera before the producer starts wondering what they’re paying all that extra money for. 4. Splinter unit The idea of sending B camera off to get something completely separate from what A camera is doing can often appeal. This is fine for GVs (general views), establishing shots of the outside of buildings, cutaways of sunsets and so on, but anything much more complicated is really getting into the realm of a second unit. Does the set or location in front of camera need to be dressed? Then someone from the art department needs to be present. Is it a pick-up of an actor? Well, then you’re talking about hair, make-up, costume, continuity, sound… With the extra problems that a second camera throws up, it’s a fallacy to think it will always speed up your shoot; the opposite can easily happen. An experienced crew and a clear plan worked out by the director, DP, operators and gaffer is definitely required. However, when it’s done well, it’s a great way to increase your coverage and give your editor more options. Virtual production technically covers a number of things, but what people normally mean by it is shooting on an LED volume. This is a stage where the walls are giant LED screens displaying real-time backgrounds for photographing the talent in front of. The background may be a simple 2D plate shot from a moving vehicle, for a scene inside a car, or a more elaborate set of plates shot with a 360° rig. The most advanced set-ups do not use filmed backgrounds at all, but instead use 3D virtual environments rendered in real time by a gaming engine like Unreal. A motion-tracking system monitors the position of the camera within the volume and ensures that the proper perspective and parallax is displayed on the screens. Furthermore, the screens are bright enough that they provide most or all of the illumination needed on the talent in a very realistic way. I have never done any virtual production myself, but earlier this year I was fortunate enough to interview some DPs who have, for a British Cinematographer article. Here are some tips about VP shooting which I learnt from these pioneers. 1. Shoot large format To prevent a moiré effect from the LED pixels, the screens need to be out of focus. Choosing an LF camera, with their shallower depth of field, makes this easier to accomplish. The Alexa Mini LF seems to be a popular choice, but the Sony Venice evidently works well too. 2. Keep your distance To maintain the illusion, neither the talent nor the camera should get too close to the screens. A rule of thumb is that the minimum distance in metres should be no less than the pixel pitch of the screens. (The pixel pitch is the distance in millimetres between the centre of one pixel and the centre of the next.) So for a screen of 2.3mm pixel pitch, keep everything at least 2.3m away. 3. Tie it all together Several DPs have found that the real foreground and the virtual background fit together more seamlessly if haze or a diffusion filter are used. This makes sense because both soften the image, blending light from nearby elements of the frame together. Other in-camera effects like rain (if the screens are rated weatherproof) and lens flares would also help. 4. Surround yourself The most convincing LED volumes have screens surrounding the talent, perhaps 270° worth, and an overhead screen as well. Although typically only one of these screens will be of a high enough resolution to shoot towards, the others are important because they shed interactive light on the talent, making them really seem like they’re in the correct environment. 5. Match the lighting If you need to supplement the light, use a colour meter to measure the ambience coming from the screens, then dial that temperature into an LED fixture. If you don’t have a colour meter you should conduct tests beforehand, as what matches to the eye may not necessarily match on camera. 6. Avoid fast camera moves It takes a huge amount of processing power to render a virtual background in real time, so there will always be a lag. The Mandalorian works around this by shooting in a very classical style (which fits the Star Wars universe perfectly), with dolly moves and jibs rather than a lot of handheld shots. The faster the camera moves, the more the delay in the background will be noticeable. For the same reason, high frame rates are not recommended, but as processing power increases, these restrictions will undoubtedly fall away. In last week’s post I mentioned the minor trouble we had on Harvey Greenfield is Running Late with a flickering TV screen in the background of shot. In today’s post I’m going to look at the underlying maths, find out why the 144° shutter angle I ultimately chose gave the best results and how to calculate the exposure compensation when you change your shutter angle like this. If you haven’t already read my exposure series, particularly the posts about shutter and ISO, I suggest you look at those before diving into this one. Working out the shutter interval Harvey Greenfield was shot at 24fps here in the UK, where the mains current alternates at 50Hz (i.e. 50 cycles per second). To avoid certain light sources and any screens in shot from flickering, you generally want to match your shutter interval – the period of time during which light is allowed to charge the sensor’s photosites – to the AC frequency, i.e. 1/50th of a second in the UK. That works out to a shutter angle of 172.8° because… frame rate x (360 ÷ shutter angle) = shutter interval denominator … which can also be stated as… frame rate x shutter interval x 360 = shutter angle 24 x (1 ÷ 50) x 360 = 172.8 So, as with all features I shoot in the UK, I captured most of Harvey at a shutter angle of 172.8°. Going back to the TV problem, I scrolled through the Red Gemini’s available shutter angles until I found the one that gave the least flicker: 144°. With the twin wonders of hindsight and maths I can work out what frequency the TV was operating at, using the first version of the formula above. 24 x (360 ÷ 144) = 60 144° with a frame rate of 24 meant that the Red was capturing 1/60th of a second’s worth of light each frame. To produce (almost) no flickering at this camera setting, the TV was evidently operating at 60Hz. Working out the exposure compensation Reducing your shutter angle reduces the amount of light captured by the sensor each frame, i.e. it reduces the exposure. I was happy with the depth of field and didn’t want to change the aperture, so instead I compensated by increasing the ISO from 800 to 1280. This was a guess made under time pressure on set, but now I can calculate the right exposure compensation at my leisure. Fortunately, unlike f-stops, shutter angles and ISO are linear scales. Double the shutter angle or ISO and you double the exposure; halve the shutter angle or ISO and you halve the exposure. This makes the maths relatively easy. 172.8° was my original shutter angle. Let’s think of this as 100% exposure. When I went down to 144°, what percentage of the original exposure was that? I still remember the mantra from calculating maths workbook scores in secondary school: “What you got divided by what you could have got, times 100.” (144 ÷ 172.8) x 100 = 83% Now we turn to the ISO. At its original value, 800, the camera is only providing 83% of the desired exposure, thanks to the reduced shutter angle. What must we increase the ISO to in order to hit 100% again? (800 ÷ ?) x 100 = 83% 800 ÷ ? = 0.83 800 ÷ 0.83 = ? = 960 So I should have been at ISO 960 ideally. The closest available setting on the Red is ISO 1000, not 1280 as I selected, so I was actually over-exposing by a third of a stop. Given that we were shooting in RAW, so the ISO is only metadata, and I could see from the false colours display that nothing was clipping, this is a very minor error indeed. Letting the meter do the maths One more thing. My Sekonic L-758D light meter assumes a 180° shutter (so I set it to 25fps when I’m actually shooting 24fps at 172.8°, as both work out to 1/50th of a second). Another way I could have worked the correct exposure out, if I’d clocked the 60Hz frequency of the TV at the time, is to have set the meter to 30fps (1/60th of a second at 180°) and then changed the ISO until it gave me the stop I wanted. Day 1 The weather was dry and overcast, shedding a pleasantly soft light on the proceedings as the crew of Harvey Greenfield is Running Late set up for our first scene, in front of a small primary school in rural Cambridgeshire. Then we started shooting and the weather went bananas. One moment we had bright sunshine, the next we had heavy rain bordering on hail… sometimes in the same take. We had lots of fun and games dodging the showers, maneouvering a 12×12′ silk to soften the sun, keeping reflections and shadows out of shot, waiting for noisy trains to pass, and trying to get through takes without the light changing. But we got there in the end. In the afternoon we moved into the school hall, which we were using as a makeshift studio. As well as numerous flashbacks, the film includes several imaginary sequences, including a spoof advert. This we shot against a black backdrop using dual backlights, one on either side, to highlight the talent. I totally stole this look from the Men in Black poster. Our last shot of the day was Harvey’s first, and another imaginary scene, this time set in a coffin. To give the appearance of it being underground, the coffin (with no lid and one side missing) was placed on rostra with a black drape hanging below it. To create darkness above it, we simply set a flag in front of camera. Harvey (Paul Richards) lights a match to illuminate himself, which gaffer Stephen Allwright supplemented with two 1×1′ Aladdin Bi-flexes set to tungsten and gelled even more orange. Day 2 One of the few occasions in my life when I’ve been able to walk to set from home: we started at the University Arms Hotel overlooking Parker’s Piece, one of Cambridge’s many green spaces (and, fact fans, the place where the rules of Association Football were first established). The hotel’s function room was dressed as an upmarket restaurant, where we captured Harvey’s first date with his girlfriend Alice (Liz Todd). We shot towards a window; putting your main light source in the background is always a good move, and it gave us the perfect excuse to do soft cross-backlight on the two characters. The room’s wood panelling and sconces looked great on camera too. The unit then moved to Emmaus, a large charity shop north of the city, where we filmed a Wall of Pants and some tightly choreographed Sandwich Action. Here we broke out the Astera tubes for the fist time, using them as a toppy, fluorescent-style key-light and backlight. By now we were getting into the visual rhythm of the film, embracing wide angles (our 18-35mm zoom gets heavy use), central framing (or sometimes short-siding), Wes Anderson-type pans/tilts, and a 14mm lens and/or handheld moves for crazier moments. Day 3 We were based at Paul’s house for day 3, beginning in the street outside for a brief scene in his car. Shooting from the back, we mounted an Aladdin in the passenger seat to key Paul, and blacked out some of the rear windows to create negative fill, much like I did for the driving scenes in Above the Clouds. The rest of the day was spent in and around Paul’s shed. Or, to be more specific, the middle one of his three sheds. This is Harvey’s “Happy Place” so I stepped up from the Soft FX 0.5 filter I’d been shooting with so far to the Soft FX 1, to diffuse the image a little more. We also used haze for the only time on the film. Some shots through the shed window gave us the usual reflection challenges. Stephen rigged a 12×12 black solid to help with this, and we draped some bolton over the camera. Inside the shed we used an Aladdin to bring up the level, and once we stopped shooting through the window we fired a tungsten 2K in through there instead. This was gelled with just half CTB so that it would still be warm compared with the daylight, and Stephen swapped the solid for a silk to keep the natural light consistent and eliminate the real direct sun. I made my first use of the Red Gemini’s low light mode today, switching to ISO 3200 to maintain the depth of field when filming in slow motion. (I have been shooting at T4-5.6 because a sharper, busier background feels more stressful for Harvey.) Day 4 Back to the primary school. We spent the morning outside shooting flashbacks with some talented child actors from the Pauline Quirke Academy. We got some nice slider shots and comedy pans while dealing with the ever-changing cloud cover. Inside in the afternoon we picked up a dropped scene from day 1, then moved on to one of the film’s biggest challenges: a six-minute dialogue scene travelling through a corridor and around a classroom, to be filmed in a single continuous Steadicam shot. This could easily have been a nightmare, but a number of factors worked in our favour. Firstly, we had rehearsed the scene on location with actors and a phone camera during pre-production. Secondly, we had the brilliant Rupert Peddle operating the Steadicam. Thirdly, it would have been so difficult to keep a boom and its shadows out of shot that mixer Filipe Pinheiro and his team didn’t even try, instead relying on lavaliers and a mic mounted on the camera. For similar reasons, we didn’t do much lighting either; there were almost no areas of the rooms and their ceilings that didn’t come into shot at some point. In two places Stephen rigged blackout for negative fill. I then chose which of the existing ceiling lights to turn off and which to keep on, to get as much shape into the image as possible. We tried to rig a grid onto one of the ceiling lights to take it off a wall that was getting too hot, but after one take we realised that this was in frame, so instead we stuck a square of ND gel to it. We also rigged two Astera tubes in the corridor, but discovered that one of those came into frame too, so in the end a single Astera tube was the only additive lighting. The existing ceiling lights worked particularly well for a slow push-in to Alice near the end of the shot, providing her with both key and backlight from perfect angles. Day 5 Today we shot a big scene based around a school play. Production designer Amanda Stekly had created a suitably cheesy, sparkly backdrop, and more PQA students dressed up in weird and wonderful costumes to enact snatches of a very random production called Spamlet (making it the second time this year I’ve shot “to be or not to be”, though this time was… er… a little different). The school had a basic lighting rig already. We refocused and re-gelled some of the lights, keeping it very simple and frontal. Behind the set I put one of my old 800W Arri Lites as a backlight for the kids on stage. To one side, where Alice was standing, we used two Astera tubes, one to key her and one to backlight her. These were both set to a cool, slightly minty colour. My idea of using green for calming characters and moments hasn’t come to fruition quite as I’d planned, because it hasn’t fitted the locations and other design elements, but there’s a little hint of it here. For the audience, Stephen rigged an Aputure 300D to the ceiling as a backlight, then we bounced the stage lighting back onto them using a silver board. We also used the school’s follow spot, which gave us some nice flares for the stressful moments later in the scene. It was daytime both in reality and in the story, but we closed the (thin) curtains and reduced the ambience outside with floppy flags so that the artificial lighting would have more effect. We had to move at breakneck speed in the afternoon to get everything in the can before wrap time, but we managed it, finishing our first week on schedule. No mean feat. Astera Titan Tubes seem to be everywhere at the moment, every gaffer and DP’s favourite tool. Resembling fluorescent tubes, Asteras are wireless, flicker-free LED batons comprised of 16 pixels which can be individually coloured, flashed and programmed from an app to produce a range of effects. Here are five ways in which I used Titan Tubes on my most recent feature, Hamlet. I’m not being sponsored by Astera to write this. I just know that loads of people out there are using them and I thought it would be interesting to share my own experiences. 1. Substitute fluorescents We had a lot of scenes with pre-existing practical fluorescents in them. Sometimes we gelled these with ND or a colour to get the look we wanted, but other times it was easier to remove the fluorescent tube and cable-tie an Astera into the housing. As long as the camera didn’t get too close you were never going to see the ties, and the light could now be altered with the tap of an app. On other occasions, when we moved in for close-ups, the real fluorescents weren’t in an ideal position, so we would supplement or replace them with an Astera on a stand and match the colour. 2. Hidden behind corners Orientated vertically, Asteras are easy to hide behind pillars and doorways. One of the rooms we shot in had quite a dark doorway into a narrow corridor. There was just enough space to put in a vertical pole-cat with a tube on it which would light up characters standing in the doorway without it being seen by the camera. 3. Eye light Ben Millar, Hamlet‘s gaffer, frequently lay an Astera on the floor to simulate a bit of floor bounce and put a sparkle in the talent’s eye. On other occasions when our key light was coming in at a very sidey angle, we would put an Astera in a more frontal position, to ping the eyes again and to wrap the side light very slightly. 4. rigged to the ceiling We had a scene in a bathroom that was all white tiles. It looked very flat with the extant overhead light on. Our solution was to put up a couple of pole-cats, at the tops of the two walls that the camera would be facing most, and hang Asteras horizontally from them. Being tubes they have a low profile so it wasn’t hard to keep them out of the top of frame. We put honeycombs on them and the result was that we always had soft, wrappy backlight with minimal illumination of the bright white tiles. 5. Special effects One of the most powerful things about Titan Tubes is that you can programme them with your own special effects. When we needed a Northern Lights effect, best boy Connor Adams researched the phenomenon and programmed a pattern of shifting greens into two tubes rigged above the set. On War of the Worlds in 2019 we used the Asteras’ emergency lights preset to pick up some close-ups which were meant to have a police car just out of shot. There are all kinds of other effects you could use the tubes for. There is a good example by DP Rowan Biddiscombe in this article I wrote for British Cinematographer. When DSLR video exploded onto the indie filmmaking scene a decade ago, film festivals were soon awash with shorts with ultra-blurry backgrounds. Now that we have some distance from that first novelty of large-sensor cinematography we can think more intelligently about how depth of field – be it shallow or deep – is best used to help tell our stories. First, let’s recap the basics. Depth of field is the distance between the nearest and farthest points from camera that are in focus. The smaller the depth of field, the less the subject has to move before they go out of focus, and the blurrier any background and foreground objects appear. On the other hand, a very large depth of field may make everything from the foreground to infinity acceptably sharp. Depth of field is affected by four things: sensor (or film) size, focal length (i.e. lens length), focal distance, and aperture. In the days of tiny Mini-DV sensors, I was often asked by a director to zoom in (increase the focal length) to decrease the depth of field, but sometimes that was counter-productive because it meant moving the camera physically further away, thus increasing the focal distance, thus increasing the depth of field. It was the large 35mm sensors of DSLRs, compared with the smaller 1/3” or 2/3” chips of traditional video cameras, that made them so popular with filmmakers. Suddenly the shallow depth of field seen in a Super-35 movie could be achieved on a micro-budget. It is worth noting for the purists, however, that a larger sensor technically makes for a deeper depth of field. The shallower depth of field associated with larger sensors is actually a product of the longer lenses required to obtain the same field of view. Once a camera is selected and filming is underway, aperture is the main tool that DPs tend to use to control depth of field. A small aperture (large f- or T-number) gives a large depth of field; a large aperture (small f- or T-number) gives a narrow depth of field. What all those early DSLR filmmakers, high on bokeh, failed to notice is that aperture is, and always has been, a creative choice. Plenty of directors and DPs throughout the history of cinema have chosen deep focus when they felt it was the best way of telling their particular story. One of the most famous deep-focus films is 1941’s Citizen Kane, frequently voted the greatest movie ever made. First-time director Orson Welles came from a theatre background, and instructed DP Gregg Toland to keep everything in focus so that the audience could choose what to look at just as they could in a theatre. “What if they don’t look at what they’re supposed to look at?” Welles was apparently asked. “If that happens, I would be a very bad director,” was his reply. Stanley Kubrick was also fond of crisp backgrounds. The infamous f/0.7 NASA lenses used for the candlelight scenes in Barry Lyndon were a rare and extreme exception borne of low-light necessity. A typical Kubrick shot has a formal, symmetrical composition with a single-point perspective and everything in focus right into the distance. Take the barracks in Full Metal Jacket, for example, where the background soldiers are just as sharp as the foreground ones. Like Welles, Kubrick’s reasons may have lain in a desire to emulate traditional art-forms, in this case paintings, where nothing is ever blurry. The Indiana Jones trilogy was shot at a surprisingly slow stop by the late, great Douglas Slocombe. “I prefer to work in the aperture range of T14-T14.5 when I am shooting an anamorphic film like Raiders,” he said at the time. “The feeling of depth contributed to the look.” Janusz Kamiński continued that deep-focus look, shooting at T8-T11 when he inherited the franchise for Kingdom of the Crystal Skull. At the other end of the aperture scale, the current Hulu series The Handmaid’s Tale makes great creative use of a shallow depth of field, creating a private world for the oppressed protagonist which works in tandem with voiceovers to put the viewer inside her head, the only place where she is free. A director called James Reynolds had a similar idea in mind when I shot his short film, Exile Incessant. He wanted to photograph closed-minded characters with shallow focus, and show the more tolerant characters in deep focus, symbolising their openness and connection with the world. (Unfortunately the tiny lighting budget made deep focus impossible, so we instead achieved the symbolism by varying the harshness of the lighting.) One production where I did vary the depth of field was Ren: The Girl with the Mark, where I chose f/4 as my standard working stop, but reduced it to as little as f/1.4 when the lead character was bonding with the mysterious spirit inside her. It was the same principle again of separating the subject from the world around her. Depth of field is a fantastic creative tool, and one which we are lucky to have so much control over with today’s cameras. But it will always be most effective when it’s used expressively, not just aesthetically. Raiders of the Lost Ark, the first instalment in the blockbusting Indiana Jones franchise, burst onto our screens a scarcely-believable 40 years ago. But of course, it’s not the years, it’s the mileage… The origin story of this legendary character is itself the stuff of Hollywood legend. Fleeing LA to escape the dreaded box office results of Star Wars (spoiler: he needn’t have worried), George Lucas and his friend Steven Spielberg were building a sandcastle on a Hawaiian beach when Lucas first floated the idea. Like Star Wars, the tale of adventuring archaeologist Indiana Smith was inspired by adventure serials of the 1950s. Although Spielberg liked the first name (which came from Lucas’s dog, a reference that the third film would twist back on itself), he wasn’t so keen on Smith, and so Indiana Jones was born. Rather than auditions, actors under consideration were invited to join Spielberg in baking bread. Tom Selleck was famously the first choice for the lead, but his contract with the TV series Magnum, P.I. precluded his involvement, and Spielberg instead suggested to a reluctant Lucas that they cast his regular collaborator Harrison Ford. Raiders was shot at a breakneck pace, with Spielberg determined to reverse his reputation for going over schedule and over budget. Beginning in summer 1980, the animated red line of the film crew travelled across a map of the world from La Rochelle, France to England’s Elstree Studios (where Lucas had shot Star Wars) to Tunisia (ditto) to Hawaii, where it had all begun. The film, and indeed the whole of the original trilogy, was photographed in glorious Panavision anamorphic by the late, great Douglas Slocombe, OBE, BSC, ASC. “Dougie is one of the few cinematographers I’ve worked with who lights with hard and soft light,” Spielberg commented. “Just the contrast between those styles within the framework of also using warm light and cool light and mixing the two can be exquisite.” Location challenges included the removal of 350 TV aerials in the Tunisian town of Kairouan, so that views from Sallah’s balcony would look period-accurate, this being before the days of digital tinkering. Digital tinkering was applied to the DVD release many years later, however, to remove a tell-tale reflection in a glass screen protecting Harrison Ford from a real cobra. Besides this featured reptile – which proved the value of the screen by spitting venom all over it – the production team initially sourced 2,000 snakes for the scene in which Indy and friends locate the Ark of the Covenant. But Spielberg found that “they hardly covered the set, so I couldn’t get wide shots.” 7,000 more snakes were shipped in to complete the sequence. While the classic truck chase was largely captured by second unit director Michael Moore working to pre-agreed storyboards, Spielberg liked to improvise in the first unit. The fight on the Flying Wing, during which Ford tore a ligament after the plane’s wheel rolled over his leg, was made up as the filmmakers went along. When Indy uses the plane to gun down a troop of bad guys, the director requested a last-minute change from graphic blood sprays to more of a dusty look. Mechanical effects supervisor Kit West resorted to putting cayenne pepper in the squibs, which had the entire crew in sneezing fits. “I would hear complaints,” said Kathleen Kennedy, who worked her way up the producer ranks during the trilogy, beginning as “associate to Mr. Spielberg”. “‘Well, Steven’s not shooting the sketches.’ But once you get into a scene and it’s suddenly right there in front of you, I only think that it can be better if changes are made then.” Spielberg’s most famous improvisation, when a four-day sword-fight was thrown out and replaced with Indy simply shooting the swordsman dead, was prompted by the uncomfortable Tunisian heat and the waves of sickness that were sapping morale. “We couldn’t understand why the crew was getting ill, because we were all drinking bottled Evian water,” recalled Ford’s stunt double Vic Armstrong. “Until one day somebody followed the guy that collected the empties and saw him filling these Evian bottles straight out of the water truck.” Production wrapped in early October, and effects house ILM, sound designer Ben Burtt and composer John Williams worked their world-class magic on the film. For the opening of the Ark, ILM shot ghost puppets underwater, while the demise of the Nazi Toht was accomplished with a likeness of actor Ronald Lacey sculpted out of dental alginate, which melted gorily when heated. Amongst the sounds Burtt recorded were a free-wheeling Honda station wagon (the giant boulder), hands squelching in a cheese casserole (slithering snakes) and the cistern cover of his own toilet (the lid of the Ark). Williams initially composed two potential themes, both of which Spielberg loved, so one became the main theme and the other the bridge. Although still great fun, and delivering a verisimilitude which only practical effects and real stunts can, some aspects of Raiders are problematic to the modern eye. The Welsh John Rhys Davies playing the Egyptian Sallah, and a female lead who is continually shoved around by both villains and heroes alike, make the film a little less of a harmless romp today than it was intended at the time. Raiders was a box office hit, spawning two excellent sequels (and a third of which we shall not speak) plus a spin-off TV series, The Young Indiana Jones Chronicles, and even a shot-for-shot amateur remake filmed by a group of Mississippi teenagers over many years. It also won five Oscars in technical categories, and firmly established Steven Spielberg as the biggest filmmaker in Hollywood. A fifth Indiana Jones film recently entered production, helmed by Logan director James Mangold with Spielberg producing. It is scheduled for release in July 2022. See also: “Learning from the Masters: Raiders of the Lost Ark“
205	dbpedia	3	92	https://thefilmmakerspodcast.com/how-to-direct-adapt-a-stephen-king-classic-with-the-boogeymans-rob-savage/	en	The Boogeyman's Rob Savage talks how to Direct & Adapt a Stephen King classic.	https://thefilmmakerspod…Rob-Savage-1.png	https://thefilmmakerspod…Rob-Savage-1.png	[]	[ "https://embed.acast.com/63330899470c7900137d6f2d/647e6ae2b19ea10011692ebf" ]	[]	[ "" ]	null	[ "thefilmmakerspodcast" ]	2023-06-05T23:09:17+00:00	Making a horror legend come to life, directing actors and pitching to studios. Director Rob Savage (Host) joins The Filmmakers Podcast to chat about his latest horror feature 'The Boogeyman'. He sits down with Giles Alderson and Dom Lenoir to discuss how he made the leap to studio movie and creating horror scares. They also discuss: How to shoot big horror scenes. Pitching, how he got in the room and what to do when in there. Casting incredible actors. On set Lighting and the 'Moon Ball'. How a light-saber and Disney helped create a defining image.Any why major issues and mistakes can lead to brilliant creativity.	en	https://thefilmmakerspod…0x1400-32x32.jpg	The Filmmakers Podcast	https://thefilmmakerspodcast.com/how-to-direct-adapt-a-stephen-king-classic-with-the-boogeymans-rob-savage/	Director Rob Savage (Host) joins us to chat about his latest horror feature ‘The Boogeyman’. He sits down with Giles Alderson and Dom Lenoir to discuss how he made the leap to studio movie and creating horror scares. They also discuss: How to shoot scare ad big horror scenes. Pitching, how he got in the room and what to do when in there. Casting incredible actors. Lighting and the ‘Moon Ball’. How a light-saber and Disney helped create a defining image. Any why major issues and mistakes can lead to brilliant creativity. The Boogeyman in OUT in cinemas NOW! VOTE The Stranger in our Bed for Best Thriller at the National Film Awards here WATCH Breaking Infinity on it’s cinema tour here PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on film-making? Join our Patreon for bonus episodes, industry survival guides and feedback on your film projects! SUPPORT THE PODCAST Check out our full episode archive at TheFilmmakersPodcast.com CREDITS The Filmmakers Podcast is hosted, produced, edited and written by Giles Alderson @gilesalderson Social Media by Kalli Pasqualucci @kallieep Marketing Huw Siddle Logo and Banner Art by Lois Creative Theme Music by John J. Harvey Music supplied by – Music Bed
205	dbpedia	1	64	https://bluraydownlow.wordpress.com/2020/09/20/4k-uhd-blu-ray-review-full-metal-jacket/	en	4K UHD Blu-ray Review: Full Metal Jacket	https://bluraydownlow.wo…duced.jpg?w=1200	https://bluraydownlow.wo…duced.jpg?w=1200	[ "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss10-4k-uhd-reduced.jpg?w=1024&h=666&crop=1", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-blu-ray-cover.jpeg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-title-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss01-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-best-buy-exclusive-steelbook-packaging.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss02-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss03-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss04-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss05-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss06-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss07-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss08-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss09-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-one-sheet.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss10-4k-uhd-reduced.jpg?w=1024", "https://bluraydownlow.wordpress.com/wp-content/uploads/2020/09/fmj-ss11-4k-uhd-reduced.jpg?w=1024", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2020-09-20T00:00:00	Distributor: Warner Brothers Release Date: September 22, 2020 Region – 4K UHD: Region A BLU-RAY: Region Free Length: 01:56:30 Video – 4K UHD: 2160P (HEVC, H.265) BLU-RAY: 1080P (VC-1) Main Audio – 4K UHD: 5.1 English DTS-HD Master Audio BLU-RAY: 5.1 English Linear PCM Audio Alternate Audio – 4K UHD: English Mono Dolby Digital Audio…	en	https://s1.wp.com/i/favicon.ico	Blu-ray Downlow	https://bluraydownlow.wordpress.com/2020/09/20/4k-uhd-blu-ray-review-full-metal-jacket/	Distributor: Warner Brothers Release Date: September 22, 2020 Region – 4K UHD: Region A BLU-RAY: Region Free Length: 01:56:30 Video – 4K UHD: 2160P (HEVC, H.265) BLU-RAY: 1080P (VC-1) Main Audio – 4K UHD: 5.1 English DTS-HD Master Audio BLU-RAY: 5.1 English Linear PCM Audio Alternate Audio – 4K UHD: English Mono Dolby Digital Audio 5.1 Spanish Dolby Digital Audio 5.1 French Dolby Digital Audio 5.1 Italian Dolby Digital Audio 5.1 German Dolby Digital Audio 2.0 Polish Dolby Digital Audio BLU-RAY: 5.1 English Dolby Digital Audio 5.1 Spanish Dolby Digital Audio 5.1 French Dolby Digital Audio 5.1 Italian Dolby Digital Audio 5.1 German Dolby Digital Audio Subtitles: 4K UHD: English SDH, Spanish, French, Italian, German, Swedish, Norwegian, Danish, Dutch, Finnish, Czech, Portuguese, Mandarin (Traditional), Cantonese, Korean, Thai, Arabic, Polish, and Romanian BLU-RAY: English, English SDH, Spanish, French, Italian, German, Swedish, Danish, Dutch, Norwegian, Finnish, Portuguese, Cantonese, and Korean Ratio: 1.78:1 Notes: In addition to the new 4K UHD disc, this package also contains a Blu-ray disc and a digital copy of the film. However, the included Blu-ray is exactly the same disc that Warner Brothers released in 2007. It does not contain a new 1080P transfer of the new 4K master. “Some people demand a five-line capsule summary. Something you’d read in a magazine. They want you to say, ‘This is the story of the duality of man and the duplicity of governments.’ I hear people try to do it — give the five-line summary — but if a film has any substance or subtlety, whatever you say is never complete, it’s usually wrong, and it’s necessarily simplistic: truth is too multifaceted to be contained in a five-line summary…” –Stanley Kubrick (Rolling Stone, 1987) Great works resist simple description, and Stanley Kubrick’s work is certainly no exception. Any description of Full Metal Jacket would be reductive. It doesn’t fall in line with people’s idea of the typical “war film.” Critics were especially disgruntled when it was released to theaters in the wake of more traditional efforts set during the Vietnam War. Most compared it unfavorably with Oliver Stone’s Platoon, which had a successful theatrical release only a few months prior to the Kubrick film. They were missing the point. “I liked Platoon… It’s very different. I think Platoon tries to ingratiate itself a little more with the audience. But then, I have enough faith in enough of the audience to think that they are able to appreciate something which doesn’t do that. At least you’re not bored. I don’t know if you go to the movies a lot, but that’s one of the biggest problems.” –Stanley Kubrick (Stanley Kubrick at a Distance, Washington Post, June 28, 1987) Kubrick’s film isn’t even structured in the normal Hollywood fashion as the action is broken into two distinct sections, but it still managed to earn an Oscar nomination at the 60th Academy Awards for Best Adapted Screenplay. Stanley Kubrick, Michael Herr, and Gustav Hasford collaborated on the script which was adapted from “The Short Timers.” “[Hasford’s novel] was written in a very, very, almost poetically spare way. There was tremendous economy of statement, and Hasford left out all the ‘mandatory’ war scenes that are put in to make sure you understand the characters and make you wish he would get on with the story… I tried to retain this approach in the film. I think as a result, the film moves along at an alarming—hopefully an alarming—pace.” –Stanley Kubrick (Stanley Kubrick at a Distance, Washington Post, June 28, 1987) Critics were also put off by the fact that the art department recreated their own version of Hue instead of traveling to Vietnam to shoot the second section of the film. “We worked from still photographs of Hue in 1968, and we found an area that had the same 1930s functionalist architecture. Now, not every bit of it was right, but some of the buildings were absolute carbon copies of the outer industrial areas of Hue… It had been owned by British Gas, and it was scheduled to be demolished. So they allowed us to blow up the buildings. We had demolition guys in there for a week laying charges. One Sunday, all the executives from British Gas brought their families down to watch us blow the place up. It was spectacular. Then we had a wrecking ball there for two months, with the art director telling the operator which hole to knock in which building… I don’t think anybody’s ever had a set like that. It’s beyond any kind of economic possibility. To make that kind of three-dimensional rubble, you’d have to have everything done by plasterers, modeled, and you couldn’t build that if you spent $80 million and had five years to do it… So we had real rubble. We brought in palm trees from Spain and a hundred thousand plastic tropical plants from Hong Kong. We did little things, details people don’t notice right away, that add to the illusion. All in all, a tremendous set dressing and rubble job.” –Stanley Kubrick (Rolling Stone, 1987) For some, the resulting scenes were unconvincing and seemed artificially recreated, but Kubrick was happy with the result and defended his choices. “It looks absolutely perfect, I think… There might be some other place in the world like it, but I’d hate to have to look for it. I think even if we had gone to Hue, we couldn’t have created that look. I know we couldn’t have.” –Stanley Kubrick (Stanley Kubrick at a Distance, Washington Post, June 28, 1987) The only thing that many critics seemed to admire was R. Lee Ermey’s performance as the overbearing drill instructor. The role was originally given to an actor named Tim Colceri, and Lee Ermey was employed as the production’s technical advisor having been a drill instructor at Paris Island. However, when Kubrick saw Ermey at work with the actors, it became obvious that he was perfect for the role. “It was quite clear that Lee [Ermey] was a genius for this part… I’ve always found that some people can act and some can’t, whether or not they’ve had training. And I suspect that being a drill instructor is, in a sense, being an actor. Because they’re saying the same things every eight weeks, to new guys, like they’re saying it for the first time—and that’s acting.” –Stanley Kubrick (Stanley Kubrick at a Distance, Washington Post, June 28, 1987) Much of the character’s dialogue came from Ermey’s repertoire, and this is likely why it is so believable despite being extremely outlandish. “I’d say fifty percent of Lee’s dialogue—specifically the insult stuff—came from Lee. You see, in the course of hiring the marine recruits, we interviewed hundreds of guys. We lined them all up and did an improvisation of the first meeting with the drill instructor. They didn’t know what he was going to say, and we could see how they reacted. Lee came up with—I don’t know—150 pages of insults. Off the wall stuff: ‘I don’t like the name Lawrence. Lawrence is for faggots and sailors.’ Aside from the insults, though, virtually every serious thing he says is basically true. When he says, ‘A rifle is only a tool, it’s a hard heart that kills,’ you know it’s true. Unless you’re living in a world that doesn’t need fighting men, you can’t fault him — except maybe for a certain lack of subtlety in his behavior, and I don’t think the United States Marine Corps is in the market for subtle drill instructors.” –Stanley Kubrick (Rolling Stone, 1987) Ermey’s casting did cause certain problems for the production when the actor was injured in a car accident. If the film is notorious for its lengthy production schedule, it is important to take such problems into consideration. “It was about 1:00 in the morning, and his car skidded off the road. He broke all his ribs on one side, just tremendous injuries, and he probably would have died, except he was conscious and kept flashing his lights. A motorist stopped. It was in a place called Epping Forest, where the police are always finding bodies. Not the sort of place you get out of your car at 1:30 in the morning and go see why someone’s flashing their lights. Anyway, Lee was out for four and a half months.” –Stanley Kubrick (Rolling Stone, 1987) Today, the film has been re-evaluated and enjoys a positive reputation amongst critics. It isn’t Kubrick’s strongest effort, but it remains a fascinating film that rewards multiple viewings. The Presentation: 3.5 of 5 Stars Warner Brothers protects their 4K UHD and Blu-ray discs in a standard black eco-case with an insert sleeve that features reasonably attractive film related artwork. We are not huge fans of the flimsy eco-cases that have plagued home video releases for over a decade. They do not properly protect the discs or the artwork. (What would have been a 4 Star package has been reduced to 3.5 Stars for this reason.) Luckily, the first pressing includes a slip sleeve featuring the same artwork that adds further protection. We aren’t sure why the original iconic one sheet artwork wasn’t used for this release, but this is a small complaint. Best Buy is also offering an Exclusive Steel Book edition that features alternative artwork: Those who want their Kubrick titles to stand apart from their other titles might wish to make a trip to Best Buy, but both options are adequate. Picture Quality: 4K UHD: 4 of 5 Stars BLU-RAY: 3 of 5 Stars 4K UHD Warner Brothers offers a new 4K UHD transfer of Full Metal Jacket that isn’t quite in the same league as their 4K restorations of 2001: A Space Odyssey or The Shining, but it is such an overwhelming improvement over their earlier Blu-ray releases of the film that few are likely to notice. This really is a major overhaul that will improve one’s viewing experience significantly. The increased resolution is a significant help here, and there are some substantial improvements beyond this as well. It has a richer and more filmic appearance than the Blu-ray transfer. While earlier transfers appear to have been artificially brightened, this new image is darker without sacrificing detail. Depth and clarity see a significant improvement throughout the duration as well. The improvements in color is especially nice to see (even if they are sometimes subtle enhancements). There is some unfortunate noise on display at times, and one wonders if the encode didn’t adequately handle the film’s grain. These compression issues never distract though, and one imagines that most people won’t be bothered by them (particularly when they compare the image with the earlier Blu-ray transfer). Some might take issue with the 1.78:1 aspect ratio since the original theatrical ratio was 1.85:1. The proper home video ratio for Kubrick titles has been a topic of debate for decades. Evidence indicates that Kubrick composed the image for the 1.85:1 ratio but protected for the 1.66:1 and 1.33:1 ratios (for foreign release and television broadcast). It’s too bad that this release doesn’t present this film in the proper ratio, but this slight issue is easy to forgive since this 1.78:1 image falls between the 1.66:1 (European) ratio and the 1.85:1 (US) ratio. It is impossible to know if Kubrick would or wouldn’t approve. He apparently requested that his films be shown “full screen” back in the days of standard definition television sets, and this is certainly preferable to those 1.33:1 presentations. BLU-RAY Here we go again. Instead of offering fans a 1080P rendering of the new 4K scan of this film, Warner Brothers has repurposed their 2007 Blu-ray. File this under “missed opportunity.” The fact is that this is merely an “okay” Blu-ray image. It seems to be from a fairly clean source, there is a reasonable amount of detail on display, contrast is adequately handled, and color isn’t too far off the mark (even if it isn’t handled as well here as it is in the new 4K transfer). However, the simple fact of the matter is that a transfer of the new 4K scan would have been a significant improvement, and this will matter to a great many collectors and Kubrick enthusiasts. This is especially true given the fact that most fans will already own this disc. Sound Quality: 4K UHD: 4 of 5 Stars BLU-RAY: 4 of 5 Stars 4K UHD This new 5.1 English DTS-HD Master Audio transfer is a sort of repurposing as well. They have taken the Blu-ray’s 5.1 English Linear PCM Audio source and re-encoded it into this current format. That’s not such a horrendous thing since the LPCM audio was always a very decent revamping of the film’s original Mono track (which is happily included here but not in a lossless format). There are many who would have loved a lossless transfer of the film’s original Mono mix, but this is such a rare occurrence that it almost seems like nitpicking to even mention it. Still, this seems like yet another missed opportunity. In any case, the 5.1 mix offers some nice separations and some depth to a fairly discreet mix. There may be some slight hiss evident in the track, but those who aren’t listening for it may never even hear it. This is never problematic in any way. Dialogue is well prioritized and focused in the center of the mix. It is clear and easy to distinguish throughout the duration of the movie. BLU-RAY Everything mentioned above can be repeated here with one notable exception; there is no English Mono Dolby Digital audio option on this particular disc. Special Features: 3 of 5 Stars 4K UHD Feature Length Audio Commentary by R. Lee Ermey, Vincent D’Onofrio, Adam Baldwin, and Jay Cocks One wonders what a director’s commentary with Stanley Kubrick might be like. Of course, that’s an impossibility at this point. At best, it would be some sort of Frankenstein monster built from interview excerpts. This commentary with Ermey, D’Onofrio, Baldwin, and Cocks is rather informative and often quite interesting (even if some of the information overlaps with the documentary). It’s nice to have here and elevates the disc to something fairly special for Kubrick fans. It is also very nice to see that they included this track on the 4K UHD disc. This doesn’t always happen. BLU-RAY Feature Length Audio Commentary by R. Lee Ermey, Vincent D’Onofrio, Adam Baldwin, and Jay Cocks Obviously, this is the same track included on the 4K UHD disc, and it is very nice to have it included here as well. Full Metal Jacket: Between Good and Evil – (30:49) – (SD) Gary Leva’s “making of” documentary falls somewhat short of the fabulous documentaries created during the heyday of DVD, but it is substantially better than the anemic EPK promo fluff that is included on more recent Blu-ray releases. It manages to relay a significant amount of production information in what seems like an incredibly short half-hour. It includes interviews with cast, crew, and Kubrick experts. It also includes some brief but interesting “behind the scenes” production footage. It makes one wonder if we might get to see the rest of that footage one of these days. Theatrical Trailer – (01:28) – (SD) It is lovely to have the film’s original theatrical trailer here, but it seems like they could have given the trailer a new scan (in 1080p if not in 4K). This old standard definition transfer looks a bit tired. Final Words: Warner Brothers doesn’t give Full Metal Jacket quite the special release that 2001: A Space Odyssey and The Shining received, but the film isn’t held in quite the same esteem as those films. The new 4K UHD transfer is an obvious bump up from the old 2007 Blu-ray, but this only makes the repurposing of that old disc for this release more disappointing. One imagines that a new transfer of their new 4K master would have led to a better Blu-ray image as well. However, any 4K UHD debut of a Stanley Kubrick film is an occasion for celebration, and fans of the director will certainly want to add this film to their 4K collections. Recommended. Note: While we were provided with a screener for review purposes, this had no bearing on our review process. We do not feel under any obligation to hand out positive reviews. All screenshots and poster images are the property of Warner Brothers. The screenshots are scaled down to 1920 x 1080 from the UHD disc. None of them are representative of the disc’s image quality.
205	dbpedia	2	31	http://thefilmexperience.net/blog/2018/1/16/the-flesh-is-weak-body-of-evidence-at-25.html	en	The Flesh is Weak: Body of Evidence at 25	http://thefilmexperience.net/storage/1990s/BodyofEvidence_Collage.jpg?__SQUARESPACE_CACHEVERSION=1515962801011	http://thefilmexperience.net/storage/1990s/BodyofEvidence_Collage.jpg?__SQUARESPACE_CACHEVERSION=1515962801011	[ "http://thefilmexperience.net/storage/permanent-collection/BANNER-grey.jpg", "http://thefilmexperience.net/universal/images/squarespace/blogon-button.png", "http://thefilmexperience.net/storage/1980s/Screen Shot 2024-05-25 at 8.22.00 AM.png?__SQUARESPACE_CACHEVERSION=1716639742646", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/storage/1990s/BodyofEvidence_Collage.jpg?__SQUARESPACE_CACHEVERSION=1515962801011", "http://thefilmexperience.net/storage/1990s/bodyofevidence-candle.jpg?__SQUARESPACE_CACHEVERSION=1516111504699", "http://thefilmexperience.net/storage/1990s/Bodyofevidence_Madonna_Julianne.png?__SQUARESPACE_CACHEVERSION=1515964383447", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png", "http://thefilmexperience.net/universal/images/transparent.png" ]	[]	[]	[ "" ]	null	[]	2018-01-16T00:00:00	by Seán McGovern Madonna is a lot of things: Singer. Mother. Grammy Winner. Cos...	en	/favicon.ico		null	by Seán McGovern Madonna is a lot of things: Singer. Mother. Grammy Winner. Cosmetics Magnate. She is also a “movie killer”. But Body of Evidence, which turns 25 this week, is not entirely her fault. Nor, sadly, is it camp enough, ludicrous enough or, really, bad enough for the opinion of it to have changed after all these years. Body of Evidence arrived at a particular nexus of Madonna's career. Riding on the wave of Like A Prayer, pushing boundaries with the Blonde Ambition Tour and the exuberant Truth or Dare, Madonna's imperial phase began to dip with her boundary-pushing take on sex and erotica; namely, SEX and Erotica. While Madonna would remain unapologetic, Body of Evidence, and the accompanying explicit period in career concluded with one of the most consistent criticisms of Madonna: rigid-perfectionism and managed-spontaneity... Now it's at this point that I make it clear that, even if it seems otherwise... I'm a huge Madonna fan. The most grating problem with Body of Evidence is how reductive derivative it is. Released a mere 8 months after Basic Instinct, it's shocking to see how much of it feels directly lifted from it and other films of its genre. Basic Instinct invites its own particular criticisms all these years later, though it sideswipes many thanks to its ridiculously taut plot, sleek direction by Paul Verhoeven and by how amazing Sharon Stone is. She's as compelling in her line readings as she is with her resting-maniac-face. But where Body of Evidence really differs is in its complete lack of awareness. Body of Evidence thinks it's an erotic thriller. It's not. It's an erotic procedural. And that's just one of its problems. Madonna plays Rebecca Carlson: A woman who indulges in a healthy dose of kink in her sex life, which sadly reaches unhealthy levels when her rich boyfriend dies. Found dead wearing nipple clamps, the police turn to the woman who can be seen all over his home movies, gyrating on top. Enter the only lawyer who will help her, Dulaney, played with all the sensuality of a velociraptor by Willem Defoe. The charge? With a heart condition cocaine in his system and a will of $8m, our victim must have been knowingly boned to death by this blonde bombshell. Basic Instinct required you to suspend disbelief at many turns. Catherine Trammell had to have been a shapeshifting time-traveller to pull of some of the stunts she did (or didn't?) do, and yet one of the most unbelievable moments was that sweater Michael Douglas wore in the nightclub scene. The film succeeded because of the commitment by the talent involved. Sharon Stone has never shaken Catherine Trammell because she was too damn good being bad. Body of Evidence, not without an abundance of its own plot devices, fails to suspend your disbelief, but also because you just don't really care. Catherine Trammell was a best-selling author of taudry thrilller...Madonna does, what, exactly? She lives on a houseboat full of paintings and yet this was what preoccupied me more than how she got away with murder. She also finds it easy to move around with acupuncture needles in her back, which I can attest is not a good idea. And then of course, there's those infamous sex scenes. Regularly appearing on lists of “worst sex scenes in cinema,” Rebecca Carlson likes it a little bit rougher than even Catherine Trammell, eschewing Hermes scarves for handcuffs. Have you ever seen animals make love, Frank? It's intense. It's violent. But they never really hurt each other” Cue the candle wax. Body of Evidence, at the very least, features Willem Defoe going down on Madonna as she stands on the roof of a car. It's not all penetration. There isn't an ice-pick in sight. It's interesting to consider the backlash to Madonna's sexuality at this time. You can take her side and say that the world is/was a puritanical small town afraid of a woman's unabashed sexuality, and you'd be damn right. But you can also posit that Madonna's attitude to sex is her attitude to a lot of things: that she's going to micro-manage everything while saying FUCK YOU to consensus. This era in her career felt less like a project and more like a provocation. But in 1993, we didn't have the words “sex-positive” and “slut-shame”, and that's a sign of the time. But over the last 25 years the vocabulary in which we can openly talk about sex has changed. For all the rank unpleasantness in uncovering the abuses of powerful men, the majority of us have discovered that navigating consent can ultimately be a joyous and equalising experience. Parity between consenting adults has made us less fearful of sex, in all its many shades. Madonna was always two steps ahead of everyone else, and most of us are still challenging the authority that she casually shook off years before. So is Body of Evidence worth revisiting? It is in the sense that it represents the downturn of a subgenre that included quality films like Fatal Attraction (1987) and The Last Seduction (1994). Or worth revisiting if you're an Anne Archer completist: witness a wrong turn following her Fatal Attraction Oscar nomination. Perhaps the best thing about it is the young Julianne Moore, her spirited love-making with Willem Defoe and her star-wattage visible every time she's on screen, even if the material is completely undeserving. But ultimately, Body of Evidence is a reminder that elsewhere in the early 90s, sexual acts considered “transgressive” by the majority were still decimating huge chunks of our population. Fear shuts down a conversation, just as silence equals death. Cinema is deserving of sex. Body of Evidence, however, remains a bad film. But ask me again in another 25 years.
205	dbpedia	3	84	https://bluray.highdefdigest.com/1031/fullmetaljacket_de.html	en	Blu-ray News and Reviews			[ "http://cdn2.highdefdigest.com/media/2007/10/22/660/4089/full-metal-jacket-deluxe-edition-bluray-box-art.jpeg", "http://cdn2.highdefdigest.com/media/2007/10/22/660/4089/full-metal-jacket-deluxe-edition-bluray-box-art.jpeg", "http://cdn2.highdefdigest.com/media/2006/05/08/660/153/full-metal-jacket.jpeg", "http://cdn2.highdefdigest.com/media/2006/05/10/660/160/full-metal-jacket.jpeg", "http://cdn2.highdefdigest.com/media/2006/05/10/660/161/5318aebd874ec.jpeg", "http://cdn2.highdefdigest.com/media/2024/08/11/235/128654/furiosa-a-mad-max-saga-backdrop-highdef-digest-backdrop.jpg", "http://cdn2.highdefdigest.com/media/2024/08/08/235/128594/cc40-bluray-criterion-collection-40th-anniversary-collection.jpg", "http://cdn2.highdefdigest.com/media/2024/08/05/235/128514/The-beast-within.png", "http://cdn2.highdefdigest.com/media/2024/08/05/235/128471/hdd-august-5-4kuhd-bluray-shopping-guide.jpg", "http://cdn2.highdefdigest.com/media/2024/07/29/235/128249/The-Dead-Dont-Hurt-bd-hidef-digest-cover.jpg", "http://cdn2.highdefdigest.com/media/2024/07/14/235/127940/Joe-90-bd-hidef-digest-cover.jpg", "http://cdn2.highdefdigest.com/media/2024/08/03/235/128419/b-the-beginning-succession-s2-crunchyroll-blu-ray-highdef-digest-cover.jpg", "http://cdn2.highdefdigest.com/media/2024/08/03/235/128420/b-the-beginning-succession-s2-limited-edition-crunchyroll-blu-ray-highdef-digest-cover.jpg", "http://cdn2.highdefdigest.com/media/2024/06/20/235/127365/Three-Men-in-a-Boat-bd-hidef-digest-cover.jpg", "http://cdn2.highdefdigest.com/media/2024/05/30/235/126947/Guest-House-Paradiso-bd-hidef-digest-cover.jpg", "http://cdn2.highdefdigest.com/media/2024/06/22/235/127386/Youre-Next-le-uk-bd-hidef-digest-cover.png", "http://cdn2.highdefdigest.com/media/2024/06/12/235/127233/The-G-bd-hidef-digest-cover.jpg", "https://m.media-amazon.com/images/I/51eFFAvmTtL._SL160_.jpg", "https://m.media-amazon.com/images/I/51rG8ESYXLL._SL160_.jpg", "https://m.media-amazon.com/images/I/517V0oFkWtL._SL160_.jpg", "https://m.media-amazon.com/images/I/51awED+QlZL._SL160_.jpg", "https://m.media-amazon.com/images/I/515kxuVUxOL._SL160_.jpg", "https://m.media-amazon.com/images/I/51a2ryc9V5L._SL160_.jpg", "https://m.media-amazon.com/images/I/517Lt+CwzmL._SL160_.jpg", "https://m.media-amazon.com/images/I/41g4u436CjL._SL160_.jpg", "https://bluray.highdefdigest.com/images/hdd-footer-logo.png", "https://icons.internetbrands.com/ccpa/privacyoptions29x14.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	I've said before that there seem to be two different kinds of war movies -- those that rub our noses in the grisly reality of combat ('Saving Private Ryan,' 'Platoon'), and those that examine everything else around it, whether it be soldiers suffering the dehumanizing effects of boot camp or the cost of war on those back home ('Tigerland,' 'Gardens of Stone'). Leave it to master director Stanley Kubrick to again flout convention and fuse the two together in his 1987 Vietnam war movie, 'Full Metal Jacket.' Essentially a two-act play, Kubrick's would-be epic is often as frustrating in its incongruity as it is fascinating in its complexity. In the film's first act, we meet Gomer (Vincent D'Onofrio), who may just be the most lovable slob of a grunt in movie history. Of course, being a Kubrick film, boot camp won't go so well for poor Gomer. Relentlessly tormented by his fellow soldiers and his "leatherlung" drill instructor (R. Lee Ermey, in a performance that became an instant classic), Gomer is always one step away from mental and physical collapse. I won't spoil the first act climax, but Gomer's Jack Torrance-esque disintegration will be internalized by Joker (Matthew Modine) who, as Act Two begins, is plunged into the heart and hell of war. Assigned to the front lines of battle as a combat journalist, Joker will at first attempt to remove himself from the mass atrocities he witnesses through the safety of his pen, but ultimately the realities prove too ugly to ignore, making his own descent into violence seemingly unavoidable. I know I am not the first viewer to say as much, but 'Full Metal Jacket' leaves me split right down the middle. Given the film's structure, it's almost impossible not to take sides, and I personally found myself far more drawn in by the first half. The plight of D'Onofrio's poor Gomer is often mesmerizing, and is perfectly suited to Kubrick's sterile visual style. Kubrick has never been a particularly warm filmmaker, but here he seems to find a perfect thematic foil -- the military's systemic and unforgiving process of dehumanization. Kubrick's methodical pace and completely unsentimental worldview rips Gomer apart, and is an apt microcosm for brutal toll war takes on the human soul. Combined with director of photography Douglas Milsome's sterile visuals and a droning, unsettling score by Vivian Kubrick, the first half of 'Jacket' is its own mini-masterpiece. By comparison, Act Two feels a bit more generic. Part of the problem is that Joker (though played earnestly by Modine) is simply less riveting a protagonist than Gomer. And thematically, Kubrick seems to simply be restating the same themes he so breathtakingly depicted in Act One, except in this case he's refashioned them out of war movie cliches (the grunts, the sniper, the injured screaming and dying all around). I've also never felt that Kubrick quite got a lock on how to stage the action, especially the film's climax, which is too much of an exercise in existentialism to be really gripping as a visceral experience. Make no mistake, I still think 'Full Metal Jacket' is well worth seeing. The second half may not measure up the powerful first 45 minutes, but arguably the film's contrasts and jarring inconsistencies are what make it so intriguing almost twenty years later. 'Full Metal Jacket' may be a flawed film, but it remains one of the most challenging, unconventional war movies ever made. First released on Blu-ray back in September 2006, 'Full Metal Jacket' has become almost legendary as one of the worst high-def catalog releases to hit either format. I was not at all fond of the video transfer on that release, and gave it quite harsh marks in my original Blu-ray review. The source was poor, colors were off, and the image so soft it hardly looked like high-def at all. Thankfully, Warner seems to have taken the criticism to heart, and hasn't skimped on this new 'Deluxe Edition,' offering up a newly remastered transfer that's a clear and welcome improvement over the previous version. I've never been a huge fan of the look of 'Full Metal Jacket' in general, so no matter how nice of an upgrade this new 1.85:1 widescreen 1080p/VC-1 encode may be (identical to the concurrently-released HD DVD, by the way), I suppose I would be somewhat predisposed against it. That said, the film's naturalistic style of photography comes across much better here than on the previous Blu-ray. Blacks are a bit richer, and contrast a bit bolder, which helps depth. While still not pristine, the print has been cleaned up a bit, reducing dirt and blemishes. Happily, visible detail is also heightened, with close-ups in particular revealing a good deal of texture, while wide shots are a bit sharper. Most improved is color reproduction. I hated fleshtones on the earlier releases, which were so skewed towards red that everyone looked pig-faced. This new transfer is much more natural, if still not absolutely spot-on. Hues are a tad cleaner, and a bit more robust (most noticeably the deep blues of the infamous bathroom scene between Vincent D'Onofrio and R. Lee Ermey). Finally, compression artifacts are no longer issue, with the annoying banding of the previous release gone, and no other defects visible. Does 'Full Metal Jacket' look like a million bucks? No, not even this second time around. This is still a twenty year-old catalog title that doesn't have an amazingly clean source. But this new transfer is a clear improvement, finally making 'Full Metal Jacket' a title you don't have to be embarrassed to have in your high-def collection. Last time 'Full Metal Jacket' hit Blu-ray, all Warner could muster up was a meager Dolby Digital 5.1 track (at 640kbps). Though that same track is included on this disc as well, Warner has also added an uncompressed PCM 5.1 surround option (48k/16-bit/4.6mbps, comparable to the Dolby TrueHD track on the HD DVD). Unfortunately, while I'll always give props to a studio for supporting high-res audio, it's clear that the source is the same, and this track is obviously limited by the source material. The mix is almost entirely front-heavy, especially the first half. The technology limitations of the time come through in the lack of heft to the frequency range. Highs and lows just aren't there to any discernible degree, with that flat, dull sound typical of soundtracks of the era. The songs included on the soundtrack are also weakly rendered, barely sounding like they have been remixed for stereo. As before, the only time the mix comes alive at all is during the battle scenes during the film's second half, where there are occasional instances of effective surround use, and some interesting atmospheric trickery with Vivian Kubrick's atonal score. Still, even in uncompressed form, 'Full Metal Jacket' feels dated -- movement of sounds from channel to channel is pretty obvious, and I never felt truly engulfed in the action. Dialogue is also weakly rendered, and I was frequently frustrated that even at decent volume levels I had trouble understanding characters' speech. Although Warner still deserves some kudos for adding a PCM track, in all honestly it doesn't help much. Of the five titles Warner has included in its new wave of Kubrick high-def releases (a list that also includes '2001: A Space Odyssey,' 'A Clockwork Orange,' 'Eyes Wide Shut' and 'The Shining'), 'Full Metal Jacket' has received the least attention in terms of supplements. This isn't a bad package per se, but it's not all that extensive, either. First up is a screen-specific audio commentary that reunites cast members Adam Baldwin, Vincent D'Onofrio and R. Lee Ermey, plus historian and writer Jay Cocks. I was particularly looking forward to listening to this one, as the on-set animosity between D'Onofrio and Kubrick is said to be legendary. Alas, this is not a dirt-dishing track, although there are a few moments when a suddenly disquieted D'Onofrio recalls a shoot that was clearly quite physically demanding (due in part to the actor's intense weight gain for the role). Ermey is, as always, an irascible and often hilarious presence, and alongside Baldwin clearly has an unusual level of respect and affection for Kubrick. Unfortunately, both Ermey and D'Onofrio disappear about halfway through, and so does much of the energy of this track. Baldwin's character is just not integral enough to the story to be of much interest, and Cocks' insights are all second-hand. Not unlike the film itself, this track has a split personality. The only other major feature is the newly-produced featurette "Full Metal Jacket: Between Good and Evil." Running 31 minutes, this one features the above participants, plus Matthew Modine (sorely missed on the commentary) and authors John Baxter ("Stanley Kubrick: A Biography") and David Hughes ("The Complete Kubrick"). Though not all that substantial in terms of length, I preferred this featurette to the commentary. It better encapsulates the basic gist of the film's conception, casting and shoot, as well as it's place in the Kubrick canon. Rounding things out is the film's Theatrical Trailer, which, like the "Between Good and Evil" featurette above, is presented in 4:3 full screen 480i/MPEG-2 video only.
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"https://britishcinematographer.co.uk/wp-content/uploads/2020/11/BCineLocations-on-Dark-Trans.webp", "https://britishcinematographer.co.uk/wp-content/uploads/2020/11/BCineSkills-on-Dark-Trans.webp" ]	[]	[]	[ "" ]	null	[ "British Cinematographer" ]	2021-01-07T18:38:56+00:00	STILL SHOOTING Clapperboard / Douglas Milsome BSC ASC Still Shooting Clapperboard / Douglas Milsome BSC ASC Whereas others might have retired long since,	en	https://britishcinematog…bcfav-45x45.webp	British Cinematographer	https://britishcinematographer.co.uk/douglas-milsome-bsc-asc/	Whereas others might have retired long since, Douglas Milsome BSC ASC, now aged 81, continues to enjoy filmmaking more than ever in a stellar career spanning over six decades and more that 60 long-form narrative credits as cinematographer. "I'm about to shoot Kingslayer in Scotland, in October, Covid-permitting, for director Stuart Brennan," says Milsome. "I told him, 'I'm old, mate.' He said, 'Are you sure? Bring your eye!'" Born in 1939, in Hammersmith, London, from modest beginnings he rose from focus puller to camera operator and then cinematographer, working along the way with some of the world's most renowned directors and respected DPs, most notably Stanley Kubrick and John Alcott BSC. Milsome became a member of the BSC in 1987, the ASC in 2001, and was accepted as a member of the Academy Of Motion Picture Arts & Sciences for "demonstrating excellence" in his work. Tragically, Milsome's son, Mark, also a camera operator, was killed in an incident during a shoot in 2017, and the venerable DP is on the board of the Mark Milsome Foundation, and continues to press for justice for Mark. By kind permission, Milsome allowed us to publish some of his fascinating recollections about his early moviemaking career. "Upon leaving a working-class school, aged 16, where I achieved only average grades in most subjects, I undertook to not end up like my father - cleaning carriages for British Rail at Old Oak Common. My mother, though, designed and made haute couture dresses for a leading fashion house, and I counted on inheriting some of her talent, albeit in a different artform. I suppose like a lot of fellow photographers, my early career interest began from having a stills camera. A second-hand Rolleiflex, with an F2.8 Tessar portraiture lens, aroused in me endless interest and satisfaction. In 1956, I answered an ad to assist in the camera section of commercial advertising company, Rank Screen Services, based in a small underground studio in Hill St, London, W1. They had a couple of 35mm Bell & Howell cameras and a Mitchell Standard 35mm rostrum-rigged stop-frame camera. During my 'temporary' stay, mostly making all the tea and coffee the camera operators could drink, and amid plenty of bollockings, I did at least get to load the magazines in the dark room, do dip tests, process B&W negative and log the lab reports. In 1957, the company moved to a bigger facility, luckily me with it, at Pinewood Studios, where they had a much bigger rigged-camera layout department, with several more cameramen, and a fully-equipped model animation stage run by Tony Thompkins, an accomplished and clever DP, who I assisted. It was intricate and time-consuming work, but it was a good grounding and I learnt a lot. Pinewood was big, with many major feature films in production, and a huge camera department with resident camera crews, who I had a chance to meet on-set. I had the privilege to learn from and assist people such as John Alcott BSC, Alec Mills BSC, Jim Devis, Steve Clayton and John Morgan, on my journey through the crew system. After three years at Rank Screen Services, earning £4-a-week with the required ACT ticket, I entered the freelance world, thinking, 'This might be an uphill shit-fight, but I will enjoy it.' For a while it seemed that I had screwed up by leaving Rank, but Les Smart, head of camera at MGM, helped get me my first movie job, The Doctor's Dilemma (1959, DP Robert Krasker BSC). The camera - a Mitchell NC with soundproofed blimp and a side-mounted auto-parallax viewfinder - was operated brilliantly by John Harris. I then went on to Expresso Bongo (1959, DP John Wilcox) shot in 35mm B&W, where the Dyaliscope lens system needed two focus pullers for each lens. John Wilcox later took me to Rhodes to shoot second unit on Guns Of Navarone (1961, DP Oswald Morris BSC) in Panavision 35mm using the first combined Anamorphic lenses. I got back to home after many weeks away, only to be greeted by regimental police - I was amongst the last intake of National Service Army conscripts. After six weeks of basic training, I married Debbie, only to get back from our honeymoon AWOL, and be slung in the growler/military clink. But I got my wings with a compassionate posting in the Army Kinematograph Service, shooting aerial reconnaissance and recruitment films with a 16mm Bolex. I was de-mobbed in 1962, with Debbie pregnant with Mark, and I started back in the business. That year I worked as the only loader between four ARRI 2C cameras, shooting a pack of hounds in a stag hunt near Dublin for John Huston's The List Of Adrian Messenger (1963, DPs Joseph MacDonald/Ted Scaife), which got me back in shape after two years of National Service. Many films followed. One I will always remember Never Put It In Writing. In July 1963, we were filming at Shannon Airport, when a light Proctor aircraft lost control and crashed into our Buick shooting-break camera car. The DP, Dave Bolton got it worst - fractured skull and lost an eye from the propeller that feathered splintered wood and glass. Virginia Stone, the director's wife had both legs broken. I got stitched up, whilst Tony Spratling BSC luckily escaped serious injuries. Mark, our son was two months old, at the time. It is ironic how things can work out. There then followed Henry Hathaway's Circus World (1964, DP Jack Hildyard BSC) shot in Technirama, using a Vista Vision 8-perf camera with a quarter Anamorphic squeeze. It took 2,000ft mag loads, and with a 22'' Mitchell geared head, needed four grips to lift it - so there wasn't a lot of handheld done! After months of loading on Casino Royale (1967, DP Jack Hildyard BSC), I got a break to pull focus on Michelangelo Antonioni's Blow-Up (1966, DP Carlo Di Palma), thanks to Alec Mills BSC who thought I was ready, and who moved up to work as an operator on another show. This was Michelangelo's first English-language feature - an intriguing, if self-indulgent, challenge to the idea that the camera never lies. I appeared to fit in well with Carlo the DP, despite English not being exchanged much on-set and constant Latin tantrums. Ray Parslow, the operator, spoke fluent Italian, and he reassured me "You're OK, you're not getting fired!" Actually, getting on well with the movie's star, David Hemmings, would open-up other opportunities in the future. After ten years as a second AC, I was now established as a 1st AC. Although I worked on many features over the next 16 years, perhaps the most interesting experiences, and steepest learning curves, were with John Alcott BSC. He always struck a chord with a look, technically pushing the envelope. John was the 'Prince Of Darkness', that never actually looked dark. With Lou Bogue, his gaffer, who kept the lighting package in a small van, it was often hard work for the focus puller, as the exposure was always at the toe-end of the widest lens aperture. In 1973 I had my first encounter with Stanley Kubrick for Barry Lyndon (1975, DP John Alcott BSC). It was daunting, of course, being in the presence of greatness, and with his reputation preceding. Alcott briefed me beforehand in ego management. "Answer any questions with either 'Yes', 'No', or 'I'll check', and don't make excuses. He's a chess player, play the pawn. He's like a dog with a bone." I was confident at this point, having many years of experience, and after working on Modesty Blaise (1966, DP Jack Hildyard BSC), Polanski's Macbeth (1971, DP Gilbert Taylor BSC), the storm sequence in David Lean's Ryan's Daughter (1970, DP Freddie Young BSC), The Adventures (1970) and The Horseman (1971), both shot by DP Claude Renoir. It was Kubrick's idea to film Barry Lyndon in natural candlelight and the Carl Zeiss Planar lenses we used allowed us to shoot scenes lit only by candlelight on Kodak 5254 100ASA film. These lenses were designed and made specifically for NASA's 1966 Apollo lunar programme to capture the far side of the Moon on stills cameras. Stanley got four, all 50mm f/0.7, and then it became a long journey to adapt them to work on his blimped BNC Mitchell camera, before prepping all his other cameras - including the first ARRI BL, a high-speed NC Mitchell, plus two ARRI 2Cs and an Eyemo - followed by 70 of his other lenses. Including a year's principal shooting, this was a labour of love for a full 18 months. However, the result evoked a genuine 18th century atmosphere of renaissance paintings and today still, in my view, it's the best collection of images ever assembled on a strip of celluloid The crown deservedly went to John, an honour I share being a part of. To my relief, the Bond I did shortly after, The Spy Who Loved Me (1977, DP Claude Renoir AFC), with Lewis Gilbert directing and Alec Mills BSC operating, in Sardinia and Luxor Egypt, seemed an absolute vacation. This was followed by a six-month hoot on The Pink Panther Strikes Again (1976, DP Harry Waxman BSC), with the great Ernie Day operating. In 1979, came The Shining (DP John Alcott BSC) - a much easier ride than Barry Lyndon. Some of my favourite moments were shared with Garrett Brown, inventor of the then little-known Steadicam. Kubrick called it his magic carpet. Garrett's brilliant use was a cinematic breakthrough, capturing the blunt symmetry of endless corridors, painted carpets, empty halls and doors. With this rig, he could run flat out with a 28lb 35mm BL camera, but keep the image rock steady. My other favourite moments were being chosen to complete principle photography for a further seven weeks after John Alcott left the picture, and shooting the opening/title sequence in Oregon with Jan Harlan his producer. In 1980, aged 40, I decided to move up to operator. I got an offer from David Hemmings to shoot/operate second unit on the action-thriller Race To The Yankee Zephyr (1981, DP Vincent Montin), which he was directing. This proved to be eight weeks of hairy action - chasing jet boats from Hughes 500 choppers with a mount from Nelson Tyler in Queenstown South Island New Zealand. Other productions down-under followed including Wild Horses (1984), which I was asked to photograph. The Bounty (1983) came next, with the mission (if I chose to accept it) of shooting for four weeks on a 3,000-mile voyage across the South Pacific, and another three months shooting second unit on the island of Moorea. I later operated main unit on three films for different Australian directors - Bruce Beresford's King David (1985, DP Don McAlpine), Fred Schepisi's Plenty (1985, DP Ian Baker) and Highlander (1986, DP Gerry Fisher BSC), directed by Russell Mulcahy. In 1985 came the invitation of Stanley to shoot his Vietnam epic Full Metal Jacket (1987) as the cinematographer. It was a long, tough shoot for all the crew, and especially for me in making Stanley think he had made the right choice in me. Stanley's plan was to mold his actors into a form he imagined as altruistic on one hand, born-to-kill aggressors on the other, creating a sense of hopelessness - no heroes, no easy solutions, no happy ending. Anton Furst, the production designer, reduced Beckton Gas Works to rubble, planting palm trees in skips for sub-tropical effect, to fulfill yet another idea of Stanley's to transform South East London the South East Asia. Adam Samuelson's Louma crane was mounted on a low-loader, always ready to spring into action. Jonathan Taylor, my first AC, had enough technical training to stand up to Stanley's constant inquisitorial barrage. Lovely John Wards was on Steadicam. I, myself, having learnt to become the instrument of Stanley's vision, was trusted to operate the camera for him, always with a geared head. We shot Full Metal Jacket with fast, low contrast Kodak film, pushed a stop, and heavily ND-filtered, which increased grain and desaturated the colours. It was a study in grey/green backlight, with smoke to help evoke the mood of urban warfare. I carry lots of personal memories of Stanley, and his films are a living memory of his status. I think he made movies to get through a case of chronic anxiety disorder. He was never happier than being behind the camera. As a cameraman, I tried to reflect his personal authorship - a perspective that becomes open to interpretation - of letting the photography be true to the narrative, with the camera movement not in the way. Over the years, I must say that I had a harder time from far lesser talented directors than Stanley, who have been dogged by arrogance. I went about finding distractions when Mark died. My sanity and health failing at that time, and despite two replacement knees, I took on small projects to film. Eve (2019) was an interesting, very low-budget, psycho thriller, with a bunch of refreshing young talents. Another I took was House Red, as it was shooting in beautiful Tuscany. I was supplied with a gift camera package, thanks to Movietech's John Buckley for that. Mark Milsome's inquest takes place from 19th to 28th October, in a public hearing at The West London Coroner's Court, Fulham. We are up against the big guns of the BBC/Netflix represented by Weightmans, one of the biggest law firms, ready to eat us for breakfast. We have secured a lawyer with effective counsel in place for a fair hearing."
205	dbpedia	2	70	https://www.thanhouser.org/films/Evidence.htm	en	The Evidence of the Film			[ "https://www.thanhouser.org/images/logo.gif", "https://www.thanhouser.org/films/nfpb.gif", "https://www.paypal.com/en_US/i/scr/pixel.gif", "https://www.thanhouser.org/films/evidence.jpg", "https://www.thanhouser.org/images/mailto.gif" ]	[ "https://player.vimeo.com/video/20262650?byline=0" ]	[]	[ "" ]	null	[]	null					null	Return to www.thanhouser.org The Evidence of the Film (One reel, approx. 1,000 feet, released January 10, 1913) Directed by Edwin Thanhouser and Lawrence Marston. Print source: Library of Congress, 14 minutes, 30 seconds. Cast: William Garwood (the broker), Florence LaBadie (sister of little boy), Marie Eline (messenger boy), Riley Chamberlin (clerk) Original music composed and performed by Raymond A. Brubacher. The Evidence of the Film was selected in 2001 for inclusion in the National Film Registry by the National Film Preservation Board of the Library of Congress for its cultural, historical and aesthetic significance. Please support online access to Thanhouser films with your donation. Congress first established the National Film Preservation Board in the 1988 National Film Preservation Act, and most recently extended it with passage of the National Film Preservation Act of 1996. The Board advises the Librarian of Congress on 1) national film preservation policy, including continuing implementation of a plan to save the American film heritage, and 2) on the annual selection of "culturally, historically or aesthetically significant films" for the National Film Registry. For more information on this film, read The Influence of D.W. Griffith on Thanhouser's 1913 Release: The Evidence of the Film plus a detailed shot-by-shot analysis of this this film. Recently discovered and preserved, The Evidence of the Film is a particularly clever and unusual early example of a fictional dramatic movie with filmmaking as a subject. The portrayal of a movie crew that just happens to be at work on a street corner is accurate. The director is seen consulting a shooting script, something a Thanhouser director would do but probably not another studios director. The film laboratory and editing scenes are of enormous interest as historical document as well as ingeniously integrated in the crime tale. This film Copyright © 2011 Thanhouser Company Film Preservation, Inc. All Rights Reserved.
205	dbpedia	2	26	https://en.wikipedia.org/wiki/Body_of_Lies_(film)	en	Body of Lies (film)	https://upload.wikimedia…_lies_poster.jpg	https://upload.wikimedia…_lies_poster.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/48/Body_of_lies_poster.jpg/220px-Body_of_lies_poster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/LeonardoDiCaprioNov08.jpg/150px-LeonardoDiCaprioNov08.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2007-03-15T01:39:32+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Body_of_Lies_(film)	2008 film by Ridley Scott Body of LiesDirected byRidley ScottScreenplay byWilliam MonahanBased onBody of Lies by David IgnatiusProduced by Ridley Scott Donald De Line StarringCinematographyAlexander WittEdited byPietro ScaliaMusic byMarc Streitenfeld Production companies Scott Free Productions De Line Pictures Distributed byWarner Bros. Pictures Release date Running time 128 minutesCountryUnited StatesLanguageEnglishBudget$67.5–70 million[1][2]Box office$118.6 million[2] Body of Lies is a 2008 American spy action thriller film[3] directed and produced by Ridley Scott, written by William Monahan, and starring Leonardo DiCaprio, Russell Crowe and Golshifteh Farahani in the lead roles. Set in the Middle East, it follows the attempts of the CIA and the GID of Jordan to catch "al-Saleem", a terrorist. Frustrated by their target's elusiveness, differences in their approaches strain relations between a CIA operative, his superior, and the head of Jordanian Intelligence. The supporting cast features Mark Strong and Oscar Isaac. The screenplay, based on the 2007 novel of the same name by David Ignatius, examines contemporary tension between Western and Arab societies, and the comparative effectiveness of technological and human counter-intelligence methods. Principal photography for the film began on September 5, 2007 and concluded in December 2007.[4] The film was shot largely on location in the United States and Morocco, after authorities in Dubai refused permission to film there because of the script's political themes. The film was released in the United States on October 10, 2008, by Warner Bros. Pictures. The film received mixed reviews from critics, who praised Scott's direction and visual style, as well as the performances of its two leads, but criticized his formulaic handling of the story and use of conventions from the spy genre, such as surveillance shots from high-altitude spy planes. The film grossed $118 million worldwide on a budget of $67.5–70 million. Plot [edit] Anti-terrorist police teams prepare to raid a house in Manchester, England. As members of the team enter, the terrorists inside the house hear them. One of the terrorists presses a button on his cell phone triggering an explosion, destroying the house. Central Intelligence Agency case officer Roger Ferris is tracking a high-ranking terrorist leader called Al-Saleem in Iraq. He meets Nizar, a member of the terrorist organization who is prepared to offer information in return for asylum in North America. Despite the objections of his boss, Ed Hoffman, Ferris agrees to shelter Nizar. Nizar is used as a pawn to draw out the rest of his cell; when Nizar is captured, Ferris is forced to shoot and kill him to prevent him exposing the identities of Ferris and his associate, Bassam. Furious at Hoffman's refusal to act on the information Nizar provided about a safe house in Iraq, Ferris and Bassam go to search for it. Ferris observes men burning documents and DVDs. He attempts to bluff his way in but is exposed. In the ensuing shootout and chase, Ferris and Bassam's vehicle is hit by an RPG. Ferris, with discs he salvaged from the fire at the safe house, is rescued by helicopter, and Bassam is killed in the explosion. From the salvaged DVDs, Ferris learns, and tells Hoffman, that unknown terrorists in the UK plan to follow the bus bombings in Sheffield with more attacks, but apparently blew themselves up when they were discovered in Manchester. From other intelligence Ferris harvested from the Balad safe house, Hoffman locates an Al-Saleem safe house in Jordan and orders Ferris to watch it. There, Ferris arranges to meet and negotiates a collaboration with Hani Salaam, head of the Jordanian General Intelligence Directorate. Ferris gains the respect of Hani Salaam based on his ability to speak traditional Arabic fluently, Salaam also perceives Ferris to be more thoughtful and intelligent than the usual field operatives the Americans use. Ferris and his CIA subordinate, Skip, undertake surveillance of the safe house along with Jordanian agents. Skip identifies a local asset on the scene whom he does not expect to see, Ziyad Abishi, and who prematurely establishes contact with one of the safe house terrorists and blows his cover. The terrorist flees to inform his colleagues and Ferris chases and kills him in a place and manner that implies the death is a random robbery. During the chase Ferris is bitten on the legs by dogs tied up in an alley, and is concerned the dogs might be rabid, he seeks treatment at a local clinic. While at the hospital Ferris meets an attractive nurse named Aisha. Ferris lambastes Hoffman for running a side operation which he feels is interfering with and undermining the operational integrity of the primary operation, and tells Hoffman to stop. Ferris meets with Salaam, who has already had his agents confirm that those who remain at the safe house believe the terrorist whom Ferris eliminated was killed in a random robbery, and who has already spoken with Hoffman and told him the same thing Ferris did. Salaam has Ferris observe what Ferris thinks is torture, but which Salaam informs him is punishment mandated by "the King's espionage laws," and asks Ferris to tell Hoffman what he has seen. In Europe terrorist bombers strike again at an Amsterdam flower market, killing 75 people and wounding hundreds more. Having recognized one of the men living in the safe house as former small-time criminal Mustaffa Karami, Salaam takes Karami into the desert and coerces him into working for Jordanian intelligence, threatening to set him up as a collaborator if he does not co-operate. Hoffman asks Salaam to use Karami, but he refuses, believing a greater return will come later. Unbeknownst to Ferris and Salaam, Hoffman tells Skip to follow Karami and kidnap him. Karami escapes and notifies the terrorists in the safe house that it is being watched, and they abandon it. Salaam catches Ferris' associate Skip, accuses Ferris of having had knowledge of the move on Karami, blames Ferris' duplicity with him for the destruction of the safe house, and exiles Ferris from Jordan. Ferris returns to Hoffman in Washington, and they devise a new plan to find Al-Saleem. Suspecting he is motivated more by pride than ideology, they stage a fake terrorist attack and set up Omar Sadiki, an innocent Jordanian architect, as its instigator, hoping Al-Saleem will come out of hiding and attempt to contact him. Al-Saleem sees TV news coverage of the attack and takes the bait. Salaam invites Ferris back to Jordan and shares his suspicions that Omar Sadiki is a terrorist, although Ferris feigns ignorance. Ferris later tries to save Sadiki from being kidnapped by Al-Saleem's henchmen but fails and sees his partner nearly killed in the subsequent car crash. Under interrogation, Sadiki denies any knowledge of the attack. He is later found beaten and killed. Ferris goes back to his apartment and discovers that Aisha has been kidnapped. He desperately asks Salaam for help, admitting he fabricated Omar Sadiki's terrorist cell and the attack. Salaam refuses to help because of Ferris' lies. Ferris offers himself in exchange to Aisha's kidnappers and is brought to the middle of the desert, with Hoffman watching everything via a surveillance drone. At the exchange location, Ferris is surrounded by a group of SUVs, which circle him to create an obscuring dust cloud before picking him up. The dust cloud blocks Hoffman's view, so that he cannot determine which of the SUVs, now headed in different directions, is carrying Ferris. Ferris is taken across the border to Syria, where he is to be interrogated by Al-Saleem. When Ferris asks Al-Saleem about Aisha, he is told that someone has lied to him and that he has been double-crossed. Ferris tells Al-Saleem that there is an infiltrator (Karami) in his organization who works for Ferris, and that, by association, Al-Saleem works for Ferris. Al-Saleem does not believe Ferris, breaks two of his fingers, turns on a video camera, and orders his execution. Salaam and his agents arrive at the last moment, saving Ferris' life. Al-Saleem is shown arrested in his own SUV by Marwan Se-Kia, Salaam's security officer. Salaam visits Ferris in the hospital, and reveals that he had faked Aisha's abduction and orchestrated Ferris' capture by Al-Saleem using Karami as a go-between. Having lost the will to fight in this particular war, Ferris leaves the CIA and goes to see Aisha again. Cast [edit] Leonardo DiCaprio as Roger Ferris, a field officer working in the CIA's Near East Division and later CIA Station Chief of Amman, Jordan. Russell Crowe as Ed Hoffman, chief of the CIA's Near East Division and Ferris' boss. Mark Strong as Hani Salaam, intelligence chief and director of the Jordanian General Intelligence Directorate. Golshifteh Farahani as Aisha, a nurse in Amman and Ferris' love interest. Oscar Isaac as Bassam, CIA field operative in Iraq and Ferris' associate. Ali Suliman as Omar Sadiki, a Jordanian architect with very low-profile contact with Al-Qaeda and CIA's mole to catch Al-Saleem. Alon Abutbul as Al-Saleem, head of an independent terrorist group based in Jordan, aligned with Al-Qaeda. Vince Colosimo as Skip, CIA field operative in Jordan. Simon McBurney as Garland, a computer geek employed by the CIA to instrument black ops. Mehdi Nebbou as Nizar, former linguist, Al-Qaeda operative and attempted defector. Michael Gaston as Holiday, Ferris' predecessor as CIA's Jordan station chief. Kais Nashef as Mustafa Karami, former petty criminal-turned-Al-Qaeda operative under Al-Saleem who later became Hani Salaam's informer. Jameel Khoury as Marwan Se-Kia, GID operative and security officer of Hani Salaam. Lubna Azabal as Cala, Aisha's sister. Annabelle Wallis as Hani's Girlfriend in Bar Michael Stuhlbarg as Ferris's Attorney Giannina Facio as Hoffman's wife Carice van Houten was cast as Roger's wife Gretchen Ferris, but all her scenes were deleted and she does not appear in the final cut. Themes [edit] Ridley Scott has made a previous film about the conflict between the Western and Arab civilizations, Kingdom of Heaven (2005), set during the Crusades. Body of Lies resumes this theme in the context of modern intelligence operations and terrorism.[5] The film puts two contrasting characters on the same side. Ferris, the CIA man on the ground, is a dedicated Arabist fluent in the language; he relies on trust, local knowledge and HUMINT. Hoffman, his superior, who is detached at home in Washington, D.C., and at the CIA in Virginia, is more Machiavellian: he authorizes deceit, double-crossing, and violence by telephone and without scruple. The New Yorker interpreted him as "a greedy, American domestic animal—an advanced-media freak, always eating".[6][7] Early in the film, Hoffman explains to his superiors that the terrorists' retreat to pre-tech age communication methods renders useless the high specification tools the CIA uses, which increases the worth of Ferris's human intelligence methods. The terrorists avoid mobile telephones and computers, preferring face-to-face communication and encoded written messages. By contrast, the Americans use sophisticated communication (Hoffman and Ferris regularly speak on the phone) and surveillance technology (high altitude spy planes offer a different point of view throughout).[8] David Denby of The New Yorker said that this was Scott's suggestion that the CIA has the technology but not the human intelligence to properly fight terrorism in the Middle East.[6] Despite Hoffman's distance, the force and unintended consequences of his schemes are often borne by Ferris. The difference is underlined when Ferris, suffering weakened credibility, injured colleagues and personal risk, is reminded by Hoffman that "we are a results-driven organization".[7] Production [edit] Development [edit] It's about Islam, where we are and where we're not, and it's a very interesting, proactive, internalized view of that whole subject. In March 2006, Warner Bros. hired screenwriter William Monahan to adapt the novel Penetration by David Ignatius into a feature film, which would be directed by Ridley Scott.[10] In April 2007, with the novel re-titled Body of Lies and the film similarly re-titled, actor Leonardo DiCaprio was cast in the lead role.[11] DiCaprio chose to pursue the role because he considered it a throwback to political films in the 1970s such as The Parallax View (1974) and Three Days of the Condor (1975). DiCaprio dyed his hair brown, and wore brown contacts for the role.[12] After DiCaprio was cast, Russell Crowe was courted for a supporting role, to which he formally committed after Monahan's script was revised by Steve Zaillian, who wrote Scott and Crowe's American Gangster.[13] Crowe gained 63 pounds to suit his role.[14] The actor said as a result of the film's exploration of the American government and foreign policy, "I don't think it will be very popular, but that’s never been part of my project choice process."[15] Mark Strong, who plays Hani Salaam, the head of the Jordanian General Intelligence Directorate (GID) ascribed his casting to his performances in the 2005 films Syriana and Oliver Twist.[16] The character Haani Salaam was modelled after the 2000–2005 GID chief Sa'ad Khair (1953–2009), whose involvement, according to the original author David Ignatius, in sharply handled interrogations without the use of torture, an encounter with a jihadist with his mother on the phone and being called the 'fingernail boss' were near accurately featured in the film.[17] Location and design [edit] Scott sought to film in Dubai in the United Arab Emirates, but the federation's National Media Council denied the director permission due to the script's politically sensitive nature. As a result, scenes set in Jordan were instead filmed in Morocco.[18] The shoot took place over sixty-five days from September to December 2007. It was filmed in the United States and Morocco, where scenes set in ten different countries were filmed.[19][20] Filming began on September 5, 2007 at the Eastern Market, Washington, D.C.[21] Practical locations were used throughout; part of the Capitol Hill neighborhood was converted to resemble a wintry Amsterdam to film a ten- to fifteen-second car bomb explosion.[22] Scenes set in the CIA headquarters in Langley, Virginia were filmed at the National Geographic offices in Gaithersburg, Maryland; both buildings were set in woodland and "It was eerily similar in terms of architectural style,...", said Arthur Max, the production designer, "We were given several empty floors."[20][23] Locations in Baltimore also stood in for Manchester, England and Munich, Germany, although the final cut of the movie did not have any scenes that took place in Munich. Production moved to Morocco, where Scott, Max and Alexander Witt, the cinematographer had filmed several times before. Their previous experience meant they "knew every stone in the desert" and they were allowed access to many locations, including the Ministry of Finance, which was dressed as Jordan's secret service headquarters, Casablanca airport and a military airfield. The basketball stadium in Rabat was used as the U.S. embassy in Jordan: a CIA office set was built inside the stadium, favoured because its design allowed the cameras to shoot both interior and exterior vistas, thus showing the characters looking out on people and tanks passing in the streets.[20] A nine-week shoot also took place at CLA Studios and in the desert around the city of Ouarzazate.[24][25] Cinematography [edit] Body of Lies was Alexander Witt's first credit as a director of photography; he had collaborated with Ridley Scott on six feature films previously, beginning as a second unit camera operator on Black Rain (1989). He shot the film in the Super 35 format with spherical lenses, and explained that these lenses offer more flexibility for interior and night pictures than the anamorphic alternative. They used Kodak Vision2 500T 5218 instead of Technicolor's OZ process, which did not perform well in tests in the Moroccan desert.[20] Scott is known for his skill at filming with multiple camera set-ups and Body of Lies used a minimum of three simultaneously. Witt explained the benefits, "Actors like multiple cameras because they’re always on-camera, so they’re always in character and not wasting time off-camera." One shot of DiCaprio alone in the desert, for example, still used three cameras: one hand-held above the actor, a second capturing a three-quarter back profile, and the third photographing a close-up through the first cameraman's legs.[20] Richard Cronn, the gaffer, attributed the success of this difficult approach to Scott's filmmaking intelligence, "Ridley will stand at the monitors and tell you what's he's looking for – he'll look at four monitors and say, 'I'm cutting from this to this to this.' He knows exactly how he will cut it."[20] In line with the film's use of practical locations, the photography and design departments worked together to incorporate practical light sources such as "lots of bare bulbs, lots of primitive fixtures". In the climactic torture scene, filmed in an ancient, windowless prison cell outside of Rabat, they used only diegetic light: two strong torches carried by the actors playing the torturers. It was filmed with three cameras and bounce cards were used to reflect light onto the actors' faces. Just a little smoke was sprayed in to augment the atmosphere but not dull the contrast.[20] Scott has used many gradations of lens filter in the past, but declined to do so on Body of Lies. One obtains better finesse using the digital intermediate during post-production and does not risk losing light while selecting filters during expensive on-set time. The filmmakers strove for authenticity and realism in the images, and as such little colouration was added after, and the natural contrast of colours between the locations in Washington and Morocco were allowed to show through.[20] In the film, images from unmanned aerial drones show the viewer the point of view of CIA commanders in Washington. These were filmed by John Marzano (aerial director of photography) using a helicopter mounted with a Wescam 35 on the nose of a helicopter, and Cineflex's V14 surveillance system, hanging from the side. Its 1–40 zoom allowed the filmmakers to fly very high and then zoom out of Ferris strolling through a market-place, creating the film's final shot.[20] Music [edit] Main article: Body of Lies (soundtrack) The film score was composed by Marc Streitenfeld, who has composed music for Ridley Scott for three features. He recorded the orchestral portions of his score at the Eastwood Scoring Stage at Warner Brothers Studios.[26] Of note is the presence of a song in the film named "If the World", performed by Guns N' Roses, and taken from their album Chinese Democracy. The track plays over the beginning of the end credits, but is not included on the official film soundtrack. Streitenfeld also collaborated with Mike Patton and Serj Tankian on the song "Bird's Eye", which was written specially for the musical score of the film.[27] It was not included on the soundtrack album but was released separately as a single. Release [edit] The film was commercially released in the United States on October 10, 2008.[28] The film has also been purchased by Turner Broadcasting System to screen on the television networks TBS and Turner Network Television.[29] The film was screened on September 30, 2008 at Michigan Technological University,[30] and October 2, 2008 at Duke University, New York Film Academy, University of Maryland and University of Virginia. It was also pre-screened on October 3 at Worcester Polytechnic Institute, at Michigan State University, at the University of Michigan, the University of Kansas, East Carolina University, and the University of Chicago on October 7 and at Carnegie Mellon University, Cornell University, Rensselaer Polytechnic Institute, The University at Buffalo, Columbia University, James Madison University, Syracuse University, the University of Colorado, the University of Washington, and Georgia Southern University on October 9. Warner Home Video released Body of Lies on DVD on February 17, 2009. The single-disc region one release included surround sound and subtitles in English, French, and Spanish; the two-disc special edition included commentaries by the director, screenwright and original novel author, and a behind the scenes documentary; the Blu-ray edition also included additional commentary on the film's themes.[31] Reception [edit] Box office [edit] Body of Lies earned $12.9 million on its first weekend in theatres in the United States and Canada, 40% less than expected. This placed it as the third highest earning film that weekend, behind Disney's Beverly Hills Chihuahua, which turned out to be No. 1 with a take of $17.5 million in its second week, and Sony/Screen Gems's Quarantine, which earned $14.2 million—about $2 million more than it cost to make. A Warner Bros. executive said he was disappointed with the film's opening and attributed it to its controversial storyline, although Body of Lies fared better than previous pictures about the "war on terrorism" such as Rendition, In the Valley of Elah, and Lions for Lambs, which all performed well below studios' expectations. In a fourteen-week theatrical run in the United States and Canada, the film earned $39 million.[32] Outside North America it opened reasonably well. In Australia it was the highest-earning film in its opening weekend of October 9–12, 2008 with $2,104,319, ahead of Pixar Animation's WALL-E, which fell to second place, while Beverly Hills Chihuahua held third.[33] In the United Kingdom, the film's earnings were the second-highest behind Quantum of Solace during November 21–23, its opening weekend. It earned £991,939 from 393 screens.[34] Overall, while the film grossed only $40 million at the North American box office, it has grossed $115,097,286 worldwide. In the United States, contemporary war films have performed relatively poorly. Analysts attributed this to the film's Middle East setting and exploration of terrorism. Brandon Gray pointed out that people read these themes in the news media already, and there is a perception that Hollywood films are biased.[35] Golshifteh Farahani's performance in the film resulted in trouble for Farahani from the Iranian government, being accused of being shown without a hijab.[36][37][38] Critical response [edit] Body of Lies received mixed reviews from critics. On Rotten Tomatoes the film has a rating of 55%, based on 216 reviews, with an average rating of 5.90/10. The critical consensus reads, "Body of Lies relies too heavily on the performances of DiCaprio and Crowe to lift it above a conventional espionage thriller."[39] On Metacritic the film has a score of 57 out of 100, based on 37 critics, indicating "mixed or average reviews".[40] Audiences polled by CinemaScore gave the film an average grade of "B-" on an A+ to F scale.[41] Roger Ebert, writing in the Chicago Sun-Times, awarded the film three out of four stars. He praised the "convincing" acting and "realistic locations and terse dialogue" but questioned the verisimilitude of the story and concluded, "Body of Lies contains enough you can believe, or almost believe, that you wish so much of it weren't sensationally implausible."[8] Kenneth Turan reached the same conclusion in the Los Angeles Times, "The skill of top-flight director Ridley Scott and his veteran production team, not to mention the ability of stars Leonardo DiCaprio and Russell Crowe, ensure that this story of spies and terrorism in the Middle East is always crisp and watchable," he wrote, "but as the film's episodic story gradually reveals itself, it ends up too unconvincing and conventional to consistently hold our attention."[42] Lisa Kennedy in The Denver Post summarised: "Body of Lies is an A-list project with B-game results. The movie might be set in the Age of Jihad. But the rules of trust and mistrust are wholly familiar."[43] Critics observed the film's adherence to conventions of the spy thriller genre; Ebert called it "a James Bond plot" and David Denby in The New Yorker pointed out the "usual tropes of the genre—surveillance shots from drones, S.U.V.s tearing across the desert, explosions, scenes of torture" but praised Scott's superior management of space and timing.[6] While Todd McCarthy in Variety praised the initial set-up and conceit of the plot device, he criticized the formulaic approach leading to a "cornball denouement".[5] A. O. Scott in The New York Times wrote that director Scott's "professionalism is, as ever, present in every frame and scene, but this time it seems singularly untethered from anything like zeal, conviction or even curiosity." He added that he would have preferred the psychological tensions linking the three leading men to be developed further.[7] Joe Neumaier wrote in the New York Daily News that the film "aims to be up-to-the-moment – yet feels same-old, same-old."[44] Lisa Kennedy called the love story between DiCaprio and Farahani contrived, saying that while DiCaprio seemed more at home in those scenes, it made the film seem "foolish".[43] Ebert thought the cultural context of their relationship was well established, but that it essentially existed as a convenience of the plot, to set up the unlikely conclusion.[8] Mark Strong's performance was mentioned by several critics, with Scott calling it "a marvel of exotic suavity and cool insinuation"[7] while Ebert "particularly admired" his aura of suave control.[8] See also [edit] Leonardo DiCaprio filmography Russell Crowe filmography List of films featuring drones Brownface Sa'ad Khair References [edit]
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205	dbpedia	3	9	https://issuu.com/thelatesteditionishereandfreetoview/docs/cw_issue_010_digital_v01_mr	en	Cinematography World July/August Edition (CW010)	https://image.isu.pub/22…5/jpg/page_1.jpg	https://image.isu.pub/22…5/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/thelatesteditionishereandfreetoview/photo_large.jpg", "https://image.isu.pub/240724162804-bf1a1e5c44d43a87fc0f993a3f8c1977/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240621092155-0b476f492a93aefb69a990b77490a65d/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240620150025-30ae42c86869672f138ad623aa2eebc3/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240408080818-a504606dd67ba74b877c6e260fa714fd/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240328125612-c87abe196c1e255d32369cbf2a96f83d/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240313163646-7cfb96ff46f10525906bc154915eb017/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[ "thelatesteditionishereandfreetoview Follow this publisher" ]	2022-07-20T00:00:00+00:00	Read Cinematography World July/August Edition (CW010) by thelatesteditionishereandfreetoview on Issuu and browse thousands of other publications on...	en	/favicon.ico	Issuu	https://issuu.com/thelatesteditionishereandfreetoview/docs/cw_issue_010_digital_v01_mr	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
205	dbpedia	3	93	https://www.yumpu.com/en/document/view/9105650/arri-90th-anniversary-book-musitelli	en	ARRI 90th Anniversary Book - Musitelli	https://www.yumpu.com/en…book/9105650.jpg	https://www.yumpu.com/en…book/9105650.jpg	[ "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/9105650/1/500x640/arri-90th-anniversary-book-musitelli.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://img.yumpu.com/20445043/1/184x260/arri-camera-general-catalogue-musitelli.jpg?quality=85", "https://img.yumpu.com/15723181/1/184x260/arri-wrs-system-guide-musitelli.jpg?quality=85", "https://img.yumpu.com/11692887/1/184x260/panther-classic-dolly-musitelli.jpg?quality=85", "https://img.yumpu.com/11691815/1/184x260/panther-classic-dolly-manual-musitelli.jpg?quality=85", "https://img.yumpu.com/9282202/1/190x133/user-manual-model-oszi-400-series-budget-video-rentals.jpg?quality=85", "https://img.yumpu.com/9246230/1/190x245/estribo-ajustable-musitelli.jpg?quality=85", "https://img.yumpu.com/7597832/1/190x146/manual-vocas.jpg?quality=85", "https://img.yumpu.com/6591437/1/184x260/alexa-studio-electronic-and-mirror-shutter.jpg?quality=85", "https://img.yumpu.com/6525292/1/190x190/arri-picture-chronicle-musitelli.jpg?quality=85", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "musitelli.com", "arri", "anniversary", "book", "musitelli", "musitelli.com" ]	null	[ "Yumpu.com" ]	null	ARRI 90th Anniversary Book - Musitelli	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/9105650/arri-90th-anniversary-book-musitelli	Attention! Your ePaper is waiting for publication! By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU. This will ensure high visibility and many readers! Inappropriate You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible.
205	dbpedia	1	65	https://www.jogc.com/article/S1701-2163(18)30655-8/pdf	en	No. 164-Consensus Guidelines for the Management of Chronic Pelvic Pain	https://www.jogc.com/cms…635b4575/gr1.jpg	https://www.jogc.com/cms…635b4575/gr1.jpg	[ "https://www.jogc.com/templates/jsp/_style2/_marlin/images/bg_adHoriz.gif", "https://www.jogc.com/pb-assets/ux3/logos/ha/jogc-1591027284087.svg", "https://www.jogc.com/cms/asset/atypon:cms:attachment:img:d115e6:rev:1720839908643-4358:pii:S1701216324X00080/cover.tif.jpg", "https://www.jogc.com/cms/attachment/6e153a98-341b-4027-b14e-0c8d635b4575/gr1.jpg", "https://www.jogc.com/templates/jsp/_style2/_marlin/images/bg_adVert.gif", "https://www.jogc.com/pb/assets/raw/Health%20Advance/images/relx-1554393210983.png" ]	[]	[]	[ "" ]	null	[ "John F. Jarrell", "George A. Vilos", "Catherine Allaire", "Susan Burgess", "Claude Fortin", "Robert Gerwin", "Louise Lapensee", "Robert H. Lea", "Nicholas A. Leyland", "Paul Martyn" ]	null	To improve the understanding of chronic pelvic pain (CPP) and to provide evidence-based guidelines of value to primary care health professionals, general obstetricians and gynaecologists, and those who specialize in chronic pain.	en		Journal of Obstetrics and Gynaecology Canada	https://www.jogc.com/article/S1701-2163(18)30655-8/abstract	Abstract Objective To improve the understanding of chronic pelvic pain (CPP) and to provide evidence-based guidelines of value to primary care health professionals, general obstetricians and gynaecologists, and those who specialize in chronic pain. Disclaimer: This guideline has been reaffirmed for use and approved by Board of The Society of Obstetricians and Gynaecologists of Canada. A revision is underway. Burden of Suffering CPP is a common, debilitating condition affecting women. It accounts for substantial personal suffering and health care expenditure for interventions, including multiple consultations and medical and surgical therapies. Because the underlying pathophysiology of this complex condition is poorly understood, these treatments have met with variable success rates. Outcomes Effectiveness of diagnostic and therapeutic options, including assessment of myofascial dysfunction, multidisciplinary care, a rehabilitation model that emphasizes achieving higher function with some pain rather than a cure, and appropriate use of opiates for the chronic pain state. Evidence Medline and the Cochrane Database from 1982 to 2004 were searched for articles in English on subjects related to CPP, including acute care management, myofascial dysfunction, and medical and surgical therapeutic options. The committee reviewed the literature and available data from a needs assessment of subjects with CPP, using a consensus approach to develop recommendations. Values The quality of the evidence was rated using the criteria described in the Report of the Canadian Task Force on the Periodic Health Examination. Recommendations for practice were ranked according to the method described in that report (Table 1). Recommendations The recommendations are directed to the following areas: (a) an understanding of the needs of women with CPP; (b) general clinical assessment; (c) practical assessment of pain levels; (d) myofascial pain; (e) medications and surgical procedures; (d) principles of opiate management; (f) increased use of magnetic resonance imaging (MRI); (g) documentation of the surgically observed extent of disease; (h) alternative therapies; (i) access to multidisciplinary care models that have components of physical therapy (such as exercise and posture) and psychology (such as cognitive-behavioural therapy), along with other medical disciplines, such as gynaecology and anesthesia; G) increased attention to CPP in the training of health care professionals; and (k) increased attention to CPP in formal, high-calibre research. The committee recommends that provincial ministries of health pursue the creation of multidisciplinary teams to manage the condition. Key Words Pelvic pain myofascial pain syndromes endometriosis endosalpingiosis adenomyosis pelvic peritoneal defects pelvic inflammatory disease adhesions ovarian cysts residual ovary syndrome ovarian remnant syndrome pelvic congestion syndrome hysterectomy uterine fibroids adnexal torsion diagnostic imaging laparoscopy hormonal treatment complementary therapies To read this article in full you will need to make a payment Purchase one-time access: Academic & Personal: 24 hour online accessCorporate R&D Professionals: 24 hour online access One-time access price info For academic or personal research use, select 'Academic and Personal' For corporate R&D use, select 'Corporate R&D Professionals' REFERENCES Steege JF Stout AL Somkuti SG Chronic pelvic pain in women: toward an integrative model. Obstet Gynecol Surv. 48: 95-110 Benson TJ Neuropathic pain. in: Steege JF Metzger DA Levy BS Chronic pelvic pain. 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J Reprod Med. 45: 944-946 Dawood MY Ramos J Transcutaneous electrical p.erve stimulation (TENS) for the treatment of primary dysmenorrhea: a randomized crossover comparison with placebo TENS and ibuprofen. Obstet Gynecol. 75: 656-660 Thomas M Lundeberg T Bjork G et al. Pain and discomfort in primary dysmenorrhoea is reduced by preemptive acupuncture or low-frequency TENS. Eur?J Phys Med Rehabil. 5: 71-76 Cherkin DC Eisenberg D Randomized trial comparing traditional Chinese medical acupuncture, therapeutic massage, and self-care education for chronic low back pain. Arch Intern Med. 161: 1081-1088 Wedenberg K Moen B Norling A A prospective randomized study comparing acupuncture with physiotherapy for low-back and pelvic pain in pregnancy. Acta Obstet Gynecol Scand. 79 Chen R Nickel JC Acupuncture ameliorates symptoms in men with chronic prostatitis/ chronic pelvic pain syndrome. Urology. 61: 1156-1159 Lindsey K Jiiger AK Deshandra MR et al. Screening of plants used by Southern African traditional healers in the treatment of dysmenorrhoea for prostaglandin-synthesis inhibitors and uterine relaxing activity. J Ethnopharmacol. 64: 9-14 Proctor ML Murphy PA Herbal and dietaty therapies for primary and secondaty dysmenorrhoea (Cochrane review). ( )The Cochrane library, Issue 2. Wiley, Chichester(England) Guzman J Esmail R Karjalainen K et al. Multidisciplinaty bio-psycho-social rehabilitation for chronic low-back pain (Cochrane review). ( )The Cochrane Ubraty, Issue 2. Wiley, Chichester(England) Article info Footnotes This document reflects emerging clinical and scientific advances on the date issued and is subject to change. The information should not be construed as dictating an exclusive course of treatment or procedure to be followed. Local institutions can dictate amendments to these opinions. They should be well documented if modified at the local level. None of these contents may be reproduced in any form without prior written permission of the publisher. All people have the right and responsibility to make informed decisions about their care in partnership with their health care providers. In order to facilitate informed choice, patients should be provided with information and support that is evidence-based, culturally appropriate and tailored to their needs. This guideline was written using language that places women at the centre of care. That said, the SOGC is committed to respecting the rights of all people - including transgender, gender non-binary, and intersex people - for whom the guideline may apply. We encourage healthcare providers to engage in respectful conversation with patients regarding their gender identity as a critical part of providing safe and appropriate care. The values, beliefs and individual needs of each patient and their family should be sought and the final decision about the care and treatment options chosen by the patient should be respected. Identification DOI: https://doi.org/10.1016/j.jogc.2018.08.015 Copyright © 2018 Published by Elsevier Inc. on behalf of Society of Obstetricians and Gynaecologists of Canada. ScienceDirect Access this article on ScienceDirect View full text
205	dbpedia	2	67	https://tv.apple.com/us/movie/another-body/umc.cmc.3ff8sorcgochry0abfq73ftrs	en	Another Body	https://is1-ssl.mzstatic…g/1200x675mf.jpg	https://is1-ssl.mzstatic…g/1200x675mf.jpg	[ "https://tv.apple.com/us/movie/another-body/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	2023-10-20T00:00:00+00:00	ANOTHER BODY focuses on one young woman who discovers her face has been superimposed on graphic porn scenarios that are available online. Using a pseuâ¦	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/us/movie/another-body/umc.cmc.3ff8sorcgochry0abfq73ftrs	Studio Released Run Time Rated Regions of Origin
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205	dbpedia	3	50	https://thefilmmakerspodcast.com/tar-todd-field-talks-directing-and-writing-his-cate-blanchett-starring-oscar-nominated-feature-film/	en	Todd Field talks directing and writing his Cate Blanchett starring Oscar nominated feature film	https://thefilmmakerspod…kers-Podcast.png	https://thefilmmakerspod…kers-Podcast.png	[]	[ "https://embed.acast.com/63330899470c7900137d6f2d/63eaffa9d524830011ae4b59" ]	[]	[ "" ]	null	[ "thefilmmakerspodcast" ]	2023-02-14T03:28:38+00:00	Oscar Nominated director Todd Field chats with Giles Alderson and Dom Lenoir all about his Cate Blanchett starring feature Tár. It’s a real ‘Field Good’ episode! He talks: Going from Acting to Directing How Tom Cruise challenged him & casting Cate	en	https://thefilmmakerspod…0x1400-32x32.jpg	The Filmmakers Podcast	https://thefilmmakerspodcast.com/tar-todd-field-talks-directing-and-writing-his-cate-blanchett-starring-oscar-nominated-feature-film/	Oscar Nominated director Todd Field chats with Giles Alderson and Dom Lenoir all about his Academy Award nominated feature Tár. It’s a real ‘Field Good’ episode! He talks: Going from Acting to Directing How Tom Cruise challenged him Casting Cate Blanchett What he learnt from Stanley Kubrik and Jan de Bont Working with high profile talent on his debut (and Oscar nominated) feature In The Bedroom How he wrote Tar Why he likes rehearsal Advice for filmmakers Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and the very first female director of a major German orchestra. Trailer Tár is OUT now in cinemas Three Day Millionaire OUT NOW in the UK and will be released in the USA and Canada on21st February Much A Do screening 25th February – Prince Charles cinema PATREON Big thank you to: Lee Hutchings Marli J Monroe Karen Newman Join our Patreon The Filmmakers Podcast is hosted, produced and written by Giles Alderson @gilesalderson Social Media by Kalli Pasqualucci @kallieep Marketing Huw Siddle Logo and Banner Art by Lois Creative Theme Music by John J. Harvey
205	dbpedia	3	11	https://firstmonday.org/ojs/index.php/fm/article/view/9629/7810	en	View of A data science approach to movies and film director analysis	https://firstmonday.org/…avicon_en_US.gif	https://firstmonday.org/…avicon_en_US.gif	[]	[]	[]	[ "" ]	null	[]	null		en	https://firstmonday.org/…avicon_en_US.gif		null
205	dbpedia	2	0	https://en.wikipedia.org/wiki/Body_of_Evidence_(1993_film)	en	Body of Evidence (1993 film)	https://upload.wikimedia…yofevidence1.jpg	https://upload.wikimedia…yofevidence1.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/bb/Bodyofevidence1.jpg/220px-Bodyofevidence1.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2006-10-17T20:49:18+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Body_of_Evidence_(1993_film)	1993 film by Uli Edel Body of EvidenceDirected byUli EdelWritten byBrad MirmanProduced byDino De LaurentiisStarringCinematographyDouglas MilsomeEdited byThom NobleMusic byGraeme Revell Production company Dino De Laurentiis Communications[1] Distributed byMetro-Goldwyn-Mayer[1] Release dates Running time 99 minutes[1]Countries Germany[1] United States[1] LanguageEnglishBudget$30 million[2]Box office$38 million[3] Body of Evidence is a 1993 erotic thriller film directed by Uli Edel, written by Brad Mirman, and starring Madonna and Willem Dafoe, with Joe Mantegna, Anne Archer, Julianne Moore, and Jürgen Prochnow in supporting roles. Widely considered to be a vanity project for Madonna and derided for its plot inconsistencies and incongruous dialogue, it marked her fourth film performance to be universally panned by critics, following Shanghai Surprise, Who's That Girl, and Bloodhounds of Broadway.[4] In France and Japan, the film was released under the name Body. In Japan, Madonna's other 1993 film Dangerous Game was released there as Body II even though the films have nothing in common nor are related to each other in narrative. Plot [edit] The elderly and wealthy Andrew Marsh dies from complications stemming from an erotic incident involving bondage and homemade pornography. The main suspect is his lover Rebecca Carlson who proclaims her innocence to lawyer Frank Dulaney. Initially believing her, Frank agrees to represent her. District Attorney Robert Garrett seeks to prove that Rebecca deliberately killed Marsh in bed to receive the $8 million he left her in his will. As the trial begins, Rebecca and Frank enter a sadomasochistic sexual relationship behind the back of Frank's unsuspecting wife, Sharon. During their first sexual encounter, Rebecca secures Frank's arms behind his back using his own belt and alternately pours hot wax and champagne on him before having sex. After an ex-lover of Rebecca's, Jeffrey Roston, testifies that he also had a heart condition, and both changed his will to favour Rebecca, and that she was sexually domineering and compelled him to engage in sexual activity with no regard to his health, describing an incident that clearly resonates with Frank's own experience, Frank attempts to end their affair. Sharon confronts him about the affair having figured it out from a phone call with Rebecca as well as the strange marks on his body from the hot wax. Frank goes to Rebecca's home and accuses her of telling his wife about them (although Sharon says she worked it out from her tone alone). Rebecca taunts Frank, and he pushes her to the ground. Rebecca begins to masturbate on the floor in front of him. Rebecca pulls out handcuffs, Frank forcibly cuffs her hands instead and sexually assaults her. Initially she resists before appearing to enjoy the assault. Footage from Marsh's home video reveals that he had an affair with his secretary, Joanne Braslow, who is a key witness against Rebecca. He also had previously left Joanne more money in his will before beginning his relationship with Rebecca. She says that she was hurt but she loved him and would never hurt him. However, there is evidence that she bought the murder weapon. Rebecca suggests to Frank that the secretary tried to frame her, but he is now less sure of her innocence in the crime. Rebecca takes the stand and her surprising testimony that Roston had an affair with another man convinces the jury, which acquits her. Before leaving court, she mockingly thanks Frank and indicates that she is guilty after all. Frank still cannot resist going to Rebecca's home, where he overhears an incriminating conversation between her and Marsh's doctor, Alan Paley. He confronts the co-conspirators, realizing that it was Paley who supplied the fatal dose of cocaine. Rebecca is amused by Frank's discovery of her manipulating him, but Paley is shocked to learn that she was in a sexual relationship with Frank as well. Rebecca mocks both men, bluntly acknowledging that she used her sexual prowess to control and humiliate both of them, as well as Marsh. Paley realizes she does not care about him and becomes enraged. After a struggle with Frank who tries to save Rebecca, Paley shoots her twice. She plunges from a window to her death. Paley is arrested for murdering her. Before leaving the scene with his wife to repair their relationship, Frank then tells Garret he should've won the case with Garrett replying: "I did". Cast [edit] Madonna as Rebecca Carlson Willem Dafoe as Frank Dulaney Joe Mantegna as Robert Garrett Anne Archer as Joanne Braslow Julianne Moore as Sharon Dulaney Stan Shaw as Charles Briggs Charles Hallahan as Dr. McCurdy Lillian Lehman as Judge Mabel Burnham Mark Rolston as Detective Reese Jeff Perry as Gabe Richard Riehle as Detective Griffin Jürgen Prochnow as Dr. Alan Paley Frank Langella as Jeffrey Roston Michael Forest as Andrew Marsh Corey Brunish as Jamie Production [edit] Body of Evidence was filmed in Portland, Oregon, with the Pittock Mansion serving as a primary location.[5] The cemetery scene featured in the beginning of the film was shot on location at Lone Fir Cemetery. Julianne Moore said her nude scene in this movie was "just awful": "I was too young to know better. It was the first time I'd been asked to get naked and it turned out to be completely extraneous and gratuitous."[7] Release [edit] Box office [edit] Body of Evidence performed poorly at the box office.[8] In its second week it experienced a 60% drop.[9] It grossed $13 million in the United States and Canada and $25 million internationally for a worldwide total of $38 million.[3] Censorship [edit] The film originally received the rare NC-17 rating from the Motion Picture Association of America.[10] The first theatrical release was censored for the purpose of obtaining an R rating, reducing the film's running time from 101 to 99 minutes.[11] The video premiere, however, restored the deleted material. Critical response [edit] Body of Evidence has an 8% rating at Rotten Tomatoes based on 38 reviews, with a rating average of 3.10/10. The critical consensus reads, "Body of Evidence's sex scenes may be kinky, but the ludicrous concept is further undone by the ridiculous dialogue."[12] Metacritic assigned the film a weighted average score of 29 out of 100, based on 17 critics, indicating "generally unfavorable reviews".[13] Audiences surveyed by CinemaScore gave the film a grade of "C" on scale of A+ to F.[14] The film appeared on the 2005 list of Roger Ebert's most hated films.[15] The screenplay and performances were especially disparaged.[16] His colleague Gene Siskel called Body of Evidence a "stupid and empty thriller" that is worse than her softcore coffee table book Sex.[17] Julianne Moore later regretted acting in the film and went on to call it "a big mistake".[18] Accolades [edit] Award Category Recipient Result Fantasporto Best Film Uli Edel Nominated Golden Raspberry Awards[19][20] Worst Picture Dino De Laurentiis Nominated Worst Director Uli Edel Nominated Worst Actor Willem Dafoe Nominated Worst Actress Madonna Won Worst Supporting Actress Anne Archer Nominated Worst Screenplay Brad Mirman Nominated MTV Movie Awards Most Desirable Female Madonna Nominated Stinkers Bad Movie Awards Worst Actress Nominated References [edit] Sources [edit] Bergen, Teresa; Davis, Heide (2021). Historic Cemeteries of Portland, Oregon. Charleston, South Carolina: Arcadia Publishing. ISBN 978-1-467-14861-0.
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"https://theadaptationstation.com/wp-content/uploads/2024/03/image-6-scaled.jpeg", "https://theadaptationstation.com/wp-content/uploads/2024/03/image-71-1024x435.png", "https://theadaptationstation.com/wp-content/uploads/2024/03/image-72-1024x435.png", "https://theadaptationstation.com/wp-content/uploads/2024/03/image-73-1024x435.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	Finally, we cut to our title character who was introduced in the opening. (That’s not a necessarily a complaint by the way. It’s not like I was desperately wondering about him or anything. Then again, that might have just been because I’d read the book before watching the movie and knew who he was. A newcomer to the story might really have gotten impatient to return to him.) Prince Caspian awakens to find himself lying in bed with his head bandaged. He’s in a room inside a tree. This is a great set, very much what I wish the beavers’ abode in The Lion, the Witch and the Wardrobe (2005) had looked like. Caspian overhears a conversation in the next room. He stealthily gets out of bed, sticking close to the wall, and peeks through the door. The conversers are Nikabrik, the black dwarf played by Warwick Davis in the first scene, and a talking badger called Trufflehunter (and voiced by Ken Stott.) Nikabrik: This bread is so stale! Trufflehunter: I’ll just get him some soup then. He should be coming around soon. Nikabrik: Well, I don’t think I hit him hard enough. Trufflehunter: Nikabrik, he’s just a boy! Nikabrik: He’s a Telmarine, not some lost puppy! You said you were going to get rid of him. Trufflehunter: No, I said I’d take care of him. We can’t kill him now. We just bandaged his head. It-it would be like murdering a guest. Nikabrik: Oh, and how do you think his friends are treating their guest? Trufflehunter: Trumpkin knew what he was doing. It’s not the boy’s fault. Of the voice actors in this film, Ken Stott gives what is easily my favorite performance, perfectly capturing the warm, wise old character from the book. The way he sadly lowers when his when speaking of his friend, Trumpkin, whom he has every reason to believe has been executed for helping Caspian, is especially great. Speaking of Caspian, he makes a bolt for the exit, inadvertently spilling Trufflehunter’s tray of nourishment in the process. Nikabrik blocks his way and draws a sword. Caspian counters by grabbing a fireplace poker. The two of them fight despite Trufflehunter’s protests. Nikabrik: I told you we should have killed him when we had the chance! Trufflehunter: You know why we can’t! Caspian: If we’re taking a vote, I’m with him. Nikabrik: We can’t let him go! He’s seen us! Trufflehunter: That’s enough, Nikabrik! Or do I have to sit on your head again? That last line originates in the book though there its equivalent was said by Trumpkin who hadn’t been captured yet in that version. The same is true of the line about killing Caspian after bandaging his head being like murdering a guest. In general, while this Narnia movie is written very much in the vein of a modern action movie, I believe it has more lines that correspond to ones from the book than the last adaptation had, and I appreciate that. Nikabrik’s reaction to the line about sitting on his head is subtle but funny. Having subdued him, Trufflehunter turns to chiding Caspian about making him spill the soup. Seeing that his life isn’t in immediate danger for the moment, Caspian takes a moment to really take in his hosts. “What are you?” he asks. “You know, it’s funny you would ask that,” says Trufflehunter, “You’d think more people would know a badger when they saw one.” Caspian clarifies that his shock comes from the fact that Narnians are supposed to be extinct. “Sorry to disappoint you,” snipes Nikabrik. Trufflehunter brings out another bowl of soup. “Since when did we open a boarding house for Telmarine soldiers?” Nikabrik grumbles. “I’m not a soldier,” says Caspian. “I am Prince Caspian the Tenth.” At these words, we hear a wistful musical theme on the soundtrack. Nikabrik: What are you doing here? Caspian: Running away. My uncle has always wanted my throne. I suppose I have only lived this long because he did not have an heir of his own. Trufflehunter: That changes things. Nikabrik: Yeah, it means we don’t have to kill you ourselves. Caspian: You are right. This scene contains the first really long lines from Caspian so I should take a moment here to stop and say something about his “Telmarine” accent. Ben Barnes didn’t have as much time as might be wished to practice it and many viewers, including some who are fans of the film on the whole, find it cheesy. Me, I don’t mind it, but enough people do that I feel I should acknowledge their opinion. Anyway, Caspian put on his chainmail and prepares to leave. “Where are you going?” asks Trufflehunter. “My uncle won’t stop until I’m dead,” replies Caspian, apparently having decided to go back and confront Miraz and maybe get some support from some of the Telmarine nobles we saw a few scenes ago. We’ve now come to a change from the book’s story and protagonist that in this fan’s opinion, really hurt the movie. In the original version, Caspian has no wish to leave Trumpkin, Trufflehunter and Nikabrik once he meets them. He’s grown up hearing stories about what the book calls “Old Narnians” and is utterly delighted to have met some of them even though at least one of them wishes to kill him. Basically, Caspian is a big Narnia nerd/fanboy. That is the main thing that makes him interesting or endearing in the book. In this movie, while he’s not opposed to the Old Narnians the way his uncle is, we really don’t get that smitten fanboy vibe at all. Not only does this make him less distinctive of a character but it means lessening, even losing, the book’s theme of longing for something beyond the mundane world. But maybe it’s too early to lament that. I hope to write more about it in next week’s post. “You can’t leave,” Trufflehunter protests. “You’re meant to save us!” He holds up the horn Caspian blew. “Don’t you know what this is?” Again, the movie cuts to another scene right when a character is going to explain about the horn! This really is frustrating by now but don’t worry. This next scene actually will explain everything or near enough. Back at the Telmarine castle, Dr. Cornelius returns to his study to find that the door is ajar, which isn’t how he left it. He enters to find Miraz casually reading a book. “You have quite a library, doctor,” he says. “Is there anything particular you seek, my lord?” asks Cornelius. “I think I’ve already found what I’m looking for,” says Miraz, “in one my soldiers!” And he stabs a book with Susan’s arrow. To be more specific, he stabs it into an illustration of King Peter, Queen Susan, King Edmund and Queen Lucy. This is probably the craziest instance of the characters being able to identify the Pevensies’ Christmas gifts centuries later. Peter’s sword I can maybe buy. But are arrows with the feathers dyed red really that rare in this world? To be fair though, the fact that Trumpkin’s mysterious rescuers appeared near the ruins of Cair Paravel makes this a bit more plausible. It would have been less of a logical leap if they had established that the movie’s Telmarines feared ghosts in that area as the ones in the book do. Anyway, as Cornelius looks at the illustration, we hear the musical theme associated with the Pevensies at their most heroic from the last movie. Miraz: What do you know of Queen Susan’s horn? Cornelius (carefully): It was said to be magic. Miraz: Magic? Cornelius: The Narnians believed it could summon their kings and queens of old. At least, such was the superstition. Miraz: And what does Caspian know of this…superstition? Cornelius: My lord, you forbade me from mentioning the old tales. Miraz: So I did. That last part is a reference to something from Caspian’s childhood in the book that tragically isn’t in the movie. Dr. Cornelius turns to see soldiers ready to arrest him and decides to go down defiantly. “I will say this,” he says, looking Miraz in the eye for what feels like the first time in the scene, “If Caspian does know of the deep magic, my lord would have good reason to be nervous.” In the book at this point, by the way, Dr. Cornelius, who is “a very minor magician,” makes himself scarce, “having no wish to be questioned… in Miraz’s torture chamber” and actually manages to escape and find Caspian. I mention that as an observation by the way, not a criticism. I also don’t mind taking away the character’s magician status. After all, the only magic he did in the book was drugging Caspian’s gentlemen-in-waiting so he could escape and later magically tracking him to Dancing Lawn. In the hallway, Sopespian sees Dr. Cornelius being led away and takes the opportunity to try to win Glozelle to his side. Sopespian: First our prince, now his tutor. If the members of Miraz’s own house are not safe, are any of us? Miraz (offscreen): Lord Sopespian! Glozelle: Those are dangerous words, Lord Sopespian. Sopespian: But these are dangerous times, General. One should choose his words as carefully as he chooses his friends. In the study, Miraz asks Sopespian how long until “the bridge” is finished. (We’ll see what he means before too long.) “Construction continues on schedule,” Sopespian replies. “That’s not good enough,” says Miraz. “I need my army across that river now!” Sopespian suggests Miraz contribute some of his own men. “I have only so many at my disposal,” he says. “A fact you’d be wise to remember,” Miraz snarls. He turns to Glozelle. “Go to Beruna. Take as many troops as you need. We must get to Caspian before they do.” Sopespian asks whom he means by “they.” “It’s time you learned your history,” says Miraz and storms out of the room. Left alone, Sopespian looks at Susan’s arrow sticking out the book about her. That might not seem like it could possibly be important now but trust me. Meanwhile, the Pevensies and Trumpkin are rowing inland into Narnia in the boat they got from Trumpkin’s would-be executioners. The scenery is beautiful, but the returning monarchs don’t seem to be enjoying it much. Lucy: They’re so still. Trumpkin: They’re trees. What’d you expect? Lucy: They used to dance. Trumpkin: It wasn’t long after you left that the Telmarines invaded. Those who survived retreated to the woods. The trees…they retreated so deep into themselves that they haven’t been heard from since. Lucy: I don’t understand. How could Aslan have let this happen? Trumpkin: Aslan? I thought he abandoned us when you lot did. There’s a lot to unpack here. A minor thing this adaptation specifies that the book doesn’t is that Caspian’s ancestors conquered Narnia fairly soon after Peter, Susan, Edmund and Lucy returned to their own world. This gives the Pevensies more reason to feel guilty for not being there to defend their kingdom. I’ve described this movie previously as packing a bit more of an emotional punch than the book does-or trying to do so anyway. This is one of the reasons why. Another reason is that in the book, this exposition comes from Dr. Cornelius telling it to the young Caspian who has only heard of dryads and naiads in bedtime stories. We never see the Pevensies’ initial reaction to learning how much Narnia has lost. It probably isn’t quite as sad as the movie wants it to be, mainly because we haven’t seen enough of the trees being alive in The Lion, the Witch and the Wardrobe for the contrast to really stand out here. But that’s a complaint that could be made against the books too and it’s still pretty sad. Georgie Henley’s line readings and Peter Dinklage’s pained facial expressions are very effective. A side effect of having Trumpkin be the one to give this exposition though is that he has to believe in dryads, the ancient kings and queens of Narnia’s golden age, and Aslan. In the book, he believes in things like dwarfs, fauns, centaurs and talking beasts because, well, he’s one of them and he’s seen them all his life. But he is inclined to agree with the Telmarines’-or the Telmarines’ official story that other parts of Narnia’s past never existed. Note that he says Aslan and the Pevensies abandoned his people, implying that they exist. Whether intentionally or not, this conveniently allows the movie to resonate with theists, specifically Christians, who struggle with the feeling that God has abandoned them without necessarily alienating atheists. I feel like this makes the world of the story less rich as there are fewer worldviews represented in it. In the book, we get Miraz who denies the entire existence of “Old Narnia,” Trufflehunter, Caspian and Cornelius who believe in all of it and Trumpkin who believes in the parts he can confirm to be true but only them. In the movie, we get a background character who refers to Narnians as fairy tales but otherwise, everyone, good or bad, agrees about the truth of the old stories. They just disagree about whether or not the legendary figures in them can be trusted. To be fair, that’s still an interesting question to explore. Peter is stung by Trumpkin’s last comment. “We didn’t mean to leave, you know,” he says. “Makes no difference now,” says Trumpkin. “Get us to the Narnians and it will,” Peter insists, quickening his oar strokes. This implied guilt goes some way to keeping the movie’s reimagining of Peter from being totally unsympathetic, but it doesn’t go as far might be wished. Later, the crew pulls up onto the shore. While the others secure the boat, Lucy wanders a little way away from them and sees a bear. “Hello there,” she calls, assuming it can talk. The bear rises on its hind legs, threateningly. “It’s alright,” says Lucy, “we’re friends. Her older siblings see this and aren’t particularly concerned but Trumpkin stiffens in horror. “Don’t move, Your Majesty,” he calls. Lucy automatically turns toward him and the bear charges at her, growling. Susan draws her bow. “Stay away from her!” she cries. But the beast pays her no heed. Before it can hurt Lucy, an arrow brings the bear down but it’s Trumpkin’s arrow, not Susan’s. “Why wouldn’t he stop?” she asks. “I expect he was hungry,” Trumpkin replies. Lucy thanks Trumpkin for saving her. It’s a brief moment but it serves to show them bonding. She and her brothers and sisters stare at the bear’s body. “He was wild,” says Edmund. “I don’t think he could talk at all,” says Peter. “Get treated like a dumb animal long enough, that’s what you become,” says Trumpkin, taking out a knife and starting to skin the bear. “You may find Narnia a more savage place than you remember.” What I find interesting about this scene is that fans of the Narnia books who dislike the movie adaptations typically criticize them for adding random action scenes. But this bear attack pretty much was a random action scene in the literary Prince Caspian where its main function was to give the heroes something to eat besides apples. This adaptation gives it much more of a point. The book had already established that talking beasts had become the exception rather than the rule in Narnia by this point. The movie hasn’t and this bear’s animal behavior is meant to be a shock both to the Pevensies and to the viewers. Again, I don’t think it totally works. If it did, we would empathize more with Lucy’s reaction to the bear, but I feel like she and her siblings just come across as silly. Maybe the problem is that while we’ve seen plenty of talking animals in Narnia before this point, with the major exception of Aslan, they’ve been relatively small. This scene kind of gives the impression there were no dumb beasts in Narnia at all when the Pevensies reigned, which raises some questions, the main one being what did they do for meat then? The Narnia books are a lot more specific about how all this works. The question can be resolved though by the idea that all the bears in Narnia originally talked but other species had both talking and nontalking examples. Anyway, while I don’t think the scene is as emotionally devastating as the movie intended it to be, the idea behind it was solid and it’s still somewhat emotionally devastating. I especially like the way Lucy weeps into Peter’s shoulder at the end of the scene. Hmm, I hope that last sentence didn’t sound too sadistic. I Think I’ll Take a Break From Blogging Next Week. But the Following Week, We’ll Meet One of the Most Memorable Narnian Supporting Characters In a great transition, we cut from the bright and colorful ruins of Cair Paravel to the grim looking Telmarine castle. OK, I admit it’s not very original to give the good guys bright colors and the bad guy’s darker ones, but it works here. And while the contrast isn’t subtle, the muted colors the Telmarines aren’t as much of a villain cliche as them wearing black would be. All of the scenes at the Telmarine court have a very chilly, gray, gritty atmosphere that contrasts wonderfully with the lush, storybook aesthetic of the Narnians. If I have a problem with the Telmarine aesthetic in this adaptation, it’s that it’s a bit too visually interesting. How can that be? In keeping with what Aslan tells us about the Telmarines’ history at the end of this story, the filmmakers gave their culture a broadly Mediterranean feel and cast mainly Spanish and Italian actors in their roles. For what it’s worth, I think this makes a pleasing change of pace from the first movie which had a mostly English cast with a few Americans thrown in the mix. The cinematic Telmarines’ armor also suggests that of the conquistadors, probably as a nod to their history of invasion and conquest. I’m a bit bemused by the decision though. Later books in The Chronicles of Narnia have been criticized for making the villainous country of Calormen generically Middle Eastern/Oriental in its culture. The literary Telmarines, by contrast, were clearly intended by C. S. Lewis to be generically European. You’d think the filmmakers would be relieved by the opportunity to have an evil culture that’s so nonspecific but instead they decided to give them a specific nationality and cast somewhat swarthy looking actors as the villains to boot. I’m not personally offended, I guess , but I wonder if giving these villains a distinctive aesthetic goes against Lewis’s intentions with Prince Caspian. Whereas he meant the Calormenes to be exotic adversaries, he clearly meant the Telmarines to be generically European to the point of dullness in contrast to the varied and fantastic native citizens of Narnia. Often in stories, the bad guys are much more charismatic than the flat heroes. What C. S. Lewis does in Prince Caspian is something of an interesting inversion of that. To be fair though, as I’ve mentioned in a previous post, it’s hard to make something visually boring in a movie without it coming across as laziness rather than a deliberate artistic choice. And you still get a good contrast between the Telmarines and the Narnians with the Telmarines’ costumes (courtesy of Isis Mussenden), buildings and props (courtesy of Roger Ford) looking less like something from a fantasy story and more like something from a historical drama albeit with a few fanciful touches. This works very well on its own terms. Anyway, Lord Miraz and Lady Prunaprismia are playing with their newborn son when they see General Glozelle and his soldiers ride into the courtyard with a captive in tow. Miraz leaves his family to go see them. There was originally a brief dialogue scene here where Prunaprismia asked her husband where Caspian was, and he told her they would see him soon. In my opinion, this really shouldn’t have been cut since Prunaprismia is going to get a highly dramatic scene in the middle of the movie after she’s been simply a silent background character, much like she is in the book, prior to that moment and afterwards she goes back to being one until the very last scene. It’s very jarring and awkward and keeping that minute-long dialogue scene could have fixed it. Miraz strides into the stables where the soldiers are dismounting and heads straight for the horse with the prisoner on it, covered by a cloth. “Wait, my lord,” says Glozelle, “It is not what you think.” “Then what is it?” asks Miraz. “We’re not exactly sure,” Glozelle replies, looking nervous. The cloth is pulled back and Miraz gasps at what he sees. “Impossible,” he murmurs. (Could this be a callback to Susan’s reaction to see Narnia for the first time and the White Witch’s reaction to Aslan’s resurrection in the last movie?) Then wheels start to turn in his head. Meanwhile, a council is being held in the Telmarine council chamber. Many chairs in it are empty including the fancy one for the king. “I warned this council when it put its trust in Lord Miraz, there would be consequences,” declaims a lord named Sopespian (Damian Alcazar.) In the book, Lord Sopespian, like Glozelle, is initially a supporter of Miraz and only turns against him at the climax. Here he’s antagonistic towards him from the start. I think that change works well. As I’ve mentioned before, Glozelle and Sopespian are a bit of a random deus ex machina in the text. Another lord objects that they can’t accuse the lord protector of Narnia without proof. “How long are we going to hide behind that excuse?” grouses Lord Scythley (Simon Andreu), another council member. “Until every chair in this chamber is empty?” This is a reference to how Miraz has been discreetly killing off nobles who might support his nephew’s claim to the throne as Dr. Cornelius explains to Caspian in Chapter 5 of the book. The meaning isn’t immediately clear to someone who hasn’t read the source material but, to be fair, it’s not too hard to infer the meaning. Sadly, that’s not true of some other parts of this movie’s plot which are only understandable for book fans. Miraz enters the room and takes his seat. Miraz: Lords of the council, I apologize for being late. I wasn’t aware we were in session. Sopespian: No doubt you were otherwise occupied. Miraz: My lord? Scythley: Ever since the death of Caspian the Ninth, you’ve behaved as if you were king and now it seems that behind these walls even Prince Caspian has gone missing! Sopespian: My deepest condolences, Lord Miraz. Imagine losing your nephew, the heir to the throne, on the very night your wife has blessed you with a son. Miraz: Thank you, Lord Sopespian. Your compassion is a boon in these troubled times. What those words can’t convey on the screen is the hilariously sarcastic delivery of Damian Alcazar and Sergio Castellitto. The latter’s line readings are especially impressive considering his English language skills weren’t the best when this movie was being filmed and he sometimes needed a translator on set. Alcazar gives his character a smug smile and twinkling eyes that actually let you empathize with Miraz’s annoyance at him. Simultaneously, since we know Miraz is a bad guy, we kind of root for Sopespian. The animosity between these two evil characters is highly entertaining, definitely one of the most fun parts of any Narnia movie that’s not from the books. “I trust you can tell us how such a tragedy could have occurred,” Sopespian says. Right on cue, Glozelle demurely enters. “That is the most disturbing news of all,” says Miraz, “Our beloved Caspian was abducted. By Narnians!” The council scoffs at this. “You go too far, Miraz!” says Scythley. “You expect us to stand by while you blame such a blatant crime on fairy tales!” Miraz signals to Glozelle who opens the door, and two guards bring in the red dwarf from the forest, bound and gagged. The Telmarines gape at him. “You forget, my lords,” says Miraz, “Narnia was once a savage land. Fierce creatures roamed free. Much of our forefathers’ blood was shed to exterminate these vermin. Or so we thought.” Ironically, in his first scene in the book, Miraz is the one who insists that the Narnians are fairy tales to Caspian and forbids him to ever mention them again. Of course, that was in Caspian’s childhood, which this movie tragically cuts. (I’ll start to really explain why it’s tragic in my next post.) Of course, in the main part of the story, Miraz has to affirm the existence of the native Narnians since he’s waging war against them. Still, it’s sad that the part about him insisting they never existed had to be dropped from this adaptation. It’s a memorable detail. Anyway, back to his speech. “But while we’ve been bickering amongst ourselves, they’ve been breeding like cockroaches under a rock, growing stronger, watching us, waiting to strike!” On the last word, Miraz smacks the dwarf’s face, actually knocking his gag off. (Is that possible?) “And you wonder why we don’t like you,” the dwarf snarks. Miraz ignores this. “Well, I intend to strike back,” he says, “Even if I have to cut down the entire forest, I assure you, I will find Prince Caspian and finish what our ancestors began.” Here’s another place where I think you could reasonably argue that the movie improves on the book. The literary Miraz has few actual scenes and is easily the most boring villain in any Narnia book. To be fair, I believe C. S. Lewis intended him to be somewhat boring by the design; his mundane, realistic villain makes him something of a foil to the White Witch from the previous story. But that design doesn’t always make for the most fun reading. By dramatizing the way Miraz maneuvers himself from the position of Lord Protector to King of Narnia, something that is only summarized by Cornelius as having happened a long time ago in the book, this movie makes him much more threatening, especially coupled with Sergio Castellitto’s charismatic performance. We’ll see more scenes of how he uses the threat of the Narnians for his own political purposes later. This villain proves to hold up surprisingly well against Tilda Swinton’s White Witch from the previous movie. Back at the island-oh, I should mention something. In both the books and the movies, Cair Paravel was originally on a peninsula, but it became an island by the time of Prince Caspian. Back at the island, Edmund finds evidence that Cair Paravel didn’t just fall into ruins after being abandoned but was attacked by catapults. Then he and Peter push aside a stone wall to reveal a secret door. Peter pulls apart the rotting wood then he tears a strip of cloth from his shirt and wraps it around a stick to make a torch. “Don’t suppose you have any matches, do you?” he asks Edmund. “No, but would this help?” his brother replies, taking out an electric torch from his satchel. This moment is both really funny and allows the filmmakers to avoid confusing American audiences who would call the device a flashlight. “You might have mentioned that a bit sooner,” says Peter, laughing. It’s nice that this scene shows him accepting this little moment of humiliation in good humor instead of having him be all angry and arrogant as the movie will later portray him. The Pevensies troop through the door and down a flight of stairs to an ancient treasure chamber. “I can’t believe it,” says Peter, “it’s all still here!” There are four treasure chests, each with a statue of one of the four siblings at the height of their Narnian reign. Edmund, Lucy and Susan rush over to their respective chest and open it. “I was so tall!” says Lucy as she pulls out an old dress. “Well, you were older then,” says Susan. “As opposed to hundreds of years later when you’re younger,” says Edmund. I’d complain about him explaining the joke, but I love the humorous visual of him wearing a Narnian helmet with his school uniform. Actually, in a clever touch, the Pevensies have already abandoned parts of their uniforms and the girls’ hair has come unbraided, so they appear to be in halfway stage between their English selves and their Narnian selves in this scene. Although he was the one who seemed to want to return to Narnia the most, Peter is taking his time looking over his former treasure. First, he blows the dust off a golden disc with an image of Aslan’s face on it. Then he slowly and reverently approaches his chest with the statue of himself standing guard over it. His attention is momentarily distracted by Susan who has found her bow and arrows from Father Christmas in her treasure chest but not her enchanted horn. “I must have left it on my saddle the day we went back,” she says. Finally, Peter opens his chest and pulls out his sword. He reads part of the inscription aloud. “When Aslan bares his teeth, winter meets its death.” As you may remember, that was the prophecy that was never spoken in the previous movie. Better late than never, I suppose. Lucy wistfully recites another part of it. “When he shakes his mane, we shall have spring again.” There’s a moment of silence. In the book, after Peter unsheathes his sword, “the others all felt that he was really Peter the High King again.” Their silence indicates something a bit different in this version. “Everyone we knew,” says Lucy, “Mr. Tumnus and the Beavers…they’re all gone.” The children in Prince Caspian the book never seem disturbed by the revelation that coming back to Narnia centuries after their last visit means all their friends have long died. It arguably makes the story sadder and, to use a tired word, darker than it originally was. I wouldn’t say it’s untrue to the spirit of the Narnia books in general though. “I think it’s time we found out what’s going on,” says Peter. Outside, two Telmarine soldiers (stuntmen Mana Davis and Winham Hammond) are rowing in a boat up the coast by way of a river. With them is the bound and gagged dwarf. The dwarf’s name is Trumpkin by the way. That won’t be said in the dialogue until the next scene and in these recaps, I try to avoid saying names until their mentioned in the dialogue to replicate the experience of watching the movie but describing this whole scene without calling Trumpkin by name would just be a pain. One of the soldiers is unnerved by the dirty look the dwarf is giving him and both soldiers seem to be on edge. “Here’s far enough,” the one complaining about Trumpkin’s stare says. They pick him up and are about to throw him into the water. You may wonder why Miraz has had them take a prisoner all the way out here to drown him instead of doing the practical thing and killing him right away in some simpler manner. That was actually explained in the book. There the Telmarines believed that the woods around Cair Paravel’s ruins, as well as woods in general, were haunted by ghosts and ceremonially left certain prisoners there. This seems to be the implication in the movie too, given the soldiers’ jitteriness, but it’s not explained at all. Truth be told, this plot device was already a bit contrived in the book. C. S. Lewis’s reason for including it seems to have been that Trumpkin simply going to the island in search of the ancient kings and queen and then finding them would be boring, so he had to have him captured and taken there against his will. But it feels really contrived in this movie which never explains this weirdly specific form of execution. Sadly, that’s not the only plot point in the adaptation that viewers won’t understand if they haven’t read the book. Anyway, back to the scene. The soldiers barely lift Trumpkin before an arrow strikes their boat. They look up to see it came from Susan’s bow. She stands on the beach with her brothers and sister, all of them dressed in Narnian clothes. It’s a bit of a stretch that they would each find outfits their size just lying around the ancient ruins. (In the book, they spend most of the story in their school clothes.) But who cares? It’s a really cool moment to see them in Narnian garb for the first time in the movie. It really feels like the kings and queens of old have returned to rescue a Narnian from Telmarine oppression. “Drop him,” orders Susan. The soldiers oblige my dropping Trumpkin into the water. Peter and Edmund dive in after him. Susan fires another arrow. One of them hits a soldier in the side. He and his companion jump out of the boat and swim away with all possible speed. (Again, this would make more sense if we knew they were afraid of ghosts.) Edmund drags their boat to the shore. Peter retrieves Trumpkin and Lucy cuts the sputtering dwarf’s bonds with her dagger. Trumpkin: “Drop him?!” That’s the best you can come up with? Susan: A simple “thank you” would suffice. Trumpkin: They were doing fine drowning me without your help! Peter: Maybe we should have let them. OK, I hate to say it but I’m really not a fan of the way this movie’s script writes Trumpkin. In the book at this point, he needs to be reassured several times that his rescuers aren’t ghosts, which is quite amusing, and is also very grateful to them. The movie makes him a grouch, mostly because…well, as we’ll see, Trumpkin is the Narnian who is most skeptical about Aslan and the Pevensies and naysaying sidekicks in fiction are expected to be bitterly sarcastic. The literary version of Trumpkin was quite sarcastic but in a cheerfully cynical way. Staying true to that would have made for a more original character and honestly would have fit in perfectly with this adaptation’s quippy action movie milieu. Lucy: Why were they trying to kill you anyway? Trumpkin: They’re Telmarines. That’s what they do. Edmund: Telmarines? In Narnia? Trumpkin: Where have you been for the last few hundred years? Lucy: That’s a bit of a long story. Susan hands Peter back his sword which he naturally dropped when diving into the water. Trumpkin notices it and his mouth falls open. “Oh, you’ve got to be kidding me,” he says. “You’re it?! You’re the kings and queens of old?!” It’s an odd aspect of this movie that people can immediately recognize the Pevensie’s Christmas gifts at a glance. I guess their oral legends included very specific physical descriptions of them and it never occurs to anyone that it could just be a sword or a horn that with a similar design. Anyway, Peter holds out his hand to shake. “High King Peter the Magnificent,” he says. Trumpkin just stares at the hand. “You probably could have left off the last bit,” opines Susan. Trumpkin laughs, looking and sounding more like his literary counterpart, and agrees. “Probably.” Peter draws his sword. “You might be surprised,” he says. “Oh, you don’t want to do that, boy,” says Trumpkin. While the movie has just made Peter insufferably full of himself and will do so later, it happily gives him a moment of humility now. “Not me,” he says and indicates Edmund instead. (It’s depressing that I have to point it out whenever Peter does something likeable in this adaptation.) Edmund draws his blade and Peter lends Trumpkin his. For a moment, it looks like the sword will be too big for the dwarf and that this duel will be a bit of a mismatch. But then he almost chops Edmund’s head off and hits him in the eye. Lucy actually calls out Edmund’s name in fear at that point though she quickly relaxes. In the book, it was Susan who was uncomfortable with the fight. (She “never could learn to like this sort of thing.”) But this adaptation, as we’ll see, makes her much less squeamish about violence. Anyway, before too long, Edmund disarms Trumpkin who falls to his knees and gapes at him, saying, “Beards and bedsteads!” In the book, that’s something of a mad libs catchphrase for the character. Variants include “horns and halibuts,” “whistles and whirligigs” and “giants and junipers.” Sadly, this is the only example of such an exclamation we get in the movie. “Maybe that horn worked after all,” Trumpkin says. “What horn?” asks Susan. Before he answers, we cut to another scene. You’ll remember that the movie had Dr. Cornelius give Caspian a horn and tell him only to blow it at his greatest need but didn’t have him explain why. That was because the screenwriters wished to eliminate the original book’s nonlinear storytelling but wanted Susan’s horn being the thing that summoned her and her siblings back to Narnia to be a big revelation just as it is in the book. While Cornelius withholding the vital information didn’t make much sense in-universe, I appreciate the movie trying to be keep the book’s sense of mystery. But it does start-only start-to get annoying for it to hold back on explaining everything here. Next Week: Hey, We Still Haven’t Seen Caspian Since the First Scene, Have We? In a nice transition, we cut from the sound of Caspian blowing the horn to the sound of an automobile horn in our world as our old friend, Lucy Pevensie (Georgie Henley), runs across a London street, wearing a school uniform and carrying suitcases. The car’s (uncredited) driver yells at her to watch where she’s going, and she apologizes as she hurries off. For the first time in this movie, we hear a musical theme from the last film’s the soundtrack. The movie reuses a lot of musical themes from The Lion, the Witch and the Wardrobe actually, sometimes without even remixing them. The first time I watched it, I found this something of an annoying distraction, but repeated viewings have given me an appreciation for it. The movie never musically hearkens back to the last movie without there being a good thematic reason for doing so. Even on my first viewing, I liked that we first hear an old theme in the scene where, after a scene entirely about new characters, we’re reintroduced to ones we already know. We find Anna Popplewell’s Susan before her sister does. She’s wearing a uniform for the same school and browsing a magazine rack. (The movie doesn’t make a big deal of it but there’s a newspaper being sold there announcing the raid is over.) A rather geeky looking boy (Ash Jones) tries to strike up a conversation with her. Geeky Boy: You go to St. Finbarr’s? Susan: That’s right. Geeky Boy: I go to Hendon House. Across the road. I’ve seen you. Sitting by yourself. Susan: Yes, well…I prefer to be left alone. Pause Geeky Boy: Me too! What’s your name? Susan: Phyllis. This dialogue is pretty hilarious though I feel like Susan is being kind of mean. (Her counterpart in the books always tried to avoid hurting people physically or emotionally.) Of course, other viewers might feel that this guy is being a clueless stalker and Susan (and the movie) should be harder on him. But there’s something I really appreciate about this little bit of comic filler. The Narnia books describe Susan, both in Narnia and her own world, as the most physically attractive of the Pevensies. And the idea persists among both lovers and haters of the series that she’s really into boys. But I’d argue that they’re the ones who are into her. She’s not particularly into them. So it gratifies me greatly that this movie is portraying a guy as being attracted to Susan and her being uninterested. Now if only the film could keep that up for its entire runtime! Anyway, Susan’s alias (Phyllis) is blown when Lucy runs up and tells her she’d better come quickly. The girls run into an underground railway station. (In the book, this station was above ground and rural by the way.) They find a crowd of other school children gathered to watch a fight between three boys. Two of them are handing the third his posterior. That third is Peter (William Moseley.) He and Susan lock eyes and she looks at him with reproach and disgust. Just as Peter is getting his face pressed against the wall, another boy comes to his aid. It’s Edmund (Skandar Keynes.) He does his best, but Peter still takes quite a beating. Fortunately, two soldiers (John Bach and Jack Walley) come along and break up the fight. “Act your age,” one of them tells Peter. We then cut to the four Pevensies glumly seated on a bench with their luggage. Edmund: You’re welcome. Peter: I had it sorted. Susan: What was it this time? Peter: He bumped me. Lucy: So you hit him? Peter: No, after he bumped me, they tried to make me apologize. That’s when I hit him. Um…yikes! In the literary Prince Caspian, Peter is a completely noble hero albeit one that makes a major mistake. He’s also a very humble hero and arguably as great a diplomat as he is a warrior. And here the adaptation has him brawling in public like a common hooligan. And it’s implied that this is something he’s been doing regularly for a while. Even if the movie really wanted to include this fight for the sake of more action, it would have been so easy to give Peter a more sympathetic reason for getting into it. He could have been defending a smaller boy against bullies. We could have at least seen the two boys being really rude to Peter when they bumped into him, so that we’d be more likely to sympathize with him lashing out at them. Either of those ways to make Peter more sympathetic are so obvious that I’m not sure if I’m angry with the movie for not using them or impressed by it avoiding the obvious route. Perhaps most troublingly for fans of the book, we’ll learn in a matter of seconds that his issues stem from a sense of wounded pride and entitlement. For many fans, this one change to this one character is enough to ruin the adaptation for them. I can understand that if King Peter was a huge role model for you growing up. But while I consider Peter in the book to be admirable and well written, he’s not a particular favorite of mine and while there’s a lot I dislike about the execution of this character arc for him, as well as with William Moseley’s performance, which feels like he’s playing a different character from the likeable one in the last film, there’s also a lot that appeals to me about it conceptually. In The Lion, the Witch and the Wardrobe, Peter’s journey was all about him learning to have more confidence. I like that this sequel gives him the opposite arc rather than rehashing what we’ve already seen. Also, I don’t really get why so many kids’ movies, like The Lion, the Witch and the Wardrobe, feel that the main thing they need to teach their young viewers is to be more confident. Doubtless, there are some children who need to learn that but aren’t there also many-possibly even more-who suffer from overconfidence? Having the protagonist in a mainstream kids’ movie learn to be humble is an interesting and refreshing move if you ask me and one more in line with the broad themes of the Narnia books. Back to the conversation. Susan: Really! Is it that hard to just walk away? Peter: I shouldn’t have to! I mean, don’t you ever get tired of being treated like a kid? Edmund: Um, we are kids. Peter: Well, I wasn’t always! It’s been a year. How long does he (Aslan) expect us to wait? Susan: I think it’s time to accept that we live here. There’s no use pretending any different. That last line is interesting in that it foreshadows events in the final Narnia story, The Last Battle. (If you haven’t read that one and don’t want anything spoiled for you, skip the rest of this paragraph.) There we’re informed that the older Susan has reached a point where if her siblings bring up Narnia, she says, “What wonderful memories you have! Fancy your still thinking about all those funny games we used to play when we were children.” Many readers find this development for the character random and it’s not a bad idea for an adaptation to foreshadow it though I feel like this one may be trying too hard to make Susan sympathetic. Still, that’s better than just dropping the plot point entirely. That would be both the easiest and the most cowardly route to take if you ask me. Susan notices her unwanted admirer from the magazine rack heading her way. (Don’t worry. He’s not stalking her. He’s just going to take the same train.) Quickly, she instructs her brothers to pretend they’re talking to her. “We are talking to you,” Edmund points out. Suddenly, Lucy yells, “ow!” and jumps to her feet. Even though I’d read the book, I assumed at first, she was trying to create a distraction to help Susan. But no. “Something pinched me,” says Lucy. “Hey! Stop pulling,” says Peter, rising to his feet. “I’m not touching you,” Edmund replies. As a train rattles past them, he and Susan feel the pull too and get to their feet. As a book fan, I’m tickled to report that the order in which the characters feel the mysterious sensation is the same as in the text. Susan: What is that?! Lucy: It feels like magic. Susan: Quick, everyone holds hands. Edmund: I’m not holding your hand! Nevertheless, the Pevensies’ do grab each other’s hands. The walls of the railway station appear to be sucked away bit by bit while everyone besides our heroes is oblivious to it. Suddenly, they’re standing in an empty cave. The train disappears down the railway tunnel which transforms into the cave’s mouth, leading out onto a beautiful beach. This is a great magical transition though regrettably it conveys more of the impression that the world around the characters is being pulled away when it should be they who are being pulled out of the world. Lucy gives Susan a you-were-saying look. To her credit, Susan grins back and all four Pevensies run into the water, shedding their shoes and less comfortable school clothes, splashing each other and having a good time. In the book, they arrive in an uncomfortable thicket rather than a cave and are initially more shocked than delighted. They only happily rush into the water after they’ve picked their way out. I feel like that’s a little more believable, but I don’t mind the way the movie does the scene. I’ve described it earlier as being darker than the book or trying to be so anyway. This moment of joy is welcome, especially since it’s aided by a lovely location. We hear another old theme on the soundtrack, the one that played when all four Pevensies were in Narnia together for the first time in the last movie. As the music fades, so does Edmund’s smile. That’s not to say he frowns; he just looks thoughtful. “Where do you suppose we are?” he asks. “Well, where do you think?” says Peter. “Well, I don’t remember any ruins in Narnia,” Edmund says. All four children grow silent as they stare up at the ancient remains of a castle on the cliffs above them. Then we see them exploring the site. Lucy eats an apple from an overgrown orchard. In the book, it takes the characters a long time to find this ruin and it’s stressed how grateful they are to find a source of food in the orchard as well as how sick they get before long of having nothing to eat but apples. I think I’m glad the movie trimmed all of that and also glad it still included the apples so that viewers would still get an idea of how the Pevensies avoid starvation. “I wonder who lived here,” Lucy says. Susan’s foot bumps against a tiny golden figurine of a centaur studded with ruby fragments. “I think we did,” she says, picking it up. “Hey, that’s mine,” says Edmund, “from my chess set.” Peter asks him which chess set. “I didn’t exactly have a solid gold chess in Finchley, did I?” says Edmund. As we’ll see, this adaptation generally tries to be more emotionally intense than its source material, so it’s interesting that this moment was actually more emotional in the book. There the chess piece belonged to Susan herself and the memories it raised nearly reduced her to tears. If the movie weren’t going to try to be more tearjerking than the book later, I would object to toning down the emotions in this scene. But since the movie does try that, I think it makes for better pacing not to get too sad too soon. Lucy realizes something. “It can’t be,” she whispers. Then she grabs Peter by the hand and drags him to an open area that was once an interior. Susan and Edmund follow. “Don’t you see?” says Lucy. “Imagine walls and columns there and a glass roof.” The Pevensies realize that they’re standing exactly where their thrones once were. “Cair Paravel,” murmurs Peter. In the book, he was the one who figured out that the ruins were their old castle centuries after they’d left. Giving that role to Lucy is typical of how the movie makes its version of Peter less heroic than C. S. Lewis’s but, to be fair, it’s one of the less annoying instances of it. Next Week: What About All Those New Characters from the First Scene? This blog series is going to follow the same format as the one I did for The Lion, the Witch and the Wardrobe (2005) so you might want to go back and read the introduction to that one since it explains why I’m going to give away my overall feelings about the adaptation before I describe the first scene. After The Lion, the Witch and the Wardrobe was a huge financial hit, the Walt Disney Company had high hopes for its sequel, Prince Caspian, and gave it a corresponding budget. They were disappointed. One of the reasons for that may have been the decision to make that sequel a summer action movie rather than marketing it as a film for families to watch together over the holiday season as they’d done with The Lion, the Witch and the Wardrobe. Another reason may have been returning director Andrew Adamson’s goal of making the sequel (relatively) darker and edgier and aimed more at teenagers, the age group least likely to gravitate toward Narnia. (The books are more for children and nostalgic adults.) But the main reason for the studio’s disappointment was probably that they forget that while the book, The Lion, the Witch and the Wardrobe, is a well-known and beloved classic of children’s literature, this is less true of the other books in the Narnia series. They’re beloved by people too, but not by the public in general and even among the fandom, Prince Caspian is widely considered the weakest installment. Because they were adapting the least beloved Narnia book, Adamson and his returning collaborators, screenwriters Christopher Markus and Stephen McFeely , probably felt that they had some leeway in adapting the book. This sequel takes far more artistic license with its source material than its predecessor and it should be noted that many critics praised it as the better of the two movies. Some would even call it better than the original book. But many Narnia fans were angered and disappointed by the liberties taken with the text, which I think is a heartwarming tribute to the book, showing how much fans love even the least favorite Narnia book. Or maybe the movie made people realize the book’s greatness. Where do I stand? Well, I don’t consider the 2008 Prince Caspian movie better than the first Narnia movie on the whole. But neither do I consider it worse than it on the whole. They each have their pros and cons and for me, if no one else, it all balances out in the end. Now do I think the movie is better than the book? Well, I can understand that opinion-at a first glance. The adaptation removes some of its source material’s structural issues. It brings the title character into contact with the other four protagonists much sooner, allowing it to develop relationships between them, and trims the lengthy central section of the characters being lost in the wood. But unfortunately, this adaptation also cuts some of the most emotionally potent themes and interesting ideas from the book, making for a movie that feels less specifically Narnian and much more like a generic fantasy action movie. But, hey, sometimes a generic fantasy action movie, assuming it’s well made, is exactly what I feel like watching. Actually, it’s kind of amazing how much I enjoy the Prince Caspian movie considering how many strikes it has against it from my point of view. As I mentioned before, of the three Narnia movies, this is the one most trying to appeal to teenagers, and I think that’s a mistake if fidelity to the books’ spirit is a goal. And while I don’t necessarily mind the idea of a Narnia movie being dark per se, there being plenty of dark material in the books, to suggest that Prince Caspian is an edgier story than The Lion, the Witch and the Wardrobe is ridiculous. If anything, you could argue it’s the least intense Narnia story. I feel like the filmmakers just went that direction because it’s Hollywood convention to make the second movie in a series be darker than the first one. C. S. Lewis, by contrast, made the seventh and last Narnia book, The Last Battle, the darkest by a long shot. Making Prince Caspian edgier arguably would have undermined that if Walden Media had been able to adapt the whole series. (It really should be noted though that this movie is dark compared to the 2005 The Lion, the Witch and the Wardrobe but hardly the darkest movie ever. Likewise, it’s aimed more at teenagers but can still be enjoyed by kids. Not every kid maybe but some.) Also, this is the Narnia movies that’s an action movie the most and, truth be told, while I enjoy a good action scene, modern action movies tend to give me headaches. Yet, for all that, I get a big kick out of this movie. Why? Well, let’s start the deep dive. We open with a nifty transition from the Walden Media logo to two planets crossing each other in the Narnian night sky. Those familiar with the book will realize that these are Tarva and Alambil. They will also recognize that the adaptation is playing around with the original story’s chronology. The camera pans down to reveal a clifftop castle. It’s a great set-too great even. You see, it’s the castle of the Telmarines, this story’s villains and C. S. Lewis deliberately made them boring compared to the more colorful Narnians. This castle is just a little too cool in its creepy looking way to be boring. But in the movie’s defense, it can be tricky to make something look boring in a movie without the viewers just getting the impression the designers were simply untalented. Fans of the book instantly learn that the adaptation is taking even more liberties with the chronology than they originally supposed as a woman’s scream is heard and the camera zooms in on one particular room in the castle where a noblewoman (Alicia Borrachero), surrounded by midwives, is giving birth to a son. In another room-it’s a great set by the way-a burly, grizzled soldier (Pierfrancesco Favino) enters to find a nobleman (Sergio Castellitto) staring up at the sky through a window. These two are the only ones there. “Lord Miraz,” says the soldier, “you have a son.” In the book at this point, Miraz is already a king. The movie is going to show his rise to the throne which was summarized in one speech by a character in the book. “The heavens have blessed us,” Miraz says, still looking at the planetary phenomenon. “You know your orders.” The soldier hesitates, evidently not completely comfortable with these orders. Miraz turns his head slightly. “General Glozelle?” he says. “Yes, my lord,” the man replies. In the book, Glozelle is only really introduced before the climax of the story and incidentally is a lord, not a general. He’s also completely a villain in the book with no apparent conscience. I think it makes sense to give him more screentime since he’s something of a deus ex machina in the source material. I generally dislike the idea of redeeming characters from the books who weren’t redeemed there but adding some sympathetic aspects to Glozelle’s character is going to allow this movie to keep an interesting little moment from the book that would otherwise have probably been cut. Anyway, on its own terms, this scene is great, especially the tension between Castellitto and Favino. Meanwhile, a cloaked and hooded figure sneaks through the moonlit castle hallway, avoiding a sentry. He slips inside a royal bedchamber, draws open the bedcurtains and places a hand over the mouth of our hero, Prince Caspian (Ben Barnes.) I should say a word hear about the casting here. Many fans object to Barnes, who was in his early twenties at the time, playing this character who is a boy in the book. However, the only thing the book specifically says about Caspian’s age is that he was about as old as Peter and the previous movie had already cast a teenager as that character, a teenager who was even older when this sequel was filmed and yet nobody complained then. To me, the important thing is that Caspian looks like he could be Peter’s peer and Barnes does a great job making the character seem youthful and naive. I think the reason fans insist on seeing Caspian as really young in the book is that C. S. Lewis stresses that he was a very little boy in the first chapter depicting him and fans forget that years take place between that chapter and the main body of the story. The movie entirely cuts the section of the story about Caspian’s childhood, and I have strong opinions about that but let’s put the subject on the back burner for now, shall we? Caspian’s eyes pop open in fear but he relaxes when he sees that he’s being awakened by his twinkly eyed gray bearded tutor, Doctor Cornelius (Vincent Grass who’s great in the role.) Actually, they never say Cornelius’s name in the movie; everyone just addresses him as “doctor” or “professor.” It’s in the credits though and I’m going to use it on this blog. “Five more minutes,” Caspian says, rolling over. “You won’t be watching the stars tonight, my prince,” says Cornelius. This is a reference to the book in which he sometimes takes Caspian up on the castle battlements at night for astronomy lessons. In fact, during one such lesson, he revealed to Caspian the true history of Narnia about which everybody is forbidden to speak. It was a wonderfully atmospheric scene in the book that has been barbarically scrapped by this movie. (Remember what I mentioned about Caspian’s childhood?) “Come,” says Cornelius, “we must hurry.” He drags Caspian over to his wardrobe. “Professor, what’s going on?” he asks. “Your aunt has given birth to a son,” says Cornelius. There’s a great moment of silence as the implications of this, not yet clear to the viewers, sink in for Caspian. Cornelius reveals a secret passage in the back of the wardrobe and bustles the prince inside. They close the door behind them, but Caspian lingers to peer through the crack and see what happens in his absence. Glozelle leads a group of bowmen into the room. They surround Caspian’s bed and fire arrows at it, only to find the bed empty. Cornelius hastily helps Caspian dress and arm himself. “You must make for the woods,” he instructs the prince as he mounts a horse in the stables, “they won’t follow you there.” In the book, Dr. Cornelius also tells Caspian to seek sanctuary in the court of King Nain of Archenland. That is a much more intelligent plan than just hiding in the woods, but I don’t blame the movie for cutting it since neither King Nain nor Archenland are ever going to appear in this story. Then Cornelius hands Caspian an object wrapped in cloth. “It has taken me many years to find this,” he says. “Do not use it except at your greatest need.” “Will I ever see you again?” asks Caspian. Don’t ask me why he would ask that instead of “what is this mysterious object and why must I use it at my greatest need?” Well, because this movie wants to retain a mystery in the book’s plot while avoiding the nonlinear storytelling that allowed it to be a mystery. “I dearly hope so, my prince,” says Cornelius. “There is so much more I meant to tell you. Everything you know is about to change.” They hear a voice outside calling for the drawbridge to be closed so naturally Caspian has to hightail it out of there, leaving Cornelius feeling like a fool for saying, “everything you know is about to change,” a line obviously written so it could be used in the movie’s trailer, instead of taking the time to tell Caspian just what the mysterious artifact is to be used as a last resort. Caspian rides across the courtyard. Two sentries try to stop him, but he knocks aside their pikes, taking one of them. He gallops across the stone drawbridge on his horse as celebratory fireworks go off in the background. (In case that sentence was confusing, they’re celebrating the baby’s birth, not Caspian’s escape.) A town crier (Douglas Gresham, one of the movie’s producers and the head of C. S. Lewis’s literary estate) is heard proclaiming that “Lady Prunaprismia has this night given Lord Miraz a son.” Glozelle and his soldiers chase Caspian on horseback through the town and into the countryside. I may be alone here, but this is an iconic opening for me. Like the last movie, this has a great opening credits scene albeit one with a very different feel. Caspian enters the woods, and his pursuers initially hang back in fear with the exception of Glozelle. “Which of you superstitious old women wants to spend the night in a cell?” he demands. Reluctantly, they follow him. In the book, the Telmarines fear the woods because of their people’s past inhumanity to trees and imagine them to be full of ghosts. As a fan, I’m glad that this was kept but it’s unfortunate that the movie never explains it. We can deduce that they believe these particular woods are haunted but not necessarily why. Oh well. We do get to see some lovely scenery in this chase scene and listen to some great tense chase music by composer Harry Gregson-Williams. At one point, Caspian has to ride across a ford. (This is the ford of Beruna which was supposed to be the location of the battle in The Lion, the Witch and the Wardrobe.) The obstacle relieves him of some of his pursuers but not all of them. He does put enough space between himself and them to give him hope. Hilariously (and intentionally), the dramatic mood is shattered when he looks behind him, then turns back only to get hit in the head by a low hanging branch, knocked off his horse and dragged around for a while before finally managing to get his foot out of the stirrup. Caspian lies there on the ground while his steed runs off. (In the book, by the way, something like this didn’t happen until he’d been riding for a whole day and into another night. The Telmarine castle is much closer to the woods in the movie.) The silence grows ominous. Caspian painfully raises himself and is shocked to see two dwarfs, one with a red beard (Peter Dinklage) and one with a black beard (Warwick Davis who also played a couple of roles in the BBC’s Narnia miniseries from the late 80s and early 90s), emerge from under the roots of a tree. There’s also light coming from under the roots and if you have sharp eyes you can see a talking badger behind them. “He’s seen us,” says the black bearded dwarf. Both of them carry swords. Caspian’s lies out of reach. The red bearded dwarf, blade drawn, runs up to Caspian but stops when he sees that the bundle Dr. Cornelius gave the prince has unfurled, revealing an ivory horn that should look familiar to viewers though the camera probably doesn’t linger on it long enough for it be recognizable. The dwarf recognizes it though. Apparently, so do the other one and the badger though they should be standing too far away to see it in the dark. One of the Telmarine soldiers appears on the horizon. “Take care of him” the red dwarf tells the other and runs to distract the newcomer. It eventually becomes clear that the sight of the horn has earned Caspian these dwarfs’ loyalty and that he means “take care of him” in a friendly sense. Why this is so won’t be abundantly clear, I’m sorry to say, but it’s too early to start criticizing that. Caspian understandably interprets the red dwarf’s words in a threatening way and when the black dwarf heads his way, he grabs the horn in desperation, raises it to his lips and blows before the dwarf knocks him out. I’d roll my eyes at Caspian blowing the horn seemingly hours after being told to only do so in his greatest need-if it took that long. But I understand why the filmmakers had him do so. And all quibbles aside, I really do love this opening scene. Some viewers may not like how it features none of the characters from the first movie and doesn’t even explain very much about the new ones it introduces but I don’t mind. If anything, I enjoy the mysteriousness of it all. Well, this feels like a good place for a cliffhanger. Next Week: How Have the Four Pevensies Been Doing Since the Last Movie? It may sound crazy to say that the Disney Channel produced a better miniseries adaptation of Charles Dickens’s Great Expectations than the BBC ever did but that’s what happened in 1989! Just eight years prior to the 1989 miniseries, the BBC had done its own version and it’s astonishing to see how much more visually appealing the later series was. Credit to that goes to director Kevin Connor, cinematographer Doug Milsome and production designer Keith Wilson. True, the sets don’t look as “lived in” as much as might be wished and the costumes even less so but for a TV serial of this time, they’re quite impressive and the locations are lovely. The casting for the 1989 miniseries is also superior to that of the 1981 version and the scripts by John Goldsmith are far more engaging. Basically, this adaptation makes the 1981 miniseries look dull and clunky in every way. Well, truth be told, I think that one comes across as dull and clunky by itself, so that’s small praise. But I’d also stake the 1989 Great Expectations against any of the other miniseries based on the book and there have been several. In fact, I’d stake it against any adaptation yet made. That’s not to say it’s only one that’s any good, just that it’s the most consistently great in my opinion. Of course, nothing is perfect, so I’ll start with a flaw. Young Martin Harvey who plays the character of Pip in his childhood is something of a weak link in the cast. His facial expressions are pretty great, but his line deliveries tend to sound fake compared to those of everybody else. And his crying sounds even more so. Anthony Calf as the older Pip though is perfect. He looks and sounds more like how I imagine the character than any other portrayal I’ve seen, and he’s helped by the writing which excels at finding ways for Pip to express his thoughts aloud to the other characters that he only tells readers in the book. If I had blogged about this miniseries before I did my “awards ceremony” post, Calf’s Pip would have been a shoe in for best antihero. Another problem with this production is the choice to have Pip’s two possible love interests, Biddy and Estella, each be played by a single actress throughout the whole series rather than using child actresses in the characters’ youths and older ones afterwards. I know, I know. It’s unfair of me to first say that the child actor for Pip was inferior to the adult actor and then criticize the decision to not use child actors for other characters. This probably does make for more consistently great acting but if you’re not familiar with the story, it’s very confusing. Biddy’s early maturity isn’t as impressive when she looks like an adult from the beginning and there’s a scene where we see Estella as a teenager for the first time that was clearly written to be the first look viewers would get of her played by a new actress, but she looks just like she did the last time we saw her except that she’s wearing more age-appropriate clothing. Fortunately, the actual quality of the actresses’ performances is exemplary. As I wrote previously, anyone playing Estella has to delicately balance many contradictory characteristics to bring this unforgettable character to life. Kim Thomson does so without breaking a sweat, giving us an Estella who is sometimes icily indifferent, sometimes casually friendly and sometimes intensely bitter. Returning to the scenario in which I’d blogged about this miniseries before my awards ceremony, she’d have won best antiheroine. Susan Franklyn is also great as Biddy. Like Thomson, she’s helped by how well this adaptation develops her character. You could even argue she has a bigger presence here than in the book. (Remember what I wrote about this miniseries finding ways to have Pip confide things in other characters that he only tells us through narration in the book?) Estella may be the story’s leading lady, but this adaptation understands that Biddy is its heroine in the moral sense. You’ve probably picked up by now that this miniseries has a stellar cast. As awkward and ignorant as the loveable Joe Gargery can be, John Rhys-Davies plays him without a hint of condescension or winking at the camera. Some of the most emotional moments in the series belong to him. As Pip’s shrewish older sister, Rosemary McHale makes her character’s abuse of her brother and her husband genuinely disturbing while simultaneously bringing great comedic timing to the role. Other great performances include those of Anthony Hopkins as Abel Magwitch, the escaped convict who terrorizes young Pip , Ray McAnally as Jaggers the fearsome lawyer , and Charles Lewsen as his clerk, Wemmick who is cold and businesslike to the point of cruelty in his “professional capacity” but friendly and playful outside of office hours. But as much competition as she has, the crown jewel of the cast by a long shot is Jean Simmons, whom you’ll recall played the young Estella in the 1946 movie, as Miss Havisham. She brings a throaty growl to every line that she doesn’t venomously spit or deliver in a mournful wail. Even when she’s not speaking, she seems to radiate bitterness. I fully believe that she’s brooded over her grudge every day for years. This is the most awesomely creepy Miss Havisham I’ve ever seen, and she would have won the “Adaptee” for best tragic villainess with her hands tied behind her back. Nearly every minor character from the novel is present in this adaptation. There’s harried Matthew Pocket (Jonathan Newth) and his lazy, pretentious wife, Belinda (entertaining Angela Ellis), Wopsle (John Quentin), the overly ambitious amateur actor, “Trabb’s boy” (Mark Williams who’s good but I’d have preferred a younger actor in the role), the insolent tailor’s assistant who irritates Pip and Orlick (Niven Boyd), the vengeful journeyman. True, not all of these subplots are as well developed as in the book. I wish there were more audible heckling in the scenes of Wopsle’s bad performances to make them funnier and Orlick only shows interest in Biddy in one shot, making his later accusation that Pip “come twixt” the two of them rather inexplicable. Still, this is adaptation is an admirably complete take on the novel’s plot. In fact, it expands on the minor character of the useless young manservant who Pip hires for the sake of a genteel appearance and gives him a subplot to good effect. As played by Paul Reynolds, he resembles a young Uriah Heep and that’s no accident as this version has him conspire with his employer’s enemies. Sadly, this adaptation does stumble a bit at the finish line. The way it handles a plot twist in the second-to-last scene makes Dickens’s bittersweet ending, which leaned more into the sweet in the book, lean more into the bitter here. A botched ending can sometimes ruin a whole story, but the very last scene of the miniseries, taking place eleven years afterwards, manages to mollify me. The adaptation moves the location to the churchyard to bookend with the very first scene of the first episode. I’m theoretically against this change since the scene’s location in the source material is thematically significant. But I’ll allow it since it gives the miniseries the opportunity to put a hilariously ironic inscription on the tombstone of one of the villains. I’d like to think Dickens himself would have gotten a kick out of that addition to his story. No, I’m not going to show you the inscription. Maybe I should though since exasperatingly this, my favorite adaptation of Great Expectations, is unavailable for streaming anywhere and has only ever been released on VHS and Region 2 DVDs, something not every DVD player will play! Oh, the injustice! Currently, the miniseries can be watched on YouTube though it could be taken down for violating copyright at any moment. Normally, I would advocate paying for it but since whoever owns the series isn’t really selling it, I advise everyone to enjoy it while they have the chance. Great Expectations by Charles Dickens has been adapted into several miniseries and you’d expect that I, as a fan of the book, would prefer those to the film adaptations. After all, they’re longer, slower paced and theoretically include more from the rich source material. But, weirdly enough, there is only one miniseries adaptation of Great Expectations that I love, one I hope to cover on this blog next week. The rest of them range from OK to bad in my estimation. Two of my favorites are shorter movie adaptations, one from 1946 directed by Sir David Lean (Lawrence of Arabia, Doctor Zhivago) and one from 2012 directed by Mike Newell (Four Weddings and a Funeral, Harry Potter and the Goblet of Fire.) The first one isn’t a controversial choice since it’s widely considered a masterpiece, both as an adaptation of the book and a movie in its own right. The second, while not widely hated or anything, is regarded as inferior but I’m not convinced of this. I’m going to look at both movies, what they each do well and what they each do poorly. Writing and Direction David Lean’s Great Expectations is justly celebrated for its atmosphere. The opening scene of the main character, a young boy called Pip (Philip Pirrip), being confronted by an escaped criminal in a churchyard on the lonely Kentish marshes is magnificently creepy. So is Satis House, the manor whose mistress, Miss Havisham, has decreed that everything shall stay in it exactly as it was the moment she received a letter from her con artist fiancé breaking off their engagement on what was to be their wedding day. Mike Newell’s direction for his Great Expectations is basically fine but rather bland by comparison. It drives me crazy how much sunlight gets through the cracks of Newell’s Satis House when it’s supposed to be lit only by candles. This makes a line about how a character raised there has never seen her mother figure’s face by daylight ridiculous. But on the flipside, the emotionally uplifting scenes in Newell’s Great Expectations tend to be much better directed than those in Lean’s which tend to be rather flat compared to the creepy ones. To be fair, a great deal of that may be due to the scriptwriting. There’s much to love about both the screenplay for the 1946 movie by Lean, Ronald Neame, Anthony Havelock-Allen, Kay Walsh and Cecil McGivern and the screenplay for the 2012 movie by David Nicholls. Each one stays very true to the book’s story and dialogue while gracefully simplifying them for the movie format and nearly every scene is packed with little fan-pleasing details. I think of the two I prefer the 2012 script since it does a better job of developing the most important characters and even some of the less important ones as I hope to show below. There are some great lines from the 1946 script that aren’t in the 2012 one though. I especially have to praise it for including more lines from the book that indicate the character of Estella’s dark side. In a wonderful piece for the Guardian, David Nicholls mentions voiceover narration and flashbacks as risky cinematic devices. His Great Expectations uses flashbacks but not narration. The 1946 movie uses narration but not flashbacks. Each one demonstrates the benefits of the risk it takes. When Pip returns to his old neighborhood after having a fortune and the status of a gentleman dropped in his lap in the 1946 movie, voiceover grants us access inside his head and we learn exactly how he talks himself out of visiting his old friends from when he was a lowly blacksmith’s apprentice-the only friends he had growing up. This also allows it to include one of the most haunting quotes from the book. “All other swindlers upon earth are nothing to the self-swindlers, and with such pretenses did I cheat myself.” By contrast, the 2012 movie has only an awkward scene of Pip walking all the way to the blacksmith’s forge, seeing one of his friends without being seen, and then wordlessly walking away again. On the other hand, the 2012 movie’s use of flashbacks for scenes of the various characters explaining their backstories makes them far more dramatic and compelling than the equivalent scenes in the 1946 movie, which were just a bunch of talking heads. I hasten to add that sometimes it’s more interesting to just watch a character explain their backstory and other characters react to it. I just don’t usually find it so in the 1946 Great Expectations. Charles Dickens’s main claim to fame is his characters, so let’s take a look at some of them, shall we? Pip I’ve mentioned something before about movies that follow a character or characters from childhood to adulthood: it’s typical for either to actors playing them as a child to make a better impression than the one playing them as an adult or vice versa. These movies are a case in point. Young Anthony Wager who plays Pip is perfect in the role with his perpetually traumatized facial expression. Believe me, considering that he’s raised by an abusive older sister, blackmailed by an escaped convict and regularly summoned to a creepy mansion to be systematically emotionally abused by a femme fatale, this kid should look perpetually traumatized. Toby Irvine is fine in the same role in the 2012 movie but not nearly as memorable. Sir John Mills isn’t terrible or anything as the adult Pip in the 1946 film but he’s not nearly as great as Wager and the movie’s overall quality consequently takes a drop when he takes over as the lead. Part of the problem is that Mills was in his late thirties and Pip is supposed to be in his early twenties. He just feels too old for the immature character to me. Jeremy Irvine, brother of Toby, is far better as the adult Pip in the 2012 film, bringing much more youthful vigor and enthusiasm to the role. I have read some criticism to the effect that he’s too palpably angry and emotional for the character’s culture. But, hey, Pip is supposed to be an unusually passionate person and this movie doesn’t have voiceover to give us access to his thoughts and feelings. If the overall quality of the 1946 Great Expectations drops for me when Mills takes over as Pip, the overall quality of the 2012 one improves when Irvine takes over as the character. Estella No one should envy an actress who has to play the young Estella, the girl at Satis House who bewitches Pip. She has to portray a snobby, sadistic bully while also coming across as beautiful, elegant and somehow charming enough to make Pip’s lifelong romantic obsession with her understandable. Jean Simmons in the 1946 movie knocks it out of the ballpark! Helena Barlow is sadly less effective in the role in the 2012 film. Her performance isn’t terrible or anything, but she just doesn’t have the screen presence necessary to make Pip’s infatuation with her believable, especially when there’s another girl in his life who is no less pretty, has the same social status and is actually nice to him. I feel cruel for critiquing such a young actress for not being convincing as a charismatic supermodel but it’s impossible for me to critique the movie without doing so, especially as I’m comparing it the 1946 one. For what it’s worth, Jean Simmons was actually a teenager when she played Estella and so she had that advantage over Barlow. Speaking of charisma or a lack thereof, Valerie Hobson as the adult Estella is rather a disappointment after Simmons, in some ways even more than John Mills is a disappointment after Anthony Wager. In her defense though, the adult Estella is arguably an even more difficult role than the youthful one. She’s still cruel and callous but not sadistic like she was as a child. We’re told that she’s tormenting many men by making them fall in love with her and then crushing their hearts, but she does this out of obligation to the vengeful misandrist who raised her, not for fun. In fact, we get the impression she really resents this obligation and wishes for a different life. But this is out of boredom, not compassion for her victims. She’s grown genuinely fond of Pip in a strange way and tries to avoid hurting him, but she can’t really empathize with his feelings for her, limiting any compassion on her part. The actress has to balance a ton of contradictions to play this character. She needs to be both casual and intense, cold yet warm. During her early scenes, Hobson mostly just plays her as casual to the point of being bland and boring. Fortunately, as the movie goes on and Estella is brought into conflict with Pip more, giving the actress more specific emotions to show, she improves. I still wish Jean Simmons could have played the character for the whole movie somehow. Holliday Grainger certainly isn’t boring as the adult Estella in the 2012 film. In fact, for what it is, her performance is great, but I still consider it fundamentally misguided. As much as I love the screenplay for this adaptation, I have to admit that the fault lies with it or at least the script got the character off on the wrong foot. Like the 2011 miniseries, this version has Miss Havisham end young Pip’s visits to her house because she can tell that Estella is becoming genuinely attached to him, which would not fit in with her plans for the girl at all. (Remember this is while Pip is still common! In the book, she only becomes friendly to him once he’s a gentleman.) We’re told that Estella is “hard and haughty and capricious to the last degree” and that she’s deceiving many men. But we never see any evidence of this in Grainger’s performance. She comes across as sad and wistful in every one of her scenes. I can live with softening the character a little bit, especially in a shorter adaptation that has less time to develop her, but not in every single scene! It’s all but stated that this Estella really does love Pip but is in denial about it. This makes Pip seem far less delusional in his pursuit of her and an important choice of Estella’s, which was difficult to understand in the source material, downright incomprehensible here. Not helping much is that while Holliday Grainger is certainly a beauty, she’s not necessarily beautiful in an Estella-esque way. I feel that Estella should be tall and stately in keeping with her “inaccessibility” to use the book’s description. Grainger’s Estella, if anything, appears to be shorter than Jeremy Irvine’s Pip. Miss Havisham With the decaying wedding dress she always wears and the decaying wedding cake she keeps in her house, Miss Havisham is one of the most unforgettable antagonists in Dickens-no small praise-and for many readers, the most memorable character in Great Expectations. Martita Hunt is effectively eerie and brooding in the role in the 1946 movie. If I have a criticism of her performance, it’s that she could stand to be a little more energetic once in some moments, such as her rant ordering Pip to love Estella. (“If she favors you, love her. If she wounds you, love her…”) Don’t get me wrong. I prefer Miss Havisham to be somewhat subdued and withdrawn in her early scenes as if she’s always preoccupied with the grudge that she’s nursing. But I also feel like she should be more palpably gleeful in later scenes as her vengeance seems to be coming to fruition. It would be flat slander to accuse Hunt’s Miss Havisham of never being palpably gleeful though. Helena Bonham Carter has been accused of doing nothing at this point in her career but recycle her performance as Bellatrix Lestrange from the Harry Potter movies. Looking back at all the recent movies in which I’ve seen her, I wouldn’t say that’s totally fair, but I will say with regret that her portrayal of Miss Havisham in the 2012 movie is very much what has become the generic Helen Bonham Carter performance. Still, the generic Helena Bonham Carter performance at least makes for a good solid cartoon character, not like Gillian Anderson’s irritating, squeaky-voiced Miss Havisham in the 2011 Great Expectations miniseries whom one critic accurately described as “the ghost of all bad Ophelias.” I don’t understand why she seems to be asleep or half asleep whenever Pip enters her room. Isn’t the idea of her sitting there, alert and waiting for him, creepier? But there are some interesting things about this Miss Havisham. When Pip says the only card game he knows is Beggar My Neighbor and she tells Estella to “beggar him,” she laughs like that’s the most hilarious joke she’s ever heard. Again, I prefer something less hammy for those early scenes but it’s not a bad take on the character. In her final scenes of penitence, Carter grants my wish that she treat this as one of her serious performances and actually makes her Miss Havisham more sympathetic than Hunt’s or any other actress’s I’ve seen. Joe Gargery If Miss Havisham is this story’s most dastardly villain , Pip’s brother-in-law, Joe Gargery, is its most lovable hero. Bernard Miles is appropriately gentle and childlike in the role in the 1946 movie, but he doesn’t bring a lot of depth to the character. For example, when Pip, having had wealth and status suddenly bestowed upon him, leaves him to be a gentleman in London, we don’t get the impression that Joe is really saddened but hiding it for Pip’s sake. To be fair, a lot of the blame for that lies with the script and direction. It feels as if David Lean simply wasn’t interested in Joe. Granted that the character wasn’t going to be as fully developed as in the book, there are far fewer scenes of him than there should be and the scenes we get are directed with none of the flair of, say, the scenes at Satis House. One bit of comic business in the scene of Joe’s awkward visit to London is downright bad. Joe is supposed to rush over to grab his hat before it falls off its stand and fumbles with it so much that it falls in the food. It’s staged so awkwardly that it looks as if a demon suddenly possessed Joe so he could ruin his hat and the meal. Happily, Jason Flemyng’s Joe in the 2012 movie is even more appealingly gentle and childlike as well as even funnier in the bits where he’s played for laughs and much better served by the script. The final scenes of reconciliation between him and Pip are far more heartwarming than their perfunctory counterparts in the 1946 film. Biddy The novel’s saintliest character next to Joe is Biddy, Pip’s aforementioned alternative love interest to Estella. The 1946 movie ages her up and makes her more of a mother figure to him. Goodness knows the kid needs one! Eileen Erskine is likeable and appealing in the role, but the movie sadly though understandably doesn’t give her much to do and it feels like she was included out of obligation. Biddy keeps her original age and is much more of a possible love interest in the 2012 movie in which she’s played by Bebe Cave as a child and Jessie Cave as an adult. In fact, at one point, she grabs Pip and kisses him on the lips, which I’m fairly sure would have been considered inappropriate in this time period. The shooting script describes the moment thus. “Her hand reaches across and takes Pip’s hand (or perhaps even a kiss?)” They probably should have shown restraint and left it at that when filming or had the kiss just be on the cheek. It’s horribly frustrating for fans of the book to read that script and discover that some great lines of the literary Biddy’s were going to be in the movie but were cut for time. I especially wish the scene of her upbraiding Pip for his patronizing attitude towards Joe had made the cut. Still, while she’s not nearly as memorable a character as in the book, this adaptation still probably does more justice to her than the 1946 one. Her introductory scene at the local schoolhouse effectively establishes her as kind, competent and someone who has had to grow up very quickly and a brief shot of her bursting into tears after Pip leaves for London is more moving than almost anything in the 1946 Great Expectations. And for once, the actor playing the character as a child and the one playing the character as an adult are equally great. The Cave sisters look so much alike in this movie, I barely noticed when the switch occurred. Abel Magwitch As Abel Magwitch, the escaped convict who terrorizes the young Pip in the churchyard, Finlay Currie is memorably fearsome in the 1946 movie’s early scenes. However, when Magwitch unexpectedly reenters Pip’s life in the second half and becomes a much more sympathetic figure, Currie’s performance is less effective. That’s not to say it’s bad. Just that it isn’t great. Ralph Fiennes as Magwitch in the 2012 film, on the other hand, is wonderful throughout the whole thing, helping it achieve its biggest tearjerking moments. He’s helped of course by the fact that the script devotes much more time to his backstory than that of the 1946 adaptation. (Remember what I wrote about flashbacks?) Fiennes still deserves a lot of credit though. Along with Jeremy Irvine and Bebe and Jessie Cave, he’s probably the 2012 cast’s biggest asset. Random Thoughts on Other Characters As Pip’s abusive older sister in the 1946 movie, Freda Jackson looks like Mrs. Tweedy from Chicken Run-which makes all kinds of sense! Sally Hawkins is less intimidating in the role in the 2012 version but she’s still good. Miss Havisham’s gold-digging relatives aren’t much more than a cameo in either movie, but they serve more of a purpose in the 2012 one. They’re also very funny thanks to the performances of Pooky Quesnel, Kate Lock, Richard James and Roberta Burton. (Everley Gregg and Anne Holland play two of them in the 1946 movie. The other two are uncredited.) I’m not sure if it was such a good idea though to have one of them call Estella a “little bitch.” The menacing character of Orlick is cut from both adaptations, reasonably so. While Orlick is a memorable villain in the book, he usually comes across as a bit extraneous in the adaptations that include him. With the 1946’s movie’s flair for creepiness and suspense though, I do wonder what it could have done with the final confrontation between him and Pip. As Mr. Jaggers the lawyer, neither Francis L. Sullivan in the 1946 movie nor Robbie Coltrane in the 2012 one is quite as intimidating as the book’s character. Of course, you could argue he’s not meant to be as intimidating in the 2012 movie, which eventually humanizes him and has him admit to Pip that “there have been too many secrets.” I maintain this confession would have been more interesting though if he had been smugger and icier earlier. Come to think of it, the 1946 adaptation ends up humanizing Jaggers too in a subtler way. The “Aged Parent” of Jaggers’s clerk, Wemmick (Ivor Barnard in 1946, Ewen Bremner in 2012), gets a cameo in both movies. (O. B. Clarence plays him in the 1946 film and Frank Dunne in the 2012 one.) The 1946 cameo is funnier but feels like it was included out of obligation. I actually prefer the 2012 one since it serves to develop Wemmick’s character. The scene’s joyfulness also makes for a nice break from the cynicism of that section of the story. The Ending Regrettably, there’s no way to discuss how the 1946 Great Expectations adapts the book without getting into the ending. I’ll try to keep the details about the movie-specific aspects of it vague, but I am going to have to give away the book’s conclusion. If you haven’t read it and don’t want it spoiled, skip to the end of this blog post. The 1946 adaptation, to its credit, is so true to the book for most of its runtime that when it dramatically veers from it in the last scene, it’s downright jarring. The first time I watched the movie, I was too dumbfounded by the ending to know whether I liked it or not. After repeated viewings and years to reflect on the matter, I’ve decided I dislike the ending. It’s well written but losing Estella’s years of suffering makes her redemption feel unearned compared to the book. To be fair though, she does undergo an interesting humiliation in this version that she never does in the source material. I also dislike the way this revised ending makes Pip more of a romantic hero and Miss Havisham more of a symbol of evil whereas in the book, she’s ultimately seen as human and pitiable. The 2012 movie’s ending is pretty much the same as that of the book except that it changes the location. This is somewhat unfortunate as I consider the location of the book’s last scene thematically significant but, on the plus side, it does allow the movie to show that Pip’s friend, Herbert Pocket (Olly Alexander in this one, Alec Guinness in the 1946), has remained helpful to him after his fortunes fell. The same can’t be said of the other film. Anyway, the 2012 version’s ending would be beautiful if only the adaptation hadn’t softened Estella’s character so much prior to it. The result is that it’s hard to see how she’s supposed to have changed at all. I can’t really see contrast between Holliday Grainger’s performance in this scene and every other one. That’s the only major problem with this Great Expectations as an adaptation, as opposed to any shortcomings it has as a movie in its own right , but it’s an aggravatingly big one. Concluding Thoughts For me, these two movies have a weird relationship where what each one does well the other does poorly. The 1946 film does a much better job with creepy characters and aspects of the book. The 2012 one does much better with the book’s healthier minded characters and heartwarming aspects. Which one you favor likely depends on what you consider the most important part. If only there were a way to combine their strengths! Actually, the one miniseries adaptation of Great Expectations that I do love does just that and I intend to write about it next week. Stay Tuned. I admit it. I write about many famous stories on this blog. But one of my favorite things about it is drawing attention to works of art or entertainment about which many people haven’t heard. It gives me joy to think that readers might have been inspired to seek them out thanks to me. Or, you know, it would give me joy if my blog had actual fans but let’s pretend it does for the moment. For The Adaptation Station’s three-year anniversary, I thought it would be fun to make a list of my favorite books, movies and TV shows that I’ve discussed on it about which your average joe or jolene probably hasn’t heard. First, I should lay down some guidelines. I’m not listing every obscure thing about which I’ve blogged, just the ones I consider my favorites. There are others that I also enjoy, just not as much. I wanted to keep the list reasonably short. I don’t love every item on the list. There are plenty of books, movies, etc. about which I’ve blogged that I prefer to many of the ones I’ve listed. This is the best of the obscure, not the best period. I do consider each one to be OK at the very least though. I’m only listing adaptations of famous works if they’re ones about which most people haven’t heard. I love the 1999 David Copperfield miniseries and the 1996 Emma movie more than many of the adaptations on this list. But while the average person on the street may not have seen either of them or read their source material for that matter, they have probably heard of that source material and those adaptations are likely to appear first in a Google search, partly because of the famous actors in the lead roles. My goal for this list is to give more publicity to stuff that’s more removed from the mainstream. On the other hand, I am listing the source materials for famous movies. People who pay attention to credits probably know that Freaky Friday and One Hundred and One Dalmatians were based on books, so, strictly speaking, they have heard about them. But I’m not sure how many have actually taken the time to read them, and I’d like to see the number increase, so they’re going on the list. So really this is a list of books about which people know without having read them and movies and shows about which they haven’t heard at all. I’m counting filmed plays as movies/television. If I didn’t, I would have to include a category with only two entries. I’m listing these in alphabetical order. Ranking them is just too hard for me. If a title isn’t a link, it’s because I’ve already linked to the post about it. Some of my posts are about multiple adaptations of the same source material. Also, I’ve included both lesser-known books and (my favorite) adaptations of them. If an image intrigues you but there’s no link to it, just scroll back up and you should find what you seek before too long. I can’t guarantee you’re going to like any or all of them. My taste can be weird sometimes. Of the people who have read or watched these things, not all of them enjoyed them as much as I did. In some cases, very few did. I mean, hey, what would be the point of having my own blog if I couldn’t express an unpopular opinion on it now and then? I do recommend everything on this list in that I think they each deserve a chance, but I don’t recommend them in that I think anyone reading this list will love every item on it. But there’s probably one that you, whoever you may be, would love though. It’s your job to figure out which one it is. With that warning out of the way… Books Caging Skies by Christine Leunens Coriolanus by William Shakespeare The Cricket on the Hearth by Charles Dickens Freaky Friday by Mary Rodgers The Hundred and One Dalmatians by Dodie Smith Lady Susan by Jane Austen The Life and Adventures of Nicholas Nickleby by Charles Dickens Little Dorrit by Charles Dickens Love and Freindship (sic) by Jane Austen Mary Poppins Comes Back by P. L. Travers Movies As You Like It (2006) A Boy Named Charlie Brown (1969) Fantasia 2000 (which was actually released in 1999.) Freaky Friday (1976) Fun and Fancy Free (1947) The Life and Adventures of Nicholas Nickleby (1947) Little Women (2018) Love and Friendship (2016) Nicholas Nickleby (2002) Peter Pan (1924) Peter Pan (2000) Race For Your Life, Charlie Brown (1977) Sinbad: Legend of the Seven Seas (2003) Snoopy Come Home (1972) Television Series and Specials Charlie Brown’s All Stars (1966) It’s Arbor Day, Charlie Brown (1976) It’s a Mystery, Charlie Brown (1974) The Life and Adventures of Nicholas Nickleby (1982) The Life and Adventures of Nick Nickleby (2012) Little Dorrit (2008) Play It Again, Charlie Brown (1971) Jim Henson’s The Storyteller (1987-1989) There’s No Time for Love, Charlie Brown (1973) You’re Not Elected, Charlie Brown (1972) Well, I think that’s a good list even if Nicholas Nickleby and Charlie Brown did take up large portions of it. As a reward for those who made it all the way to the end, I’d like to take this opportunity to recommend something I haven’t on this blog before. Well, technically speaking. If you’ll scroll up a little bit, you’ll see a link to an early post of mine about the old TV series The Storyteller, which adapted several European folktales in a way that felt both classic and unique. I didn’t mention that the show’s acclaimed screenwriter, Anthony Minghella, also wrote a tie-in book version of it, retelling each of the short-lived show’s nine episodes. It’s just as beautifully written as the show and since I’m more of a book guy than a television guy, I’d probably say I enjoy it even more. Give it a read if you can. So… had you heard of anything on this list? Did anything pique your interest? It’d make me glad to know on my blog’s anniversary that it was responsible for directing anyone to a hidden gem. We transition from the battlefield to the sea. Sea people leap and dive in the water. We don’t hear them sing, something they do around this point in the book, but it’s great to see them at all. The camera pans up to the Castle Cair Paravel, which looks as beautiful as I could imagine or better than that. Aslan leads Peter, Susan, Edmund and Lucy, all four dressed in beautiful Narnian garb, to the fabled four thrones. The beavers stand with two silver crowns for Edmund and Lucy and two golden crowns for Peter and Susan on cushions. In another Narnia book, The Magician’s Nephew, C. S. Lewis describes dwarf-made Narnians crowns as “not ugly, heavy things like modern European crowns, b
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205	dbpedia	3	66	https://library.law.wisc.edu/dvd-collection/	en	DVD Collection	https://library.law.wisc…logo-150x150.png	https://library.law.wisc…logo-150x150.png	[]	[]	[]	[ "" ]	null	[]	null	The UW Law Library has a large collection of law-related feature films and documentaries which are available at the Circulation Desk for three day loan. The study room on the fifth floor is equipped with a VCR and DVD player for film viewing.	en	https://library.law.wisc…logo-150x150.png	Law Library	https://library.law.wisc.edu/dvd-collection/	1 Feature Film Absence of Malice (DVD) 117 min. Originally released as a motion picture in 1981. Paul Newman, Sally Field, Bob Balaban, Melinda Dillon, Luther Adler, Barry Primus, Josef Sommer, John Harkins, Don Hood, Wilford Brimley. Written by Kurt Luedtke; produced and directed by Sydney Pollack; director of photography, Owen Roizman; music, Dave Grusin; editor, Sheldon Kahn. A businessman becomes the subject of a criminal investigation when a story about him is purposely "leaked" to an investigative reporter. 2 Feature Film The Accused (DVD) 110 min. DVD release of the 1988 motion picture. Kelly McGillis, Jodie Foster. Director, Jonathan Kaplan ; producers, Stanley R. Jaffe, Sherry Lansing ; writer, Tom Topor ; director of Photography, Ralf Bode ; editors, Jerry Greenberg, O. Nicholas Brown. A fiercely independent woman is gang raped, then battles the legal system twice, going after both her attackers and the onlookers whose cheering fueled and encouraged the assault. 3 Feature Film Adam's Rib (DVD) 101 min. DVD release of the 1949 motion picture. Spencer Tracy, Katharine Hepburn, Judy Holliday, Tom Ewell, David Wayne, Jean Hagen, Hope Emerson. Produced by Lawrence Weingarten; directed by George Cukor; screen play by Ruth Gordon and Garson Kanin; director of photography, George J. Folsey; film editor, George Boemler; music by Miklos Rozsa. A husband and wife lawyer team clash when the wife defends a woman on trial for shooting her spouse, with the lawyer-husband as the prosecutor. 4 Feature Film Advise & Consent (DVD) 138 min. Originaly produced in 1962 as a motion picture. Based on the novel by Allen Drury. Henry Fonda, Charles Laughton, Don Murray, Walter Pidgeon, Peter Lawford, Gene Tierney, Franchot Tone, Lew Ayres, Burgess Meredith, Eddie Hodges, Paul Ford, George Grizzard, Inga Swenson, Frank Sinatra (voice), Edward Andrews, Paul McGrath, Will Geer, Betty White, Tom Helmore, Rene Paul, Paul Stevens, Russ Brown, Malcolm Atterbury, Janet Jane Carty, Hilary Eaves, Michele Montau, J. Edward McKinley, William Quinn, Tiki Santos, Raoul De Leon, Chet Stratton, Larry Tucker, Bettie Johnson, John Granger, Sid Gould, Meyer Davis and his orchestra. Screenplay by Wendell Mayes; produced & directed by Otto Preminger; director of photography, Sam Leavitt; film editor, Louis R. Loeffler; music by Jerry Fielding; production designer, Lyle Wheeler; set decorator, Eli Benneche; sound, Harold Lewis and William Hamilton; Gene Tierney's clothes designed by Bill Blass. Blackmail, suicide and scandal follow the President's appointment of an unpopular Secretary of State, and put the stability of the entire U.S. government at risk in this highly praised political drama. 5 Feature Film The Advocate (DVD) 102 min. DVD release of the 1993 motion picture. Colin Firth, Ian Holm, Donald Pleasence, Amina Annabi, Nicol Williamson. Producer, David Thompson; director, Leslie Megahey; screenplay, Leslie Megahey. Set in the 15th century, this is the story of a young lawyer-advocate whose quest for the simple life leads him to a position in a small rural village. Instead of the peaceful life, however, he finds more depravity and intrigue than in the city. 6 Feature Film All the King's Men (DVD) 110 min. Originally produced as a motion picture in 1949. Based on the book by Robert Penn Warren. Winner, 1950 Academy Awards for Best Actress in a Supporting Role--Mercedes McCambridge, Best Actor in a Leading Role--Broderick Crawford, Best Picture--Robert Rossen Productions; 1950 Writer's Guild of America Awards for Best Written American Drama and The Robert Meltzer Award (Screenplay Dealing Most Ably with Problems of the American Scene)--Robert Rossen; 1950 Golden Globe Awards for Most Promising Newcomer-Female and Best Supporting Actress--Mercedes McCambridge, Best Motion Picture Actor--Broderick Crawford, Best Motion Picture Director--Robert Rossen, Best Motion Picture-Drama. Broderick Crawford, John Ireland, Joanne Dru, John Derek, Mercedes McCambridge, Shepperd Strudwick, Ralph Dumke, Anne Seymour, Katharine Warren, Raymond Greenleaf, Walter Burke, Will Wright, Grandon Rhodes. Written for the screen and directed by Robert Rossen; director of photography, Burnett Guffey; art director, Sturges Carne; film editor, Al Clark; montages, Donald W. Starling; gowns, Jean Louis; musical score by Louis Gruenberg. This is the story of working class hero Southern demagogue Willie Stark--rising from the mud of the back country--and his long climb to the top, followed by his longer drop to the bottom. Abetted by newspaper reporter Jack Burden, who becomes his chronicler, Stark's career begins with running for county treasurer and losing. Through law school, private practice, and finally as people's advocate against corruption, he moves up the political ladder. In his 2nd run for governor, Willie vows to give the people new hospitals, schools, roads -- and when he's elected, he delivers. But the more power he gets, the more corrupt he acts, until he's unrecognizable. He chases women, turns his family into photo-op props, and makes Burden his personal character assassin. Do the ends justify the means? Is it power that corrupts, or is it that power allows people to be corrupt? These are the questions that Willie Stark, in the end, cannot answer. 7 Feature Film Amistad (DVD) 155 min. Originally released as a motion picture in 1997. Academy Award nominations for Best Supporting Actor (Hopkins), Best Music, Best Costume Design, and Best Cinematography. Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Hounsou, Matthew McConaughey. Written by David Franzoni; directed by Steven Spielberg; produced by by Steven Spielberg, Debbie Allen, and Colin Wilson; director of photography, Janusz Kaminski; film editor, Michael Kahn; music, John Williams. Chronicles the 1839 revolt on board a slave ship bound for America. Much of the story involves the court-room drama about the slave who led the revolt. 8 Feature Film Anatomy of a Murder (DVD) 161 min. DVD release of the 1959 motion picture. Based on the novel of the same title by Robert Traver. James Stewart, Lee Remick, Ben Gazzara, George C. Scott. Producer and director, Otto Preminger; screenplay, Wendell Mayes; music, Duke Ellington. A riveting courtroom drama of rape and premeditated murder. 9 Feature Film And Justice For All (DVD) 120 min. DVD release of the 1979 motion picture. Al Pacino, Jack Warden, John Forsythe, Lee Strasberg. Music, David Grusin; screenplay, Valerie Curtin, Barry Levinson; executive producer, Joe Wizan; producers, Norman Jewison, Patrick J.Palmer; director, Norman Jewison. A young lawyer battles not only one-on-one injustice in the courts, but the whole system as well. 10 Feature Film The Asphalt Jungle (DVD) 112 min. Originally produced as a motion picture in 1950 Based on the novel by W.R. Burnett. Sterling Hayden, Louis Calhern, Jean Hagen, James Whitmore, Sam Jaffe, John McIntire, Marc Lawrence, Barry Kelley, Anthony Caruso, Teresa Celli, Marilyn Monroe. Director, John Huston; producer, Arthur Hornblow, Jr.; screenplay, Ben Maddow, John Huston; director of photography, Harold Rosson; art directors, Cedric Gibbons and Randall Duell; film editor, George Boemler; music by Miklos Rozsa; set decorations, Edwin B. Willis. When criminal mastermind Doc Riedenschneider is released from prison, he approaches lawyer Alonzo Emmerich with a plan for the biggest jewel heist in history. Doc carefully selects and rehearses his team, but Emmerich is planning to double-cross the thieves and flee the country with the loot. 11 Feature Film Assault at West Point (VHS) 95 min. Videocassette release of the 1994 motion picture. Based on the book The Court-Martial of Johnson Whittaker by John F. Marszalek. Samuel L. Jackson, Sam Waterston, Seth Gillam, Mason Adams, Val Avery, Eddie Bracken, Gene Canfield, Robert Clohessy, Al Freeman, Jr., Ken Garito, Greg Germann, John Glover, Brad Greenquist, Peter Maloney, George Martin, Scott Paetty, Josef Sommer. Writer/producer/director, Harry Moses; executive producers, Bob Rubin, Bill Siegler; director of photography, Ken Kelsch; editor, Jay Freund; music, Terence Blanchard. A dramatization of the court martial of Johnson Whittaker (Gillam) and the clash between a Harvard-educated black law professor (Jackson) and his co-defense, a racist white attorney (Waterston) more interested in upholding the honor of West Point than in seeing that justice is done. 12 Feature Film Bad Lieutenant (DVD) 91 min. Originally produced as motion picture in 1992. Harvey Keitel, Victor Argo, Paul Calderone, Leonard Thomas, Robin Burrows, Frankie Thorn, Victoria Bastel, Paul Hipp. Executive producers, Ronna B. Wallace, Patrick Wachsberger; director of photography, Ken Kelsch; production designer, Charles Lagola; music, Joe Delia; editor, Anthony Redman; co-producer, Randall Sabusawa; screenplay, Zoe Lund, Abel Ferrara; producers, Edward R. Pressman, Mary Kane; director, Abel Ferrara. He's a gambler, a thief, a junkie, a killer, and a cop. Now he's investigating the most shocking case of his life, and as he moves closer to the truth, his self-destructive past is closing in. 13 Feature Film The Big Hangover (DVD) 82 min. DVD release of the 1950 motion picture. Van Johnson, Elizabeth Taylor. Writer, director, producer, Norman Krasna. An ex-pilot was trapped in a wine cellar during a WWII bombing and almost got drowned in a flood of brandy. Since then even a sniff renders him instantly pie-eyed. To his rescue comes the beautiful daughter of his boss. 14 Feature Film Billy Budd (DVD) 123 min. DVD release of the 1962 motion picture. Robert Ryan, Peter Ustinov, Melvyn Douglas, Terence Stamp. Screenplay by Peter Ustinov and DeWitt Bodeen; produced and directed by Peter Ustinov; director of photography, Robert Krasker; film editor, Jack Harris; art director, Peter Murton; technical advisor, Alan Villiers; campera operator, John S. Harris; music composed by Anthony Hopkins. Movie version of the play by Louis Osborne Cox and Robert H. Chapman, based on the novel by Herman Melville: story of the clash between the young, innocent sailor, Billy Budd, and his corrupt superior, Claggart. 15 Feature Film Black Widow (DVD) 101 min. DVD release of the 1987 motion picture. Debra Winger, Theresa Russell, Black Widow, Sami Frey, Dennis Hopper and Nicol Williamson. Music, Michael Small; director of photography, Conrad Hall; production designer, Gene Callahan; executive producer, Laurence Mark; written by Ronald Bass; produced by Harold Schneider; directed by Bob Rafelson. A complex psychological thriller about a beautiful serial killer whose victims are wealthy men. A lonely federal agent tracks down the alluring seductress only to be turned inside out when she falls under the killer's potent spell herself. 16 Feature Film Blaze (DVD) 117 min. DVD release of the 1989 motion picture. Based on the book: Blaze Starr, my life as told to Huey Perry. Paul Newman, Lolita Davidovich. Director of photography Haskell Wexler; executive producers David Lester and Don Miller; produced by Gil Friesen and Dale Pollock; written for the screen and directed by Ron Shelton. Based on the real life story of stripper Blaze Starr and her romance with the governor of Louisianna. 17 Feature Film Bleak House (1988) (DVD) 6 hr. 30 min. A BBC TV production in association with the Arts and Entertainment Network. Originally shown on television. Based on the novel by Charles Dickens. Diana Rigg, Denholm Elliot. Dramatised by Arthur Hopcraft; directed by Ross Devenish; producers, Betty Willingale, John Harris; photographers, Kenneth Macmillan, John Walker; film editors, Clare Douglas, Dave King; music, Geoffrey Burgon. Charles Dickens' biting social commentary on the justice system of 19th century England. The infamous Jarndyce case has been dragging through the courts for years, ruining lives and leaving entire families devastated. John Jarndyce, a good-natured country gentleman, refuses to let it control his life. But one of his wards is not so fortunate. Like so many before him, the young man gets caught up in the labrynthine suit and the intrigue that surrounds it. A powerful tale of greed and social decay. 18 Feature Film Blind Faith (VHS) 121 min. Originally produced as a motion picture in 1998. Charles S. Dutton, Courtney B. Vance. Produced by Nick Grillo; written by Frank Military; directed by Ernest Dickerson; director of photography, Rodney Charters; film editor, Stephen Lovejoy; music, Ron Carter. Drama set in 1957 in the Bronx, this is the story of a black teenager on trial for killing a young white man in the park. 19 Feature Film Blind Justice (DVD) 94 min. DVD release of the 1986 motion picture. Based on a true story. Tim Matheson, Mimi Kuzyk, Lisa Eichhorn. Writers, Josephine Cummings, Richard Yalem; director, Rod Holcomb; producer, Andrew Gottlieb. James Anderson is falsely arrested, charged with armed robbery, identified by his "victim," and eventually charged with six similar crimes plus kidnapping and rape. As the ordeal continues, Jim's life falls apart to such a degree that eventually even he begins to wonder if he's actually guilty. This film paints a powerful, frightening picture about what can happen when justice, "blindfolded" to be fair to all, is also blind to innocence. 20 Feature Film Body Heat (DVD) 113 min. DVD release of the 1981 motion picture. William Hurt, Kathleen Turner, Richard Crenna. Writer-director, Lawrence Kasdan; produced, Fred T. Gallo. A likable, unambitious lawyer and his siren-like lover plot to kill her wealthy husband. 21 Feature Film Body of Evidence (DVD) 99 min. DVD release of the 1992 motion picture. Not based on the novel by Patricia Cornwell. Rated R. Madonna, Willem Dafoe, Joe Mantegna, Anne Archer. Producer, Dino De Laurentiis; director, Uli Edel; writer, Brad Mirman; music, Graeme Revell; film editor, Thom Noble; director of photography, Doug Milsome. Rebecca Carlson is on trial for the murder of her older, wealthy lover whose death, it seems, was the result of an intense lovemaking session with Rebecca. It is up to Rebecca's attorney to prove her innocence but when he becomes entangled in her web of erotic game-playing, his body of evidence begins to contain as many curves as his client. 22 Feature Film The Bounty (DVD) 130 min. DVD release of the 1984 motion picture. Based upon the book Captain Bligh and Mr. Christian by Richard Hough. Mel Gibson, Anthony Hopkins, Edward Fox, Laurence Olivier. Producer, Bernard Williams; director, Roger Donaldson; screenplay, Robert Bolt; music, Vangelis. In 1787, Lt. William Bligh leads an expedition to take breadfruit plants from Tahiti to Jamaica, with his old friend Fletcher Christian as Master's Mate. After an arduous journey during which the ship is nearly lost in a disastrous attempt to sail around Cape Horn, they reach Tahiti, where the crew is seduced by its natural splendors and uninhibited native women. When Bligh insists on trying once more to round the Horn during the voyage to Jamaica, Christian leads the men in a mutiny. 23 Feature Film The Bonfire of the Vanities (DVD) 126 min. DVD release of the 1990 motion picture. Based on the novel by Tom Wolfe. Tom Hanks, Bruce Willis, Melanie Griffith. Producer/director, Brian De Palma; screenplay, Michael Cristofer. A Wall Street wheeler-dealer has everything going his way. But one night, in the right car with the wrong woman, he took a wrong turn at the wrong place, and nothing has gone right ever since! 24 Feature Film Breaker Morant (VHS) 106 min. Videorecording of the 1979 motion picture. Adapted from the play of the same title by Kenneth Ross, with additional material from "The Breaker," by Kit Denton. Edward Woodward, Jack Thompson, John Waters, Bryan Brown. Producer, Matthew Carroll; director, Bruce Beresford; screenplay, Jonathan Hardy, David Stevens, Bruce Beresford; photography, Donald McAlpine; film editor, William Anderson. Following the brutal death of a British captain in the Boer War in South Africa in 1901, Lt. Harry Morant leads his unit in pursuit of the Boers, attacks their camp, and has a captive executed. Other executions and deaths lead to the arrest and trial of Morant and two other lieutenants. 25 Feature Film The Caine Mutiny (DVD) 125 min. Originally released as a motion picture in 1954. Based on the Pulitzer Prize winning novel by Herman Wouk. Humphrey Bogart, Jose Ferrer, Van Johnson, Lee Marvin, E.G. Marshall, Fred MacMurray, Robert Francis, May Wynn. Director, Edward Dmytryk; producer, Stanley Kramer; screenplay, Stanley Roberts; music, Max Steiner. A combat-weary, paranoic Captain Queeg loses his nerve during a typhoon and is relieved of command by his first officer 26 Feature Film Call Northside 777 (DVD) 111 min. Originally released as motion picture in 1948. James Stewart, Richard Conte, Lee J. Cobb, Helen Walker. Screenplay, Jerome Cady, Jay Dratler; adapters, Leonard Hoffman, Quentin Reynolds; producer, Otto Lang; director, Henry Hathaway. The powerful true story of a reporter who corrects a miscarriage of justice. 27 Feature Film Cape Fear (1961 : DVD) 106 min. Originally released as a motion picture in 1961. Based on the novel "The Executioners" by John D. MacDonald. Gregory Peck, Robert Mitchum, Polly Bergen, Lori Martin, Martin Balsam, Jack Kruschen, Telly Savalas, Barrie Chase. Director, J. Lee Thompson; producer, Sy Bartlett; screenplay, James R. Webb. An ex-con is determined to wreak bloody revenge on the small-town lawyer who helped send him to jail. 28 Feature Film Cape Fear (1991 : DVD) 128 min. Originally released as a motion picture in 1991. Based on a screenplay by James R. Webb and "The Executioners," a novel by John D. MacDonald. Robert De Niro, Nick Nolte, Jessica Lange, Joe Don Baker, Juliette Lewis, Robert Mitchum, Gregory Peck. Bernard Hermann's score adapted and conducted by Elmer Bernstein; editor, Thema Schoonmaker; production designer, Henry Bumstead; director of photography, Freddie Francis; executive producers, Kathleen Kennedy and Frank Marshall; screenplay, Wesley Strick; producer, Barbara De Fina; director, Martin Scorsese. Fourteen years after being imprisoned, psychopath Max Cady emerges with a single-minded mission: to seek revenge on his attorney Sam Bowden. 29 Feature Film A Case of Deadly Force (VHS) 95 min. Videocassette release of the 1986 made-for-television motion picture. Based on the book Deadly Force, the true story of how a badge can become a license to kill, by L. O'Donnell. Richard Crenna, John Shea, Lorraine Toussaint, Frank McCarthy, Tom Isbell, Dylan Baker, Michael O'Hare, Tate Donovan. Director, Michael Miller; Producer, Bruce S. Pustin; teleplay, Dennis Nemec; photography, Kees Van Oostrum; editor, Paul Fried; music, Paul Chihara. When an innocent black man is killed by the Boston police, attorney Lawrence O'Donnell takes on a "wrongful death" case against Boston's Tactical Patrol Force and police brutality. 30 Feature Film The Castle (DVD) 84 min. Originally released as a motion picture in 1997. Michael Caton, Anne Tenney, Stephen Curry, Sophie Lee, Anthony Simcoe, Charles "Bud" Tingwell. Director, Rob Stich; producer, Debra Choate; written and conceived by Santo Cilauro et al.; director of photography, Miriana Marusic; art director, Ben Morieson; editor, Wayne Hyett; music, Edmund Choi. Even though there is an airport practically running through their backyard, the eccentric Kerrigan clan loves their humble home. But when the airfield needs room to expand, the government says that the Kerrigans have got to go. This hilarious family decides to stay and fight for their beloved "castle" ... no matter how far the conflict goes. 31 Feature Film The Chamber (DVD) 113 min. DVD release of the 1997 motion picture. Based on the novel by John Grisham. Chris O'Donnell, Gene Hackman, Faye Dunaway, Lea Rochon, Robert Prosky, Raymond Barry, David Marshall Grant. Director of photography, Ian Baker; editor, Mark Warner; music, Carter Burwell. Adam Hall is an idealistic young attorney who takes on the death row clemency case of his one-time Klansman grandfather, Sam Cayhall. With just 28 days before the execution, Adam sets out to retrace the events leading to the crime for which Sam was convicted. As the impending death sentence looms closer, Adam works quickly to uncover the family's history for any hidden clues. In a white-knuckle series of twists and turns, Adam discovers deceptions and dark secrets that ultimately lead him to the startling truth. 32 Feature Film Chinatown (DVD) 131 min. Originally produced as a motion picture in 1974. Jack Nicholson, Faye Dunaway, John Hillerman, Perry Lopez, Burt Young, Bruce Glover, Joe Mantell, Roy Jenson, Diane Ladd, Dick Bakalyan, John Huston. Written by Robert Towne; produced by Robert Evans; directed by Roman Polanski; director of photography, John A. Alonzo; film editor, Sam O'Steen; music, Jerry Goldsmith. The plot is a labyrinth of successive revelations having to do with Los Angeles water reserves, land rights, fraud and intra-family hanky-panky, climaxing in Los Angeles's Chinatown on a street that seems no more mysterious than Flatbush Avenue."--Vincent Canby, New York Times. 33 Feature Film A Civil Action (DVD) 115 min. DVD release of the 1999 motion picture. Based on the book of the same title by Jonathan Harr. John Travolta, Robert Duvall, Stephen Fry, James Gandolfini, Dan Hedaya, Zeljko Ivanek, John Lithgow, William H. Macy, Kathleen Quinlan, Tony Shalhoub. Produced by Scott Rudin, Robert Redford, Rachel Pfeffer; screenplay by Steven Zaillian; directed by Steven Zaillian; director of photography, Conrad L. Hall; editor, Wayne Wahrman; music, Danny Elfman. A high-priced personal injury attorney represents eight families whose children died of leukemia after large corporations let toxic waste leak into the water supply in the Boston area. He puts his career, reputation and all that he owns on the line for the rights of his clients. 34 Feature Film Clarence Darrow (DVD) 84 min. DVD release of the 1974 motion picture. Based on "Clarence Darrow for the Defense" by Irving Stone. Henry Fonda. Director, John Houseman; producers, Mike Merrick and Don Gregory. Henry Fonda's masterful picture of Darrow, using the man's own words, portrays Darrow as twentieth century America's foremost trial lawyer. 35 Feature Film Class Action (DVD) 110 min. DVD release of the 1991 motion picture. Gene Hackman, Mary Elizabeth Mastrantonio. Producers, Ted Field, Scott Kroopf and Robert W. Cort; director, Michael Apted; writers, Carolyn Shelby, Christipher Ames and Samantha Shad. Two lawyers, father and daughter, face off against each other in a multimillion dollar lawsuit. The case concerns a potentially defective auto design that could involve corporate corruption and violations of legal ethics. 36 Feature Film The Client (DVD) 121 min. DVD release of the 1994 motion picture. . Based on the novel of "The client" by John Grisham. Susan Sarandon, Tommy Lee Jones, Brad Renfro, Mary-Louise Parker. none Mark Sway is an 11-year-old torn between what he knows and what he can never tell. A hitman will snuff him in half a heartbeat if Mark reveals what he learned about a Mob murder. An ambitious federal prosecutor will keep the pressure on until Mark tells all. Suddenly, Mark isn't a boy playing air guitar anymore. He's a pawn in a deadly game. And his only ally is a courageous but unseasoned attorney who risks her career for him...but never imagines she'll also risk her life. 37 Feature Film Compulsion (DVD) 105 min. Originally produced as a motion picture in 1959. Based on the novel by Meyer Levin. Orson Welles, Dean Stockwell, Diane Varsi, Bradford Dillman, E.G. Marshall, Martin Milner, Richard Anderson. Screenplay, Richard Murphy; producer, Richard D. Zanuck; director, Richard Fleischer. A riveting true story about the notorious 1924 Leopold-Loeb murder case. Brilliant attorney Clarence Darrow defended two wealthy Chicago teenagers who throught their superior intellect would enable them to execute the perfect crime. Darrow's history-making and controversial defense against capital punishment saved the boys from a death sentence. 38 Feature Film The Confession (DVD) 114 min. Originally released as a motion picture in 1998. Rated R. Alec Baldwin, Amy Irving, Ben Kingsley. Directed by David Hugh Jones. A high powered NY litigator, hired to defend a murderer who avenged his young son's death, struggles with his own desires for success versus the moral wishes of his client to choose the path of truth. 39 Feature Film Cool Hand Luke (DVD) 132 min. Originally released as a motion picture in 1967. Based on the novel by Donn Pearce. Paul Newman, George Kennedy, J.D. Cannon, Robert Drivas, Lou Antonio, Strother Martin, Jo Van Fleet. Screenplay by Donn Pearce and Frank R. Pierson; produced by Gordon Carroll; directed by Stuart Rosenberg. A part of a chain gang, Luke is a man who won't or can't conform to the arbitrary rules of his captivity. 40 Feature Film The Court-Martial of Billy Mitchell (DVD) 100 min. Originally released as a motion picture in 1955. Gary Cooper, Rod Steiger, Ralph Bellamy, Elizabeth Montgomery, Darren McGavin, Charles Bickford, Jack Lord, Peter Graves. Writers, Milton Sperling, Emmet Lavery; producer, Milton Sperling; director, Otto Preminger. Brigadier General Billy Mitchell has devoted his life to the military, and to developing a superior air defense force for the U.S. When top army brass fail to recognize the importance of air power following its crucial role in winning WWI, Mitchell initiates a campaign to change their minds--a campaign that will ultimately lead to his demotion and the most controversial military trial in U.S. history. 44 Feature Film Cracker (Television program) (DVD) 22 hrs. 30 min. Television series first shown between 1993 and 1996. Robbie Coltrane, Barbara Flynn, Geraldine Somerville, with Beryl Reid. Directors, Michael Winterbottom, Andy Wilson, Simon Cellan Jones, Tim Fywell, Julian Jarrold, Jean Stewart, Roy Battersby, Charles McDougall, Richard Standeven, Antonia Bird; writers, Jimmy McGovern, Ted Whitehead, Paul Abbott; producers, Gub Neal, Paul Abbott, Hilary Bevan Jones, John Chapman. Episodes from the "Cracker" series, featuring a criminal psychologist with a dark side, a side dependent on a cocktail of alcohol and gambling. Disc 1. Mad woman in the attic -- disc 2. To say I love you -- disc 3. One day a lemming will fly -- disc 4. To be a somebody -- disc 5. The big crunch -- disc 6. Men should weep -- disc 7. Brotherly love -- disc 8. Best boys -- True romance -- disc 9. White ghost -- disc 10. A new terror -- Bonus: Cracker : behind the scenes. 45 Feature Film Criminal Law (DVD) 114 min. Originally released as a motion picture in 1988. Gary Oldman, Kevin Bacon, Tess Harper, Karen Young, Joe Don Baker. Executive producers, John Daly and Derek Gibson; written by Mark Kasdan; produced by Robert MacLean and Hilary Heath; directed by Martin Campbell; music, Jerry Goldsmith; director of photography, Philip Meheux; editor, Chris Wimble; co-producer, Ken Gord. Attorney Ben Chase persuades a jury to find his client Martin Thiel not guilty of a brutal murder. Thiel is released and commits several vicious murders. Ben Chase tries to stop him. 46 Feature Film A Cry in the Dark (DVD) 122 min. Originally released as a motion picture in 1989. Based on "Evil Angels" by John Bryson. Meryl Streep, Sam Neill. Screenplay by Robert Caswell and Fred Schepisi; produced by Verity Lambert; directed by Fred Schepisi. Meryl Streep captured her third New York Film Critics Award and her eighth Oscar nomination for her portrayal of Lindy, who lives the nightmare of seeing a wild dog carry off her infant, then endures a travesty of a trial by the courts and media. 47 Feature Film Dead Man Walking (DVD) 122 min. Originally released as a motion picture in 1995. Based on the book of the same title by Sister Helen Prejean. Susan Sarandon, Sean Penn, Robert Prosky. Director, Tim Robbins; producers, Jon Kilik, Tim Robbins, Rudd Simmons; prooduction design, Richard Hoover; director of photography, Roger A. Deakins; written by Tim Robbins; music by David Robbins. This film tells of death row convict Matthew Poncelet and his spiritual advisor, Sister Helen Prejean. 48 Feature Film The Defender (DVD) 112 min. Originally presented on Studio One (February 25 and March 4, 1957) on CBS-TV. Ralph Bellamy, Martin Balsam, Steven McQueen, William Shatner, Ian Wolfe. Written by Reginald Rose; directed by Robert Mulligan; produced by Herbert Brodkin. A courtroom drama about a lawyer & his son, appointed to defend a client against a murder charge. The older lawyer feels the client is guilty ; his son disagrees. When the son's unorthodox style is all that stands between the client & execution, the father must chose between his morals & saving the client's life. 49 Feature Film Defending Your Life (DVD) 112 min. Originally released as a motion picture in 1991. Albert Brooks, Meryl Streep, Rip Torn, Lee Grant, Buck Henry. Music, Michael Gore; editor, David Finfer; production designer, Ida Randon; director of photography, Allen Daviau; co-producer, Robert Grand; executive producer, Herb Nanas; producer, Michael Grillo; writer and director, Albert Brooks. Meryl Streep joins Albert Brooks for a witty, highly acclaimed peek at the afterlife. Make that a laughterlife whose comforts include eating all you want and not gaining an ounce. Alas, there's a catch: you're also saddled with defending your life. If you can't make a case for having lived a full and fearless one, you must go back and try again. But Daniel, whose life was far from fearless, doesn't want to go back. Not after he meets Julia, a remarkable woman who's going places a lot more evolved than L.A. 50 Feature Film Defenseless (DVD) 106 min. Originally produced as motion picture in 1990. Rated R. Barbara Hershey, Sam Shepard, Mary Beth Hurt, J.T. Walsh. Director, Martin Campbell; producers, Renee Missel and David Bombyk; story, James Hicks and Jeff Burkhart; screenplay, James Hicks; director of photography, Phil Meheux; editor, Chris Wimble; music, Curt Sobel. T.K. Katwuller is a lawyer defending real estate tycoon Steve Seldes against charges of hiring teenage girls to perform in porno films, which is complicated by the fact that he's her lover and the husband of an old friend. When he's murdered, the apparent victim of a teenager's outraged father, only the engimatic Detective Butell remains cool-headed enough to expose the truth of the real killer. 51 Feature Film Devil's Advocate (DVD) 144 min. Based on the novel by Andrew Neiderman. Originally produced as a motion picture in 1997. Al Pacino, Keanu Reeves, Charlize Theron. Screenplay, Jonathan Lemkin, Tony Gilroy ; producers, Arnon Milchan, Arnold Kopelson, Anne Kopelson ; director, Taylor Hackford ; music, James Newton Howard. Attorney Kevin Lomax's 64-0 case record has brought him a tempting offer from an elite New York firm. But the job isn't what it seems. The Devil is in the details. 52 Feature Film Do the Right Thing (DVD) 120 min. Originally released as a motion picture in 1989. Danny Aiello (Sal), Ossie Davis (Da Mayor), Ruby Dee (Mother Sister), Richard Edson (Vito), Giancarlo Esposito (Buggin Out), Spike Lee (Mookie), Bull Nunn (Radio Raheem), John Turturro (Pino). Director/producer, Spike Lee; production design, Wynn Thomas; original music score, Bill Lee; editor, Barry Alexander Brown; photography by Ernest Dickerson; co-producer, Monty Ross. This powerful visual feast combines humor and drama with memorable characters while tracing the course of a single day on a block in the Bedford-Stuyvesant area of Brooklyn. It's the hottest day of the year, a scorching 24-hour period that will change the lives of its residents forever. 53 Feature Film A Dry White Season (DVD) 107 min. Originally produced as a motion picture in 1989. Based on the book by Andre Brink. Donald Sutherland, Janet Suzman, Jurgen Prochnow, Zakes Mokae, Susan Sarandon, Marlon Brando. Music by Dave Grusin; executive producer, Tim Hampton; screenplay by Colin Welland and Euzhan Palcy; produced by Paula Weinstein; directed by Euzhan Palcy. The politics of apartheid are put into meaningful, human terms in this critically acclaimed film about a prominent white schoolteacher who is awakened to the reality of South African justice. 54 Feature Film Duck Soup (DVD) 70 min. Originally released as a motion picture in 1933. The Marx Brothers (Groucho, Harpo, Chico, and Zeppo), Margaret Dumont, Louis Calhern, Raquel Torres, Edgar Kennedy. Director, Leo McCarey; screenplay by Bert Kalmar and Harry Ruby; photography, Henry Sharp. As Prime Minister Firefly of Freedonia, Groucho soon reduces the kingdom to shambles. Harpo and Chico are secret agents disguised as peanut vendors and Zeppo is Firefly's secretary. 55 Feature Film Erin Brockovich (DVD) 132 min. Based on a true story. Originally released as motion picture in 1999. Julia Roberts, Albert Finney, Aaron Eckhart. Produced by Danny DeVito, Michael Shamberg, Stacey Sher; written by Susannah Grant; directed by Steven Soderbergh; photography, Ed Lachman; editor, Anne V. Coates; music, Thomas Newman. Erin Brockovich is a feisty young mother who convinces attorney Ed Masry to hire her and promptly stumbles upon a law case against a giant corporation for water pollution. Erin's determined to take on this powerful adversary even though no law firm has dared to do it before. The two begin a legal fight that will bring a small town to its feet and a huge company to its knees. 56 Feature Film Eye for an Eye (DVD) 102 min. Originally produced as a motion picture in 1996. Sally Field, Kiefer Sutherland, Ed Harris, Beverly D'Angelo, Joe Mantegna. none Karen McCann's orderly life is shattered when a stranger breaks into her home and murders her 17-year-old daughter. But shock and grief turn into rage and disbelief when the killer is released on a legal technicality. When he commits another murder--and is set free once again-- Karen is determined to make him pay for his crimes. Alienating her husband and her friends, Karen quietly and methodically devises a deadly plan for retribution. 57 Feature Film Fatal Attraction (DVD) 120 min. Originally released as a motion picture in 1987. Special collector's edition. Special features include cast/crew interviews, featurettes, alternate ending, rehearsal footing, and director commentary. Michael Douglas, Glenn Close, Anne Archer. Music by Maurice Jarre; screenplay by James Dearden; produced by Stanley R. Jaffe and Sherry Lansing; directed by Adrian Lyne. A New York attorney has a romantic fling while his wife is out of town, and then shrugs it off. But the woman involved with him won't be ignored, even if it means destroying his family to keep him. 58 Feature Film Fatal Vision (VHS) 185 min. Videocassette release of the 1984 motion picture. Based upon the book by Joe McGinniss. Karl Malden, Eva Marie Saint, Gary Cole. Producer, Richard L. O'Connor; director, David Greene; executive producers, Daniel Wigutow, Mike Rosenfeld; music by Gil Melle; teleplay by John Gay. One of the most publicized and thought-provoking criminal cases in modern history is brought to the screen in this film depicting the events that surround the brutal murder of a military doctor's pregnant wife and two young daughters. 59 Feature Film A Few Good Men (DVD) 138 min. DVD release of the 1992 motion picture. Tom Cruise, Jack Nicholson, Demi Moore. Music, Marc Shaiman; director of photography, Robert Richardson; executive producers, William Gilmore, Rachel Pfeffer; co-producers, Steve Nicolaides, Jeffrey Stott; screenplay, Aaron Sorkin; producers, David Brown, Rob Reiner, Andrew Scheinman; director, Rob Reiner. Cruise stars as a brash Navy lawyer who's teamed with a gung-ho litigator in a politically-explosive murder case. Charged with defending two Marines accused of killing a fellow soldier, they are confronted with complex issues of loyalty and honor - including its most sacred code and its most formidable warrior. 601 Feature Film Knock on Any Door (DVD) 99 min. Based on the novel by Willard Motley. Originally released as a motion picture in 1949. Humphrey Bogart, John Derek, George Macready, Allene Roberts, Susan Perry, Mickey Knox. Screenplay by Daniel Taradash, John Monks. Jr.; produced by Robert Lord; directed by Nicholas Ray. Director of photography, Burnett Guffey; editor, Viola Lawrence; music, George Antheil. A crusading lawyer fights to save a juvenile delinquent charged with murder. 602 Feature Film Mississippi Burning (DVD) 127 min. Based on the book: Three lives for Mississippi / by William Bradford Huie. Originally released as a motion picture in 1988. Gene Hackman, Willem Dafoe, Frances McDormand, Brad Dourif, R. Lee Ermey, Gailard Sartain. Produced by Frederick Zollo and Robert F. Colesberry; written by Chris Gerolmo; directed by Alan Parker. Director of photography, Peter Biziou; production designers, Philip Harrison and Geoffrey Kirkland; editors, Gerry Hambling, Craig Richards; music, Trevor Jones. Two FBI agents investigate the deaths of civil rights workers in a Mississippi town. Tension is caused by the discovery of a local coverup. 61 Feature Film The Firm (DVD) 154 min. DVD release of the 1993 motion picture. Based on the book by John Grisham. Tom Cruise, Gene Hackman, Jeanne Tripplehorn, Ed Harris, Holly Hunter, Wilford Brimley, Hal Holbrook, David Strathairn. Music composer/performer, Dave Grusin; editors, William Steinkamp, Fredric Steinkamp; production designer, Richard MacDonald; director of photography, John Seale; executive producers, Michael Hausman, Lindsay Doran; screenplay, David Rabe, Robert Towne, David Rayfiel; producers, Scott Rudin, John Davis; producer/director, Sydney Pollack. A brilliant and ambitious Harvard Law grad joins a small, prosperous law firm in Memphis, and is soon confronted by FBI agents with evidence of corruption and murder within the firm. 62 Feature Film First Monday in October (DVD) 99 min. DVD release of the 1981 motion picture. Walter Matthau, Jill Clayburgh. Producer, Paul Heller and Martha Scott; director, Ronald Neame; screenplay, Jerome Lawrence and Robert E. Lee. Walter Matthau and Jill Clayburgh star in this dramatic comedy that centers around the appointment of the first woman to the U.S. Supreme Court. 63 Feature Film The Fortune Cookie (DVD) 126 min. Originally produced as a motion picture in 1966. Jack Lemmon, Walter Matthau. Producer/director, Billy Wilder; writers, Billy Wilder and I.A.L. Diamond; music, Andre Previn. A TV cameraman, trampled by a half-back while shooting a football game, and his shyster brother-in-law team up to defraud an insurance company in a million dollar law suit. 64 Feature Film Fury (DVD) 89 min. Originally released as a motion picture in 1936. Based on a story by Norman Krasna. Sylvia Sidney, Spencer Tracy, Walter Abel, Bruce Cabot, Edward Ellis, Walter Brennan. Directed by Fritz Lang; produced by Joseph L. Mankiewicz; screenplay by Bartlett Cormack and Fritz Lang. An ethical young man is forced to confront his own morality after he becomes a victim of vigilantism. 65 Feature Film Gandhi (DVD) 3 hr, 11 min. Originally produced as a motion picture in 1982. 2-disc collector's ed.; 25th anniversary ed. Special features: Disc 1. Introduction and commentary by Richard Attenborough. Disc 2. Photo gallery of vintage lobby cards; "The making of Gandhi" video montage; "Milestones in the life of Gandhi" interactive timeline; Trailer. Academy Awards, USA, 1982: Oscars for Best Actor in a Leading Role (Ben Kingsley) ; Best Art Direction - Set Decoration (Stuart Craig, Robert W. Laing, Michael Seirton) ; Best Cinematography (Billy Williams, Ronnie Taylor) ; Best Costume Design (John Mollo, Bhanu Athaiya) ; Best Director (Richard Attenborough) ; Best Film Editing (John Bloom) ; Best Picture ; Best Writing, Screenplay Written Directly for the Screen (John Briley). Ben Kingsley, Candice Bergen, Edward Fox, John Gielgud, Trevor Howard, John Mills, Martin Sheen. Production designer, Stuart Craig; editor, John Bloom; in charge of production, Terence A. Clegg; co-producer, Rani Dube; music, Ravi Shankar; orchestral score & additional music, George Fenton; directors of photography, Billy Williams, Ronnie Taylor; executive producer, Michael Stanley-Evans; written by John Briley; produced and directed by Richard Attenborough. Chronicles the life of Mahatma Ghandi beginning with his political activities in South Africa during the late 1890's and ending with his assassination at the hands of a Hindu extremist in 1948. Shows the development of his philosophy of non-violence as he leads the people of India to independence from the British. 66 Feature Film Ghosts of Mississippi (DVD) 131 min. DVD release of 1996 motion pictures. Alec Baldwin, Whoopi Goldberg, James Woods. Produced and directed by Rob Reiner. The film features the final trial of the assassin of the 60s civil rights leader Medgar Evers. 67 Feature Film Gideon's Trumpet (DVD) 105 min. Based on the book by Anthony Lewis. Originally broadcast as a production of Hallmark Hall of Fame on television in 1980. Special DVD features: Insert with production notes by Anthony Lewis and cast filmographies. Henry Fonda, Jose Ferrer, John Houseman, Fay Wray, Sam Jaffe, Dean Jagger. Executive producer, John Houseman; producers, Robert H. Justman and David W. Rintels; screenplay, David W. Rintel; directed by Robert E. Collins; cinematography by Donald H. Birnkrant; editor, Frank Bracht; music, Joseph Weiss. Clarence Earl Gideon, a semi-literate drifter, is arrested for breaking into a pool room and for petty theft. When he asks the court to appoint a lawyer for his defense because he cannot afford one, his request is denied. Acting as his own lawyer, Gideon is convicted and sent to jail. While in prison, he begins a hand-written campaign directed to the U.S. Supreme Court,contending that every defendant is entitled to legal representation. The Court agrees to hear Gideon's case, and, in a landmark decision, rules in his favor. 68 Feature Film The Gingerbread Man (DVD) 115 min. Originally produced as motion picture in 1997. Based on an original story by John Grisham. Kenneth Branagh, Embeth Davidtz, Robert Downey Jr., Daryl Hannah, Robert Duvall, Tom Berenger. Screenplay by Al Hayes; produced by Jeremy Tannenbaum; directed by Robert Altman; director of photography, Changwei Gu; editor, Geraldine Peroni; music, Mark Isham. Lawyer Rick Magruder has a one-night-stand affair with caterer Mallory Doss. He becomes hooked on her, and when he learns her nut-case 69 Feature Film Glengarry Glen Ross (DVD) 100 min. Originally produced as a motion picture in 1992. Based on David Mamet's Pulitzer prize-winning play. Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, Kevin Spacey, Jonathan Pryce. Screenplay, David Mamet; executive producer, Joseph Caracciola, Jr.; photography, Juan Ruiz Pryce; editor, Howard Smith; music, James Newton Howard. A powerful story set in the world of real estate. Times are tough at Premiere Properties. Shelley "the machine" Levene (Lemmon) and Dave Moss (Harris) are veteran salesmen, but only Ricky Roma (Pacino) is on a hot streak. The new Glengarry sales leads could turn everything around, but the front office is holding them back until these "losers" prove themselves. Then someone decides to take matters into his own hands, stealing the Glengarry leads and leaving everyone wondering who did it. 70 Feature Film The Good Mother (DVD) 104 min. Originally released as a motion picture in 1988. Based on the novel by Sue Miller. Diane Keaton, Liam Neeson, Jason Robards, Ralph Bellamy. Screenplay by Michael Bortman; produced by Arnold Glimcher; directed by Leonard Nimoy. Discovering true passion for the first time in her life, Anna's life couldn't have been more perfect. But shocking charges against her force her to prove that she is a good mother. 71 Feature Film Having Wonderful Crime (VHS) 70 min. Videocassette release of the 1944 motion picture. Based on a story by Craig Rice. Pat O'Brien, George Murphy, Carole Landis. Screenplay, Howard J. Green, Stewart Sterling, Parke Levy; producer, Robert Fellows; director, Eddie Sutherland; photography, Frank Redman; music, Leigh Harline; editor, Gene Milford. A criminal lawyer is hooked into investigating the disappearance of a famous magician by his newlywed friends. 266 Instructional Video Unconstitutional: The War on Our Civil Liberties (DVD) 68 min. Issued in 2004. Written, produced and directed by Nonny de la Pena; edited by Joe Bini and Greg Byers; executive producers Robert Greenwald, Earl Katz, and Dan Raskov. Discusses how the USA PATRIOT Act has taken away checks on law enforcement and continues to endanger the civil liberties of all Americans under the guise of being part of the war on terrorism, and how paranoia, fear and racial profiling have led to gross infringements on freedom and democracy without strengthening national security. 73 Feature Film I Am Sam: Love Is All You Need (DVD) 134 min. Originally produced as a motion picture in 2001. Sean Penn, Michelle Pfeiffer, Dakota Fanning. Directed by Jessie Nelson; produced by Marshall Herskovitz, Jessie Nelson, Richard Solomon, and Edward Zwick; written by Kristine Johnson and Jessie Nelson; cinematography by Elliot Davis; edited by Richard Chew; music by John Powell. Sam Dawson has the mental capacity of a 7-year-old. He works at a Starbucks and is obsessed with the Beatles. He has a daughter with a homeless woman; she abandons them as soon as they leave the hospital. He names his daughter Lucy Diamond (after the Beatles song), and raises her. But as she reaches age 7 herself, Sam's limitations start to become a problem at school; she's intentionally holding back to avoid looking smarter than he is. The authorities take her away, and Sam shames high-priced lawyer Rita Harrison into taking his case pro bono. In the process, he teaches her a great deal about love, and whether it's really all you need. 74 Feature Film I Am the Law (DVD) 83 min. Originally produced as a motion picture in 1938. Story based upon Liberty Magazine serial by Fred Allhoff. Edward G. Robinson, Barbara O'Neil, John Beal, Wendy Barrie, Otto Kruger. Produced by Everett Riskin; directed by Alexander Hall; screenplay by Jo Swerling. A dynamic law professor is drafted by a civic leader to investigate the city's gangster activities in this lurid expose of the inner workings of the urban underworld. 75 Feature Film I Confess (DVD) 95 min. Originally produced as a motion picture in 1953. Based on the play "Nos deux consciences" by Paul Anthelme. Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne. Director, Alfred Hitchcock; screenplay, George Tabori, William Archbald; music, Dimitri Tiomkin. Father Logan, stolid, stalwart, to all appearances the embodiment of priestly piety, hears a murderer's confession. Almost immediately Logan is plunged into peril, for circumstantial evidence and eyewitness accounts point to a priest as the killer. The sacrament of penance forbits him to reveal what he knows. As calamity and coincidence conspire to paint Logan into a hopeless corner, it becomes the priest who must admit to himself, and confess his own human frailty. 76 Feature Film I Want To Live! (DVD) 2 hr. Originally produced as a motion picture in 1958. Susan Hayward, Simon Oakland, Virginia Vincent, Theodore Bikel. Director, Robert Wise; producer, Walter Wanger; screenplay, Nelson Gidding and Don Mankiewicz; original jazz score, John Mandel. Based on the true story of Barbara Graham, a fast-living party girl, who suddenly finds herself accused of a murder she did not commit and sentenced to the gas chamber. Only a psychologist and a reporter can help her in the desperate struggle to prevent the final judgment. 77 Feature Film Mae West:The Glamour Collection (DVD) About 7 hours. Originally produced as American motion pictures in 1932 (Night After Night), 1933 (I'm No Angel), 1935 (Goin' To Town), 1936 (Go West Young Man), and 1940 (My Little Chickadee). Night After Night: George Raft (Joe Anton), Constance Cummings (Miss Jerry Healy), Wynne Gibson (Iris Dawn), Mae West (Maudie Triplett), Alison Skipworth (Miss Mabel Jellyman). I'm No Angel: Mae West (Tira), Cary Grant (Jack Clayton), Gregory Ratoff (Benny Pinkowitz), Edward Arnold (Big Bill Barton), Ralf Harolde (Slick Wiley), Kent Taylor (Kirk Lawrence), Gertrude Michael (Alicia Hatton), Russell Hopton (The Barker), Dorothy Peterson (Thelma), Wm. B. Davidson (The Chump), Gertrude Howard (Beulah). Goin' To Town: Mae West (Cleo Borden), Paul Cavanagh (Edward Carrington), Gilbert Emery (Winslow), Marjorie Gateson (Mrs. Crane Brittony), Tito Coral (Taho), Ivan Lebedeff (Ivan Valadov), Fred Kohler (Buck Gonzales), Monroe Owsley (Fletcher Colton), Grant Withers (Young fellow), Vladimar Bykoff. Go West Young Man: Mae West (Mavis Arden), Warren William (Morgan), Randolph Scott (Bud Norton), Alice Brady (Mrs. Struthers), Elizabeth Patterson (Aunt Kate), Lyle Talbot (Francis X. Harrigan), Jack LaRue (Rico), Isabel Jewell (Gladys), Xavier Cugat and his Orchestra. My Little Chickadee: Mae West (Flower Belle Lee), W.C. Fields (Cuthbert J. Twillie), Joseph Calleia (Jeff Badger), Dick Foran (Wayne Carter), Ruth Donnelly (Aunt Lou), Margaret Hamilton (Mrs. Gideon), Donald Meek (Amos Budge). Night after Night: Photographed by Ernest Haller, continuity by Kathryn Scola. I'm No Angel: Photographed by Leo Tover, music by Harvey Brooks, lyrics by Gladys duBois and Ben Ellison, suggestions by Lowell Brentano, continuity by Harlan Thompson. Goin' To Town: Photographed by Karl Struss, music by Sammy Fain, lyrics by Irving Kahal, Mae West's costumes designed by Travis Banton. Go West Young Man: Photographed by Karl Struss, music by Arthur Johnston, lyrics by John Burke, editing by Ray Curtiss, art direction by Wiard Ihner, gowns by Irene Jones. My Little Chickadee: Photography directing by Joseph Valentine; art directing by Jack Otterson, film editing by Edward Curtiss, gowns by Vera West, musical directing by Charles Previn, musical score by Frank Skinner. Mae West had an inexhaustibly playful interest in language, and a rare, sometimes perplexing, and even lofty wit, spiced by low-down slang. Well before the second wave of feminism, she wrote all her own material, insisted on total control of her work, and was wildly popular for a short time, right before the Production Code lowered the boom on adult attitudes being expressed in films. She made only 12 movies, but three are first-rate, and these were enough to seal her fame and launch a legend. In her first film appearance, "Night After Night," a successful ex-boxer buys a high-class speakeasy and falls for a rich society girl. As the bold Tira in "I'm No Angel," she works as a dancing beauty and lion tamer at a fair. For "Goin' To Town," West goes Western. Cleo Borden is a former dance hall queen who has become newly rich. She falls for--and pursues--an upper crust Englishman. This is followed by "Go West Young Man," where she plays Mavis Arden, a movie star stranded in the country. To stifle her boredom, she trifles with a young man's affections. "My Little Chickadee" pairs West with a legend of similar stature, W.C. Fields. As Flower Belle Lee, she is rightly suspected of illicit relations with the Masked Bandit, and run out of Little Bend. Surprisingly, things change very little when she arrives in Greasewood City to start over. 78 Feature Film In the Name of the Father (DVD) 133 min. Originally released as a motion picture in 1993. Based on the autobiographical book: Proved innocent, by Gerry Conlon. Daniel Day-Lewis, Emma Thompson, Pete Postlethwaite. Executive producer, Gabriel Byrne; co-producer, Arthur Lappin; producer/director, Jim Sheridan; screenplay, Terry George and Jim Sheridan. Fact-based film about Gerry Conlon, the young Irish punk who is caught in the wrong place at the wrong time and forced to confess to a terrorist bombing. He and his father, along with friends of Gerry, are found guilty and sentenced to life in prison. There, his father shows his true strength, and Gerry works to prove their innocence and clear his father's name. 79 Feature Film Inherit the Wind (DVD) 128 min. Originally produced as a motion picture in 1960. Based upon the play by Jerome Lawrence and Robert E. Lee. Spencer Tracy, Fredric March, Gene Kelly, Dick York, Donna Anderson, Harry Morgan. Producer/director, Stanley Kramer; screenplay, Nathan E. Douglas, Harold Jacob Smith. A small Tennessee town gained national attention in 1925 when a biology schoolteacher was arrested for violating state law by teaching Darwin's theory of evolution in the classroom. 80 Feature Film Jagged Edge (DVD) 108 min. Originally released as a motion picture in 1985. Glenn Close, Jeff Bridges, Peter Coyote, Robert Loggia. Music, John Barry; camera, Matthew F. Leonetti; screenplay, Joe Eszterhas; producer, Martin Ransohoff; director, Richard Marquand. An attorney falls in love with her defendant, the prime suspect in a vicious murder case. 81 Feature Film Judgment at Nuremberg (DVD) 190 min. DVD release of the 1961 motion picture. From the play by Abby Mann. Spencer Tracy, Burt Lancaster, Richard Widmark, Marlene Dietrich, Judy Garland, Maximilian Schell, Montgomery Clift, William Shatner, Edward Binns, Kenneth MacKenna. Producer/director, Stanley Kramer; writer, Abby Mann; music, Ernest Gold. This fictionalized account of a war crimes trial of four eminent Nazi judges at Nuremberg, Germany, after World War II provides insight into Nazi brutality and raises questions about freedom of choice, loyalty to one's country, and responsibility to mankind. 82 Feature Film The Juror (DVD) 118 min. DVD release of the 1996 motion picture. Based on the book by George Dawes Green. Demi Moore, Alec Baldwin. Screenplay, Ted Tally; produced by Irwin Winkler and Rob Cowan; directed by Brian Gibson. A struggling single mother impulsively agrees to serve on a jury hoping for a little excitement in her humdrum life. She gets far more than she bargained for when she's forced to sacrifice the truth to save her son from the mob's seductive, psychotic enforcer. 83 Feature Film Just Cause (DVD) 102 min. DVD release of the 1995 motion picture Based on the novel by John Katzenbach. Sean Connery, Laurence Fishburne, Kate Capshaw, Blair Underwood, Ruby Dee, Ed Harris. Co-producers, Gary Foster, Anna Reinhardt; editor, William Anderson; production designer, Patrizia Von Brandenstein; director of photography, Lajos Koltai; music, James Newton Howard; executive producer, Sean Connery; screenplay, Jeb Stuart, Peter Stone; producers, Lee Rich, Arne Glimcher, Steve Perry; director, Arne Glimcher. A Harvard Law School professor reopens a murder investigation on behalf of a Death Row inmate who claims he was forced by a sinister lawman to confess to a crime he didn't commit. On the surface, it seems to be a straight-ahead case of the prisoner's guilt or innocence. But nothing really lies on the surface of this mystery, set in the Florida swamplands. 85 Feature Film Knock on Any Door (DVD) 100 min. DVD release of the 1949 motion picture. From the novel "Knock on any door" by Willard Motley. Humphrey Bogart, John Derek, George Macready, Allene Roberts, Susan Perry. Screenplay, Daniel Taradash, John Monks, Jr. ; director, Nicholas Ray ; producer, Robert Lord. A young hoodlum from the slums is tried for murdering a cop. He is defended by a prominent attorney who has known him from childhood. 86 Feature Film Kramer vs. Kramer (DVD) 105 min. DVD release of the 1979 motion picture. Based on the novel by Avery Corman. Dustin Hoffman, Meryl Streep, Jane Alexander, Justin Henry. Produced by Stanley R. Jaffe; written for the screen and directed by Robert Benton; director of photography, Nestor Almendros; editor, Jerry Greenberg. When his wife walks out on Ted Kramer and his six-year-old son they have a chance to really get to know each other. When Ted's wife returns she wants her son back. 87 Feature Film L.A. Law: The Movie (DVD) 90 min. Originally broadcast on television in 2002. Harry Hamlin, Corbin Bernsen, Jill Eikenberry, Alan Rachins, Susan Dey, Larry Drake, Michael Tucker, Richard Dysart. Produced by David Madden; written by Steven Bochco, Terry Louise Fisher, and William Finkelstein, directed by Michael Schultz. In this television movie that reunites the cast of LA Law, founding partner Leland McKenzie retires and former partner Michael Kuzak returns to stop the execution of a past client. Meanwhile divorce attorney Arnie Becker deals with his own divorce. 88 Feature Film The Lady from Shanghai (DVD) 87 min. Originally released as motion picture in 1948. Based on the novel: If I Die Before I Wake, by Sherwood King. Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders. Screenplay by Orson Welles; produced and directed by Orson Welles; photographer, Charles Lawton, Jr.; editor, Viola Lawrence; music, Heinz Roemheld. A seaman becomes involved in the murderous intrigue of a crippled lawyer and his homicidal frustrated wife. The film culminates in a shoot-up in a hall of mirrors. 89 Feature Film Ladybird, Ladybird (VHS) 102 min. Videocassette release of the 1994 motion picture. he lady from Shanghai [videorecording] / Columbia Pictures Corporation. Publisher: Burbank, CA : Columbia TriStar Home Video, c1991. Description: 1 videocassette (87 min.) : sd., b&w ; 1/2 in. Series: Columbia classics Summary: A seaman becomes involved in the murderous intrigue of a crippled lawyer and his homicidal frustrated wife. The film culminates in a shoot-up in a hall of mirrors. Notes: Originally released as motion picture in 1948. Based on the novel: If I die before I wake, by Sherwood King. "60451." Credits: Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders. Screenplay by Orson Welles; produced and directed by Orson Welles; photographer, Charles Lawton, Jr.; editor, Viola Lawrence; music, Heinz Roemheld. Winner of 1994 Berlin Film Festival International Critics Award. Crissy Rock, Vladimir Vega, Ray Winstone, Sandie Lavelle. Director, Ken Loach; producer, Sally Hibbin; photographer, Barry Ackroyd; editor, Jonathan Morris; music, George Fenton; screenplay, Rona Munro. Maggie Conlon (Rock) is an unwed mother with four children by four different fathers. While she loves her children deeply, she seems unable to escape the self-destructive behavior that repeatedly brings her into conflict with the local social services department. A new love affair with Jorge (Vega), a gentle political refugee, may be her last chance to break the vicious cycle she's trapped in, and her only hope for building a better life for her family and herself. 90 Feature Film Legal Eagles (DVD) 116 min. DVD release of the 1986 motion picture. Robert Redford, Debra Winger, Daryl Hannah, Brian Dennehy, Terence Stamp, Steven Hill. Screenplay, Jim Cash, Jack Epps, Jr.; story, Ivan Reitman, Jim Cash, Jack Epps, Jr.; producer-director, Ivan Reitman; executive producers, Joe Medjuck, Michael C. Gross. A hard-nosed assistant district attorney and an imaginative defense attorney combine their talents to defend a "performance artist" who is accused of theft and murder. 91 Feature Film Legally Blonde (DVD) 95 min. Originally produced as a motion picture in 2001. Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber, Jennifer Coolidge, Holland Taylor, Ali Larter. Screenplay by Karen McCullah Lutz & Kirsten Smith; directed by Robert Luketic; director of photograpy, Anthony B. Richmond; editors, Anita Brandt Burgoyne, Garth Craven; music Rolfe Kent; costume designer, Sophie de Rakoff Carbonell; production designer, Melissa Stewart. When a blonde sorority queen is dumped by her boyfriend, she decides to follow him to law school to get him back and, once there, learns she has more legal savvy than she ever imagined. 93 Feature Film The Life of Emile Zola (DVD) 117 min. DVD release of the 1937 motion picture, winner of the academy award for best picture. Paul Muni, Gale Sondergaard, Joseph Schildkraut, Gloria Holden, Donald Crisp, Erin O'Brien Moore, Henry O'Neill, Morris Carnovsky, Louis Calhern. Directed by William Dieterle; screenplay by Norman Reilly Raine, Heinz Herald and Geza Herczeg; music by Max Steiner. Explores the career of the novelist who championed the cause of France's oppressed, notably in the Dreyfus case.. 94 Feature Film Madame X (DVD) 100 min. Originally released as a motion picture in 1966. Based upon the play: La femme X, by Alexandre Bisson. Lana Turner, John Forsythe, Ricardo Montalban, Burgess Meredith, Constance Bennett, Keir Dullea. Screenplay by Jean Holloway; directed by David Lowell Rich; produced by Ross Hunter. Blackmailed into leaving her politician husband and their baby, a woman, twenty years later, finds herself on trial for murder, inadvertently defended by her own son. Issued with: Portrait in Black. 95 Feature Film The Magnificent Yankee (DVD) 80 min. Based on the play The Magnificent Yankee, by Emmet Lavery, as produced and staged by Arthur Hopkins, opening in New York on January 22, 1946, which was based on the book Mr. Justice Holmes by Francis Biddle, originally published in New York in 1942. Originally produced as a motion picture in 1950. Also aired on NBC's Hallmark Hall of Fame program in 1965. Louis Calhern, Ann Harding, Eduard Franz. Screenplay, Emmet Lavery, based on his play; director, John Sturges; producer, Armand Deutsch. Dramatizes the life of Justice Oliver Wendell Holmes, from his appointment to the Supreme Court by Theodore Roosevelt, through the administrations of Taft, Wilson, and Franklin D. Roosevelt, with particular focus on the love between Holmes and his wife Fanny, and their relationships with their many "sons," Holmes' law students. 96 Feature Film A Man for All Seasons (DVD) 120 min. DVD release of the 1966 motion picture. Based on the play by Robert Bolt. Paul Scofield, Wendy Hiller, Leo McKern, Robert Shaw, Orson Welles, Susannah York, Nigel Davenport, John Hurt, Corin Redgrave. Screenplay by Robert Bolt; produced and directed by Fred Zinnemann; photography, Ted Moore; editor, Ralph Kemplen; music, Georges Delerue. Historical drama about the opposition of Sir Thomas More to the divorce of King Henry VIII and the events which lead to More's execution. 97 Feature Film The Man Who Shot Liberty Valance (DVD) 123 min. Originally released as a motion picture in 1962. Based on the story by Dorothy M. Johnson. John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray. Screenplay by James Warner Bellah and Willis Goldbeck; produced by Willis Goldbeck; directed by John Ford; director of photography, William H. Clothier; editor, Otho Lovering; music, Cyril Mockridge. The story of a man who becomes a legend and an important political figure by falsely claiming he shot a ruthless gunman (Liberty Valance). 98 Feature Film Manhattan Melodrama (VHS) 91 min. Videocassette release of the 1934 motion picture. Clark Gable, William Powell, Myrna Loy. Screenplay, Oliver H.P. Garrett and Joseph Mankiewicz; original story, Arthur Caesar; producer David O. Selznick; director W.S. Van Dyke. Story about boyhood pals who end up on opposite sides of the law, and who fall for the same woman. Won Oscar for best original story. In film history, this motion picture is known for three reasons: It's the film John Dillinger saw with his Lady in Red before an FBI ambush; It's the only pairing of Gable and Powell; It's the first teaming of partners Powell and Loy. 99 Feature Film Marked Woman (DVD) 97 min. Originally released as a motion picture in 1937. Bette Davis, Humphrey Bogart, Lola Lane, Isabel Jewell, Eduardo Cianelli, Jane Bryan, Rosalind Marquis, Mayo Methot, Allen Jenkins, John Litel, Ben Welden, Henry O'Neill. Director, Lloyd Bacon; music and lyrics, Harry Warren, Al Dubin. A crusading prosecutor uses a prostitute to indict mobster Johnny Vanning. Inspired by the real-life saga of prostitutes whose testimony put Lucky Luciano behind bars. 100 Feature Film The Merchant of Venice (VHS) 131 min. A television version of Jonathan Miller's 1973 London stage production of the play by William Shakespeare. Laurence Olivier, Joan Plowright, Jeremy Brett, Michael Jayston. Adapted and directed by John Sichel; executive producer, Cecil Clarke. The play is set in the Venice of 1860. Laurence Olivier stars in Shakespeare's story of the young Venetian and the Jew who lends him money on the security of one pound of flesh. Upon default the Jew insists on payment of his bond and the young Venetian is rescued by the heroine disguised as a male lawyer. 101 Feature Film Mississippi Burning (DVD) 127 min. DVD release of the 1988 motion picture. Gene Hackman, Willem Dafoe. Producers, Frederick Zollo and Robert F. Colesberry; director, Alan Parker; writer, Chris Gerolmo. Set in Mississippi in 1964, this is a fictionalized version of the case of the murder of three young civil rights workers, the FBI's attempts to find the missing boys and the clash between the authorities and the locals in a Klan-dominated town. 102 Feature Film Mr. Deeds Goes to Town (DVD) 115 min. Originally produced as a motion picture in 1936. Based on a story by Clarence Budington Kelland. Gary Cooper, Jean Arthur, George Bancroft, Lionel Stander, Douglass Dumbrille, Raymond Walburn. Screen play by Robert Riskin; story by Clarence Budington Kelland; directed and produced by Frank Capra; photography, Joseph Walker; film editor, Gene Havlick; musical director, Howard Jackson. Comedy about writer of greeting card verses who leaves his small town home for New York when he inherits $20 million dollars. In New York, "sophisticates," including relatives, lawyers, and business executives, attempt to have him declared insane in order to gain control of the fortune. 103 Feature Film Murder in the First (DVD) 123 min. Originally released as a motion picture in 1994. Christian Slater, Kevin Bacon, Gary Oldman, Embeth Davidtz, Brad Dourif, William H. Macy, R. Lee Ermey. Directed by Marc Rocco, produced by Marc Frydman and Mark Wolper, screenplay by Dan Gordon, camera by Fred Murphy, music by Christopher Young, edited by Russell Livingstone. In this fact-based story, a convict is confined to the dungeons of Alcatraz for three years in isolation after a failed escape. When he at last emerges from the total darkness, he's confused, savage, barely human, and he immediately kills the stoolie who ratted on his escape. It's an open-and-shut case of Murder One. But his resolute attorney puts Alcatraz and its sadistic associate warden on trial in his client's behalf. Issued with: A Perfect Murder and Murder by Numbers. 104 Feature Film A Murder of Crows (DVD) 101 min. Originally released as a motion picture in 1999. Cuba Gooding, Jr., Tom Berenger, Marianne Jean-Baptiste, Mark Pellegrino, Eric Stoltz. Producers, Elie Samaha, Cuba Gooding, Jr., Ashok Amritraj; writer and director, Rowdy Herrington. The story of one man's struggle with his responsibilities as a lawyer and with the appetite of his ego. Prominent New Orleans attorney Lawson Russell (Cuba Gooding, Jr.) puts his name on a best seller he didn't write. However, the novel he stole was a factual account of a series of murders. 105 Feature Film Murder or Mercy (VHS) 78 min. Videocassette release of the 1974 motion picture by QM Productions. Bradford Dillman, Melvyn Douglas, Denver Pyle, Mildred Dunnock. Executive producer, Quinn Martin; producer, Adrian Samish; director, Harvey Hart; writer, Douglas Day Stewart. A noted doctor stands trial for the mercy killing of his terminally-ill wife. 106 Feature Film Music Box (DVD) 126 min. First released as a motion picture in 1989. Jessica Lange, Armin Mueller-Stahl, Frederick Forrest, Lukas Haas, Donald Moffat. Written by Joe Eszterhas; produced by Irwin Winkler; directed by Costa-Gavras; director of photography, Patrick Blossier; production designer, Jeannine Claudia Oppewell. A Chicago attorney agrees to defend her Hungarian immigrant father against accusations of heinous war crimes committed fifty years earlier. As the trial unfolds, she probes for evidence that will not only establish his innocence but also lay to rest her own agonizing doubts about his past. 107 Feature Film My Cousin Vinny (DVD) 120 min. DVD release of the 1992 motion picture. Joe Pesci, Marisa Tomei, Ralph Macchio, Mitchell Whitfield. Produced by Dale Launer and Paul Schiff; directed by Jonathan Lynn; writer, Dale Launer. Two carefree pals mistakenly arrested and charged with murder are defended by the cousin of one of them (Vinny), a former auto mechanic of Brooklyn who just passed his bar exam after his sixth try. Vinny's never been in court and this case quickly turns into a hysterical escapade. 108 Feature Film Nuts (DVD) 116 min. Originally released as a motion picture in 1987. Based on the play by Tom Topor. Barbra Streisand, Richard Dreyfuss. Teri Schwartz, Cis Corman, executive producers; Tom Topor, Darryl Ponicsan, Alvin Sargent, screenplay; Barbra Streisand, producer; Martin Ritt, director. Courtroom thriller in which the accused (Streisand) fights to prove her competency to stand trial. 109 Feature Film On the Waterfront (DVD) 108 min. Originally produced as a motion picture in 1954. Academy Award for Best Picture, 1954. Marlon Brando, Karl Malden, Lee J. Cobb, Eva Marie Saint, Rod Steiger, Pat Henning. Director, Eliz Kazan; producer, Sam Spiegel; screenplay, Budd Schulberg; music, Leonard Bernstein. A young dockworker tries to break the hold of a waterfront boss. 110 Feature Film The Onion Field (DVD) 126 min. DVD release of the 1979 motion picture. Based on the book of the same title by Joseph Wambaugh. John Savage, James Woods, Franklyn Seales, Ronny Cox. Director, Harold Becker; producer, Walter Coblenz; screenplay, Joseph Wambaugh; music, Emuir Deodato. A true story about two Los Angeles cops who are kidnapped. One of the officers is murdered in a deserted onion field between Los Angeles and Bakersfield, Calif. The reality of day-to-day police work is scrutinized and while the wheels of justice turn slowly, the surviving policeman becomes an emotional cripple, believing that he is responsible for his partner's death. 111 Feature Film Other People's Money (DVD) 101 min. Originally released as a motion picture in 1991. Based on the play by Jerry Sterner. Danny DeVito, Gregory Peck, Penelope Ann Miller, Piper Laurie. Music, David Newman; film editor, Lou Lombardo; production designer, Phillip Rosenberg; director of photography, Haskell Wexler; executive producers, Ellen Krass and Davina Belling; screenplay, Alvin Sargent; producers, Norman Kewison and Ric Kidney; director, Norman Jewison. Lawrence "Larry the Liquidator" Garfield deals, connives, wheedles and cajoles as Garfield, the Wall Street buccaneer. But New England Wire and Cable's patriarch has been a fighter all his life and, to arm against a takeover, he's hired an attorney whose high style and high-stakes cunning rival Larry's. 112 Feature Film The Ox Bow Incident (DVD) 75 min. Originally released as a motion picture in 1943. Based on a novel by Walter Van Tilburg Clark. Henry Fonda, Dana Andrews, Henry Morgan , Anthony Quinn. Director, William A. Wellman. A cowboy is unable to prevent three wandering travellers from being unjustly lynched for murder. 114 Feature Film The Paper Chase (DVD) 111 min. From the original 1973 motion picture. Based on the novel by John Jay Osborn. Timothy Bottoms, Lindsay Wagner, John Houseman. Produced by Robert C. Thompson and Rodrick Paul; directed by James Bridges; screenplay by James Bridges. Making it through the first year of Harvard Law School is tough enough without making an adversary of your most important professor. That, however, is exactly what Timothy Bottoms does in this realistic and moving drama. 115 Feature Film The Paradine Case (DVD) 114 min. Originally released as a motion picture in 1948. From a novel by Robert Hichens. Gregory Peck, Ann Todd, Charles Laughton, Charles Coburn, Ethel Barrymore, Louis Jourdan, Valli. Director, Alfred Hitchcock; producer, David O. Selznick; adaptation, Alma Reville; photography, Lee Garmes. In a suspenseful courtroom drama, a beautiful woman is accused of having murdered her husband. 116 Feature Film Paris Trout (DVD) 98 min. DVD release of the 1991 motion picture. Based on the novel by Pete Dexter. Dennis Hopper, Barbara Hershey, Ed Harris. Directed by Stephen Gyllenhaal; produced by Frank Konigsberg and Larry Sanitsky; screenplay by Pete Dexter; executive producer, Diana Kerew. Storekeeper (Paris Trout) in a quiet Southern town takes the law into his own hands and ends up murdering a 12-year-old black girl. His attorney is torn between duty to his arrogant, prejudiced client and his increasing attraction to Trout's abused wife. 117 Feature Film A Passage to India (DVD) 163 min. Originally released as a motion picture in 1984. Based on the novel by E.M. Forster. Peggy Ashcroft, Judy Davis, James Fox, Alec Guinness, Nigel Havers, Victor Banerjee. Director, David Lean; producers, John Brabourne, Richard Goodwin; screenplay, David Lean; music, Maurice Jarre. While on a trip in 1928 to visit her son, Mrs. Moore, accompanied by her son's fiancee, becomes appalled at the treatment of the Indians by the ruling British government. Later, they befriend a native Indian who, over-stepping the accepted norms of his culture, invites the two ladies on an excursion. In a strange turn of events, he is accused of attempting to rape the young girl. 118 Feature Film The Pelican Brief (DVD) 141 min. DVD release of the 1993 motion picture. Based on the book by John Grisham. Julia Roberts, Denzel Washington. Screenplay, Alan J. Pakula; producers, Alan J. Pakula, Pieter Jan Brugge; director, Alan J. Pakula. Two Supreme Court justices have been assassinated, and a young law student stumbles upon the truth. An investigative journalist wants her story, but it seems as if everybody else wants her dead. 119 Feature Film Philadelphia (DVD) 125 min. DVD release of the 1993 motion picture. Tom Hanks, Denzel Washington, Jason Robards, Mary Steenburgen. Executive producers, Gary Goetzman, Kenneth Ott and Ron Bozman; director, Jonathan Demme; writer, Ron Nyswaner. Powerful story of two lawyers who join together to sue a prestigious Philadelphia law firm when the firm fires one of them because he has AIDS. 120 Feature Film Physical Evidence (DVD) 99 min. Originally released as a motion picture in 1988. Burt Reynolds, Theresa Russell, Ned Beatty. Executive producer, Don Carmody; screenplay by Bill Phillips; story by Steve Ransohoff and Bill Phillips; produced by Martin Ransohoff; directed by Michael Crichton; director of photography, John A. Alonzo; music by Henry Mancini. A suspended Boston cop, charged with first degree murder, is forced to depend upon a court-appointed attorney, an ambitious, cool and sophisticated woman, who represents everything he hates. 121 Feature Film A Place in the Sun (DVD) 120 min. Originally produced as a motion picture in 1951. Based on the novel An American tragedy by Theodore Dreiser and the Patrick Kearney play adapted from the novel. Academy Awards, Oscar, 1952: Best Cinematography, Black-and-White, Best Costume Design, Black-and-White, Best Director, Best Film Editing, Best Music, Scoring of a Dramatic or Comedy Picture, Best Writing, Screenplay. Montgomery Clift, Elizabeth Taylor, Shelly Winters, Keefe Brasselle. Screenplay by Michael Wilson and Harry Brown; produced and directed by George Stevens; director of photography, William C. Mellor; editor, William Hornbeck; music, Franz Waxman. A poor young man is determined to win a place in respectable society and the heart of a beautiful socialite, but a factory girl's dark secret threatens his professional and romantic prospects. Consumed with fear and desire, he is ultimately driven to a desperate act of passion that unravels his world forever. 122 Feature Film Planet of the Apes (DVD) 112 min. Originally produced as a motion picture in 1968. Based on the novel by Pierre Boulle. Academy Awards, 1968: Honorary Award (To John Chambers for his Outstanding Makeup Achievement). Charlton Heston, Roddy McDowall, Maurice Evans, Kim Hunter, James Whitmore. Produced by Arthur P. Jacobs; directed by Franklin Schaffner; screenplay by Michael Wilson and Rod Serling; music by Jerry Goldsmith. Four American astronauts crashland on an unchartered planet and discover it is ruled by a race of intelligent apes. 123 Feature Film Presumed Innocent (DVD) 127 min. DVD release of the 1990 motion picture. Based on the novel by Scott Turow. Harrison Ford, Brian Dennehy, Raul Julia, Bonnie Bedelia, Paul Winfield, Greta Scacchi. Film editor Evan Lottman; production designer George Jenkins; director of photography Gordon Willis; music by John Williams; screenplay by Frank Pierson and Alan J. Pakula; executive producer Susan Solt; produced by Sydney Pollack and Mark Rosenberg; directed by Alan J. Pakula. Rusty Sabich is an up-and-comer in the county prosecutor's office. He's intelligent, hard working, dependable. And, just maybe, he's also a murderer. 124 Feature Film Primal Fear (DVD) 130 min. Originally released as a motion picture in 1996. Richard Gere, Laura Linney, John Mahoney. Directed by Gregory Hoblit; produced by Gary Lucchesi. A high-powered Chicago attorney defends a penniless altar boy accused of murdering the local archibishop. 125 Feature Film Pudd'nhead Wilson (VHS) 87 min. Videocassette release of the 1983 motion picture by The Great Amwell Company, Inc. and Nebraskans for Public Television. Based on the novel by Mark Twain. Ken Howard, Lise Hilboldt. Executive producer, William Perry; director, Alan Bridges; producer, Jane Iredale. Mark Twain uses his insight and wit to explore the issues of slavery, mother/son relationships, justice, and the many shapes of human folly. A mulatto slave switches her disconcertingly white baby with her master's son to protect it in a time of strong racial prejudice. 126 Feature Film QB VII (DVD) 5 hrs., 13 min. Originally broadcast as a television mini-series in 1974. Based on the novel of the same title by Leon M. Uris. Ben Gazzara, Lee Remick, Anthony Hopkins, Jack Hawkins, Leslie Caron, Juliet Mills, John Gielgud, Anthony Quayle, Edith Evans, Anthony Andrews. Producer, Douglas S. Cramer; director, Tom Gries; written for television by Edward Anhalt. The story of a novelist who is sued by a doctor for libel because the author's best-seller accuses the doctor of being a Nazi collaborator who conducted experiments on Jews in a concentration camp during World War II. The story covers a 27-year period in the lives of these men and concludes with the dramatic trial in Queens Bench No. VII (QB VII). 127 Feature Film Rage at Dawn (DVD) 84 min. Originally releaseed as a motion picture in 1955. Randolph Scott, Forrest Tucker, Mala Powers, J. Carrol Naish. Screenplay, Horace McCoy; story, Frank Gruber; producer, Nat Holt; director, Tim Whelan; photographer, Ray Rennahan; music, Paul Sawtell. Based on the real life escapades of the infamous Reno Brothers gang, this double-barreled western adventure stars Randolph Scott as the tough, two-fisted Chicago special agent assigned to bring the outlaws to justice. 128 Feature Film Rage of Angels (VHS) 2 videocassettes. (Approx. 3 hr. 7 min.) Videocassette release of the 1983 motion picture. Based on the novel by Sidney Sheldon. Jaclyn Smith, Ken Howard, Armand Assante. Writer, Robert L. Joseph; producers, John Furia Jr., Barry Oringer; executive producer, Sidney Sheldon; director, Buzz Kulik. Jennifer Parker, a trial attorney, is trapped in a scandalous love triangle. First, there's the man of her dreams she can't have, Adam Warner--a politically ambitious and married attorney who is the father of her son. Then, there's the man of her desires she won't have, Michael Moretti, a seductive but malicious underworld attorney. 129 Feature Film The Rainmaker (1997 : DVD) 137 min. Originally produced as a motion picture in 1997. Based on the novel by John Grisham. Matt Damon, John Voight, Mickey Rourke, Danny DeVito, Mary Kay Place. Screenplay by Francis Ford Coppola; produced by Michael Douglas, Steven Reuther and Fred Fuchs; directed by Francis Ford Coppola; director of photography, John Fall; editor, Barry Malkin; music, Elmer Bernstein. A rookie lawyer in over his head on a high-profile case hires a feisty paralawyer who specializes in flunking the bar. Their chances of winning are slim to none, until they uncover a trail of corruption. 130 Feature Film Rainmaker (1956 : DVD) 121 min. Originally produced as a motion picture in 1956. Based on the Broadway stage play by N. Richard Nash. Burt Lancaster, Katharine Hepburn, Wendell Corey, Lloyd Bridges, Earl Holliman, Cameron Prudhomme. Producer, Hal Wallis; director, Joseph Anthony; screenplay, N. Richard Nash; music, Alex North. Under the spell of a wandering charlatan named Starbuck, a lonely ranch girl blosssoms into full womanhood. 131 Feature Film Rashomon (DVD) 83 min. Originally released as a motion picture in 1950. Based on the novel In the Forest by Ryunosuke Akutagawa. In Japanese with English subtitles. Toshiro Mifune, Masayuki Mori, Machiko Kyo, Takashi Shimura. Producer, Jingo Minora; director, Akira Kurosawa; screenplay, Shinobu Hashimoto and Akira Kurosawa; cinematography, Kazuo Miyagawa; music, Takashi Matsuyama. Four people involved in the murder of a gentleman in feudal Japan and the seduction of his wife report differing views of what actually happened. 132 Feature Film Rear Window (DVD) 113 min. Originally released as a motion picture in 1954. Based on a short story by Cornell Woolrich. James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr. Producer-director, Alfred Hitchcock; screenplay, John Michael Hayes. As a photographer with a broken leg, Stewart takes up the fine art of spying on his Greenwich Village neighbors during a summer heat wave. But things really begin to get hot for Stewart, Kelly and the unassuming audience when he suspects neighbor Raymond Burr of murdering his invalid wife and burying the body in a flower garden. 133 Feature Film Regarding Henry (DVD) 107 min. Originally produced as a motion picture in 1991. Harrison Ford, Annette Bening. Director, Mike Nichols; Producers, Scott Rudin, Mike Nichols; writer, Jeffrey Abrams; music, Hans Zimmer. A New York lawyer's fast-track rise is brought to a dead stop when a single gunshot leaves him with no memory of his previous lifestyle. Faced with starting over, he must learn the hard truth about a total stranger ... himself. 134 Feature Film The Return of Martin Guerre (DVD) 123 min. Originally produced as motion picture in 1982. In French, with English subtitles. Gerard Depardieu, Nathalie Baye, Maurice Barrier, Bernard-Pierre Donnadieu, Isabelle Sadoyan. Written by Jean-Claude Carriere and Daniel Vigne; director, Paul Maigret; photography, Andre Neau; editor, Denise de Casablanca; music, Michel Portal; historical advisor, Natalie Zemon Davis. The plot revolves around the unraveling of the identity of a 16th century peasant who disappeared as a young husband, and the man who returns to resume his marriage nine years later. 135 Feature Film Reversal of Fortune (DVD) 112 min. Originally released as a motion picture in 1990. Based on the book of the same title by Alan M. Dershowitz. Glen Close, Jeremy Irons, Ron Silver. Ccreenplay, Nicholas Kazan; producers, Edward R. Pressman and Oliver Stone; director, Barbet Schroeder; music, Mark Isham; editor, Lee Percy; production design, Mel Bourne; director of photography, Luciano Tovoli; co-producers, Elon Dershowitz and Nicholas Kazan; executive producer, Michael Rauch. Did European aristocrat Claus von Bulow attempt to murder his wife Sunny at their luxurious Newport mansion in 1980? Jeremy Irons plays von Bulow in an Academy Award winning performance of icy brittleness that also won a Golden Globe and Los Angeles and National Society of Film Critics Best Actor Awards. Glen Close is wanly elegant as heiress Sunny. And Ron Silver portrays Harvard law professor Dershowitz, retained by von Bulow to uncover the evidence that will demolish the prosecution's case - and reverse a devastating verdict. 136 Feature Film Ricochet (DVD) 104 min. Originally released as a motion picture in 1991. Denzel Washington, John Lithgow, Ice T, Kevin Pollak. Director, Russell Mulcahy; producers, Joel Silver and Michael Levy; screenplay, Steven de Souza; story, Fred Dekker and Menno Meyjes; executive producer, Barry Josephson; co-producers, James Herbert and Suzanne Todd; director of photography, Peter Levy; editor, Peter Honess; costume designer, Marilyn Vance Straker; music, Alan Silvestri. Rookie cop Nick Styles' arrest of a ruthless psychotic killer, Blake, makes him a deadly enemy. Blake escapes from jail, faking his own death, and starts an intricate plan of revenge involving intimidation, public humiliation and murder. Nick is forced to return to the tough streets of his childhood and call on his old friend Odessa, a hustler and drug dealer, for help. Together they set a trap that pits Nick against the killer in a confrontation that will leave only one man alive and victorious. 137 Feature Film Rules of Engagement (DVD) 127 min. Originally released as a motion picture in 2000. Tommy Lee Jones, Samuel L. Jackson, Guy Pearce, Bruce Greenwood, Blair Underwood, Philip Baker Hall, Annie Archer, Ben Kingsley produced by Richard D. Zanuck, Scott Rudin; directed by William Friedkin; screenplay by Stephen Gaghan; directors of photography, William A. Fraker, Nicola Pecorini; edited by Augie Hess; music by Mark Isham; story by James Webb. Colonel Terry Childers is a patriot and war hero. But when a peacekeeping mission he leads in Yemen goes terribly worng, he finds himself facing a court martial. Accused of breaking the rules of engagement by killing unarmed civilians, Childers, only hope of vindication rests with comrade-in-arms Hays Hodges a military lawyer of questionable abilities. Together, they face the battle of their lives. 139 Feature Film Separate But Equal (DVD) 193 min. DVD release of the 1991 motion picture. Sidney Poitier, Burt Lancaster, Richard Kiley. Executive producers, George Stevens, Jr., Stan Margulies; writer and director, George Stevens, Jr. The year is 1950 and America is divided between black and white. Schools, restaurants, trains, buses, even drinking fountains cannot be shared by both races. White and Negro facilities are separate and unequal and the tension has reached a breaking point for the blacks of Clarendon County, South Carolina. When their request for a single school bus is denied by white school officials, a bitter, violent and courageous battle for justice and equality begins, putting black against white and friend against neighbor all across the country. 140 Feature Film Seven Hours to Judgment (DVD) 90 min. Originally released as a motion picture in 1988. Beau Bridges, Ron Leibman, Julianne Phillips. Executive producers, Paul Mason and Helen Sarlui-Tucker; director, Beau Bridges; screen play, Walter Davis and Elliot Stephens; music, John Debney; editor, Bill Butler. A judge rules that three gang members who murdered a woman must be freed on a technicality. Her husband sets out to seek his own revenge. 141 Feature Film The Shawshank Redemption (DVD) 142 min. Originally released as a motion picture in 1994. Based on the short novel "Rita Hayworth and Shawshank Redemption" by Stephen King. Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, James Whitmore. Music, Thomas Newman; production designer, Terence Marsh; editor, Richard Francis-Bruce; director of photography, Roger Deakins; executive producers, Liz Glotzer, David Lester; screenplay, Frank Darabont; producer, Niki Marvin; director, Frank Darabont. Two convicts, one white and one black, never give up the dream of freedom, and together they turn hope and friendship into an uplifting bond no prison can ever take away. 142 Feature Film Shining Through (DVD) 2 hrs. 12 min. Originally produced as a motion picture in 1992. Based on the novel by Susan Isaacs. Michael Douglas, Melanie Griffith, Liam Neeson, Joely Richardson, John Gielgud. Music, Michael Kamen; editor, Craig McKay; production designer, Anthony Pratt; director of photography, Jan De Bont; executive producers, Sandy Gallin and David Seltzer; co-producer, Nigel Wooll; producers, Howard Rosenman and Carol Baum; writer/director, David Seltzer. During World War II a secretary from Queens convinces her boss, a Colonel in American intelligence, to let her go undercover behind enemy lines in Germany. 143 Feature Film Simple Justice (DVD) 133 min. A segment of the TV program "American Experience" broadcast Jan. 18, 1993. Based on the book: Simple justice, by Richard Kluger. Peter Francis James (Thurgood Marshall), James Avery (Charles Houston), Andre Braugher, Scott Wentworth, Scott Whitehurst, William Allen Young, Sam Gray (Felix Frankfurter); narrator, Graham Brown. Executive producer, Avon Kirkland; producer, Yanna Kroyt Brandt; teleplay, John McGreevey; story, John McGreevey and Avon Kirkland & Peter Cook; director, Helaine Head. Recounts the remarkable legal strategy and social struggle that resulted in the Supreme Court's landmark ruling in Brown v. Board of Education of Topeka. 145 Feature Film Sleepers (DVD) 2 hrs. 28 min. Originally produced as motion picture in 1996. Based upon the book by Lorenzo Carcaterra. Kevin Bacon, Robert De Niro, Dustin Hoffman, Jason Patric, Brad Pitt. Director of photography, Michael Ballhaus; editor, Stu Linder; music, John Williams. Sentenced to the Wilkinson School for boys, four pals are mistreated at will by a cadre of sadistic guards. 15 years later, they have an unexpected opportunity for revenge. 146 Feature Film Sling Blade (DVD) 2 hrs. 28 min. Originally released as a motion picture in 1996. Billy Bob Thornton, Dwight Yoakam, J.T. Walsh, John Ritter, Lucas Black, Natalie Canerday, Robert Duvall. Director of photography, Barry Markowitz; editor, Hughes Winborne; original music, Daniel Lanois. 25 years after committing an unthinkable crime, a quite man named Karl is finally returning home. Once there he is befriended by a fatherless boy and his mother. As a strong relationship develops between Karl and the boy, a confrontation builds with the mother's abusive and sometimes violent boyfriend. 147 Feature Film Snow Falling on Cedars (DVD) 128 min. Originally released as motion picture in 1999. Based on the novel by David Guterson. Ethan Hawke, James Cromwell, Richard Jenkins, Youki Kudoh, James Rebhorn, Sam Shepard, Rick Yune, Max von Sydow. Produced by Kathleen Kennedy and Frank Marshall; produced by Harry J. Ufland and Ron Bass; screenplay by Ron Bass and Scott Hicks; directed by Scott Hicks; director of photography, Robert Richardson; editor, Hank Corwin; music, James Newton Howard. A murder trial has upset the quiet community of San Piedro, and now this tranquil village has become the center of controversy. For a local reporter the trial strikes a deep emotional chord when he finds his ex-lover is linked to the case. 148 Feature Film A Soldier's Story (DVD) 1 hr. 37 min. Originally released as a motion picture in 1984. Based on the play A Soldier's Play by Charles Fuller. Howard E. Rollins, Jr., Adolph Caesar. Executive producer, Charles Schultz; producers, Norman Jewison, Ronald L. Schwary, Patrick Palmer; director, Norman Jewison; screenplay, Charles Fuller; music, Herbie Hancock. A black army attorney is sent to Fort Neal near the end of WW II to investigate the murder of Sgt. Waters, a black man who despised his own roots. 149 Feature Film Sommersby (DVD) 1 hr. 53 min. Originally released as a motion picture in 1993. Based on the film The Return of Martin Guerre written by Daniel Vigne and Jean-Claude Carriere. Richard Gere, Jodie Foster, Bill Pullman, James Earl Jones. Director, Jon Amiel; producers, Arnon Milchan, Steven Reuther; co-producer, Mary McLaglen; executive producers, Richard Gere, Maggie Wilde; screenplay, Nicholas Meyer, Sarah Kernochan; story, Nicholas Meyer, Anthony Shaffer; music, Danny Elfman. A Civil War veteran returns to his hometown a changed man, leading his wife and others who knew him to doubt his identity. 150 Feature Film The Star Chamber (DVD) 1 hr. 48 min. Originally produced as a motion picture in 1983. Michael Douglas, Hal Holbrook, Yaphet Kotto, Sharon Gless. Story, Roderick Taylor; screenplay, Roderick Taylor, Peter Hyams; producer, Frank Yablans; director, Peter Hyams; music, Michael Small. Vicious criminals and sadistic killers are running rampant, fearlessly preying on whomever they choose with no fear of punishment. They know that if they're caught slick lawyers will get them off scot free by using obscure loopholes to put them back on the street again. A small group of powerful men decide to meet behind closed doors in the utmost secrecy and decree their own punishment for the guilty. 151 Feature Film State's Attorney (DVD) 1 hr. 19 min. Originally released as a motion picture in 1932. John Barrymore, Helen Twelvetrees, Jill Esmond, William Boyd, Mary Duncan. Executive producer, David O. Selznick; screenplay and dialogue, Gene Fowler and Rowland Brown; director, George Archainbaud. A brilliant young lawyer with underworld connections puts his life and career on the line when he is appointed District Attorney in this courtroom drama. 152 Feature Film Suspect (DVD) 101 min. Originally released as a motion picture in 1987. Cher, Dennis Quaid, Liam Neeson, John Mahoney, Joe Mantegna, Philip Bosco. Peter Yates, director; John Veitch, executive producer; Daniel A. Sherkow, producer; Eric Roth, screenplay; Michael Kamen, music. Kathleen Riley (Cher) is an overworked Washington, D.C. public defender who needs a vacation. Instead, she is assigned another case. Lobbyist Eddie Sanger (Dennis Quaid) gets saddled with jury duty just when a critical bill is coming up for vote. While on jury duty, Eddie discovers evidence critical to Kathleen's case and contacts her outside the courtroom--a violation of the law. Cher and Dennis Quaid take the law into their own hands in this daring suspense thriller where everything is revealed in court--except the truth. 153 Feature Film The Sweet Hereafter (DVD) ca. 2 hrs. Originally released as a motion picture in 1997. Based on a novel by Russell Banks. Ian Holm, Maury Chaykin, Peter Donaldson, Bruce Greenwood, David Hemblen, Brooke Johnson, Arsinee Khanjian, Tom McCamus, Stephanie Morgenstern, Earl Pastko, Sarah Polley, Gabrielle Rose, Alberta Watson. Screenplay by Atom Egoyan; produced by Camelia Frieberg and Atom Egoyan; directed by Atom Egoyan; music, Mychael Danna; editor, Susan Shipton; executive producers, Robert Lantos, Andras Hamori. Following a tragic schoolbus accident, high-profile lawyer Mitchell Stephens descends upon a small town. With promises of retribution and a class-action lawsuit filed on behalf of the grieving community, Stephens begins his investigation into the details of the crash. But beneath the town's calm, he uncovers a tangled web of lies, deceit and forbidden desires that mirrors his own troubled personal life. Gradually, we learn that Stephens has his own agenda, and that everyone has secrets to keep. 154 Feature Film A Tale of Two Cities (DVD) 2 hrs. 36 min. Originally broadcast as a made-for-TV movie in 1980. Based on the novel by Charles Dickens. Chris Sarandon, Peter Cushing, Kenneth More, Barry Morse, Flora Robson, Billie Whitelaw, Alice Krige. Director, Jim Goddard; producer, Norman Rosemont; teleplay, John Gay; photography, Tony Imi; production design, John Stoll; editor, Bill Blunden; music, Allyn Ferguson. Indifferent to the plight of France's downtrodden and pained by unrequited love for Lucie Darnay, London barrister Sydney Carton finds meaning through an act of ultimate sacrifice. 155 Feature Film The Talk of the Town (DVD) ca. 2 hrs. Originally released as a motion picture in 1942. Based on a story by Sidney Harmon. Ronald Coleman, Cary Grant, Jean Arthur. Director-producer, George Stevens ; screenplay, Irwin Shaw, Sidney Buchman. A suspected murderer hides out with an unsuspect professor and his landlady, and tries to convince the legal-minded professor there is a human side to all laws. To further complicate things, a young woman loves both the suspected murderer and the lawyer who defends him. 157 Feature Film They Won't Believe Me (VHS) 80 min. Videocassette release of the 1946 motion picture. Robert Young, Susan Hayward, Jane Greer. Producer, Joan Harrison; screenplay, Jonathan Latimer; director, Irving Pichel. Man plots to kill his wife, but finds she has committed suicide. Then he's charged with murder. 158 Feature Film A Time To Kill (DVD) 150 min. DVD release of the 1996 motion picture. Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Oliver Platt, Charles S. Dutton, Ashley Judd, Patrick McGoohan, Donald Sutherland. Produced by Arnon Milchan et al.; screenplay by Akiva Goldsman; directed by Joel Schumacher; director of photography, Peter Menzies, Jr.; editor, William Steinkamp; music, Elliott Goldenthal. A murder trial brings a small Mississippi town's racial tension to the flashpoint. Amid a frenzy of activist marches, Klan terror, media clamor and brutal riots, an unseasoned but idealistic young attorney mounts a stirring courtroom battle for justice. 159 Feature Film To Kill a Mockingbird (DVD) 131 min. DVD of the 1962 motion picture. Winner of Academy Awards for Gregory Peck, Best Actor, and Horton Foote, Best Screenplay. Based on the novel of the same name by Harper Lee. Gregory Peck, Brock Peters, Robert Duvall, Mary Badham, Philip Alford, Collin Wilcox, John Megna, Ruth White, Paul Fix, Frank Overton, Rosemary Murphy. Music, Elmer Bernstein; film editor, Aaron Stell.; producer, Alan Pakula; screenplay, Horton Foote; director, Robert Mulligan. Two children in a small southern town are thrust into an adult world of racial bigotry and hatred when their lawyer father chooses to defend a black man unjustly accused of raping a white girl. 161 Feature Film Touch of Evil (DVD) 1 hr. 51 mins. Originally produced as an American motion picture in 1958. Based on the novel Badge of Evil by Whit Masterson. Charlton Heston, Janet Leigh, Orson Welles, Marlene Dietrich, Joseph Calleia, Ray Collins, Akim Tamiroff, Zsa Zsa Gabor. Screenplay by Orson Welles; produced by Albert Zugsmith; directed by Orson Welles; director of photography, Russell Metty; film editors, Virgil Vogel and Aaron Stell; music, Henry Mancini; art direction, Alexander Golitzen and Robert Clatworthy; gowns, Bill Thomas; Orson Welles' requested editorial changes produced by Rick Schmidlin; edited by Walter Murch; picture restoration, Bob O'Neil; consultant, Jonathan Rosenbaum. This classic film noir is an elaborate mystery involving a corrupt police official in a squalid town on the Mexican border and a murder that ensnares a narcotics agent and his wife. 162 Feature Film Touching Evil (DVD) 13 hrs. Originally broadcast as episodes of the television series from 1997-1999. Robson Green, Nicola Walker, Michael Feast, Adam Kotz, Shaun Dingwall; host, Russell Baker. Series devised by Paul Abbott; produced by Jane Featherstone and Philip Leach; directed by Julian Jarrold and Marc Munden. Maverick police detective Dave Creegan is the newest member of London's Organized and Serial Crime Unit (OSC), an elite, rapid-response cri
205	dbpedia	3	89	https://funkytelevision.com/best-war-movies-ever-made/	en	Best War Movies Ever Made	https://funkytelevision.…7/war-movies.jpg	https://funkytelevision.…7/war-movies.jpg	[ "https://secure.gravatar.com/avatar/a7d30ba95f27714438c86e96e9d513ae?s=57&d=mm&r=g", "https://funkytelevision.com/wp-content/uploads/2023/07/war-movies-700x466.jpg", "https://funkytelevision.com/wp-content/uploads/2023/07/war-movies.jpg", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/responsive-icon/facebook.svg", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/responsive-icon/Twitter.svg", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/responsive-icon/Follow.png", "https://funkytelevision.com/wp-content/uploads/2023/03/צורת-המים-305x203.jpg", "https://funkytelevision.com/wp-content/uploads/2023/09/סרטי-אנימה-305x203.jpg", "https://funkytelevision.com/wp-content/uploads/2023/03/צורת-המים-328x218.jpg", "https://funkytelevision.com/wp-content/uploads/2024/01/one-love-328x218.jpg", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/icons_theme/default/default_facebook.png", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/share_icons/fb_icons/en_US.svg", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/icons_theme/default/default_twitter.png", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/share_icons/Twitter_Tweet/en_US_Tweet.svg", "https://funkytelevision.com/wp-content/plugins/ultimate-social-media-icons/images/icons_theme/default/default_whatsapp.png" ]	[ "https://giphy.com/embed/GrUhLU9q3nyRG", "https://giphy.com/embed/82VdvOZGYWAmI", "https://giphy.com/embed/kcqplprAynWgsfmBs3", "https://giphy.com/embed/eSQiwbVrb7Nmg", "https://giphy.com/embed/o7CAWZApMqqNG" ]	[]	[ "" ]	null	[ "Priscilla Beck" ]	2023-07-03T10:04:52+00:00	War movies have been a popular genre in cinema for decades, with filmmakers using the medium to portray the harrowing realities of conflict and the bravery of those who fight …	en	https://funkytelevision.…_640-1-32x32.png	Funky Television	https://funkytelevision.com/best-war-movies-ever-made/	War movies have been a popular genre in cinema for decades, with filmmakers using the medium to portray the harrowing realities of conflict and the bravery of those who fight in them. From epic battles to intimate character studies, war movies have the ability to capture the raw emotions of soldiers and civilians alike. In this article, we will take a look at some of the best war movies ever made. Saving Private Ryan Saving Private Ryan is an iconic war film directed by Steven Spielberg and released in 1998. Set during World War II, the movie follows a group of American soldiers on a mission to locate and bring back Private James Francis Ryan (Matt Damon), whose three brothers have been killed in action. What sets Saving Private Ryan apart is its unflinching depiction of the horrors and chaos of war. The film opens with a visceral and harrowing portrayal of the D-Day invasion on Omaha Beach, which is widely regarded as one of the most realistic and intense battle sequences ever put on film. Spielberg’s masterful direction, combined with the exceptional cinematography by Janusz Kamiński, immerses viewers in the brutality and sheer terror of combat. Tom Hanks delivers a compelling performance as Captain John H. Miller, the leader of the mission to find Private Ryan. Supported by a talented ensemble cast including Tom Sizemore, Edward Burns, Barry Pepper, and Vin Diesel, the film explores themes of sacrifice, duty, and the emotional toll of war on soldiers. Saving Private Ryan skillfully balances the action and intensity of warfare with poignant character moments, allowing the audience to connect with the soldiers on a personal level. As the mission progresses, the film raises questions about the value of a single life in the midst of mass casualties and the moral complexities faced by those in command. The film’s technical achievements are remarkable, from the impeccable production design to the haunting musical score by John Williams. Its realistic portrayal of war resonated with audiences and critics alike, resulting in critical acclaim and commercial success. Saving Private Ryan received eleven Academy Award nominations and won five, including Best Director for Spielberg. Beyond its cinematic merits, Saving Private Ryan honors the sacrifices made by real-life soldiers during World War II. The film serves as a tribute to the bravery and heroism displayed by countless individuals in the face of unimaginable adversity. Saving Private Ryan remains a landmark in war cinema, lauded for its powerful storytelling, exceptional performances, and its ability to convey the human cost of war. It continues to be regarded as one of the greatest war movies ever made, solidifying its place in film history and reminding us of the profound impact of conflict on individuals and societies as a whole. via GIPHY Platoon Platoon is a 1986 war film written and directed by Oliver Stone, based on his own experiences as an infantry soldier during the Vietnam War. The movie offers a gritty and realistic portrayal of the war and its impact on the soldiers involved. Set in 1967, Platoon follows a young soldier named Chris Taylor (played by Charlie Sheen) who arrives in Vietnam and is assigned to a platoon stationed in the jungles near the Cambodian border. As Taylor witnesses the brutality and moral ambiguity of the conflict, he becomes caught between two factions within his platoon: the compassionate and idealistic Sergeant Elias (Willem Dafoe) and the ruthless and morally compromised Sergeant Barnes (Tom Berenger). The film explores the moral complexities of war, shedding light on the psychological toll it takes on the soldiers. Stone delves into the themes of innocence, disillusionment, and the dehumanizing effects of combat. Platoon offers an unflinching look at the violence and chaos of war, portraying the visceral reality of battles and the constant fear experienced by the soldiers. What sets Platoon apart is its authenticity. Stone, himself a Vietnam War veteran, drew from his personal experiences to create a film that captures the intense emotions and moral dilemmas faced by soldiers on the ground. The performances in Platoon are exceptional, with Sheen, Dafoe, and Berenger delivering powerful portrayals of characters who represent different perspectives on the war. The film’s cinematography, by Robert Richardson, effectively captures the lush and dangerous environment of the Vietnamese jungle, enhancing the immersive experience for the audience. The intense and evocative score, composed by Georges Delerue, further contributes to the film’s emotional impact. Platoon received critical acclaim upon its release and went on to win four Academy Awards, including Best Picture and Best Director for Oliver Stone. It is regarded as one of the most influential and definitive films about the Vietnam War, praised for its honest portrayal of the conflict and its exploration of the moral complexities faced by soldiers. Beyond its artistic merits, Platoon is a testament to the experiences of those who served in Vietnam and serves as a reminder of the human cost of war. It remains a significant film that continues to resonate with audiences, offering a stark and thought-provoking depiction of the realities of combat and the lasting effects it has on individuals and society as a whole. via GIPHY Apocalypse Now Apocalypse Now, released in 1979 and directed by Francis Ford Coppola, is a landmark war film that delves into the dark heart of the Vietnam War. Loosely based on Joseph Conrad’s novel “Heart of Darkness,” the movie presents a mesmerizing and hallucinatory journey into the depths of human depravity and the horrors of war. The film follows Captain Benjamin L. Willard (played by Martin Sheen), a troubled and disillusioned U.S. Army officer who is sent on a secret mission to assassinate Colonel Walter E. Kurtz (Marlon Brando), a renegade Special Forces officer who has gone rogue and established himself as a godlike figure leading a cult-like army deep in the Cambodian jungle. Apocalypse Now explores the psychological impact of war on its characters, capturing their descent into madness and moral ambiguity. As Willard navigates the dangerous and surreal landscape of Vietnam’s rivers, he encounters a cast of characters who have been consumed by the brutal realities of the war, including the eccentric Lieutenant Colonel Bill Kilgore (Robert Duvall) and the troubled and unpredictable photojournalist Dennis Hopper. The film is a visual and auditory tour de force, with Coppola employing striking cinematography by Vittorio Storaro to capture the surreal and nightmarish aspects of the war. The use of lighting, color, and sound design creates an immersive and disorienting experience for the viewer, mirroring the psychological journey of the characters. Apocalypse Now is known for its iconic sequences, such as the helicopter attack set to Wagner’s “Ride of the Valkyries” and the climactic confrontation with Kurtz. The film explores themes of power, morality, and the inherent darkness that can emerge in the midst of war. Despite its troubled production, which mirrored the chaotic nature of the war it portrayed, Apocalypse Now has become a seminal work in cinema. It pushes the boundaries of storytelling and challenges the conventional war film genre, offering a haunting and profound exploration of the human psyche and the destructive forces of war. The film received critical acclaim upon its release and has since been hailed as one of the greatest films ever made. It was nominated for eight Academy Awards and won two, showcasing its enduring impact on the cinematic landscape. Apocalypse Now remains a powerful and thought-provoking examination of the futility and madness of war, leaving an indelible mark on audiences and continuing to be revered as a cinematic masterpiece. via GIPHY Full Metal Jacket Full Metal Jacket, released in 1987 and directed by Stanley Kubrick, is a highly regarded war film that offers a thought-provoking and uncompromising examination of the Vietnam War. The movie is based on Gustav Hasford’s novel “The Short-Timers” and is divided into two distinct parts, showcasing the dehumanizing effects of military training and the brutal realities of war. The first half of Full Metal Jacket takes place at the Parris Island Marine Corps Boot Camp in South Carolina. It follows a group of young recruits as they endure the physical and psychological challenges of training under the ruthless and sadistic drill instructor, Gunnery Sergeant Hartman (played by R. Lee Ermey in a standout performance). The film provides an unflinching look at the process of transforming ordinary civilians into soldiers, examining themes of dehumanization, obedience, and the erosion of individuality. The second half of the film shifts to the war in Vietnam, specifically the Battle of Huế during the Tet Offensive. We follow the now-trained soldiers as they face the brutal realities of combat and navigate the moral complexities of war. The focus narrows in on two key characters: the Joker (Matthew Modine), a rebellious and skeptical Marine, and Private Pyle (Vincent D’Onofrio), who struggles with the psychological toll of war. Full Metal Jacket stands out for its stark visual style and attention to detail. Kubrick’s meticulous direction, coupled with Douglas Milsome’s cinematography, creates a gritty and atmospheric portrayal of the war-torn landscapes. The film’s script is punctuated with sharp dialogue and memorable quotes, reflecting the dark humor and cynicism prevalent among the soldiers. In addition to its exploration of the psychological effects of war, Full Metal Jacket examines the complexities of the military hierarchy and the dehumanizing impact of institutionalized violence. Kubrick’s direction masterfully captures the contradictions and absurdities of war, questioning the ideals of heroism and patriotism. Full Metal Jacket received critical acclaim upon its release for its uncompromising portrayal of the Vietnam War and its examination of the dehumanizing nature of military training. It continues to be praised for its technical brilliance, powerful performances, and its enduring impact on the war film genre. The film’s exploration of the human psyche, its examination of the duality of humanity, and its condemnation of the senselessness of war contribute to its status as a significant and thought-provoking cinematic work. Full Metal Jacket remains a powerful and haunting film, reminding audiences of the complexities and horrors of war while highlighting the human resilience and spirit in the face of adversity. via GIPHY The Thin Red Line The Thin Red Line, directed by Terrence Malick and released in 1998, is a visually stunning and contemplative war film that explores the existential and philosophical aspects of war. Based on James Jones’ novel of the same name, the movie presents a poetic and introspective portrayal of the Battle of Guadalcanal during World War II. Set in the Pacific Theater of World War II, The Thin Red Line follows a group of American soldiers from C Company as they engage in the grueling and deadly conflict with Japanese forces. The film delves deep into the minds and emotions of the soldiers, offering poetic voiceovers and introspective musings on the nature of life, death, and the inherent contradictions of war. What sets The Thin Red Line apart is its emphasis on the internal experiences and psychological landscapes of its characters. Malick’s signature visual style, characterized by breathtaking cinematography and an ethereal blending of nature and humanity, immerses the audience in the soldiers’ introspective journeys. The film raises questions about the futility of war, the interconnectedness of all living beings, and the profound impact of violence on the human spirit. The ensemble cast of The Thin Red Line includes many notable actors, such as Sean Penn, Jim Caviezel, Nick Nolte, and Adrien Brody, among others. Each actor delivers nuanced and introspective performances, capturing the internal conflicts and emotional turmoil faced by their respective characters. The film’s cinematography, helmed by John Toll, captures the beauty and brutality of the natural landscape, juxtaposing it with the horrors of war. The lush and idyllic surroundings contrast with the chaos and violence, adding depth and symbolism to the narrative. The Thin Red Line received critical acclaim for its artistic merits and its exploration of the human condition in the midst of war. The film was nominated for seven Academy Awards, including Best Picture and Best Director for Terrence Malick. It resonated with audiences who appreciated its poetic approach to war storytelling, offering a profound meditation on the complexities of conflict and the fragility of life. While The Thin Red Line is not a conventional war film, it remains a significant contribution to the genre. It challenges viewers to reflect on the larger implications of war and the human experience, evoking a deep sense of introspection and empathy. The film stands as a testament to the power of cinema as a medium to explore profound themes and invite contemplation on the nature of war and our place in the world. via GIPHY Dunkirk Dunkirk, released in 2017 and directed by Christopher Nolan, is a gripping and immersive war film that tells the story of the evacuation of British and Allied forces from the beaches of Dunkirk during World War II. The movie depicts the harrowing events of the Dunkirk evacuation, which saw hundreds of thousands of soldiers trapped by German forces and facing imminent danger. Dunkirk presents a unique narrative structure, interweaving three different perspectives: land, sea, and air. The film follows the experiences of various characters, including a young soldier named Tommy (played by Fionn Whitehead), a civilian boat owner named Mr. Dawson (Mark Rylance), and RAF pilot Farrier (Tom Hardy). By exploring the evacuation from multiple angles, Nolan creates a sense of urgency and tension that keeps the audience on the edge of their seats. What sets Dunkirk apart is its masterful craftsmanship and technical achievements. The film’s immersive cinematography, captured by Hoyte van Hoytema, plunges viewers into the heart of the action, delivering breathtaking visuals and an intense sense of realism. Combined with a powerful score by Hans Zimmer, which incorporates a ticking clock motif, Dunkirk amplifies the suspense and creates a palpable atmosphere of impending danger. Nolan’s direction emphasizes the human experience of war, focusing on the individual stories of survival, sacrifice, and resilience. The film avoids extensive dialogue and instead relies on visual storytelling and visceral experiences to convey the emotions and struggles of the characters. This approach allows the audience to empathize with the soldiers and civilians, immersing them in the chaos and uncertainty of the evacuation. Dunkirk received widespread critical acclaim for its technical achievements and immersive storytelling. It was nominated for eight Academy Awards and won three, including Best Sound Editing, Best Sound Mixing, and Best Film Editing. The film resonated with audiences for its visceral depiction of the horrors of war and its portrayal of the courage and determination displayed by ordinary people in the face of adversity. Beyond its cinematic merits, Dunkirk pays homage to the real-life events and the bravery of the soldiers and civilians involved in the Dunkirk evacuation. It serves as a testament to the collective effort and resilience of the British and Allied forces during a critical moment in World War II. Dunkirk stands as a remarkable war film, showcasing Christopher Nolan’s directorial prowess and his ability to create an immersive and emotional experience. By focusing on the human stories amid the chaos of war, the film highlights the strength of the human spirit and leaves a lasting impact on its audience. Black Hawk Down Black Hawk Down, released in 2001 and directed by Ridley Scott, is a gripping and intense war film based on the true events that occurred during the Battle of Mogadishu in 1993. The movie chronicles the ill-fated U.S. military mission in Somalia, where a group of elite American soldiers find themselves trapped and engaged in a desperate struggle for survival. Black Hawk Down provides a raw and visceral depiction of modern warfare, showcasing the chaos, danger, and human cost of combat. The film focuses on the experiences of the U.S. Army Rangers and Delta Force soldiers who were part of the mission to capture Somali warlord Mohamed Farrah Aidid. As the operation goes awry and two Black Hawk helicopters are shot down, the American troops find themselves surrounded by hostile forces in the heart of Mogadishu. Ridley Scott’s direction captures the intense and chaotic nature of the battle, immersing the audience in the relentless gunfire, explosions, and the sense of constant danger. The film skillfully balances the large-scale action with intimate character moments, humanizing the soldiers and depicting their courage, camaraderie, and the emotional toll of war. The ensemble cast of Black Hawk Down features notable actors such as Josh Hartnett, Ewan McGregor, Eric Bana, Tom Sizemore, and William Fichtner, among others. Each actor delivers compelling performances, portraying the soldiers’ determination and the bonds forged in the crucible of combat. The film’s cinematography, courtesy of Slawomir Idziak, captures the gritty and war-torn urban landscape of Mogadishu, further immersing the audience in the setting. The realistic and intense action sequences, combined with the film’s evocative score by Hans Zimmer, enhance the tension and emotional impact of the story. Black Hawk Down received critical acclaim upon its release for its realistic portrayal of the Battle of Mogadishu and its examination of the moral complexities and the harsh realities of modern warfare. The film won two Academy Awards for Best Film Editing and Best Sound, recognizing its technical achievements and its ability to capture the visceral nature of the conflict. Beyond its cinematic merits, Black Hawk Down pays tribute to the bravery and sacrifice of the soldiers involved in the Battle of Mogadishu. It serves as a stark reminder of the risks faced by military personnel in volatile and dangerous situations. Black Hawk Down stands as a powerful war film, emphasizing the human side of conflict and the unwavering spirit of those who serve. It is a testament to the resilience and heroism displayed by soldiers in the face of adversity and remains a significant contribution to the genre, leaving a lasting impact on audiences and reminding us of the realities of modern warfare. Hacksaw Ridge Hacksaw Ridge, released in 2016 and directed by Mel Gibson, is an extraordinary war film that tells the true story of Desmond Doss, a World War II combat medic who served without carrying a weapon. The movie explores themes of bravery, faith, and the power of conviction in the face of overwhelming adversity. The film follows the journey of Desmond Doss (played by Andrew Garfield), a young man from Virginia who enlists in the U.S. Army during World War II but refuses to bear arms due to his deeply held religious beliefs as a Seventh-day Adventist. Despite facing opposition and ridicule from his fellow soldiers and superiors, Doss remains steadfast in his commitment to save lives rather than take them. Hacksaw Ridge focuses on the Battle of Okinawa, a brutal and bloody conflict in which American forces faced heavily fortified Japanese positions. As the battle rages on, Doss is thrust into the heart of the action, braving the chaos and risking his life to rescue wounded soldiers from the battlefield, all while refusing to carry a weapon. The film portrays the horrors of war with unflinching realism, capturing the visceral and harrowing experiences faced by soldiers. The intense battle sequences, expertly crafted by Mel Gibson and his team, create a sense of urgency and danger, immersing the audience in the chaotic and brutal realities of combat. Andrew Garfield delivers a compelling performance as Desmond Doss, showcasing his unwavering faith, compassion, and courage. The film also features notable supporting performances from actors such as Teresa Palmer, Hugo Weaving, and Vince Vaughn, who bring depth and emotional resonance to their respective roles. Hacksaw Ridge received critical acclaim for its powerful storytelling and the remarkable true story it portrays. The film garnered numerous accolades, including six Academy Award nominations, and won two Oscars for Best Film Editing and Best Sound Mixing. It struck a chord with audiences around the world, resonating with its message of unwavering conviction and the extraordinary acts of heroism performed by ordinary individuals. Beyond its depiction of the Battle of Okinawa, Hacksaw Ridge explores profound themes of faith, resilience, and the indomitable human spirit. It highlights the extraordinary courage and selflessness of Desmond Doss, whose actions saved the lives of numerous soldiers and earned him the Medal of Honor, the highest military decoration in the United States. Hacksaw Ridge serves as a testament to the power of one individual’s convictions and their ability to make a difference, even in the midst of the darkest times. It is a film that honors the sacrifices of those who serve and reminds us of the capacity for compassion and bravery within us all. The Hurt Locker The Hurt Locker, directed by Kathryn Bigelow and released in 2008, is a gripping and intense war film that explores the psychological toll of war and the adrenaline-fueled world of bomb disposal units in Iraq. The movie delves into the experiences of an elite U.S. Army Explosive Ordnance Disposal (EOD) team as they navigate the dangerous streets of Baghdad. The film centers around Staff Sergeant William James (played by Jeremy Renner), a skilled and fearless bomb technician who takes over as the team leader. The Hurt Locker presents a character-driven narrative, delving into the complexities of James’ personality and his addiction to the rush of defusing bombs. Through a series of high-stakes bomb disposal scenes, the film captures the nerve-wracking and hazardous nature of the EOD team’s work. Each encounter with an improvised explosive device (IED) serves as a suspenseful and tense set-piece, highlighting the constant danger faced by the soldiers and the pressure to make split-second life-or-death decisions. Kathryn Bigelow’s direction brings a sense of realism and authenticity to The Hurt Locker. The film’s handheld camera work and gritty cinematography immerse the audience in the chaotic and volatile environment of war-torn Iraq. Bigelow’s attention to detail and her ability to create tension and suspense heighten the emotional impact of the story. Jeremy Renner delivers a standout performance as Staff Sergeant James, portraying the complexities of a soldier who thrives in the chaos of war but struggles with the impact it has on his personal life. The supporting cast, including Anthony Mackie and Brian Geraghty, also deliver strong performances, capturing the camaraderie and shared experiences of the EOD team. The Hurt Locker received critical acclaim upon its release, praised for its realistic portrayal of the psychological toll of war and its unflinching examination of the addiction to adrenaline that can develop in such high-stress situations. The film won six Academy Awards, including Best Picture and Best Director for Kathryn Bigelow, making her the first woman to win the award. Beyond its action-packed sequences, The Hurt Locker raises important questions about the nature of war, the effects of prolonged exposure to violence, and the personal costs of serving in the military. It presents a nuanced exploration of the psychological and emotional impact of war on the individuals involved. The Hurt Locker stands as a powerful and thought-provoking war film that goes beyond the surface-level action to delve into the human psyche and the complexities of war. It offers a sobering and visceral look at the experiences of soldiers and the sacrifices they make, leaving a lasting impact on viewers and inviting reflection on the true costs of conflict. Letters from Iwo Jima Letters from Iwo Jima, directed by Clint Eastwood and released in 2006, is a poignant and powerful war film that provides a unique perspective on World War II. Unlike most war movies that focus on the American side, Letters from Iwo Jima tells the story from the viewpoint of the Japanese soldiers defending the island of Iwo Jima. The film presents a deeply human portrayal of the Japanese soldiers who faced overwhelming odds and fought tenaciously against the Allied forces. It explores their fears, hopes, and struggles in the face of certain defeat. Through a series of letters written by soldiers, the film offers insight into their thoughts and emotions, allowing the audience to empathize with their experiences. Ken Watanabe delivers a compelling performance as General Tadamichi Kuribayashi, the commanding officer of the Japanese forces on Iwo Jima. His character embodies honor, loyalty, and the internal conflict faced by a leader who knows the odds are against him. The supporting cast, including Kazunari Ninomiya and Tsuyoshi Ihara, also deliver nuanced performances, capturing the camaraderie and the sense of duty felt by the soldiers. Clint Eastwood’s direction in Letters from Iwo Jima is sensitive and restrained, emphasizing the human element of war rather than glorifying the violence. The film’s muted color palette and evocative cinematography create a somber and reflective atmosphere, underscoring the emotional weight of the narrative. By presenting the Japanese perspective, Letters from Iwo Jima offers a more balanced and nuanced portrayal of the conflict. It challenges preconceived notions and stereotypes, reminding the audience that the soldiers on the other side of the battlefield were also individuals with their own motivations and fears. The film received critical acclaim for its powerful storytelling and its ability to humanize the “enemy.” It was nominated for several Academy Awards, including Best Picture and Best Director, and won the Academy Award for Best Sound Editing. Letters from Iwo Jima resonated with audiences and critics alike for its emotional depth, its exploration of the universal experiences of soldiers, and its portrayal of the devastating effects of war on individuals and nations. Beyond its cinematic achievements, Letters from Iwo Jima serves as a reminder of the shared humanity that exists even in the midst of conflict. It highlights the complexities of war, the sacrifices made by individuals on both sides, and the tragic consequences of a battle fought with unwavering determination. The film stands as a testament to the power of storytelling to bridge divides and foster empathy, leaving a lasting impact on its viewers. The Bridge on the River Kwai The Bridge on the River Kwai, directed by David Lean and released in 1957, is an epic war film set during World War II. Based on the novel of the same name by Pierre Boulle, the movie tells the gripping story of British prisoners of war (POWs) who are forced to build a bridge over the River Kwai by their Japanese captors. The film primarily focuses on the interactions and conflicts between Colonel Nicholson (played by Alec Guinness), the senior British officer in the POW camp, and Colonel Saito (played by Sessue Hayakawa), the Japanese camp commander. Nicholson, driven by his unwavering dedication to duty and discipline, insists that the bridge be built to perfection, even though its completion would aid the enemy. As the bridge construction progresses, a group of Allied commandos led by Major Warden (played by Jack Hawkins) is tasked with destroying it. The film explores the moral dilemmas faced by the characters as their allegiances, motivations, and sense of honor clash in the midst of war. The Bridge on the River Kwai is renowned for its exceptional performances and its exploration of complex themes. Alec Guinness delivers a remarkable performance as Colonel Nicholson, portraying the conflict between loyalty to his country and adherence to the principles of honor and discipline. Sessue Hayakawa, as Colonel Saito, brings depth and humanity to his character, challenging stereotypes and offering a nuanced portrayal of the Japanese camp commander. David Lean’s direction in The Bridge on the River Kwai is masterful, capturing the grandeur of the setting and the emotional depth of the story. The film’s cinematography, particularly in showcasing the lush landscapes of the Thai-Burma railway, is visually stunning. The iconic score by Malcolm Arnold, including the memorable “Colonel Bogey March,” further enhances the film’s impact and adds to its enduring legacy. The Bridge on the River Kwai received critical acclaim upon its release and became a commercial success. It won seven Academy Awards, including Best Picture, Best Director for David Lean, and Best Actor for Alec Guinness. The film’s exploration of themes such as duty, honor, and the blurred lines of morality in war resonated with audiences and continues to captivate viewers to this day. Beyond its cinematic achievements, The Bridge on the River Kwai offers a profound examination of the human condition in the context of war. It raises questions about the nature of honor, the limits of duty, and the consequences of pride and obsession. The film serves as a powerful reminder of the sacrifices made by individuals during wartime and the enduring impact of their choices. The Bridge on the River Kwai stands as a classic war film, celebrated for its compelling storytelling, outstanding performances, and thought-provoking themes. It remains an enduring masterpiece in the genre, leaving a lasting impact on audiences and showcasing the talents of its cast and crew. The Great Escape The Great Escape, released in 1963 and directed by John Sturges, is a thrilling war film based on the true story of a daring mass escape attempt by Allied prisoners of war (POWs) during World War II. The movie is set in Stalag Luft III, a German prisoner-of-war camp, and chronicles the meticulously planned escape plan of a group of Allied prisoners. The film features an ensemble cast of talented actors, including Steve McQueen, James Garner, Richard Attenborough, and Charles Bronson, among others. Each actor brings their unique charisma and charm to their respective roles, portraying the diverse array of characters involved in the escape attempt. The Great Escape combines elements of suspense, action, and camaraderie, creating a captivating narrative that keeps audiences on the edge of their seats. The meticulous planning and execution of the escape plan, which involves digging tunnels and coordinating various diversionary tactics, is both fascinating and suspenseful. Steve McQueen’s iconic motorcycle chase scene, where his character attempts to evade pursuing German soldiers, has become one of the most memorable moments in cinematic history. The film’s portrayal of the resilience and determination of the prisoners in the face of overwhelming odds is both inspiring and moving. John Sturges’ direction in The Great Escape is skillful, balancing the tension of the escape plot with moments of humor and camaraderie among the prisoners. The cinematography captures the claustrophobic atmosphere of the camp and the vastness of the surrounding landscape, adding depth to the storytelling. The film’s score by Elmer Bernstein is memorable and enhances the emotional impact of the story, providing a sense of adventure and triumph. The Great Escape’s theme song, composed by Bernstein, has become synonymous with the film and is instantly recognizable to audiences. The Great Escape received critical acclaim upon its release, praised for its exciting storytelling, strong performances, and the way it honors the bravery and determination of the prisoners involved. While the film takes some liberties with historical accuracy for dramatic purposes, it effectively captures the spirit of camaraderie and the indomitable human spirit in the face of adversity. Beyond its entertainment value, The Great Escape serves as a tribute to the bravery and sacrifice of the soldiers and POWs during World War II. It highlights the ingenuity, resourcefulness, and unwavering determination of those who refused to be defeated even in the most challenging circumstances. The Great Escape has stood the test of time, remaining a beloved classic in the war film genre. Its thrilling escape sequences, memorable performances, and enduring themes of courage and resilience continue to captivate audiences and make it a timeless cinematic experience. Lawrence of Arabia Lawrence of Arabia, directed by David Lean and released in 1962, is an epic historical drama that chronicles the extraordinary life of British officer T.E. Lawrence during World War I. The film is known for its sweeping landscapes, stunning cinematography, and the mesmerizing performance of its lead actor, Peter O’Toole. The film follows the journey of T.E. Lawrence, played by Peter O’Toole, a British army officer stationed in Cairo, Egypt. Lawrence is sent to the Arabian Peninsula to assess the political situation during the Arab Revolt against the Ottoman Empire. Over time, he becomes deeply involved in the conflict, leading Arab guerrilla forces against the Ottomans and forging alliances with Arab leaders. Lawrence of Arabia is a visual masterpiece, capturing the vastness and beauty of the desert landscapes. The film’s cinematography by Freddie Young is breathtaking, utilizing wide shots and vivid colors to convey the grandeur and harshness of the Arabian deserts. The scale and scope of the film are awe-inspiring, immersing viewers in Lawrence’s arduous journey and the vastness of the Arabian Peninsula. Peter O’Toole delivers a career-defining performance as T.E. Lawrence, capturing his complex and enigmatic personality. O’Toole brings charisma, intensity, and vulnerability to the role, portraying Lawrence’s internal struggles and conflicting loyalties. His performance earned him critical acclaim and catapulted him to international stardom. David Lean’s direction in Lawrence of Arabia is masterful, showcasing his ability to balance intimate character moments with grand-scale spectacle. The film’s screenplay by Robert Bolt expertly weaves together historical events, political intrigue, and Lawrence’s personal journey, resulting in a multi-layered narrative that explores themes of identity, imperialism, and the moral ambiguity of war. Lawrence of Arabia received widespread critical acclaim and won seven Academy Awards, including Best Picture and Best Director for David Lean. The film’s enduring popularity is a testament to its timeless storytelling and its ability to transport viewers to a different time and place. Beyond its technical and artistic achievements, Lawrence of Arabia offers a thought-provoking exploration of identity and the human condition. It raises questions about the consequences of imperialism and the complexities of cultural and national identity in a rapidly changing world. The film portrays Lawrence as a complex and contradictory figure, torn between his British roots and his affinity for the Arab cause. Lawrence of Arabia remains a monumental achievement in cinema, standing as one of the greatest epics ever made. Its stunning visuals, powerful performances, and thought-provoking themes continue to captivate audiences and solidify its place as a cinematic masterpiece. 1917 “1917,” directed by Sam Mendes and released in 2019, is a remarkable war film that takes viewers on an immersive and intense journey through the trenches of World War I. The film is known for its innovative and visually stunning cinematography, which gives the impression of being filmed in a single continuous shot, enhancing the sense of immediacy and realism. The story follows two young British soldiers, Lance Corporal Schofield (played by George MacKay) and Lance Corporal Blake (played by Dean-Charles Chapman), who are given a dangerous mission. They must deliver a vital message across enemy lines to stop an impending attack that could result in the massacre of their fellow soldiers, including Blake’s own brother. The film unfolds in real-time, showcasing the harrowing obstacles and perils they face on their race against time. The cinematography by Roger Deakins is one of the standout features of “1917.” The seamless long takes, clever camera movements, and meticulous staging create an immersive experience that captures the chaos, tension, and brutality of war. The film’s technical achievements, coupled with Mendes’ masterful direction, result in a gripping and emotionally charged narrative. The performances in “1917” are compelling, with George MacKay delivering a standout portrayal of Schofield. His character’s transformation from an ordinary soldier to a determined messenger showcases the physical and emotional toll of war. The film also features notable supporting performances from a talented ensemble cast, including Colin Firth, Benedict Cumberbatch, Mark Strong, and Richard Madden. Beyond its technical prowess, “1917” is a testament to the human spirit and the sacrifices made during times of war. It explores themes of duty, camaraderie, and the complexities of moral choices in the midst of conflict. The film provides a visceral and immersive experience that humanizes the soldiers and offers a profound understanding of the impact of war on individuals and communities. “1917” was widely praised by critics and audiences alike, earning numerous accolades, including three Academy Awards for Best Cinematography, Best Visual Effects, and Best Sound Mixing. The film’s ability to capture the horrors and heroism of war while delivering an emotionally resonant story has solidified its place as one of the most memorable war films in recent years. Overall, “1917” stands as a testament to the power of filmmaking to transport viewers to the frontlines of war and shed light on the human experiences within. Its technical achievements, compelling performances, and poignant storytelling make it an unforgettable cinematic experience that honors the sacrifices made during World War I.
205	dbpedia	1	86	https://oll.libertyfund.org/titles/zane-united-states-declaration-of-independence-united-states-politics-and-government-1775-1783	en	United States. Declaration of Independence. United States--Politics and government--1775-1783.	https://oll-resources.s3…1912_800h_72.jpg	https://oll-resources.s3…1912_800h_72.jpg	[ "https://oll.libertyfund.org/assets/oll-logo-stacked-a38794da269bcdab15520fcbdfb162c49c5a7e99b89771daa1c33dc89b653a02.svg", "https://oll-resources.s3.us-east-2.amazonaws.com/oll3/store/titles/680/ZaneStoryLaw_9780865971912_800h_72.jpg", "https://oll.libertyfund.org/assets/oll-logo-white-on-dblue-ba4bbd4ded0c0d231428daa06f140dfbd96a23168a33ac95018e34c1235b4e74.svg" ]	[]	[]	[ "" ]	null	[]	null	Written for the layman as well as the attorney, The Story of Law is the only complete outline history of the law ever published. Zane lucidly describes the growth and improvement of the law over thousands of years, and he points out that an increasing awareness of the individual as a person who is responsible for decision and action gradually transformed the law.				https://oll.libertyfund.org/titles/zane-united-states-declaration-of-independence-united-states-politics-and-government-1775-1783	John Maxcy Zane (author) James M. Beck (introduction) Charles J. Reid, Jr. (foreword) Written for the layman as well as the attorney, The Story of Law is the only complete outline history of the law ever published. Zane lucidly describes the growth and improvement of the law over thousands of years, and he points out that an increasing awareness of the individual as a person who is responsible for decision and action gradually transformed the law. Buy this Book
205	dbpedia	3	5	https://en.wikipedia.org/wiki/Full_Metal_Jacket	en	Full Metal Jacket	https://upload.wikimedia…acket_poster.jpg	https://upload.wikimedia…acket_poster.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Full_Metal_Jacket_poster.jpg/220px-Full_Metal_Jacket_poster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Born_to_Kill_helmet.jpg/150px-Born_to_Kill_helmet.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c6/R_Lee_Ermey_in_USMC_uniform.jpg/220px-R_Lee_Ermey_in_USMC_uniform.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/19px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/21px-Flag_of_the_United_States.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Rubik%27s_cube_v3.svg/17px-Rubik%27s_cube_v3.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/ae/Flag_of_the_United_Kingdom.svg/21px-Flag_of_the_United_Kingdom.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-01-03T19:14:28+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Full_Metal_Jacket	1987 war film by Stanley Kubrick For other uses, see Full metal jacket (disambiguation). Full Metal JacketDirected byStanley KubrickScreenplay by Stanley Kubrick Michael Herr Gustav Hasford Based onThe Short-Timers by Gustav HasfordProduced byStanley KubrickStarringCinematographyDouglas MilsomeEdited byMartin HunterMusic byVivian Kubrick (as Abigail Mead) Production companies Natant Harrier Films Distributed by Columbia-Cannon-Warner Distributors (UK) Warner Bros. (US) Release dates Running time 116 minutes[1]Countries United Kingdom United States[2] Languages English Vietnamese Budget$16.5–30 million[3][4]Box office$120 million[5] Full Metal Jacket is a 1987 war film directed and produced by Stanley Kubrick, from a screenplay he co-wrote with Michael Herr and Gustav Hasford. The film is based on Hasford's 1979 autobiographical novel The Short-Timers. It stars Matthew Modine, R. Lee Ermey, Vincent D'Onofrio, Adam Baldwin, Dorian Harewood, and Arliss Howard. The storyline follows a platoon of U.S. Marines through their boot camp training at Marine Corps Recruit Depot Parris Island, South Carolina. The first half of the film focuses primarily on privates J.T. Davis and Leonard Lawrence, nicknamed "Joker" and "Pyle," who struggle under their abusive drill instructor, Gunnery Sergeant Hartman. The second half portrays the experiences of Joker and other Marines in the Vietnamese cities of Da Nang and Huế during the Tet Offensive of the Vietnam War.[6] The film's title refers to the full metal jacket bullet used by military servicemen. Warner Bros. released Full Metal Jacket in the United States on June 26, 1987. It was the last of Kubrick's films to be released during his lifetime. The film received critical acclaim, grossed $120 million against a budget of $16 million and was nominated for an Academy Award for Best Adapted Screenplay.[7] The film was also nominated for two BAFTA Awards, and Ermey was nominated for a Golden Globe Award for Best Supporting Actor – Motion Picture for his performance. In 2001, the American Film Institute placed the film at number 95 in its poll titled "AFI's 100 Years...100 Thrills."[8] Plot [edit] During the Vietnam War, a group of USMC recruits arrive for United States Marine Corps Recruit Training at Parris Island. Drill instructor Gunnery Sergeant Hartman uses harsh methods to train them for combat. Among the recruits are the wisecracking J. T. Davis, who receives the name "Joker" after interrupting Hartman's introductory speech with an impression of John Wayne, and the overweight and dim-witted Leonard Lawrence, whom Hartman nicknames "Gomer Pyle." During boot camp, Hartman names Joker as squad leader and puts him in charge of helping Pyle improve. One evening while doing a hygiene inspection, Hartman notices that Pyle's footlocker is unlocked. As he inspects it for signs of theft, he discovers a jelly donut inside, blames the platoon for Pyle's infractions and adopts a collective punishment policy by which any infraction committed by Pyle will earn a punishment for everyone else in the platoon. The next night, the recruits haze Pyle with a blanket party in which Joker reluctantly participates. Following this, Pyle appears to reinvent himself as a model recruit, showing particular expertise in marksmanship. This pleases Hartman but worries Joker, who believes Pyle may be suffering a mental breakdown after seeing Pyle talking to his rifle. The recruits graduate, but the night before they leave Parris Island, Joker, who is on fire watch duty, discovers Pyle in the barracks latrine loading his service rifle with live ammunition, executing drill commands, and loudly reciting the Rifleman's Creed. Hartman is awoken by the commotion and attempts to intervene by asking Pyle to give the rifle to him, but Pyle shoots and kills Hartman before committing suicide, leaving Joker horrified. Following Hartman's death, Joker becomes a sergeant in January 1968 and is based in Da Nang for the newspaper Stars and Stripes alongside his colleague Private First Class “Rafterman”, a combat photographer. The Tet Offensive begins and the base is attacked, but holds. The following morning, Joker and Rafterman are sent to Phu Bai, where Joker searches for and reunites with Sergeant "Cowboy," a friend he met at Parris Island. However, platoon leader lieutenant Walter J. "Touchdown" Schinoski is killed by two NVA snipers, who are eliminated soon after. During the Battle of Huế, a booby trap kills the squad leader, Sgt. Crazy Earl, leaving Cowboy in command. Becoming lost in the city, the squad is ambushed by a Viet Cong sniper who kills two members. As the squad approaches the sniper's location, Cowboy is killed. Assuming command, squad machine gunner "Animal Mother" leads an attack on the sniper. Joker locates her first, but his M16 rifle jams, alerting the sniper to his presence. As the sniper opens fire, she is revealed to be a teenage girl. Rafterman shoots and mortally wounds her. As the squad converges on the sniper, she begs for death, leading to an argument over whether to kill her or leave her to die in pain. Animal Mother agrees to a mercy killing but only if Joker will handle it, and after some hesitation, Joker shoots her. Later, as night falls, the Marines return to camp singing the "Mickey Mouse March." A narration of Joker's thoughts conveys that, despite being "in a world of shit," he is glad to be alive and no longer afraid. Cast [edit] Matthew Modine as Private (later Sergeant) J. T. "Joker" Davis, a wisecracking young Marine. On set, Modine kept a diary that in 2005 was adapted into a book and in 2013 into an interactive app.[9] Adam Baldwin as Sergeant "Animal Mother," a combat-hungry machine gunner who takes pride in killing enemy soldiers, and scorns any authority other than his own. Arnold Schwarzenegger was first considered for the role but turned it down in favor of a part in The Running Man.[10] Vincent D'Onofrio as Private Leonard "Gomer Pyle"[a] Lawrence, an overweight, slow-minded recruit who is the subject of Hartman's mockery. D'Onofrio heard from Modine of the auditions for the film. D'Onofrio recorded his audition using a rented video camera and was dressed in army fatigues. According to Kubrick, Pyle was "the hardest part to cast in the whole movie"; Modine suggested D'Onofrio to Kubrick, so he cast him in the part.[12][13] D'Onofrio was required to gain 70 pounds (32 kg).[14][15] R. Lee Ermey (credited as "Lee Ermey") as Gunnery Sergeant L. Hartman, a harsh, foul-mouthed and ruthless senior drill instructor. Ermey used his actual experience as a U.S. Marines drill instructor in the Vietnam War to improvise much of his dialogue.[16][17] Dorian Harewood as Corporal "Eightball," a member of the squad and Animal Mother's friend. Arliss Howard as Private (later Sergeant) "Cowboy" Evans, a friend of Joker and a member of the Lusthog Squad. Kevyn Major Howard as Private First Class "Rafterman," a combat photographer. Ed O'Ross as First Lieutenant Walter J. "Touchdown" Schinoski, the Lusthog Squad's platoon leader. John Terry as First Lieutenant Lockhart, the editor of Stars and Stripes. Kieron Jecchinis as Sergeant "Crazy Earl," the first Lusthog Squad leader. Bruce Boa as the Colonel who scolds Joker for wearing a peace symbol on his lapel. Kirk Taylor as Private "Payback" John Stafford as "Doc Jay," a Navy hospital corpsman providing medical support for the squad. Tim Colceri as a ruthless and sadistic helicopter door gunner who suggests that Joker and Rafterman write a story about him. Colceri, a former Marine, was originally slated to play Hartman, a role that went to Ermey. Kubrick gave Colceri this smaller part as a consolation.[18] Ian Tyler as Lieutenant Cleves, an officer present at the uncovering of a mass grave. Gary Landon Mills as Donlon, a squad member who works as a radio operator. Sal Lopez as "T.H.E. Rock" Papillon Soo Soo as a Da Nang prostitute Ngoc Le as the Viet Cong sniper Peter Edmund as Private "Snowball" Brown, a recruit in Hartman's platoon. Production [edit] Development [edit] In early 1980, Kubrick contacted Michael Herr, author of the Vietnam War memoir Dispatches (1977), to discuss work on a film about the Holocaust but Kubrick discarded that idea in favor of a film about the Vietnam War.[19] Herr and Kubrick met in England; Kubrick told Herr he wanted to make a war film but had yet to find a story to adapt.[12] Kubrick discovered Gustav Hasford's novel The Short-Timers (1979) while reading the Kirkus Review.[20] Herr received the novel in bound galleys and thought it a masterpiece.[12] In 1982, Kubrick read the novel twice; he concluded it is "a unique, absolutely wonderful book" and decided to adapt it for his next film.[20] According to Kubrick, he was drawn to the book's dialogue, which he found "almost poetic in its carved-out, stark quality."[20] In 1983, Kubrick began researching for the film; he watched archival footage and documentaries, read Vietnamese newspapers on microfilm from the Library of Congress, and studied hundreds of photographs from the era.[21] Initially, Herr was not interested in revisiting his Vietnam War experiences, but Kubrick spent three years persuading him, describing the discussions as "a single phone call lasting three years, with interruptions."[19] In 1985, Kubrick contacted Hasford and invited him to join the team;[12] they spoke by telephone three to four times a week for hours at a time.[22] Kubrick had already written a detailed treatment of the novel,[12] and they met at Kubrick's home every day, breaking the treatment into scenes. Herr then wrote the first draft of the film script.[12] Kubrick worried the audience might misread the book's title as a reference to people who did only half a day's work and changed it to Full Metal Jacket after coming across the phrase in a gun catalogue.[12] After the first draft was complete, Kubrick telephoned his orders to Hasford and Herr, who mailed their submissions to him.[23] Kubrick read and edited Hasford's and Herr's submissions, and the team repeated the process. Neither Hasford nor Herr knew how much each had contributed to the screenplay, which led to a dispute over the final credits.[23] Hasford said: "We were like guys on an assembly line in the car factory. I was putting on one widget and Michael was putting on another widget and Stanley was the only one who knew that this was going to end up being a car."[23] Herr said Kubrick was not interested in making an anti-war film but "he wanted to show what war is like".[19] At some point, Kubrick wanted to meet Hasford in person, but Herr advised against this, describing The Short-Timers author as a "scary man, a big, haunted marine," and did not believe Hasford and Kubrick would "get on".[19] Kubrick, however, insisted on the meeting, which occurred at Kubrick's house in England. The meeting went poorly; Kubrick privately told Herr: "I can't deal with this man," and Hasford did not meet with Kubrick again.[19] Casting [edit] Through Warner Bros., Kubrick advertised a casting search in the United States and Canada. He used videotape to audition actors and received over 3,000 submissions. Kubrick's staff screened the tapes, leaving 800 of them for him to review.[12]: 461 Former U.S. Marines drill instructor Lee Ermey was originally hired as a technical advisor. Ermey asked Kubrick if he could audition for the role of Hartman. Kubrick, who had seen Ermey's portrayal of drill instructor Staff Sergeant Loyce in The Boys in Company C (1978), told Ermey that he was not vicious enough to play the character. Ermey improvised insulting dialogue against a group of Royal Marines who were being considered for the part of background Marines in order to demonstrate his ability to play the character and to show how a drill instructor attacks individuality in new recruits.[12]: 462 Upon viewing the videotape of these sessions, Kubrick offered Ermey the role, realizing he "was a genius for this part."[21] Kubrick incorporated the 250-page transcript of Ermey's rants into the script.[12]: 462–463 Ermey's experience as a drill instructor during the Vietnam War proved invaluable; Kubrick estimated that Ermey wrote 50% of his character's dialogue, particularly the insults.[24] While Ermey practiced his lines in a rehearsal room, Kubrick's assistant Leon Vitali would throw tennis balls and oranges at him, which Ermey had to catch and throw back as quickly as possible while saying his lines as fast as he could. Any hesitation, slowdown, slip or missed line would necessitate restarting, and 20 error-free runs were required. "[He] was my drill instructor," Ermey said of Vitali.[12]: 463 [25] Nine months of negotiations to cast Anthony Michael Hall as Private Joker were unsuccessful, Hall would later regret not doing the film.[26][27][28] Val Kilmer was also considered for the role, and Bruce Willis declined a role because of commitments to his television series Moonlighting.[29] Kubrick offered Ed Harris the role of Hartman but Harris declined it, a decision that he later called "foolish".[30] Robert De Niro was also considered for the role, although Kubrick eventually felt that the audience would "feel cheated" if De Niro's character were killed in the first hour.[31] Bill McKinney was also considered for the part, but Kubrick professed an irrational fear of the actor. McKinney was known for his role as a rural psychopath in 1972's Deliverance, most memorably in a sequence that Kubrick described as "the most terrifying scene ever put on film". McKinney was about to fly from Los Angeles to London to audition for Kubrick and the producers when he received a message at the airport informing him that his audition had been canceled. However, McKinney was paid in full.[32] Denzel Washington showed interest in the film but Kubrick did not send him a script.[33][34] Filming [edit] Principal photography began on August 27, 1985 and concluded on August 8, 1986.[35][36] Scenes were filmed in Cambridgeshire, the Norfolk Broads, in eastern London at Millennium Mills and Beckton Gas Works in Newham and on the Isle of Dogs.[37] Kubrick hired Anton Furst as the production designer, impressed by his work on The Company of Wolves (1984).[38] Bassingbourn Barracks, a former Royal Air Force station and then a British Army base, was used as the Parris Island Marines boot camp.[21] A British army rifle range near Barton, Cambridge was used for the scene in which Hartman congratulates Private Pyle for his shooting skills. Kubrick and Furst worked from still photographs of Huế taken in 1968. Kubrick found an area owned by British Gas that closely resembled it and was scheduled to be demolished. The disused Beckton Gas Works, a few miles from central London, was filmed to depict Huế after attacks.[24][39][40] Kubrick had buildings demolished and the film's art director used a wrecking ball to knock holes in some of the buildings over the course of two months.[24] Kubrick had a plastic replica jungle delivered from California, but once he saw it, he dismissed the idea, saying; "I don't like it. Get rid of it."[41] The open country scenes were filmed at marshland in Cliffe-at-Hoo[42] and along the River Thames. Locations were decorated with 200 palm trees imported from Spain[20] and 100,000 plastic tropical plants from Hong Kong.[24] Kubrick acquired four M41 tanks from a Belgian army colonel who was an admirer of his work.[43] Westland Wessex helicopters, which have a much longer and less-rounded nose than that of the Vietnam era H-34, were painted Marines green to represent Sikorsky H-34 Choctaw helicopters. Kubrick obtained a selection of rifles, M79 grenade launchers and M60 machine guns from a licensed weapons dealer.[21] Modine described the filming as difficult. Beckton Gas Works was a toxic environment for the film crew, being contaminated with asbestos and hundreds of other chemicals.[44] During the boot camp sequence of the film, Modine and the other recruits underwent Marine Corps training, during which Ermey yelled at them for 10 hours a day while filming the Parris Island scenes. To ensure that the actors' reactions to Ermey's lines were as authentic and fresh as possible, Ermey and the recruits did not rehearse together.[12]: 468 For film continuity, each recruit had his head shaved once a week.[45] Modine fought with Kubrick about whether he could leave the set to be with his pregnant wife in the delivery room. Modine threatened to cut himself and get sent to the hospital himself to force Kubrick to relent.[46] He also nearly fought with D'Onofrio during filming the boot camp scenes after he taunted D'Onofrio while laughing with the film's extras between takes.[47] During filming, Ermey was injured in a car crash and broke several ribs, leaving him unavailable for four and a half months.[24][48] During Cowboy's death scene, a building that resembles the alien monolith in Kubrick's 2001: A Space Odyssey (1968) is visible. Kubrick described this as an "extraordinary accident."[24] During filming, Hasford contemplated legal action over the writing credits. Originally, the filmmakers intended Hasford to receive an "additional dialogue" credit, but he fought for and eventually received full credit.[23] Hasford and two friends visited the set dressed as extras but was mistaken by a crew member for Herr. Hasford identified himself as the writer of the source material.[22] Kubrick's daughter Vivian, who appears uncredited as a news camera operator, shadowed the filming of Full Metal Jacket. She filmed 18 hours of behind-the-scenes footage for a potential "making-of" documentary that went unmade. Sections of her work can be seen in the documentary Stanley Kubrick's Boxes (2008).[49][50] Themes [edit] Michael Pursell's essay "Full Metal Jacket: The Unravelling of Patriarchy" (1988) was an early, in-depth consideration of the film's two-part structure and its criticism of masculinity. Pursell wrote that the film shows "war and pornography as facets of the same system."[51] Many reviewers praised the military brainwashing themes in the boot-camp portion of the film while viewing the film's second half as more confusing and disjointed. Rita Kempley of The Washington Post wrote, "it's as if they borrowed bits of every war movie to make this eclectic finale."[52] Roger Ebert saw the film as an attempt to tell a story of individual characters and the war's effects on them. According to Ebert, the result is a shapeless film that feels "more like a book of short stories than a novel."[53] Julian Rice, in his book Kubrick's Hope (2008), saw the second part of the film as a continuation of Joker's psychic journey in his attempt to understand human evil.[54] Tony Lucia, in his 1987 review of Full Metal Jacket for the Reading Eagle, examined the themes of Kubrick's career, suggesting "the unifying element may be the ordinary man dwarfed by situations too vast and imposing to handle." Lucia refers to the "military mentality" in this film and also said the theme covers "a man testing himself against his own limitations," and concluded: "Full Metal Jacket is the latest chapter in an ongoing movie which is not merely a comment on our time or a time past, but on something that reaches beyond."[55] British critic Gilbert Adair wrote, "Kubrick's approach to language has always been reductive and uncompromisingly deterministic in nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all the whims, shades and modulations of personal expression." Michael Herr wrote of his work on the screenplay, "The substance was single-minded, the old and always serious problem of how you put into a film or a book the living, behaving presence of what Jung called the shadow, the most accessible of archetypes, and the easiest to experience ... War is the ultimate field of Shadow-activity, where all of its other activities lead you. As they expressed it in Vietnam, 'Yea, though I walk through the Valley of the Shadow of Death, I will fear no Evil, for I am the Evil'." Music [edit] Kubrick's daughter Vivian, under the alias Abigail Mead, wrote the film's score. According to an interview in the January 1988 issue of Keyboard, the film was scored mostly with a Series III edition Fairlight CMI synthesizer and a Synclavier. For the period music, Kubrick reviewed Billboard's list of the top 100 hits for each year from 1962 to 1968, considering many songs but finding that "sometimes the dynamic range of the music was too great, and we couldn't work in dialogue."[24] A single titled "Full Metal Jacket (I Wanna Be Your Drill Instructor)," credited to Mead and Nigel Goulding, was released to promote the film and incorporates Ermey's drill cadences from the film. The single reached #1 in Ireland, #2 in the UK,[58] #4 in both the Netherlands and the Flanders region of Belgium, #8 in West Germany, #11 in Sweden and #29 in New Zealand. Release [edit] Box office [edit] Full Metal Jacket received a limited release on June 26, 1987, in 215 theaters.[4] During its opening weekend, it accrued $2.2 million, an average of $10,313 per theater, ranking it the number 10 film for the weekend June 26–28.[4] It took a further $2 million for a total of $5.7 million before being widely released in 881 theaters on July 10, 1987.[4] The weekend of July 10–12 saw the film gross $6.1 million, an average of $6,901 per theater, and rank as the second-highest-grossing film. Over the next four weeks the film opened in a further 194 theaters to its widest release of 1,075 theaters; it closed two weeks later with a total gross of $46.4 million, making it the twenty-third-highest-grossing film of 1987.[4][59] As of 1998 , the film had grossed $120 million worldwide.[5] Home media [edit] The home media release history of Full Metal Jacket is summarized in the following table. Minor cuts to the 1h 57m theatrical version were made to comply with the censor boards overseeing the various territories in which the film was released. For technical reasons the PAL mastering standard speeds up playback by around 4% compared with NTSC, leading to slightly shorter runtimes (around 1h 52m) in releases mastered for territories other than the US and Japan.[60] Territory Title Released Publisher Aspect Ratio Cut Runtime Commentaries Mix Resolution Master Medium USA #3000082901[61] September 22, 2020[62] Warner Home Video 1.78:1 Theatrical 1h 56m none 5.1, mono (192 kbps) 2160p 4K Blu-ray #3000082360[63] September 22, 2020[64] 5.1 #3000083363[65] September 22, 2020[66] 1080p UK September 22, 2020[67] 2160p USA #118627 May 7, 2013[68] 1.85:1[69] 1080p 2K October 16, 2012 1.78:1 480i DVD #201341 October 16, 2012[70] 1.78:1[71] 1080p Blu-ray #400002309 August 7, 2012[72] 1.78:1 1h 57m[73] #5000099235[74] May 23, 2011[75] 1h 52m #80931 October 28, 2007 1.78:1[76] HD-DVD #118627 October 23, 2007[77] 1.78:1[78] 1h 56m[79] Blu-ray #116116 2007 1.85:1[80] 1h 57m 480i DVD UK #Z1 80931[81] 1.78:1 1080p HD-DVD #Z1 Y18626[82] 2007 Germany #Z1 Y18626[83] 1h 57m USA #116311 May 15, 2007[84] 1.33:1[85] 1h 56m 480i DVD Sweden #Z11 80931[86] 1.78:1 1080p HD-DVD #Z11 Y18626[87] 1h 57m Norway #Z12 Y18626[88] 1h 57m Germany #Z5 80931[89] 1h 56m France #Z7 80931 2006 USA September 5, 2006[90] 1.77:1[91] 1h 57m[92] 1080p[93] Blu-ray Japan #WBHA-80931[94] November 3, 2006 1.78:1 1h 57m 1080p HD-DVD USA #11826[95] May 16, 2006 November 6, 2001[96] 1.33:1[97] 480i DVD June 12, 2001[98] 1.85:1[99] #21154 2001 1.33:1 1h 56m mono 240 lines NTSC VHS June 29, 2001[100] mono[101] 480i DVD France #1176013[102] 1995 mono 425 lines PAL LaserDisc UK #PES 11760 1993 240 lines NTSC VHS USA #11760[103] 1991 1h 57m 425 lines LaserDisc Finland #WES 11760 1991 Fazer Musiikki 1h 52m 576 lines PAL VHS USA #11760 1990 Warner Home Video 1h 57m 425 lines NTSC LaserDisc Japan #NJL-11760 July 25, 1989[104] #VHP47012 1989[105] 1h 56m 320 lines VHD USA #11760 1988 240 lines VHS Japan #NJV 11660 1987 Australia #PEV 11760 1987 1h 55m 576 lines PAL USA 1987 240 lines NTSC VHS The 2020 4K UHD release uses a new HDR remastered native 2160p that was transferred from the original 35mm negative, which was supervised by Kubrick's personal assistant Leon Vitali. It contains the remixed audio and, for the first time since the original DVD release, the theatrical mono mix. The release was a critical success; publications praised its image and audio quality, calling the former exceptionally good and faithful to the original theatrical release, and Kubrick's vision while noting the lack of new extras and bonus content.[106][107][108] A collector's edition box set of this 4K UHD version was released with different cover art, a replica theatrical poster of the film, a letter from director Stanley Kubrick, and a booklet about the film's production among other extras.[109] Critical reception [edit] Review aggregator website Rotten Tomatoes retrospectively collected reviews to give the film a score of 90% based on reviews from 84 critics and an average rating of 8.3/10. The summary states; "Intense, tightly constructed, and darkly comic at times, Stanley Kubrick's Full Metal Jacket may not boast the most original of themes, but it is exceedingly effective at communicating them."[110][111] Another aggregator, Metacritic, gave it a score of 76 out of 100 based on 19 reviews, which indicates a "generally favorable" response.[112] Reviewers generally reacted favorably to the cast—Ermey in particular—[113][114] and the film's first act about recruit training.[115][116] Several reviews, however, were critical of the latter part of the film, which is set in Vietnam, and what was considered a "muddled" moral message in the finale.[117][53] Richard Corliss of Time called the film a "technical knockout," praising "the dialogue's wild, desperate wit; the daring in choosing a desultory skirmish to make a point about war's pointlessness," and "the fine, large performances of almost every actor," saying Ermey and D'Onofrio would receive Oscar nominations. Corliss appreciated "the Olympian elegance and precision of Kubrick's filmmaking."[113] Empire's Ian Nathan awarded the film three stars out of five, saying it is "inconsistent" and describing it as "both powerful and frustratingly unengaged." Nathan said after the opening act, which concerns the recruit training, the film becomes "bereft of purpose"; nevertheless, he summarized his review by calling it a "hardy Kubrickian effort that warms on you with repeated viewings" and praised Ermey's "staggering performance."[116] Vincent Canby of The New York Times called the film "harrowing, beautiful and characteristically eccentric." Canby echoed praise for Ermey, calling him "the film's stunning surprise ... he's so good—so obsessed—that you might think he wrote his own lines."[b] Canby said D'Onofrio's performance should be admired and described Modine as "one of the best, most adaptable young film actors of his generation," and concluded Full Metal Jacket is "a film of immense and very rare imagination."[118] Jim Hall, writing for Film4 in 2010, awarded the film five stars out of five and added to the praise for Ermey, saying his "performance as the foul-mouthed Hartman is justly celebrated and it's difficult to imagine the film working anything like as effectively without him." The review preferred the opening training segment to the later Vietnam sequence, calling it "far more striking than the second and longer section." Hall commented the film ends abruptly but felt "it demonstrates just how clear and precise the director's vision could be when he resisted a fatal tendency for indulgence." Hall concluded; "Full Metal Jacket ranks with Dr. Strangelove as one of Kubrick's very best."[115] Jonathan Rosenbaum of the Chicago Reader called it "Elliptical, full of subtle inner rhymes ... and profoundly moving, this is the most tightly crafted Kubrick film since Dr. Strangelove, as well as the most horrific."[119] Variety called the film an "intense, schematic, superbly made" drama that is "loaded with vivid, outrageously vulgar military vernacular that contributes heavily to the film's power" but said it never develops "a particularly strong narrative." The cast performances were all labeled "exceptional"; Modine was singled out as "embodying both what it takes to survive in the war and a certain omniscience."[114] Gilbert Adair, writing about Full Metal Jacket, commented: "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression." Chicago Sun-Times critic Roger Ebert called Full Metal Jacket "strangely shapeless" and awarded it two and a half stars out of four. Ebert called it "one of the best-looking war movies ever made on sets and stage" but said this was not enough to compete with the "awesome reality of Platoon, Apocalypse Now and The Deer Hunter." Ebert criticized the film's Vietnam-set second act, saying the "movie disintegrates into a series of self-contained set pieces, none of them quite satisfying" and concluded the film's message is "too little and too late," having been done by other Vietnam war films. Ebert praised Ermey and D'Onofrio, saying: "These are the two best performances in the movie, which never recovers after they leave the scene."[53] Ebert's review angered Gene Siskel on their television show At The Movies; he criticized Ebert for liking Benji the Hunted more than Full Metal Jacket.[121] Time Out London disliked the film, saying: "Kubrick's direction is as steely cold and manipulative as the régime it depicts," and that the characters are underdeveloped, adding "we never really get to know, let alone care about, the hapless recruits on view."[117] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[122] British television channel Channel 4 voted Full Metal Jacket fifth on its list of the greatest war films ever made.[123] In 2008, Empire placed the film at number 457 on its list of "The 500 Greatest Movies of All Time."[124] In 2010, The Guardian ranked it 19th on its list of the "25 best action and war films of all time."[125] The film is ranked 95 on the American Film Institute's 100 Years... 100 Thrills list, which was published in 2001.[126] Accolades [edit] Between 1987 and 1989, Full Metal Jacket was nominated for eleven awards, including an Academy Award for Best Adapted Screenplay,[127][128] two BAFTA Awards for Best Sound and Best Special Effects,[129] and a Golden Globe for Best Supporting Actor for Ermey.[130] It won five awards, including three from overseas; Best Foreign Language Film from the Japanese Academy, Best Producer from the Academy of Italian Cinema,[131] Director of the Year at the London Critics Circle Film Awards and Best Director and Best Supporting Actor at the Boston Society of Film Critics Awards for Kubrick and Ermey respectively.[132] Of the five awards it won, four were awarded to Kubrick and the other was given to Ermey. Year Award Category Recipient Result Ref. 1987 BAFTA Awards Best Sound Nigel Galt, Edward Tise and Andy Nelson Nominated [129] Best Special Effects John Evans Nominated [129] 1988 Academy Awards Best Adapted Screenplay Stanley Kubrick, Michael Herr and Gustav Hasford Nominated [127][128] Boston Society of Film Critics Awards Best Director Stanley Kubrick Won [132] Best Supporting Actor R. Lee Ermey Won David di Donatello Awards Best Producer – Foreign film Stanley Kubrick Won [131] Golden Globes Best Supporting Actor – Motion Picture R. Lee Ermey Nominated [130] London Critics Circle Film Awards Director of the Year Stanley Kubrick Won Writers Guild of America Best Adapted Screenplay Stanley Kubrick, Michael Herr, Gustav Hasford Nominated 1989 Kinema Junpo Awards Best Foreign Language Film Director Stanley Kubrick Won Awards of the Japanese Academy Best Foreign Language Film Stanley Kubrick Nominated Differences between novel and screenplay [edit] See also: The Short-Timers § Film adaptation Film scholar Greg Jenkins has analyzed the adaptation of the novel as a screenplay. The novel is in three parts and the film greatly expands the relatively brief first section about the boot camp on Parris Island and essentially discards Part III. This gives the film a twofold structure, telling two largely independent stories that are connected by the same characters. Jenkins said this structure is a development of concepts Kubrick originally discussed in the 1960s, when he talked about wanting to explode the usual conventions of narrative structure. Sergeant Hartman, who is renamed from the book's Gerheim, has an expanded role in the film. Private Pyle's incompetence is presented as weighing negatively on the rest of the platoon; unlike those in the novel, he is the only under-performing recruit. The film omits Gerheim's disclosure he thinks Pyle might be mentally unstable—a "Section."—to the other troops; instead, Joker questions Pyle's mental state. In contrast, Hartman praises Pyle, saying he is "born again hard." Jenkins says that portraying Hartman as having a warmer social relationship with the troops would have upset the balance of the film, which depends on the spectacle of ordinary soldiers coming to grips with Hartman as a force of nature who embodies a killer culture. Some scenes in the book were removed from the screenplay or conflated with others. For example, Cowboy's introduction of the "Lusthog Squad" was markedly shortened and supplemented with material from other sections of the book. Although the book's third section was largely omitted, elements from it were inserted into other parts of the film. For instance, the climactic episode with the sniper is a conflation of two sections of Parts II and III of the book. According to Jenkins, the film presents this passage more dramatically but in less gruesome detail than the novel. The film often has a more tragic tone than the book, which relies on callous humor. In the film, Joker remains a model of humane thinking, as evidenced by his moral struggle in the sniper scene and elsewhere. Joker works to overcome his own meekness rather than compete with other Marines. The film omits Joker's eventual domination over Animal Mother shown in the book. The film also omits Rafterman's death; according to Jenkins, this allows viewers to reflect on Rafterman's personal growth and speculate on his future growth after the war. In popular culture [edit] The line "Me so horny. Me love you long time," which is uttered by the Da Nang street prostitute to Joker, became a catchphrase in popular culture[138][139] and was sampled by rap artists 2 Live Crew in their 1989 hit "Me So Horny" and by Sir Mix-A-Lot in "Baby Got Back" (1992).[140][141] See also [edit] Paths of Glory Project 100,000 Vietnam War in film Battle of Huế Notes [edit] References [edit] Bibliography [edit] Baxter, John (1997). Stanley Kubrick: A Biography. Harper. ISBN 978-0-00-638445-8. Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750. Jenkins, Greg (1997). Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films. McFarland. ISBN 978-0-7864-3097-0. Kubrick, S.; Herr, M.; Hasford, G. (1987). Full Metal Jacket: The Screenplay. Borzoi book. Knopf. ISBN 978-0-394-75823-7. Kubrick, Stanley (1987). Full Metal Jacket. Knopf. ISBN 978-0394758237. Modine, Matthew (2005). Full Metal Jacket Diary. Rugged Land. ISBN 978-1590710470.
205	dbpedia	3	70	https://filmtalk.org/2014/12/14/jon-voight-i-can-play-many-things-now-that-i-couldnt-play-before/	en	INTERVIEWS WITH ACTORS AND FILMMAKERSINTERVIEWS WITH ACTORS AND FILMMAKERS	https://i0.wp.com/filmta…=750%2C538&ssl=1	https://i0.wp.com/filmta…=750%2C538&ssl=1	[ "https://i0.wp.com/filmtalk.org/wp-content/uploads/2014/12/jon-voight-scan-05-e1477133325932.jpg?fit=750%2C538&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2015/06/jon-voight-2-poster-midnight-cowboy-e1434132954338.jpg?resize=337%2C535&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2015/06/jon-voight-6-poster-the-grapes-of-wrath-e1434133784733.jpg?resize=356%2C535&ssl=1", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2015/06/jon-voight-3-poster-coming-home-e1434133000375.jpg?resize=333%2C535&ssl=1", "https://filmtalk.org/wp-content/uploads/2023/11/pexels-tima-miroshnichenko-7991579-ENG-JPEG.jpg", "https://i0.wp.com/filmtalk.org/wp-content/uploads/2023/11/Click-here-ENG.jpg?w=940&ssl=1", "https://filmtalk.org/wp-content/uploads/2023/11/SIDEBAR-Press-25-JPEG.jpg", "https://filmtalk.org/wp-content/uploads/2023/11/SIDEBAR-Tags-JPEG-zonder-witte-rand.jpg", "https://filmtalk.org/wp-content/uploads/2023/11/SIDEBAR-Support-us-zonder-rand.jpg" ]	[ "https://www.youtube.com/embed/a2yBydiEJrI?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/W0hB7ZyK6yU?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2014-12-14T00:00:00	Jon Voight (b. 1938), who gained worldwide stardom when portraying the character of Joe Buck in John Schlesinger’s screen classic “Midnight Cowboy” (1969), has had a long and very productive screen career to this day. Almost fifty years after his screen debut in Philip Kaufman’s second feature, “Fearless Frank” (1967), he still has several new…	en	https://i0.wp.com/filmta…it=32%2C32&ssl=1	FILM TALK	https://filmtalk.org/2014/12/14/jon-voight-i-can-play-many-things-now-that-i-couldnt-play-before/	Jon Voight (b. 1938), who gained worldwide stardom when portraying the character of Joe Buck in John Schlesinger’s screen classic “Midnight Cowboy” (1969), has had a long and very productive screen career to this day. Almost fifty years after his screen debut in Philip Kaufman’s second feature, “Fearless Frank” (1967), he still has several new film projects coming up. In this interview from 1998, when he was on location in Belgium for Kevin Brodie’s “A Dog of Flanders,” Mr. Voight talked about his craft as an actor and he also mentioned—very proudly—his daughter Angelina Jolie as an extremely talented and upcoming actress, only shortly before she became the Angelina Jolie. “A Dog of Flanders,” based on Marie Louise de la Ramée’s 1872 short novel published under her pseudonym Ouida, was filmed earlier in the U.S. in 1914, 1924, 1935, and 1959. This was the fifth U.S. version of the story about a Flemish boy Nello and his dog Patrasche, with Mr. Voight in one of the leading roles as a talented painter. He is a four-time Academy Award nominee and Academy Award winner for his leading role in the mature and powerful drama “Coming Home” (1978), who also won four Golden Globes out of eleven nominations. Mr. Voight, after appearing in Franco Zeffirelli’s version of “The Champ” [1979], “A Dog of Flanders” is the second time you appear in a remake. Isn’t it a dangerous move to appear in remakes? I haven’t really repeated myself in my career. I’ve done very few things one like the other, so this is a departure again for me. I’m glad to be doing this; it’s a lovely film for children, and it’s nice to have this generation’s children see it. There are many lessons in it, it gives people hope. It’s a very beautiful film. When “Midnight Cowboy” [1969] was released, you became a star instantly. Yet you preferred character studies instead of star roles. Was that by choice? It was my taste to do the films I did. Those were the films, for the most part, that I thought I understood, and the stories I wanted to be part of. So it’s just my taste, I have no way of explaining other than that. I don’t know what would have made me more popular than what I did, but the roles that I played were the roles that I was interested in as the years went by. But I certainly know the heroic parts, the parts the so-called movie stars play, and I was raised with love for those heroic actors and parts, but for some reason, I play more character work. After “Midnight Cowboy,” you appeared in films as “Catch-22” and “The Revolutionary” [both 1970], sort of anti-establishment films. Is that correct? Those are words from the sixties, anti-establishment. I really always feel it’s interesting to tell the stories that are happening in our time. Every artist is marked by his time because he’s really trying to speak to the people about his time, and I think that’s what I did too. I was trying to speak to the people about my time. So those pieces that you mentioned represent aspects of what I feel is happening, and they are useful to reflect on. Maybe sometimes they are warnings in a way what’s happening, or they’re stories of compassion about what’s going on, an attempt for healing. These are all different ideas, but they’re stories of our time. I’m not trying to make stories that are popular in our time, but rather stories that have relevance in our time, a meaning of our time. It’s very striking that you very often play enriching parts, parts which make you feel proud to be a member of the human race, parts such as Henry Fonda’s role in John Ford’s “The Grapes of Wrath” [1940]. I have a great fondness for that piece, like the ones of Frank Capra, anything that gives us a little hope, but sometimes I made films that are in another genre too, but all of them have meaning to me, for instance, “Runaway Train” [1985]. It’s about no matter how desperate a person becomes; there’s still that spark of goodness within him which can reignite that person. And it’s an important statement. Wasn’t that film a risk, career-wise? All films are a risk, career-wise. I think you do the parts that you find interesting, sometimes you may change your mind about those pieces, I learned from that, and I won’t visit that terrain. Still, I’ve been very fortunate; I’ve done films that were maybe unusual, but I understood what they were saying, and I’ve been rewarded most of the time with appreciation from the critics and a good-size audience. “Conrack” [1974], for instance, was not a film that was a success initially in the theaters, but it has a tremendous following. It continues to be shown; people come up to me, and often talk about it. You are one of the very few actors to portray interesting in-depth roles and who’s popular and well-known to the audience as well, right? In my generation, there are many character actors that have had influence, like Dustin Hoffman, Al Pacino, De Niro, Jack Nicholson. My generation had really good character actors, but then I have been able to sustain some popularity which is unusual in a very small group of people. However big it is, it’s a small group of people that can sustain a rather large career doing these kinds of things. So I’m very fortunate. Several films you made are, on the surface, not very commercial, at least not as commercial as several of the actors you mentioned. Is that correct? Perhaps, but those people try to maintain themselves in the public eye by doing the kinds of pieces they’re popular for; I’ve done mostly the things that were offered me and that I was drawn to. What is the most gratifying response you ever got? The critics, the audience, someone who comes up to you to thank you? I think the most gratifying is my own judgment, when I look at it and can say: ‘This has meaning, this will be good for people, I’m proud of this.’ When I feel that way, audiences usually will follow. They will respond the way I did. I go to a film, and I look at it, and I like it if I get something from it. I’m sure that it has value for others. I usually have been right. I never had a film that I was really in love with in its final form that wasn’t stirring to audiences. Are you still able to judge your own work objectively after being involved with it so closely? Oh yes. At first, it’s like yes, I know where I was when I shot that and that, but it’s the way your contribution has been used by the editor, the musicians, by the final shape of it. I know what I intended and what I gave. If they use it wisely, then it’s another level; it’s somebody using my work to bring the story to me. Therefore it’s almost like looking at somebody else’s work instead of my own. So it’s the storytelling that I’m following, and if they make mistakes, I see those, but if they don’t and if they sometimes help it, they make it richer. That’s a wonderful feeling. Have you ever considered directing a film yourself? Yes, I have, and I will. But I have a couple more years of good acting to do; I directed one little film, “The Tin Soldier” [1995], for television in the States, and it got a lot of success at the film festivals. It was a popular little piece, so I know I can do that. I did that on a very small budget, on a very short schedule, so it was a good test for me. I was very pleased. Looking at the list of films you made, there are sometimes periods of a few years in between. Was that due to your stage work? I did some stage work at that time, but there also have been many things that happened to me in my life, many life changes. My mother passed away, and I had been spending a lot of time with her. I mean, we all pass away at one point or another; after a long illness, sometimes you’re grateful when the moment comes that the person can be at peace, that the labor is done, and that the reward should come. She was very ill for a while, and I spent a lot of time with her and my two brothers. We all took turns taking care of her. What do you consider the highlights of your career so far? The Oscar, the Cannes Film Festival [both for “Coming Home,” 1978],…? I think the awards are wonderful because they give a tension to good work. I’m very grateful for the awards. I have a film, “The General” [1998], that’s going to the Cannes Film Festival this year. I have a small part in it, but it’s a good part. John Boorman directed the film; it’s the first time we worked together since “Deliverance” [1972]. I’m very grateful that Cannes was excited to take it and I know that it will help the film. I hope that it is awarded there; I think it’s a wonderful film [the film was nominated for the Golden Palm and John Boorman won the Best Director award at the Festival]. So the rewards I received have been supporting the films I believed in. The personal stuff is of a different nature. The Academy Award meant that people wanted me to come back; they loved me, and they wanted to give me that tension. Of course, “Coming Home” was a beautiful film, done by a wonderful director [Hal Ashby], with wonderful actors, and it was a labor of great love for us all. So that was a very satisfying moment. Have you ever considered doing comedy? Yes, I have. I love comedy, and I was really raised on the best comedy. I loved comic films of all kinds, great television performers who were splendid, and the old comedies, Laurel and Hardy, and I’ve been successful on stage with comedy. In film, I haven’t done very much comedy, and yet, all the characters that I do have some humor based to me. You know, lots of the choices I make, are worn of comedy. Lots of the stuff in “Midnight Cowboy” [1969] is very comedic. That was a joy to play. I try to put humor in all the films that I do, but I don’t think about it. It’s natural for me to always do things that make me giggle a little bit. Sometimes when you giggle about something, or you laugh about it, it’s usually pretty close to life. You’re usually on to something. Life is very… alive, with amazing, crazy things. Like in “Runaway Train,” I found a lot of comedy. I enjoyed playing the character because he was so audacious, I can remember the scenes very well, what the character said, what he did. It was funny to me, but not funny in the way you would laugh almost from the grotesqueness of from the strangeness, you know. It’s just the organic choices that happen. So I love a good comedy. And I would like to take the time, it’s almost like I don’t have the time for it—these pieces that I feel strongly about, not necessarily for my character, but for the story. If it’s an important story, I’m happy to do it, to see if we can bring it as closely as we can be. If it’s a beautiful story, let’s see how close we can get, that’s the idea. “Midnight Cowboy” (1969, trailer) What do you consider your strongest assets as an actor? It’s funny. I can’t be too objective, I’m not analytic about myself that way, about my contribution or what it is. But I seem to know when something is in my range. So what is that range? What does that mean? I don’t know exactly. But I know that I’m starting to gain a certain kind of weight as I’m getting older, in terms of the things that I can play—like maturity, which is kind of appealing to me. I can play many things now that I couldn’t play before. All my roles have to be intelligent—no, that’s not true, I’ve been playing people without intelligence—it’s almost like, I suppose there’s a certain sensibility I have, this is true for every artist that brings a certain emotion to a role. It’s carved out of my intelligence, and what’s the strength of it? I don’t know; maybe it’s that I’m always a storyteller. That’s my main strength. I want people to go on a journey, so if I do a character that is very authentic, but the story isn’t told, I wouldn’t be satisfied. The story itself is what I’m focused at. When that happens, when the audience goes on a journey, it’s a story that’s being told, and then I’m happy. I seem to have a good intelligence about storytelling, and I think maybe that’s my greatest gift. Along with your voice? Really? Well, I debuted on the stage with “Sound of Music” in 1962. I consider to return to Broadway, but it’s the same as with comedy. For me, the things that I need to say are not in that genre. I know that I have to do this work; I know that I just have to bring these stories, sometimes disturbing, sometimes brave stories—stories that have a focus to make people aware, to stir them, to change, whatever the point is. Those stories are mine to do, and while I love comedy, there are other people who are doing comedies that are making people laugh. They’re doing a wonderful job. In this life, I feel that my strengths are in drama and the dramatic area, and I can bring joy to those dramatic areas. It’s like when I saw Laurence Olivier do “Othello” [1965], which was stunning. Although the film is a filmed play, it doesn’t have the cinematic qualities that we enjoy of film, but criticize it is insane because it’s a brilliant, brilliant performance of that role. And anybody who does Othello would better go and look Olivier’s Othello. Not that they should do it the same, but they should know what the journey is about, so they can make their own choices. They should know what he carved the shape of the role for. Some of the things that he chose to do in that performance—I remember vividly seeing that performance on film—I was trying to see it in different places in the world on stage and I’ve missed it several times. And finally, the film came out, and I was able to see it on film; I watched it, and many scenes, almost all the way through it, I was laughing. I wasn’t laughing because it was comedic, I was laughing because it was so right. It was such a proper thing to do, such a proper interpretation. That’s where I find my fun, when I can find the answer in the role. If I could tell a story in a role to bring people on this journey, then I feel the happiness about that. I love the stage; the nervousness before going on stage, that anxious feeling, and the worrying that takes place right prior to your stepping in front of the footlights for a big audience, I love it, and I love the idea of every night trying to make it better. Each night, finding a new aspect to try, it’s an indulgence for me because I should be spending my time doing as many film stories and contributing in that way. Aside from that, I have a lot of interest in causes, and I’m very watchful about what’s happening this time. I’m very concerned about the children, the new generations of children that we’re passing the world on to, and those are my concerns as well. I feel that I have a lot of things that I have to attend to. Aside from being an artist, I have other aspects of responsibility. Ever considered running for office? No, I have not considered that, although I’m very interested in the way leadership marks our world. We do need leadership when we see people make a difference for the positive, it’s a wonderful thing. Because it’s very easy to see the human side and all of the mistakes we can make, but somehow good people can rally together and overcome any problem. When you think of it, so many problems in the world have been overcome, even in my lifetime. There’s been a great battle for racial justice in our country, and many major battles have been won in my lifetime. There are other aspects where negative forces have been prevalent and unable to diffuse, but there is always hope, and there are individual people and groups of good people who can solve any problem, it seems. So there’s hope. Individual people have made a difference. And there are always villains as well. So I’m interested in politics, but I don’t know that I will be very helpful in that capacity. I’m more helpful as an artist. So you’re not only a great actor, a great philosopher, but also a great painter? You said that, I didn’t say that! [laughs.] A great painter? Well, in this role, I am. Of course, it’s about Rubens—one of the nice things about my character is, it has nice aspects. I like this character. He talks about art, and the boy asks him, ‘Are you a great artist?’ And he says, ‘Well, certainly I strive to be, but unfortunately I think I’m probably not.’ Then the boy talks about Rubens and he says, ‘Well, Rubens had a talent like an eternal flame.’ He says, ‘Well, I just have to be satisfied with occasional flickers—like a firefly.’ It’s a beautiful thing to say because Rubens certainly was a titanic, quite amazing talent and he had all the things you just said. He was authentically a great philosopher, a great politician, and he was a great artist. The character you played in Martin Ritt’s “Conrack” [1974], is that a character you can identify with closely? Yes, I agree with that. The humor, his charm, yeah, that’s close. A good choice. Mechelen, Belgium May 1998 “Coming Home” (1978, trailer) FILMS FEARLESS FRANK (1967) DIR – PROD – SCR Philip Kaufman CAM Bill Butler ED Luke Bennett, Aram Boyajian MUS Meyer Kupferman CAST Jon Voight (Fearless Frank), Monique Van Vooren, Severn Darden, Joan Darling, Lou Gilbert, Ben Carruthers, Ken Nordine, Nelson Algren HOUR OF THE GUN (1967) DIR – PROD John Sturges SCR Edward Anhalt CAM Lucien Ballard ED Ferris Webster MUS Jerry Goldsmith CAST James Garner, Jason Robards, Robert Ryan, Albert Salmi, William Windom, Monte Markham, Jon Voight (Curly Bill Brocius), Edward Anhalt MIDNIGHT COWBOY (1969) DIR John Schlesinger PROD Jerome Hellman SCR Waldo Salt (novel ‘Midnight Cowboy’ [1965] by James Leo Herlihy) CAM Adam Holender ED Hugh A. Robertson MUS John Barry CAST Dustin Hoffman, Jon Voight (Joe Buck), Brenda Vaccaro, John McGiver, Sylvia Miles, Barnard Hughes, Ruth White, Jennifer Salt, Bob Balaban, Viva, International Velvet, Paul Morrissey, Sandy Duncan, Waldo Salt, M. Emmet Walsh OUT OF IT (1969) DIR – SCR Paul Williams PROD Edward Pressman CAM John G. Avildsen ED Ed Orshan MUS Michael Small CAST Barry Gordon, Jon Voight (Russ), Lada Edmund, Jr., Gretchen Corbett, Peter Grad, Martin Gray, Leonard Gelber, Michael V. Gazzo CATCH-22 (1970) DIR Mike Nichols PROD Martin Ransohoff, John Calley SCR Buck Henry (novel ‘Catch-22’ [1961] by Joseph Heller) CAM David Watkin ED Sam O’Steen CAST Alan Arkin, Martin Balsam, Richard Benjamin, Art Garfunkel, Jack Gilford, Buck Henry, Bob Newhart, Anthony Perkins, Paula Prentiss, Martin Sheen, Jon Voight (First Lieutenant Milo Minderbinder), Orson Welles, Bob Balaban, Norman Fell, Charles Grodin, Marcel Dalio, Elizabeth Wilson THE REVOLUTIONARY (1970) DIR Paul Williams PROD Edward Rambach Pressman SCR Hans Koningsberger (also novel ‘The Revolutionary: A Novel’ [1967]) CAM Brian Probyn ED Henry Richardson MUS Michael Small CAST Jon Voight (A), Seymour Cassel, Robert Duvall, Collin Wilcox Paxton, Jennifer Salt, Elliott Sullivan, Julie Garfield, DELIVERANCE (1972) DIR – PROD John Boorman SCR James Dickey (also novel ‘Deliverance’ [1970]) CAM Vilmos Zsigmond ED Tom Priestley CAST Jon Voight (Ed), Burt Reynolds, Ned Beatty, Ronny Cox, Ed Ramsey, Billy Redden, Seamon Glass, Randall Deal, Charley Boorman THE ALL-AMERICAN BOY (1973) DIR – SCR Charles Eastman PROD Joseph T. Naar, Saul J. Krugman CAM Philip H. Lathrop ED Christopher Holmes, Ralph Winters, William Neel CAST Jon Voight (Vic Bealer), Nancie Phillips, Art Metrano, Kathy Mahoney, Carole Androsky, Jeanne Cooper, Anne Archer, Jamie Farr, Ken Norton, Tony Randall CONRACK (1974) DIR Martin Ritt PROD Martin Ritt, Harriet Frank, Jr. SCR Irving Ravetch, Harriet Frank, Jr. (novel ‘The Water Is Wide’ [1972] by Pat Conroy) CAM John A. Alonzo ED Frank Bracht MUS John Williams CAST Jon Voight (Pat Conroy), Paul Winfield, Madge Sinclair, Tina Andrews, Antonio Fargas, James O’Rear, Gracia Lee, C.P. MacDonald, Hume Cronyn THE ODESSA FILE (1974) DIR Ronald Neame PROD John Woolf SCR Kenneth Ross, George Markstein (novel ‘The Odessa File’ [1972] by Frederick Forsyth) CAM Oswald Morris ED Ralph Kemplen MUS Andrew Lloyd Webber CAST Jon Voight (Peter Miller), Maximillian Schell, Maria Schell, Mary Tamm, Derek Jacobi, Peter Jeffrey, Klaus Löwitz DER RICHTER UND SEIN HENKER, a.k.a. END OF THE GAME (1975) DIR Maximillian Schell PROD Maximillian Schell, Arlene Sellers SCR Maximillian Schell, Friedrich Dürrenmatt, Roberto De Leonardis (novella ‘Der Richter und Sein Henker’ [1950], a.k.a. ‘The Judge and His Hangman,’ by Friedrich Dürrenmatt) CAM Roberto Gerardi, Ennio Guarnieri, Klaus König ED Dagmar Hirtz MUS Ennio Morricone CAST Jon Voight (Walter Tschanz), Jacqueline Bisset, Martin Ritt, Robert Shaw, Helmut Qualtinger, Gabriele Ferzetti, Rita Calderoni, Friedrich Dürrenmatt, Lil Dagover, Donald Sutherland COMING HOME (1978) DIR Hal Ashby PROD Jerome Hellman SCR Waldo Salt, Robert C. Jones (story by Nancy Dowd) CAM Haskell Wexler ED Don Zimmerman CAST Jane Fonda, Jon Voight (Luke Martin), Bruce Dern, Penelope Milford, Robert Carradine, Robert Ginty, Mary Gregory, Kathleen Miller, Hal Ashby THE CHAMP (1979) DIR Franco Zeffirelli PROD Dyson Lovell SCR Walter Newman (story by Frances Marion) CAM Fred J. Koenekamp ED Michael J. Sheridan MUS Dave Grusin CAST Jon Voight (Billy), Faye Dunaway, Ricky Schroder, Jack Warden, Arthur Hill, Strother Martin, Joan Blondell, Mary Jo Catlett, Elisha Cook, Jr. LOOKIN’ TO GET OUT (1982) DIR Hal Ashby PROD Andrew Braunsberg, Edward Teets, Robert Schaffel SCR Jon Voight, Al Schwartz CAM Haskell Wexler ED Eva Gardos, Walton Dornisch, Janice Hampton, Wayne Wahrman, Robert C. Jones MUS Miles Goodman, Johnny Mandel CAST Jon Voight (Alex Kovan), Ann-Margret, Burt Young, Bert Remsen, Jude Ferrese, Allen Keller, Richard Bradford, Angelina Jolie TABLE FOR FIVE (1983) DIR Robert Lieberman PROD Robert Schaffel SCR David Seltzer CAM Vilmos Zsigmond ED Michael Kahn MUS Miles Goodman, John Morris CAST Jon Voight (J.P. Tannen), Richard Crenna, Marie-Christine Barrault, Millie Perkins, Roxana Zal, Robby Kiger, Kevin Costner RUNAWAY TRAIN (1985) DIR Andrei Konchalovsky PROD Yoram Globus, Menahem Golan SCR Djordje Milicevic, Paul Zindel, Edward Bunker (story by Ryûzô Kikushima, Hideo Oguni; original screenplay by Akira Kurosawa) CAM Alan Hume ED Henry Richardson MUS Trevor Jones CAST Jon Voight (Oscar ‘Manny’ Manheim), Eric Roberts, Rebecca De Mornay, Kyle T. Heffner, John P. Ryan, Kenneth McMillan DESERT BLOOM (1986) DIR Eugene Corr PROD Michael Hausman SCR (story by Eugene Corr, Linda Remy) CAM Reynaldo Villalobos ED Cari Coughlin, David Garfield, John Currin MUS Brad Fiedel CAST Jon Voight (), JoBeth Williams, Annabeth Gish, Ellen Barkin, Jay Underwood, Allen Garfield, Desiree Joseph, Christine Lahti (voice only) ETERNITY (1990) DIR – PROD Steven Paul SCR Jon Voight, Steven Paul, Dorothy Koster Paul CAM John Lambert ED Peter Zinner, Michael J. Sheridan MUS Michel Legrand CAST Jon Voight (Edward / James), Armand Assante, Wilford Brimley, Eileen Davidson, Frankie Valli, Kaye Ballard, Eugene Roche, Steven Paul, Lainie Kazan HEAT (1995) DIR – SCR Michael Mann PROD Michael Mann, Art Linson CAM Dante Spinotti ED Pasquale Buba, William Goldenberg, Dov Hoenig, Tom Rolf MUS Elliot Goldenthal CAST Al Pacino, Robert De Niro, Val Kilmer, Jon Voight (Nate), Tom Sizemore, Diane Venora, Amy Brenneman, Ashley Judd, Natalie Portman, Bud Cort MISSION: IMPOSSIBLE (1996) DIR Brian De Palma PROD Tom Cruise, Paula Wagner SCR Robert Towne, David Koepp (story by David Koepp, Steven Zaillian) CAM Stephen H. Burum ED Paul Hirsch MUS Danny Elfman CAST Tom Cruise, Jon Voight (Jim Phelps), Emmanuelle Béart, Henry Czerny, Jean Reno, Ving Rhames, Kristin Scott-Thomas, Vanessa Redgrave, Emilio Estevez ROSEWOOD (1997) DIR John Singleton PROD Jon Peters SCR Gregory Poirier CAM Johnny E. Jensen ED Bruce Cannon MUS John Williams CAST Jon Voight (John Wright), Ving Rhames, Don Cheadle, Bruce McGill, Loren Dean, Esther Rolle, Elise Neal, Robert Patrick ANACONDA (1997) DIR Luis Llosa PROD Carole Little, Verna Harrah, Leonard Rabinowitz, Jack Epps, Jr. SCR Hans Bauer, Jim Cash, Jack Epps, Jr. CAM Bill Butler ED Michael R. Miller MUS Randy Edelman CAST Jon Voight (Paul Serone), Jennifer Lopez, Eric Stoltz, Ice Cube, Owen Wilson, Jonathan Hyde, Kari Wuhrer, Danny Trejo U-TURN (1997) DIR Oliver Stone PROD Clayton Townsend, Dan Halsted SCR John Ridley (also book ‘Stray Dogs’ [1997]) CAM Robert Richazrdson ED Hank Corwin, Thomas J. Nordberg MUS Ennio Morricone CAST Sean Penn, Jennifer Lopez, Nick Nolte, Billy Bob Thornton, Powers Boothe, Jon Voight (Blind man), Bo Hopkins, Julie Haggerty, Claire Danes, Joaquin Phoenix, Laurie Metcalf MOST WANTED (1997) DIR David Glenn Hogan PROD Eric L. Gold SCR Keenen Ivory Wayans CAM Marc Reshovsky ED Michael J. Duthie, Mark Helfrich MUS Paul Buckmaster CAST Keenen Ivory Wayans, Jon Voight (General Adam Woodward / Lieutenant Colonel Grant Casey), Robert Kotecki, Wolfgang Bodison, Jill Hennessy, Eric Roberts, Robert Culp, Paul Sorvino THE RAINMAKER (1997) DIR Francis Ford Coppola PROD Michael Douglas, Fred Fuchs, Steven Reuther SCR Francis Ford Coppola (novel ‘The Rainmaker’ [1995] by John Grisham) CAM John Toll ED Barry Malkin, Melissa Kent MUS Elmer Bernstein CAST Matt Damon, Danny DeVito, Claire Danes, Jon Voight (Leo F. Drummond), Mary Kay Place, Dean Stockwell, Teresa Wright, Virginia Madsen, Mickey Rourke, Roy Scheider, Danny Glover THE GENERAL (1998) DIR – PROD John Boorman SCR John Boorman (novel ‘The General’ by Paul Williams) CAM Seamus Deasy ED Ron Davis MUS Richie Buckley CAST Brendan Gleeson, Jon Voight (Inspector Ned Kenny), Adrian Dunbar, Sean McGinley, Maria Doyle Kennedy, Angeline Ball, Eamonn Ewens ENEMY OF THE STATE (1998) DIR Tony Scott PROD Jerry Bruckheimer SCR David Marconi CAM Daniel Mindel ED Chris Lebenzon MUS Trevor Rabin, Harry Gregson-Williams CAST Will Smith, Gene Hackman, Jon Voight (Thomas Brian Reynolds), Lisa Bonet, Regina King, Stuart Wilson, Laura Cayouette, Loren Dean, Scott Caan, Jack Black, Larry King, Philip Baker Hall, Tom Sizemore VARSITY BLUES (1999) DIR Brian Robbins PROD Brian Robbins, Tova Laiter SCR W. Peter Iliff CAM Chuck Cohen ED Ned Bastille MUS Mark Isham CAST James Van Der Beek, Jon Voight (Coach Kilmer), Paul Walker, Ron Lester, Scott Caan, Richard Lineback, Tiffany C. Love, Amy Smart A DOG OF FLANDERS (1999) DIR Kevin Brodie PROD Frank Yablans SCR Kevin Brodie, Robert Singer (novel ‘A Dog of Flanders’ [1872] by Ouida) CAM Walther Vanden Ende ED Annamaria Szanto MUS Richard Friedman CAST Jon Voight (Michel), Cheryll Ladd, Jack Warden, Jeremy James Kissner, Jesse James, Bruce McGill, Farren Monet, Steven Hartley, Andrew Bicknell THE PRINCE AND THE SURFER (1999) DIR Arye Gross, Gregory Gieras PROD Steven Paul SCR Gregory Poppen (book ‘The Prince and the Pauper’ [1881] by Mark Twain) CAM Thomas Harding ED Dennis O’Connor MUS Erik Lundmark CAST Sean Kellman, Robert Englund, Vincent Schiavelli, Jennifer O’Neill, C. Thomas Howell, Gregory Poppen, Jon Voight (Presenter) PEARL HARBOR (2001) DIR Michael Bay PROD Michael Bay, Jerry Bruckheimer SCR Randall Wallace CAM John Schwartzman ED Roger Barton, Mark Goldblatt, Chris Ledenzon, Steven Rosenblum MUS Hans Zimmer CAST Ben Affleck, Kate Beckinsdale, Josh Hartnett, Alec Baldwin, Jon Voight (President Franklin Delano Roosevelt), Jennifer Garner, Cuba Gooding, Jr., Dan Aykroyd, Jesse James, Peter Firth, Tom Sizemore, Leland Orser LARA CROFT: TOMB RAIDER (2001) DIR Simon West PROD Lawrence Gordon, Lloyd Levin SCR Patrick Massett, John Zinman (story by Sara B. Cooper, Mike Werb, Michael Colleary; adaptation by Simon West) CAM Peter Menzies, Jr. ED Dallas S. Puett, Glen Scantlebury, Eric Strand, Mark Warner MUS Graeme Levell CAST Angelina Jolie, Jon Voight (Lord Richard Croft), Iain Glen, Noah Taylor, Daniel Craig, Richard Johnson, Christopher Barrie, Leslie Phillips ZOOLANDER (2001) DIR Ben Stiller PROD Ben Stiller, Scott Rudin, Stuart Cornfeld SCR Ben Stiller, John Hamburg, Drake Sather (story by Ben Stiller, Drake Sather) CAM Barry Peterson ED Greg Hayden MUS David Arnold CAST Ben Stiller, Owen Wilson, Christine Taylor, Will Ferrell, Milla Jovovich, Jerry Stiller, Jon Voight (Larry Zoolander), Donald Trump, Christian Slater, Cuba Gooding, Jr., Natalie Portman, Gwen Stefani, Heidi Klum, Paris Hilton, David Bowie, Claudia Schiffer, Justin Theroux, James Marsden, Victoria Beckham, Emma Bunton, Winona Ryder, Vince Vaughn, Donatella Versace, Billy Zane ALI (2001) DIR Michael Mann PROD Michael Mann, Paul Ardaji, A. Kitman Ho, James Lassiter, Jon Peters SCR Michael Mann, Eric Roth, Stephen J. Revele, Christopher Wilkinson (story by Gregory Allen Howard) CAM Emmanuel Lubezki ED William Goldenberg, Lynzee Klingman, Stephen Rivkin, Stuart Waks MUS Peter Bourke, Lisa Gerrard CAST Will Smithy, Jamie Fox, Jon Voight (Howard Cosell), Mario Van Peebles, Ron Silver, Jeffrey Wright, Mykelta Williamson, Jada Pinkett Smith, Bruce McGill HOLES (2003) DIR Andrew Davis PROD Andrew Davis, Lowell D. Blank, Mike Medavoy, Teresa-Tucker Davies SCR Louis Sachar (also novel ‘Holes’ [1998]) CAM Stephen St. John ED Jeffrey Wolf, Thomas J. Nordberg MUS Joel McNeely CAST Sigourney Weaver, Jon Voight (Mr. Sir), Patricia Arquette, Shia LaBeouf, Tim Blake Nelson, Khleo Thomas, Jake M. Smith, Byron Cotton, Brenden Jefferson, Henry Winkler, Eartha Kitt THE MANCHURIAN CANDIDATE (2004) DIR Jonathan Demme PROD Jonathan Demme, Tina Sinatra, Scott Ridin, Ilona Herzberg SCR Daniel Pyne, Dean Georgaris (novel ‘The Manchrian Candidate’ by Richard Condon; screenplay of THE MANCHURIAN CANDIDATE [1962] by George Axelrol) CAM Tak Fujimoto ED Carol Littleton, Craig McKay MUS Rachel Portman CAST Denzel Washington, Meryl Streep, Liev Schreiber, Jon Voight (Senator Thomas Jordan), Kimberly Elise, Jeffrey Wright, Ted Levine, Bruno Ganz, Miguel Ferrer, Dean Stockwell, Roger Corman SUPERBABIES: BABY GENIUSES 2 (2004) DIR Bob Clark PROD Steven Paul SCR Steven Paul, Gregory Poppen CAM Maher Maleh ED Stan Cole MUS Paul Zaza CAST Jon Voight (Bill Biscane / Kane), Scott Baio, Vanessa Angel, Skyler Shaye, Justin Chatwin, Peter Wingfield, Gerry Fitzgerald, Leo Fitzgerald, Whoopi Goldberg NATIONAL TREASURE (2004) DIR Jon Turteltaub PROD Jon Turteltaub, Jerry Bruckheimer SCR Jim Kouf, Cormac Wibberley, Marianne Wibberley (story by Jim Kouf, Oren Aviv, Charles Segars) CAM Caleb Deschanel ED William Goldenberg MUS Trevor Rabin CAST Nicolas Cage, Diane Kruger, Justin Bertha, Sean Bean, Jon Voight (Patrick Gates), Harvey Keitel, Christopher Plummer, David Dayan Fisher GLORY ROAD (2006) DIR James Gartner PROD Jerry Bruckheimer SCR Christopher Cleveland, Bettina Gilois CAM Jeffrey L. Kimball, John Toon ED Jason Hellmann, John Wright MUS Trevor Rabin CAST Josh Lucas, Derek Luke, Austin Nichols, Jon Voight (Adolph Rupp), Evan Jones, Schin A.S. Kerr, Alphonso McAuley, Emily Deschanel THE LEGEND OF SIMON CONJURER (2007) DIR Q. Mark [Stuart Paul] PROD Steven Paul, Eric M. Breiman CAM Howard Atherton, Douglas Milsome ED Ed Marx MUS Michel Legrand CAST Jon Voight (Dr. Crazx), Marcus Shirock, Skyler Shayne, Germaine De Leon, Kennon Sisco, Shane Allen, Kaylin Arason TRANSFORMERS (2007) DIR Michael Bay PROD Don Murphy, Ian Bryce, Tom DeSanto, Lorenzo di Bonaventura SCR Roberto Orci, Alex Kurtman (story by John Rogers, Roberto Orci, Alex Kurtzman) CAM Mitchell Amundsen ED Thomas A. Muldoon, Paul Rubell, Glen Scantlebury MUS Steve Jablonsky CAST Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, Rachael taylor, Anthony Anderson, Jon Voight (Defense Secretary John Keller), John Torturro, Michael Bay BRATZ (2007) DIR Sean McNamara PROD Steven Paul, Isaac Larian, Avi Arad SCR Susan Estelle Jansen (story by Adam De La Peña, David Eilenberg) CAM Christian Sebeldt ED Jeff Canavan MUS John Coda CAST Natalia Ramos, Janel Parrish, Logan Browning, Skyler Shaye, Chelsea Staub, Jon Voight (Principal Dimly), Lainie Kazan, Kadeem Hardison SEPTEMBER DAWN (2007) DIR Christopher Cain PROD Christopher Cain, Scott Duthie, Kevin Matossian SCR Christopher Cain, Carole Whang Schutter CAM Juan Ruiz Anchia ED Jack Hofstra MUS William Ross CAST Jon Voight (Jacob Samuelson), Trent Ford, Tamara Hope, Terence Stamp, Lolita Davidovich, Taylor Hendley NATIONAL TREASURE: BOOK OF SECRETS (2007) DIR Jon Turteltaub PROD Jon Turteltaub, Jerry Bruckheimer SCR Cormac Wibberley, Marianne Wibberley (story by Cormac Wibberley, Marianne Wibberley, Gregory Poirier, Ted Elliott, Terry Rossio; characters created by Jim Kouf, Oren Aviv, Charles Segars) CAM Amir Mokri, John Schwartzman ED William Goldenberg, David Rennie MUS Trevor Rabin CAST Nicholas Cage, Diane Kruger, Justin Bertha, Jon Voight (Patrick Gates), Hellen Mirren, Ed Harris, Harvey Keitel, Bruce Greenwood, Ty Burrell, Michael Maize, Alicia Coppola PRIDE AND GLORY (2008) DIR Gavin O’Connor PROD Greg O’Connor SCR Gavin O’Connor, Joe Carnahan (story by Gavin O’Connor, Greg O’Connor, Robert Hopes) CAM Declan Quinn ED John Gilroy, Lisa Zeno Churgin MUS Mark Isham CAST Edward Norton, Colin Farrell, Jon Voight (Francis Tierney, Sr.), Noah Emmerich, Jennifer Ehlre, John Ortiz, Shea Whingham, Frank Grillo, Lake Bell, Rick Gonzales AN AMERICAN CAROL (2008) DIR David Zucker PROD David Zucker, Stephen McEveety, John Shepherd SCR David Zucker, Myrna Solokoff, Lewis Friedman CAM Brian Baugh ED Vashi Nedomansky MUS James L. Venable CAST Kevin Farley, Kelsey Grammer, Trace Adkins, Robert Davi, Jon Voight (George Washington), Chriss Anglin, Geoffrey Arend, Leslie Nielsen, James Woods, Dennis Hopper, Gary Coleman, Paris Hilton FOUR CHRISTMASES (2008) DIR Seth Gordon PROD Gary Barber, Roger Birnbaum, Jonathan Glickman SCR Matt R. Allen, Caleb Wilson, Jon Lucas, Scott Moore (story by Matt R. Allen, Caleb Wilson) CAM Jeffrey L. Kimball ED Mark Helfrich, Melissa Kent MUS Alex Wurman CAST Vince Vaughn, Reese Witherspoon, Robert Duvall, Sissy Spacek, Jon Voight (Creighton), John Favreau, Mary Steenburgen, Colleen Camp BEYOND (2012) DIR Josef Rusnak PROD Steven Paul SCR Greg Gieras CAM Eric Maddison ED David Checel MUS Mario Grigorov CAST Jon Voight (John Koski), Teri Polo, Ben Crowley, Chloe Lesslie, Dermont Mulroney, Julian Morris, Brett Baker GETAWAY (2013) DIR Courtney Solomon PROD Courtney Solomon, Allan Zeman, Moshe Diamant, Christopher Milburn SCR Sean Finnegan, Gregg Maxwell Parker CAM Yaron Levy ED Ryan Dufrene MUS Justin Caine Burnett, Mikel Hurwitz CAST Ethan Hawke, Selena Gomez, Jon Voight (The Voice), Rebecca Buding, Paul Freeman, Bruce Payne, Ivaylo Geraskov, Dimo Axeliev DRACULA: THE DARK PRINCE (2013) DIR Pearry Reginald Teo PROD Steven Paul SCR Pearry Reginald Teo, Steven Paul, Nicole Jones-Dion CAM Viorel Sergovici, Jr. ED Stephen Eckelberry, Robert A. Ferretti MUS Mario Grigorov CAST Luke Roberts, Jon Voight (Van Helsing), Kelly Wenham, Ben Robson, Holly Earl, Stephen Hogan, Richard Ashton, Poppy Corby-Tuech DEADLY LESSONS (2014) DIR Stuart Paul PROD SCR Stuart Paul, Simon Paul CAST Jon Voight (Dr. Crazx), Danielle Kremeniuk, Marcus Shirock, Skyler Shaye, Germaine De Leon, John O. Nelson, Stuart Paul BABY GENIUSES AND THE SPACE BABY (2015) DIR Seam McNamara PROD Steven Paul SCR Steven Paul CAM Robert Hayes ED Stephen Eckelberry, Robert A. Ferretti MUS CAST Jon Voight (Mriarty), Skyler Shaye, Casey Graf, Andy Pandini, Rob Bruner, Jaime Andrews, Beth Payne TV MOVIES CHERNOBYL: THE FINAL WARNING (1991) DIR Anthony Page PROD Phillip Barry, Jr. TELEPLAY Ernest Kinoy (book ‘Final Warning: The Legacy of Chernobyl’ [1988] by Robert Peter Gale and Thomas Hauser) CAM Ray Coode ED Chris Wimble MUS Billy Goldenberg CAST Jon Voight (Dr. Robert Gale), Jason Robards, Sammi Davis, Annette Crosbie, Ian McDiarmid, Vincent Riotta, Steven Hartley THE LAST OF HIS TRIBE (1991) DIR Harry Hook PROD Robert Lovenheim, John Levoff TELEPLAY Stephen Harrigan CAM Martin Fuhrer ED Bill Yahraus MUS John E. Keane CAST Jon Voight (Professor Alfred Kroeber), Graham Greene, David Ogden Stiers, Jack Blessing, Anne Archer, Daniel Benzali THE RAINBOW WARRIOR (1993) DIR Michael Tuchner PROD Sam Strangis TELEPLAY Martin Copeland, Scott Busby CAM Warrick Attewell ED Noel Rogers MUS Paul Buckmaster, Steve Tyrell CAST Jon Voight (Peter Willcox), Sam Neill, Bruno Lawrence, Kerry Fox, Jophn Callen, Stacey Pickren THE TIN SOLDIER (1995) DIR Jon Voight, Gregory Gieras PROD Steven Paul TELEPLAY Patrick J. Clifton (story by Hans Christian Anderson) CAM Samuel Ameen ED Richard Fields MUS Benedikt Brydern CAST Trenton Knight, Jon Voight (Yarik), Ally Sheedy, Dom DeLuise, Bethany Richards, Aeryk Egan, Pablo Irlando, Brandon Harper, Steven Paul CONVICT COWBOY (1995) DIR Rob Holcomb PROD Norman S. Powell TELEPLAY Rick Way, Jim Lindsay CAM James L. Carter ED Christopher Nelson MUS David Bell CAST Jon Voight (Ry Weston), Kyle Chandler, Marcia Gay Harden, Ben Gazzara, Glenn Plummer, Stephen McHattie, Dean Wray, Tom Heaton THE FIXER (1999) DIR – TELEPLAY Charles Robert Carner PROD Charles Robert Carner, Tony Bill CAM Michael Goi ED Marc Leif MUS Lennie Niehaus CAST Jon Voight (Jack Killoran), Brenda Bakke, J.J. Johnston, Miguel Sandoval, Jack Wallace, Barbara Gordon, Sara Botsford, Karl Pruner BOYS WILL BE BOYS (1999) DIR Dom DeLuise PROD Steven Paul TELEPLAY Mark Dubas, Gregory Poppen CAM Leonard Schway ED Heidi Scharfe MUS Kristopher Carter CAST James Williams, Drew Winget, Julie Hagerty, Randy Travis, Mickey Rooney, Dom DeLuise, Jon Voight (Lieutenant Palladino), Charles Nelson Reilly UPRISING (2001) DIR Jon Avnet PROD Jon Avnet, Raffaella De Laurentiis TELEPLAY Jon Avnet, Paul Brickman CAM Denis Lenoir ED Sabrina Plisco MUS Maurice Jarre CAST Leelee Sobieski, Hank Azaria, David Schwimmer, Jon Voight (Major-General Jurgen Stroop), Donald Sutherland, Stephen Moyer, Sadie Frost, Radha Mitchell SECOND STRING (2002) DIR Robert Lieberman PROD Bob Roe TELEPLAY Tom Flynn (story by Tom Flynn, Jere Cunningham) CAM David Hennings ED Alan L. Shefland MUS Mark Mothersbaugh CAST Van Miller, Doug Flutie, Mike Ditka, Jon Voight (Coach Chuck Dichter), Gil Bellows, Teri Polo, Richard T. Jones, Garcelle Beauvais JASPER, TEXAS (2003) DIR Jeffrey W. Byrd TELEPLAY Jonathan Estrin CAM Ousama Rawi ED Jeffrey Cooper MUS Richard Werbowenko, Asche & Spencer CAST Roy T. Anderson, Demore Barnes, John Bayliss, James Bearden, Louis Gossett, Jr., Jon Voight (Billy Rowles) THE FIVE PEOPLE YOU MEET IN HEAVEN (2004) DIR Lloyd Kramer PROD Howard Ellis TELEPLAY Mitch Albom (also book ‘The Five People You Meet in Heaven’ [2003]) CAM Kramer Morgenthau ED Igor Kovalik, Stuart Waks, Gillian McCarthy MUS David Hirschfelder CAST Jon Voight (Eddie), Ellen Burstyn, Jeff Daniels, Dagmara Dominczyk, Steven Grayhm, Michael Imperioli, Callum Keith Rennie THE KARATE DOG (2005) DIR Bob Clark PROD Steven Paul TELEPLAY Steven Paul, Gregory Poppen CAM Maher Maleh, Brian Pearson ED Stan Cole, Lenka Svab MUS Paul Zaza, Helmut Zerlatt CAST Jon Voight (Hamilton Cage), Simon Rex, Jaime Pressly, Pat Morita, Thomas Kretschmann, Ron Lester, Bonnie Paul, Nicolette Sheridan, Chevy Chase POPE JOHN PAUL II (2005) DIR – TELEPLAY John Kent Harrison PROD Luca Bernabei, Marcial Cuquerella, Stephen Davies CAM Fabrizio Lucci ED Henk Van Eeghen MUS Marco Frisina CAST Jon Voight (Karol Wojtyla / Pope John Paul II), Cary Elwes, James Cromwell, Christopher Lee, Ben Gazzara, Daniele Pecci, Vittorio Belvedere, Giuliano Gemma 24 (2008) DIR Jon Cassar PROD Paul Gadd, Michael Klick TELEPLAY Howard Gordon (created by Robert Cochran, Joel Surnow) CAM Rodney Charters ED Scott Powell MUS Sean Callery CAST Kiefer Sutherland, Cherry Jones, Bob Gunton, Jon Voight (Jonas Hodges), Colm Feore, Powers Boothe, Robert Carlyle
205	dbpedia	3	27	https://directorsseries.net/2016/02/11/stanley-kubricks-full-metal-jacket-1987/	en	Stanley Kubrick’s FULL METAL JACKET (1987)	https://directorsseries.…16/02/skfull.jpg	https://directorsseries.…16/02/skfull.jpg	[ "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://player.vimeo.com/video/119358821?h=c8d8c17b76&dnt=1&app_id=122963" ]	[]	[ "" ]	null	[]	2016-02-11T00:00:00	https://vimeo.com/119358821 This article is an excerpt from "The Final Features", Part 5 of our video series on Stanley Kubrick The experience of the Vietnam War had soured America on the prospect of warfare, mostly because the widespread adoption of television allowed the war to be broadcast into the homes of every family— punctuating their supper…	en	https://s1.wp.com/i/favicon.ico	THE DIRECTORS SERIES	https://directorsseries.net/2016/02/11/stanley-kubricks-full-metal-jacket-1987/	The experience of the Vietnam War had soured America on the prospect of warfare, mostly because the widespread adoption of television allowed the war to be broadcast into the homes of every family— punctuating their supper with gunfire, explosions and the anguished cries of wounded men. Kubrick felt a desire to make a war film that reflected this new paradigm, and selected author Gustav Hasford’s 1979 novel “The Short-Timers” as the source material upon which he’d base the story for what would eventually become FULL METAL JACKET. Working once again with his brother-in-law and producing partner Jan Harlan, Kubrick recruited a novelist and Vietnam veteran named Michael Herr to help him craft the script. The shoot audaciously (but not really convincingly) faked rural England for the humid jungles of Vietnam, with the production timetable ballooning longer than a tour of duty in the military. Where most actors and craftsmen would quit in anger over the prolonged schedule, this element of Kubrick’s shooting style had become so well known by this point that his collaborators willingly signed on knowing full well it would happen. They placed their utmost faith and confidence in Kubrick, and that trust and passion shows through in the final product. FULL METAL JACKET may be a flawed, uneven film, but that can’t stop it from enduring as one of defining films in the war genre as well as Kubrick’s own body of work. In an attempt to do away with conventional modes of cinematic structure, Kubrick employs a two-act structure in FULL METAL JACKET. The first half takes place at a military base in South Carolina, where a band of new recruits are being trained to become the latest wave of efficient killing machines. They are under the command of Sergeant Hartman (R. Lee Ermey), a relentlessly abusive disciplinarian who has placed a special focus on an overweight recruit he dubs Gomer Pyle (Vincent D’Onofrio). He never misses an opportunity to remind Pyle that he is a worthless fat-ass and a disgrace to the Marine Corps. One of the other recruits, who Hartman has dubbed Private Joker (Matthew Modine) takes pity on Pyle and helps him shape up to Hartman’s superhuman standards. Under Joker’s positive encouragement, Pyle shows remarkable growth—but that growth comes at a cost, and on the eve of their graduation, Pyle murders Hartman before firing a rifle round into his own skull. The film’s second half is set in Vietnam during the Tet Offensive, one of the defining moments of the war. Joker is now a war correspondent for Stars and Stripes, the military-owned newspaper distributed to the troops. On a routine assignment, he runs into a buddy from his days in South Carolina, Cowboy (Arliss Howard), who is now running with a squadron making their way through Hue City. They eventually become lost and try to take refuge in the city’s abandoned ruins. They’re ambushed by relentless sniper fire, but there’s no retreat. If they want to live, they must forge ahead by any means necessary. By film’s end, we are left only with one question—what is the cost of warfare? Kubrick’s thesis posits that the answer lies not in the form of dollars, but in our very souls. Kubrick’s cast is comprised entirely of unknowns, and it’s a testament to their talents here that they all went on to respectable acting careers afterwards. Matthew Modine headlines the film as the gangly Joker— a mischievous subversive who pairs his military fatigues with a peace symbol decal, which makes his story arc of lost innocence all the more potent. He carries a smug grin on his face throughout the entirety of the film, but you better believe by the end that Kubrick will have wiped it right off his face. Vincent D’Onofrio makes his film debut in FULL METAL JACKET as the fat, uncoordinated Gomer Pyle. He purportedly gained seventy pounds to play the role, offering a hint of those“dedicated thespian” affectations his career would later be known for. Arliss Howard plays Cowboy, the squad’s flustered, short-lived leader. His performance is unremarkable in and of itself, but it took three screenings of the film for me to realize that he also plays the antagonistic role of John Hammond’s nephew in director Steven Spielberg’s THE LOST WORLD: JURASSIC PARK (1997). Spielberg was, of course, a close friend of Kubrick’s and his casting of Howard for his dino sequel speaks to how much he admired Kubrick and his work. The real star of the show, however, is R. Lee Ermey, who plays the hardass drill sergeant Hartman. Prior to the film, Ermey was a real-life retired Marine drill sergeant, and was brought onto the project as a tech consultant. His dedication to authenticity was so intense that he outright stole the role of Hartman from the guy who had been originally cast. His relentless abuse and creative grasp on insulting profanity approaches the level of performance art, and his particular showing in FULL METAL JACKET kickstarted a second career as an in-demand character actor that continues to this day. By this point in his career, Kubrick had built up a strong working relationship with cinematographer John Alcott, who shot his previous three features. When Kubrick began to assemble his crew for FULL METAL JACKET, Alcott declined a fourth go-round with the maverick auteur. In hindsight, this would prove to be a serendipitous move for both parties, considering Alcott died during the middle of production. Douglas Milsome, who had previously worked on Kubrick’s films as a focus puller, stepped up to assume the role of cinematographer on FULL METAL JACKET instead. Milsome and Kubrick craft a relatively straightforward visual presentation that’s high on style and low on flash. Kubrick’s compositions retain his signature one-point perspectives that emphasize depth and symmetry, while his camerawork builds on THE SHINING’s innovations with the Steadicam by incorporating it as often as possible. Kubrick has always favored extended tracking shots as a way to convey mood, and the rise of the Steadicam allowed him much greater flexibility and versatility in that regard. No longer bound by dolly tracks, he could mount the camera on a Steadicam rig and follow his subjects right into the maelstrom without so much of a hint of handheld jitter. Like BARRY LYNDON or THE SHINING before it, Kubrick counters the formalism of his camerawork with New Wave techniques like slow zooms and flash cuts. FULL METAL JACKET’s naturalistic aesthetic isn’t as lurid or evocative of other Vietnam classics like Oliver Stone’s PLATOON (1987) or Francis Ford Coppola’s APOCALYPSE NOW (1979), yet its visuals are just as (if not more) iconic due to Kubrick’s legendary eye for composition and considered movement. The music of FULL METAL JACKET marks an abrupt departure for Kubrick, who was well known for using prominent classical works to accompany his visuals instead of original scores. Instead of baroque concertos, Kubrick opts for the iconic sound of the Vietnam War: rock and roll. Beginning with Johnnie Wright’s crooning country ballad, “Hello Vietnam”, Kubrick uses an inspired selection of late 70’s-era rock music to reflect the dark, subversive and unpredictable nature of Vietnam’s combatants. A particular standout is the use of The Rolling Stone’s “Paint It Black” over the end credits—a musical echo of the darkness that Joker now dwells in after the completion of his character arc. Despite the heavy presence of rock cues, Kubrick does make potent use of an original score written by his daughter, Vivian Kubrick (credited here as Abigail Mead). Vivian creates a suitably foreboding, industrial sound using electronic instruments that appropriately reflect Kubrick’s pitch-black portrait of institutionalized destruction. While Kubrick’s films defy easy explanation, they can be distilled into the examination of two primal, opposing forces: violence and sex. His last two films—FULL METAL JACKET and EYES WIDE SHUT—would become companion pieces in that they each dealt with their respective theme (violence for the former, sex for the latter) in a singularly summative manner. Kubrick was no stranger to war films, but whereas PATHS OF GLORY dealt with the ethical conundrums of warfare on a collective scale, FULL METAL JACKET is more concerned with the psychological consequences of warfare on the level of the individual. The film focuses on the military as an institution not only capable of perpetuating man’s inhumanity towards his fellow man, but one that needs such devastation in order to thrive. Kubrick doesn’t depict the military so much as an institution, but as a machine—devouring countless scores of boys whole and spitting them out the other end as robotic killing machines devoid of compassion and empathy. The machine is kept fed by a surrounding culture that commodifies and glorifies violence; Joker’s iconic line, “I wanted to be the first kid on my block with a confirmed kill”, is terrifying precisely because it hits so close to home. Vietnam was more than just a war for the American public—it was an existential crisis that introduced the idea of cynicism and irony into warfare. It was, for lack of a better term, The Hipster War. Having peppered it throughout his filmography to extremely potent effect, Kubrick was no stranger to the concept of irony, and FULL METAL JACKET is stuffed to the brim with it. Joker complements a peace symbol decal with a helmet that has the words “Born To Kill” scrawled across it. The big bad sniper of the film’s denouement is revealed to be a scared twelve-year old girl. Soldiers march against fiery scenes of devastation while cheerily singing the Mickey Mouse Club theme song. A young recruit is trained into such an effective killing machine that he turns his rifle on the man who created him. FULL METAL JACKET came out the same year that Oliver Stone’s PLATOON did, and while Kubrick’s final statement on war and violence would eventually lose out the Best Picture Oscar to Stone’s breakout film, it now overshadows its former rival due to the legacy of its genius creator. It may not be the definitive Vietnam film, but it is certainly one of the most definitive films of the war genre. For Kubrick himself, FULL METAL JACKET serves as a fitting, yet, haunting conclusion to a topic that he spent a lifetime exploring. FULL METAL JACKET is currently available on high definition Blu Ray via Warner Brothers.
205	dbpedia	1	45	https://via.library.depaul.edu/cshfacpubs/	en	Faculty Publications – College of Science and Health			[ "https://via.library.depaul.edu/assets/md5images/8e240588cf8cd3a028768d4294acd7d3.png", "https://via.library.depaul.edu/assets/md5images/c39b3de01be67fe3274cd03a8f19e8cb.png", "https://via.library.depaul.edu/assets/md5images/1f2e1f930b39808b3e27903bdf71c1b4.png", "https://via.library.depaul.edu/assets/md5images/683630ad9fc043ed64e5454716bb3722.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Follow index Submissions from 2019 2019 Link Developing Health Policy Briefs to Bridge Research to Policy Translation Gaps, Joanna Buscemi Link Engaging the Latino Community in Behavioral Medicine Intervention Research Across the Lifespan, Joanna Buscemi, M. H. Clark, B. Yanez, D. X. Marquez, and F. Penedo PDF Comparative Effectiveness Trial of an Obesity Prevention Intervention in EFNEP and SNAP-ED: Primary Outcomes, Joanna Buscemi, Angela Odoms-Young, Melinda R. Stolley, Linda Schiffer, Lara Blumstein, Margaret H. Clark, Michael L. Berbaum, Jennifer McCaffrey, Carol Braunschweig, and Marian L. Fitzgibbon Link Society of Behavioral Medicine position statement: retain school meal standards and healthy school lunches, Joanna Buscemi, Angela Odoms-Young, Amy L. Yaroch, Laura L. Hayman, Bernardo Loiacono, Annie Herman, and Marian L. Fitzgibbon Link Writing for Policymakers: Closing Research to Policy Translation Gaps through Developing Health Policy Briefs, Joanna Buscemi, J. J. Spas, S. Ford, and P. Behrman Link Society of Behavioral Medicine position statement: increase funding for fruits and vegetables production in The Farm Bill reauthorization, Akilah Dulin-Keita, Lisa M. Quintilliani, Joanna Buscemi, and Brooke M. Bell Link 5-ish Slides About Bridging Hydrides and the [Cr(CO)5HCr(CO)5] anion, Kyle A. Grice Link 5-ish Slides about Enemark-Feltham Notation, Kyle A. Grice Link Synergistic Effects of Imidazolium-Functionalization on fac-Mn(CO)3 Bipyridine Catalyst Platforms for Electrocatalytic Carbon Dioxide Reduction, Siyoung Sung, Xiaohui Li, Lucienna M. Wolf, Jeremy R. Meeder, Nattamai S. Bhuvanesh, Kyle A. Grice, Julien A. Panetier, and Michael Nippe Submissions from 2018 2018 Link Links between the organization of the family home environment and child obesity: a systematic review, C. R. Bates, Joanna Buscemi, L. M. Nicholson, M. Cory, A. Jagpal, and A. M. Bohnert Link Advocating for Health Policy Issues on Capitol Hill, Joanna Buscemi Link Associations between fiber intake and Body Mass Index (BMI) among African-American women participating in a randomized weight loss and maintenance trial, Joanna Buscemi, Oksana Pugach, Sparkle Springfield, Jiyeong Jang, Lisa Tussing-Humphreys, Linda Schiffer, Melinda R. Stolley, and Marian L. Fitzgibbon Link Parental Distress and Stress in Association with Health-Related Quality of Life in Youth with Spina Bifida, Colleen F.B. Driscoll, Joanna Buscemi, and Grayson N. Holmbeck Link Understanding Population Health from Multi-level and Community-based Models, M. L. Fitzgibbon, Joanna Buscemi, M. Cory, A Jagpal, B. Brush, A. Kong, and L. Tussing-Humphreys Link Bonding in Tetrahedral Tellurate (updated and expanded), Amanda Grass, Andrea Wallace, Cassie Lilly, Douglas A. Vander Griend, James F. Dunne, John DiMeglio, Kyle A. Grice, Meng Zhou, Pavithra Hetti Achchi Kankanamalage, Sarah Shaner, Sheila Smith, Sunshine Silver, and Vince Hradil Link The Preparation and Characterization of Nanoparticles, Kyle A. Grice Link Elucidating the Solution-Phase Structure and Behavior of 8-Hydroxyquinoline Zinc in DMSO, Kyle A. Grice, Graham B. Griffin, Phoebus S. Cao, Cesar Saucedo, Aeshah H. Niyazi, Fatimah A. Aldakheel, George E. Sterbinsky, and Robert J. LeSuer Link Designing an mHealth application to bridge health disparities in Latina breast cancer survivors: a community-supported design approach, Francisco Iacobelli, Rachel F. Adler, Diana Buitrago, Joanna Buscemi, Marya E. Corden, and Alejandra Perez-Tamayo Link Body Dissatisfaction in Collegiate Athletes: Differences Between Sex, Sport Type, and Division Level, Hayley Perelman, Joanna Buscemi, Elizabeth Dougherty, and Alissa Haedt-Matt Link Study design and protocol for My Guide: An e-health intervention to improve patient-centered outcomes among Hispanic breast cancer survivors, Betina R. Yanez, Diana Buitrago, Joanna Buscemi, Francisco Iacobelli, Rachel F. Adler, Marya E. Corden, Alejandra Perez-Tamayo, Judy Guitelman, and Frank J. Penedo Submissions from 2017 2017 Link Society of Behavioral Medicine (SBM) position statement: SBM supports curbing summertime weight gain among America's youth, Amy Bohnert, Nicole Zarrett, Michael W. Beets, Georgia Hall, Joanna Buscemi, Amy Heard, and Russell Pate Link The Growing Impact of the Health Policy Committee, Joanna Buscemi Link A 6-year update of the health policy and advocacy priorities of the Society of Behavioral Medicine, Joanna Buscemi, Gary G. Bennett, Sherri S. Gorin, Sherry L. Pagoto, James F. Sallis, Dawn K. Wilson, and Marian L. Fitzgibbon Link Increasing the public health impact of evidence-based interventions in behavioral medicine: new approaches and future directions, Joanna Buscemi, E. Amy Janke, Kari C. Kugler, Jenna Duffecy, Thelma J. Mielenz, Sara M. St. George, and Sherri N. Sheinfeld Gorin Link Impact of food craving and calorie intake on body mass index (BMI) changes during an 18-month behavioral weight loss trial, Joanna Buscemi, Tiffany M. Rybak, Kristoffer S. Berlin, James G. Murphy, and Hollie A. Raynor Link Rationale and design of Mi-CARE: The mile square colorectal cancer screening, awareness and referral and education project, Joanna Buscemi, Yazmin SanMiguel, Lisa Tussing-Humphreys, Elizabeth A. Watts, Marian L. Fitzgibbon, Karriem Watson, Robert A. Winn, Kameron L. Matthews, and Yamile Molina Link Carbon dioxide reduction with homogenous early transition metal complexes: Opportunities and challenges for developing CO2 catalysis, Kyle A. Grice Link Twitter for Academics: A Tool for Learning, Disseminating Results, and Networking, Kyle A. Grice Link Six-coordinate Carbon In-class Activity, Kyle A. Grice and Nancy Scott Burke Williams Link Understanding the structure and reactivity of the C–S linkage in biologically active 5-arylthio-5H-chromenopyridines, Kyle A. Grice, Renukadevi Patil, Anandita Ghosh, Jesse D. Paner, Michael A. Guerrero, Ehxciquiel J.M. Camacho, Phoebus S. Cao, Aeshah H. Niyazi, Sitwat Zainab, Roger D. Sommer, Gulam Waris, and Shivaputra Patil Link Technology-based interventions for weight management: current randomized controlled trial evidence and future directions, Andrea T. Kozak, Joanna Buscemi, Misty A. W. Hawkins, Monica L. Wang, Jessica Y. Breland, Kathryn M. Ross, and Anupama Kommu Link Electrochemical Reduction of CO2 Catalyzed by Re(pyridine-oxazoline)(CO)3Cl Complexes, John K. Nganga, Christian R. Samanamu, Joseph M. Tanski, Carlos Pacheco, Cesar Saucedo, Victor S. Batista, Kyle A. Grice, Mehmed Z. Ertem, and Alfredo M. Angeles-Boza Link Novel 5-arylthio-5H-chromenopyridines as a new class of anti-fibrotic agents, Renukadevi Patil, Anandita Ghosh, Phoebus S. Cao, Roger D. Sommer, Kyle A. Grice, Gulam Waris, and Shivaputra Patil Submissions from 2016 2016 Link Society of Behavioral Medicine (SBM) position statement: SBM supports the National Colorectal Cancer Roundtable's (NCCRT) call to action to reach 80 % colorectal cancer screening rates by 2018, Elizabeth A. Becker, Joanna Buscemi, Marian L. Fitzgibbon, Karriem Watson, Kameron L. Matthews, and Robert A. Winn Link Effects on cardiovascular risk factors of weight losses limited to 5–10 %, Joshua D. Brown, Joanna Buscemi, Vanessa Milsom, Robert Malcolm, and Patrick M. O'Neil Link Evidence-Based Behavioral Medicine Special Interest Group: A Diverse Group of Scientists, Clinicians, and Policymakers, Joanna Buscemi and Heather Jim Link Structural comparison of suberanilohydroxamic acid (SAHA) and other zinc-enzyme inhibitors bound to a monomeric zinc species, Phoebus S. Cao, Roger D. Sommer, and Kyle A. Grice Link Otterbein Symmetry In-Class Activity/Take Home Activity, Kyle A. Grice Link Molecular Hydrogen Complexes of Mo and W, Kyle A. Grice, Fabiola Barrios Landeros, and Marion E. Cass Link Electrocatalytic Reduction of CO2 by Group 6 M(CO)6 Species without “Non-Innocent” Ligands, Kyle A. Grice and Cesar Saucedo Link The Electrochemical Behavior of Early Metal Metallocene Cp2MCl2 Complexes under CO2, Kyle A. Grice, Cesar Saucedo, Mark A. Sovereign, and Andrew P. Cho Link Becoming American, becoming obese? A systematic review of acculturation and weight among Latino youth, D. L. McLeod, Joanna Buscemi, and A. M. Bohnert Link Society of behavioral medicine supports increasing HPV vaccination uptake: an urgent opportunity for cancer prevention, Caryn E. Peterson, J. Andrew Dykens, Noel T. Brewer, Joanna Buscemi, Karriem Watson, DeLawnia Comer-Hagans, Zo Ramamonjiarivelo, and Marian Fitzgibbon Link Calorimetric studies of the interactions of metalloenzyme active site mimetics with zinc-binding inhibitors, Sophia G. Robinson, Philip T. Burns, Amanda M. Miceli, Kyle A. Grice, Caitlin E. Karver, and Lihua Jin Link Society of Behavioral Medicine supports implementation of high quality lung cancer screening in high-risk populations, Karriem S. Watson, Amanda C. Blok, Joanna Buscemi, Yamile Molina, Marian Fitzgibbon, Melissa A. Simon, Lance Williams, and Kameron Matthews Submissions from 2015 2015 Link How You Can Advocate for Health Policy Change, Joanna Buscemi Link Health Behavior and Weight Changes Among Ethnic and Racial Minority Preschoolers and Their Parents: Associations Across 1 Year, Joanna Buscemi, Kristoffer S. Berlin, Tiffany M. Rybak, Linda A. Schiffer, Angela Kong, Melinda R. Stolley, Lara Blumstein, Angela Odoms-Young, and Marian L. Fitzgibbon Link Retaining traditionally hard to reach participants: Lessons learned from three childhood obesity studies, Joanna Buscemi, Lara Blumstein, Angela Kong, Melinda R. Stolley, Linda Schiffer, Angela Odoms-Young, Cheryl Bittner, and Marian L. Fitzgibbon Link Society of Behavioral Medicine position statement: early care and education (ECE) policies can impact obesity prevention among preschool-aged children, Joanna Buscemi, Katelyn Kanwischer, Adam B. Becker, Dianne S. Ward, and Marian L. Fitzgibbon Link Society of Behavioral Medicine (SBM) position statement: SBM supports retaining healthy school lunch policies, Joanna Buscemi, Angela Odoms-Young, Amy L. Yaroch, Laura L. Hayman, Trina P. Robertson, and Marian Fitzgibbon Link Examining the selectivity of borohydride for carbon dioxide and bicarbonate reduction in protic conditions, Kyle A. Grice, Mitchell C. Groenenboom, John David A. Manuel, Mark A. Sovereign, and John A. Keith Link Intramolecular C–H activation by air-stable Pt(II) phosphite complexes, Kyle A. Grice, Jason A. Kositarut, Anthony E. Lawando, and Roger D. Sommer Link Society of Behavioral Medicine (SBM) position statement: SBM supports increased efforts to integrate community health workers into the patient-centered medical home, Denise M. Hynes, Joanna Buscemi, and Lisa M. Quintiliani Link A randomized pilot study of a community-based weight loss intervention for African-American women: Rationale and study design of Doing Me! Sisters Standing Together for a Healthy Mind and Body, Sparkle Springfield, Joanna Buscemi, Marian L. Fitzgibbon, Melinda R. Stolley, Shannon N. Zenk, Linda Schiffer, Jameika Sampson, Quiana Jones, Tanine Murdock, Iona Davis, Loys Holland, April Watkins, and Angela Odoms-Young Submissions from 2014 2014 Link Dissecting Catalysts for Artificial Photosynthesis, Anne Bentley and Kyle A. Grice Link Society of Behavioral Medicine position statement: elementary school-based physical activity supports academic achievement, Joanna Buscemi, Angela Kong, Marian L. Fitzgibbon, Eduardo E. Bustamante, Catherine L. Davis, Russell R. Pate, and Dawn K. Wilson Link A behavioral economic analysis of changes in food-related and food-free reinforcement during weight loss treatment, Joanna Buscemi, J. G. Murphy, K. S. Berlin, and H. A. Raynor Link Adaptation and dissemination of an evidence-based obesity prevention intervention: Design of a comparative effectiveness trial, Joanna Buscemi, Angela Odoms-Young, Melinda L. Stolley, Lara Blumstein, Michael L. Berbaum, Jennifer McCaffrey, Anastasia M. Montoya, Carol Braunschweig, and Marian L. Fitzgibbon Link Evidence-Based Practice in Psychology (EBPP), Joanna Buscemi and B. Spring PDF Electrocatalytic CO2 reduction by M(bpy-R)(CO)4 (M = Mo, W; R = H, tBu) complexes. Electrochemical, spectroscopic, and computational studies and comparison with group 7 catalysts, Melissa L. Clark, Kyle A. Grice, Curtis E. Moore, Arnold L. Rheingold, and Clifford P. Kubiak Link Platinum(II) Olefin Hydroarylation Catalysts: Tuning Selectivity for the anti‐Markovnikov Product, Marie L. Clement, Kyle A. Grice, Avery T. Luedtke, Werner Kaminsky, and Karen I. Goldberg Link Five Slides about Spectroelectrochemistry, Kyle A. Grice Link The “Zinc Spark” – Zinc as a Signaling Chemical in Life, Kyle A. Grice Link Literature Discussion of "Mechanisms Controlling the Cellular Metal Economy", Kyle A. Grice, Clifford Rossiter, Erica Gunn, Laurel Goj Habgood, Marion E. Cass, and Sherzod Madrahimov Link Evidence-Based Behavioral Medicine SIG Update, Amy Janke and Joanna Buscemi Link Financial motivation undermines potential enjoyment in an intensive diet and activity intervention, Arlen C. Moller, Joanna Buscemi, H. Gene McFadden, Donald Hedeker, and Bonnie Spring Link Utilizing the PDB and HSAB Theory to Understand Metal Specificity in Trafficking Proteins, Clifford Rossiter, Erica Gunn, Kyle A. Grice, Laurel Goj Habgood, Marion E. Cass, and Sherzod Madrahimov Link Manganese Catalysts with Bulky Bipyridine Ligands for the Electrocatalytic Reduction of Carbon Dioxide: Eliminating Dimerization and Altering Catalysis, Matthew D. Sampson, An D. Nguyen, Kyle A. Grice, Curtis E. Moore, Arnold L. Rheingold, and Clifford P. Kubiak Link Oxygen‐Promoted CH Bond Activation at Palladium, Margaret L. Scheuermann, David W. Boyce, Kyle A. Grice, Werner Kaminsky, Stefan Stoll, William B. Tolman, Ole Swang, and Karen I. Goldberg Link Hemilability of P(X)N-type ligands (X = O, N–H): rollover cyclometalation and benzene C–H activation from (P(X)N)PtMe2 complexes, Margaret L. Scheuermann, Kyle A. Grice, Matthew J. Ruppel, Marta Roselló-Merino, Werner Kaminsky, and Karen I. Goldberg Submissions from 2013 2013 Link Multiple health behavior change: a synopsis and comment on “A review of multiple health behavior change interventions for primary prevention”, Winter Johnston, Joanna Buscemi, and Michael J. Coons Submissions from 2012 2012 Link Factors and predictors of cognitive impairment in the elderly: A synopsis and comment on “Systematic Review: Factors associated with risk for and possible prevention of cognitive decline in later life”, Joanna Buscemi, Jeremy Steglitz, and Bonnie Spring Link The impact of team science collaborations in health care: a synopsis and comment on “Interprofessional collaboration: effects of practice-based interventions on professional practice and healthcare outcomes”, Joanna Buscemi, Jeremy Steglitz, and Bonnie Spring Link Technology Interventions to Curb Obesity: A Systematic Review of the Current Literature, Michael J. Coons, Andrew DeMott, Joanna Buscemi, Jennifer M. Duncan, Christine A. Pellegrini, Jeremy Steglitz, Alexander Pictor, and Bonnie Spring Link External Validity Reporting in Behavioral Treatment of Childhood Obesity, Lisa M. Klesges, Natalie A. Williams, Kara S. Davis, Joanna Buscemi, and Katherine M. Kitzmann Link The Short-Term Efficacy of a Brief Motivational Intervention Designed to Increase Physical Activity Among College Students, Matthew P. Martens, Joanna Buscemi, Ashley E. Smith, and James G. Murphy Link A smartphone-supported weight loss program: design of the ENGAGED randomized controlled trial, Christine A. Pellegrini, Jennifer M. Duncan, Arlen C. Moller, Joanna Buscemi, Alyson Sularz, Andrew DeMott, Alex Pictor, Sherry Pagoto, Juned Siddique, and Bonnie Spring Link New Online Resource About Evidence Based Behavioral Treatments for Clinicians and Consumers, Bonnie Spring and Joanna Buscemi Link The future of pain research, education, and treatment: a summary of the IOM report “Relieving pain in America: a blueprint for transforming prevention, care, education, and research”, Jeremy Steglitz, Joanna Buscemi, and Molly Jean Ferguson Submissions from 2011 2011 Link Predictors of Obesity in Latino Children: Acculturation as a Moderator of the Relationship Between Food Insecurity and Body Mass Index Percentile, Joanna Buscemi, Bettina M. Beech Bettina M. Beech, and George Relyea Link Moderators of the Relationship Between Physical Activity and Alcohol Consumption in College Students, Joanna Buscemi, Matthew P. Martens, James G. Murphy, Ali M. Yurasek, and Ashley E. Smith Link Help-seeking for alcohol use in college students: Correlates and preferred methods, Joanna Buscemi, John G. Murphy, M. P. Martens, M. E. McDevitt-Murphy, A. A. Dennhardt, and J. R. Skidmore Link A randomized trial of a brief intervention for obesity in college students, Joanna Buscemi, A. M. Yurasek, A. A. Dennhardt, M. P. Martens, and J. G. Murphy Link The Influence of Trauma History and Relationship Power on Latinas’ Sexual Risk for HIV/STIs, Mary E. Randolph, Heather L. Gamble, and Joanna Buscemi Link Drinking Motives Mediate the Relationship Between Reinforcing Efficacy and Alcohol Consumption and Problems, Ali M. Yurasek, James G. Murphy, Ashley A. Dennhardt, Jessica R. Skidmore, and Joanna Buscemi Submissions from 2010 2010 Link Lifestyle interventions for youth who are overweight: A meta-analytic review., K. Kitzmann, W. Dalton, C. Stanley, T. Reeves, B. Beech, Joanna Buscemi, and E. Midgett Link Establishing the Predictive Validity of Intentions to Smoke Among Preadolescents and Adolescents Surviving Cancer, James L. Klosky, Vida L. Tyc, Ashley Hum, Shelly Lensing, Joanna Buscemi, Danette M. Garces-Webb, and Melissa M. Hudson Link Reinforcing efficacy moderates the relationship between impulsivity-related traits and alcohol use, A. E. Smith, M. P. Martens, Joanna Buscemi, Ali M. Yurasek, and J. R. Skidmore Submissions from 2009 2009 Link Predictors of non‐participation in a randomized intervention trial to reduce environmental tobacco smoke (ETS) exposure in pediatric cancer patients, James L. Klosky, Vida L. Tyc, Joanne Lawford, Jason Ashford, Shelly Lensing, and Joanna Buscemi Submissions from 2008 2008 Link Beyond Parenting Practices: Family Context and the Treatment of Pediatric Obesity, Katherine M. Kitzmann, William T. Dalton, and Joanna Buscemi Link Factors influencing long-term follow-up clinic attendance among survivors of childhood cancer, James L. Klosky, Darlene K. Cash, Joanna Buscemi, Shelly Lensing, Danette M. Garces-Webb, Wenyan Zhao, Sally Wiard, and Melissa M. Hudson Submissions from 2007 2007 Link Examination of an Interactive-Educational Intervention in Improving Parent and Child Distress Outcomes Associated With Pediatric Radiation Therapy Procedures, James L. Klosky, Danette M. Garces-Webb, Joanna Buscemi, Lisa Schum, Vida L. Tyc, and Thomas E. Merchant Link
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"https://cdn.amcnetworks.com/common/images/logotrains/AMCN_LogoTrain_Black.svg", "https://cdn.amcnetworks.com/common/images/logotrains/AMCN_LogoTrain_Black.svg" ]	[]	[]	[ "" ]	null	[]	null	35mm print! “You may find this hard to believe, but the star of Body of Evidence, an actress named Madonna, actually reveals a lot of flesh in this courtroom drama. The exhibitionism, let me hasten to add, is entirely in the service of her character, Rebecca Carlson, a sexpot dominatrix who is accused of murdering [...]	en		IFC Center	https://www.ifccenter.com/films/body-of-evidence/	Body of Evidence 35mm print! “You may find this hard to believe, but the star of Body of Evidence, an actress named Madonna, actually reveals a lot of flesh in this courtroom drama. The exhibitionism, let me hasten to add, is entirely in the service of her character, Rebecca Carlson, a sexpot dominatrix who is accused of murdering her lover, an older man with a weak heart and a big fortune, by exciting him to death. The district attorney (Joe Mantegna) is intent on proving that Rebecca’s body is a lethal weapon. Her defense attorney (Willem Dafoe), though a married man, believes in trying out the weapon himself. Discovering the kink in his own lustful heart, the lawyer and his client indulge in some sweaty S&M game-playing themselves: she pours hot wax on his tied-up body; they make love atop broken glass on the hood of a car parked in the courthouse garage; later, she brings out the handcuffs … Is Rebecca a murderous material girl, or just a lusty gal with a misunderstood lifestyle? That’s the question that supplies the suspense in Uli Edel’s slick thriller, in which Witness for the Prosecution cohabits with The Story of O and “Basic Instinct…. As written by Brad Mirman, Madonna’s role is so tailor-made for her that one might suspect she is reading outtakes from her best seller, Sex (there’s lots of talk about liking to be “in control”). Made up in ’30s ice-goddess fashion, she’s still more an icon than an actress, but there’s no denying the avidly smutty frisson she brings to the sex scenes. It’s Dafoe’s quiet conviction, however, that keeps the drama rooted in something resembling reality: he makes a theoretical role intriguingly human. Anne Archer also appears, not as a noble wife this time, but as the dead man’s secretary, who seems a little too eager to pin the blame on Rebecca.” – David Ansen, Newsweek Running Time 99 minutes Director Uli Edel
205	dbpedia	1	12	https://www.portlandmercury.com/Feature/2015/10/14/16698395/body-of-evidence-boobs-bondage-and-the-pittock-mansion	en	Body of Evidence: Boobs, Bondage, and the Pittock Mansion	https://media2.fdncms.co…ature11-570x.jpg	https://media2.fdncms.co…ature11-570x.jpg	[ "https://www.portlandmercury.com/assets/3/base/images/noisy-creek-logo.png", "https://www.portlandmercury.com/assets/sites/mercury/images/site-logo.png?20220525222143", "https://www.portlandmercury.com/assets/3/sites/mercury/images/site-logo-darkbg.png", "https://www.portlandmercury.com/assets/sites/everout/everout-logo-small-white.png", "https://media2.fdncms.com/portmerc/imager/u/original/16698392/feature11-570x.jpg", "https://media1.fdncms.com/portmerc/imager/u/large/25935861/marissa-jds-1.jpg", "https://media2.fdncms.com/portmerc/imager/u/large/46519929/screen-shot-2023-05-21-at-4.19.53-pm.png", "https://media2.fdncms.com/portmerc/imager/u/large/46309832/gettyimages-1401835317.jpg", "https://media1.fdncms.com/portmerc/imager/u/large/46481019/gettyimages-1249550569.jpg", "https://media2.fdncms.com/portmerc/imager/u/large/46821859/screen_shot_2023-11-01_at_4.27.07_pm.png", "https://media1.fdncms.com/portmerc/imager/u/large/47205107/gettyimages-670551650.jpg", "https://media2.fdncms.com/portmerc/imager/u/large/47330407/screen_shot_2024-07-26_at_2.36.10_pm.png", "https://www.portlandmercury.com/assets/3/sites/mercury/images/site-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/index-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/stranger-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/everout-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/savagelove-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/lovecast-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/hump-logo-darkbg.png" ]	[]	[]	[ "" ]	null	[ "Marissa Sullivan" ]	2015-10-14T00:00:00	A Portlander watches Madonna's 1993 erotic thriller for the first time.	en	/assets/sites/mercury/images/site-badge.svg	Portland Mercury	https://www.portlandmercury.com/Feature/2015/10/14/16698395/body-of-evidence-boobs-bondage-and-the-pittock-mansion	MADONNA FILMED 1993's Body of Evidence here in Portland, and it has everything a true Portlander can get behind: murder, loads of sex, tons (kilos?) of cocaine talk, and ample shots of Madonna's boobs. If you're a Portlander, you'd be crazy not to watch this movie once. Here are a few thoughts that a five-year resident had seeing it for the first time. Movie opens to rain, thunder, lighting, and a mansion. Were there rich people in Portland in the '90s? Oh, it's the Pittock Mansion. Nipple clamps?! Wow, that's a perfect pair of boobs you've got there, Madonna. Rich guy is watching a porn tape he made with Madonna. Wonder if he entered it in HUMP!? Flash to a nighttime Portland skyline. Where are the bridges? The doughnuts? The unicyclists? Willem Dafoe and his family are eating in a restaurant (oh hai, Julianne Moore!). I can't make out where they're at exactly, but as they get up to leave, Dafoe throws his Bulls hat on his kid. Blazers BURN. Cut to the Portlandia statue, one of the only things that no other city can claim. They pan up from the bottom, making the statue look haunting. Actually, pretty nice camera work here. In the cop shop. "Cocaine use is illegal in the state of Oregon," Willem Dafoe says to Madonna. She answers, "I've never used it in Oregon." Everyone laughs! When they leave the sheriff's department, I spy a TriMet bus in the background. We get another Portland skyline, this time at twilight. I can see a freeway, some water, maybe that's the hotel near what would become the Rose Garden. (The arena wouldn't open until two years after the movie came out.) That must be the KOIN Center lit up. They should've made the mountains more majestic! Who's the cinematographer on this thing? (Google break: It's Douglas Milsome, "known for his work on Full Metal Jacket, Robin Hood: Prince of Thieves, and The Shining." And, uh, Body of Evidence. How the mighty fall.) And now we're at Multnomah County Jail. (Yep, been there.) Madonna gets out on bail. HORSE COPS! IT'S RAINING! FREMONT BRIDGE! And now they're driving on the Hawthorne Bridge. Shhhhh, Willem and Madonna are talking about how Portlanders "have very conservative views about sex." Madonna says, "No they don't, they just don't talk about it. They're such hypocrites." Remember, this was all pre-She Bop. Madonna: "Is it still raining? Can you give me a ride home?" Oh TWIST, she lives on a houseboat? Flash to the next day, we get a long look at the beautiful marble staircase and walls inside the courthouse. Nothing snarky to say here, it's just pretty. At the trial, Madonna is asked: "Weren't you a patient at the Mt. Hood Substance Abuse center?" Way to make a local reference, Body of Evidence! And we're back inside the houseboat... is this the same as the Sleepless in Seattle houseboat? (Google tells me no.) Madonna and Willem finally get freaky. Nothing about their lovemaking is particularly Portland-esque, unless the candles they're dripping on each other are made of artisanal soy. Madonna finally takes the stand. Madonna to prosecutor Joe Mantegna: "Portland's a small city. I even dated a man who dated a woman you dated." Ummm, yeah, that's about how I'd describe this town, too. I guess Portland hasn't changed that much since 1993. The Madonna Issue It's Our Madonna Issue! Madonna Begins Madonna's Sex Positive Feminism How Madonna Brought Club Music to the Pop Charts The Best Videos of Madonna and Jean-Baptiste Mondino Madonna's Misunderstood Erotica Just Like Madge Our Halloween Costume Guide! Coming to Terms with Sex The Madonna-Off Body of Evidence: Boobs, Bondage, and the Pittock Mansion Madonna's Monumental First Album Madonna's Five Sexiest Songs That Aren't "Like a Virgin"
205	dbpedia	2	51	https://todayinmadonnahistory.com/tag/body-of-evidence/page/2/	en	Body Of Evidence « Today In Madonna History	https://secure.gravatar.com/blavatar/a0a8d5db754ceabb572b9c23ef9eb2dc770e70b9d989891568251de6da9b6669?s=200&ts=1723463224	https://secure.gravatar.com/blavatar/a0a8d5db754ceabb572b9c23ef9eb2dc770e70b9d989891568251de6da9b6669?s=200&ts=1723463224	[ "https://todayinmadonnahistory.com/wp-content/uploads/2017/08/timh-blog-blk-sld-logo-150.jpg", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/today-2-1993-550.jpg?w=550&h=413", "https://todayinmadonnahistory.com/wp-content/uploads/2014/12/body-of-evidence-madonna-jan-91.jpg?w=550&h=640", "https://todayinmadonnahistory.com/wp-content/uploads/2014/12/meisel-sex-people-magazine-1992.jpg?w=550&h=767", "https://todayinmadonnahistory.com/wp-content/uploads/2018/04/body-of-evidence-international-1.jpg?w=550&h=860", "https://todayinmadonnahistory.com/wp-content/uploads/2018/04/body-of-evidence-international-2.jpg?w=550&h=290", "https://todayinmadonnahistory.com/wp-content/uploads/2016/08/dangerous-game-1.jpg?w=550&h=434", "https://todayinmadonnahistory.com/wp-content/uploads/2016/08/dangerous-game-2.jpg?w=550&h=279", "https://todayinmadonnahistory.com/wp-content/uploads/2016/08/dangerous-game-3.jpg?w=550&h=367", "https://todayinmadonnahistory.com/wp-content/uploads/2016/08/dangerous-game-4.jpg?w=550&h=381", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/madonna-partita-1.png?w=550&h=770", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/madonna-partita-2.jpg?w=550&h=880", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/madonna-partita-4.jpg?w=550&h=846", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/madonna-partita-5.jpg?w=550&h=417", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/madonna-partita-6.jpg?w=550&h=395", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/madonna-partita-7.jpg?w=550&h=479", "https://todayinmadonnahistory.com/wp-content/uploads/2016/01/today-2-1993-550.jpg?w=550&h=413", "https://todayinmadonnahistory.com/wp-content/uploads/2017/08/timh-logo-blk_gld.jpg", "https://0.gravatar.com/avatar/63365f5ec5b045281c8a00a17aa4a3e29e0bcf6fb8579025f30f5055715138c8?s=96&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&r=PG", "https://0.gravatar.com/avatar/9f2cd69ac69111a3abe565940fffd4e61fbe5d22deb963bcfa68def6679b856e?s=96&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&r=PG", "https://secure.gravatar.com/blavatar/a0a8d5db754ceabb572b9c23ef9eb2dc770e70b9d989891568251de6da9b6669?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/a0a8d5db754ceabb572b9c23ef9eb2dc770e70b9d989891568251de6da9b6669?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Body Of Evidence written by Jay and sonicboy19	en	https://secure.gravatar.com/blavatar/a0a8d5db754ceabb572b9c23ef9eb2dc770e70b9d989891568251de6da9b6669?s=32	Today In Madonna History	https://todayinmadonnahistory.com/tag/body-of-evidence/	On December 28 1992, Madonna was named one of the 25 Most Intriguing People In The World For 1992 by People magazine. Here’s what People had to say about Madonna in 1992: The Movies! The Album! The Naughty Pictures! Once Again Madonna Was Everywhere, Shouting, “Look at Me—Every Inch of Me!” Intriguing: suggests an air of mystery. Madonna: does everything in public but floss her teeth. Intriguing: wrapped in enigma. Madonna: not wrapped in anything. Intriguing: means doesn’t appear on-camera in romantic encounters with Evian water bottles. Madonna: does. OK—so what’s so intriguing about somebody who lets you know that her lovers require a five-cent deposit? For one thing, she made ya look. Consider Sex, the photo book in which she had her picture taken doing everything but blushing. Besides proving that a naked Madonna could arch backward over a pinball machine without mussing her hair, it also pushed the envelope out to the size of a circus tent. And when the crowds came pouring in, there she was at center ring, cracking her whip. It only served her purposes that Sex earned sniffy reviews like “The Empress Has No Clothes” and that it was banned in places such as Japan and Ireland. Coming on the heels of her summer film hit, A League of Their Own, the fuss over her book helped to launch her new album, Erotica, and primed the movie audience for her next assault on their sensibilities, Body of Evidence. Her success at getting the world to subsidize her sexual preoccupations—to say nothing of her mammoth self-absorption—is what makes her worth the $60 million deal she cut this year with Time Warner (the parent company of PEOPLE). Madonna is not the first star to find the bucks in buck nakedness. But no one before her has capitalized so well on human willingness to have our fears and desires repackaged and sold back to us. Yet this most public of women still strains to be a mystery. This year she went through more faces than Lon Chaney—one minute in Baby Jane pigtails, a cupcake from hell; the next in sour milkmaid gear, Heidi with a mean streak. Her changing gallery of faces is one reason that she’s a sex symbol who inspires a lot of heavy breathing from intellectuals. One landmark of the 1992 publishing list—The Madonna Connection: Representational Politics, Sub-cultural Identities and Cultural Theory. You didn’t get this sort of thing for Petula Clark. But does she really throw such a mysterious light on our culture? More likely it’s just the glinting gears of a giant publicity machine. Yet the sheer magnitude of her achievement in that regard is, well, intriguing. And the grinding of those gears is surely too loud to be ignored. “I’m a revolutionary,” she once sighed. “And yes. it’s a burden.” Sometimes it’s a burden for her, we sigh in return, and sometimes for us.
205	dbpedia	3	32	https://nz.pinterest.com/ideas/douglas-fur/924500455687/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	null	Find and save ideas about douglas fur on Pinterest.	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.com/ideas/douglas-fur/924500455687/
205	dbpedia	3	65	http://thevoid99.blogspot.com/2012/03/full-metal-jacket.html	en	Surrender to the Void	http://4.bp.blogspot.com/-RO87cM4Bgnk/T2etHifsNiI/AAAAAAAAA2w/8rpxG3tCHcA/w1200-h630-p-k-no-nu/full-metal-ermey.jpg	http://4.bp.blogspot.com/-RO87cM4Bgnk/T2etHifsNiI/AAAAAAAAA2w/8rpxG3tCHcA/w1200-h630-p-k-no-nu/full-metal-ermey.jpg	[ "http://4.bp.blogspot.com/-RO87cM4Bgnk/T2etHifsNiI/AAAAAAAAA2w/8rpxG3tCHcA/s320/full-metal-ermey.jpg", "https://resources.blogblog.com/img/icon18_email.gif", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgriaWtvR8WtKgtOLuwGunkD3RoWXZimzctz8L60ESEvk-t_ZbXIo1CIO-RCvHXfU-QdZVG_1_5ZSj9fNYMxiCH6mkAGVHoZC0ALuWDUEB3AnW5cL14ax9eN4uklvfw0bE/s45-c/", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdYizOIFdm7oH37mMYvDIyzX2S4dzWM4l8quA5ftQXxCg6T7fNT5Xn-mwhLVUoRi3jF3o_QRFVoG597ykKw2dvVtQGLzhgUJXUDOpeKX9QqO-FcgX5aHPWTqsV_JDQw/s45-c/3+guys+banner.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4ZxEyYvfpiEXZF9u2MpaJlBPmTODWOii6g2QDH02JWl1yliB_AFh0tgRjz2I9ysQi1teczIJS9xFvQm5Y-xixFx8XluqmK75jBac6PVZd3RP02yU4eUplm3lmL57vr0/s45-c/", "https://resources.blogblog.com/img/icon_delete13.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4ZxEyYvfpiEXZF9u2MpaJlBPmTODWOii6g2QDH02JWl1yliB_AFh0tgRjz2I9ysQi1teczIJS9xFvQm5Y-xixFx8XluqmK75jBac6PVZd3RP02yU4eUplm3lmL57vr0/s45-c/", "https://resources.blogblog.com/img/icon_delete13.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4ZxEyYvfpiEXZF9u2MpaJlBPmTODWOii6g2QDH02JWl1yliB_AFh0tgRjz2I9ysQi1teczIJS9xFvQm5Y-xixFx8XluqmK75jBac6PVZd3RP02yU4eUplm3lmL57vr0/s45-c/", "https://resources.blogblog.com/img/icon_delete13.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4ZxEyYvfpiEXZF9u2MpaJlBPmTODWOii6g2QDH02JWl1yliB_AFh0tgRjz2I9ysQi1teczIJS9xFvQm5Y-xixFx8XluqmK75jBac6PVZd3RP02yU4eUplm3lmL57vr0/s1600/*" ]	[]	[]	[ "" ]	null	[ "View my complete profile" ]	null	Based on the short story The Short-Timers by Gustav Hasford, Full Metal Jacket is the story of a young man joining the Marines in t...	en	http://thevoid99.blogspot.com/favicon.ico		http://thevoid99.blogspot.com/2012/03/full-metal-jacket.html
205	dbpedia	3	6	https://cameronmoviesandtv.wordpress.com/2016/02/06/full-metal-jacket-1987-a-kubrick-masterpiece-exploring-the-trauma-of-war/	en	Full Metal Jacket (1987): A Kubrick Masterpiece Exploring the Trauma of War	https://cameronmoviesand…acket-poster.jpg	https://cameronmoviesand…acket-poster.jpg	[ "https://cameronmoviesandtv.wordpress.com/wp-content/uploads/2016/02/full-metal-jacket-poster.jpg?w=809", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2016-02-06T00:00:00	Stanley Kubrick is one of my favorite directors and this film really highlights why. I haven't seen a better film explore the trauma that can come from war so in depth as this film does where the characters are fully realized flawed human beings and each choice has consequences that echo through the…	en	https://s1.wp.com/i/favicon.ico	cameronmoviesandtv	https://cameronmoviesandtv.wordpress.com/2016/02/06/full-metal-jacket-1987-a-kubrick-masterpiece-exploring-the-trauma-of-war/	Stanley Kubrick is one of my favorite directors and this film really highlights why. I haven’t seen a better film explore the trauma that can come from war so in depth as this film does where the characters are fully realized flawed human beings and each choice has consequences that echo through the film. This film is a masterpiece and before I get into the details of what makes it so great, it is well worth checking out. The film was directed, produced and written by Stanley Kubrick with the other writers being Michael Herr and Gustav Hasford. The film is also based off the story “The Short-Timers” by Gustav Hasford. The story is told from the perspective of Private Joker. From his time in boot camp to being a military reporter in Vietnam and all the trauma and trials that unfold in both locations where he is. The Pros: The Soundtrack – The soundtrack is powerful and some great rock songs were chosen to contrast some really terrible scenes. This rather than making scenes light lends power and irony to the images on the screen. Abigail Mead did a great job. The Cinematography – The cinematography is stunning as we get some gruesome closeups of when characters are shot (showing just how horrifying this loss of life is) as well as the mystery of being under fire and losing friends, as we get at the end of the film. Douglas Milsome did a great job. The Writing – The writing is amazing! I think the fact that Kubrick wrote the screenplay with Hasford, who wrote the original story is part of what makes it so good. It is a collaboration as each clearly had input in how the book went to screen. After this film I can’t wait to read the book. The Characters – The characters are what drive the story as in in them we see the worst of humanity. From a gunner shooting running civilians and keeping track of all the people he kills for sport, to the Sergeant dehumanizing Pyle and later the other trainees doing the same…the world is shown in all it’s cruelty and just how bad people can be. Eightball – Eightball is a side character who gets along well with the hot head Animal Mother. He’s a character who see isn’t afraid to talk down about himself or up as at one point he shows his dick to a Vietnamese prostitute (and the platoon) to show it is not too big. He ends up being used as bate by a sniper once he gets shot which pulls us into the final action of the film. Dorian Harewood does a good job. Gomer Pyle – Pyle is the big guy who gets bullied in boot camp by the Sergeant and later his fellow trainees to the point that he snaps at the end. The guy we see is an awkward sensitive guy who loses his mind and starts talking to his gun and finally killing Hartman and himself. his story is the first tragedy we get as even though he made it into the army he lost himself completely in the process. Vincent D’Onofrio does an amazing job in this role. Cowboy – Cowboy is the squad commander who seems to be in over his head. He does the best he can but you see he is just as young as all of them and powerless as his call for tank doesn’t go anywhere and it takes Animal Mother taking action for any actions to be resolved. Animal Mother – Adam Baldwin (Jayne from “Firefly”) is great in this as the racist soldier full of bloodlust who just doesn’t care anymore. He reminds me a lot of The Comedian from “Watchmen,” as he is a nihilist who knows how stupid the situation he is in is so is only after pleasure and power. Though he does have some semblance of honor as he is the one who tries to rescue Eightball and the Medic showing that there is more to his character even though he has become so broken from everything. Sergeant Hartman – Hartman is a bully and does a good job of turning the recruits into soldiers. He mocks everyone and is strict and goes to greater and greater lengths to turn all of them into soldiers, even if it means loss of humanity as it does for Pyle. He dies in the end though as the first thing Pyle does when he goes insane is to shoot him. R. Lee Ermey created and unforgettable character in this role and pretty much got typcast after this. He does the strict, no-nonsense military guy really well. Private Joker – Matthew Modine plays Private Joker and it is through his eyes the story is told. In him we see a man who tries to embrace the duality of man as he is really supportive of Pyle but in the end joins in on the bullying which leads to Pyle’s mind breaking. We see this in wartime too as he has “Born to Kill” on his helmet, but a peace sign on his jacket. It is in this we see someone trying to do right in a world where that is punished and Joker isn’t courageous overall, he’s a coward and only really rises to the challenge when he has no other option. He is a good description and stand in for humanity, which makes him work really well. He is the tragedy of our darker nature and failure to stand up to bullies and wrong conflicts. Boot Camp – Book camp is rough as Hartman starts things out dehumanizing the men and over the course of the film breaks them down into weapons to be used. This leads to Gomer breaking and killing him but he succeeds in that all the recruits got taken in to different branches of the military because of his success as weaponizing them. Vietnam and the Interviews – Joker interviews the soldiers and we see how much they don’t care about the people they are supposed to be fighting for. From one posing with a dead Viet Cong soldier, to all the slurs towards the Vietnamese and the general apathy they all feel as each feels like their country has abandoned them to somewhere they never wanted to be. The Finale – The finale is powerful as we have a Vietnamese girl take out Eightball, the medic and Cowboy before Joker helps take her out and in the end is the one to finish her off and speak to her wish of death being granted when Animal Mother just wants to let her suffer and get eaten by the rats. In this we get a glimpse of humanity just as our broken brotherhood of soldiers marching in the firey landscape is the closest thing to good that they have in the hell of war. War is Hell – War is hell is another theme and we see this starkly in the finale where there is no one to help the troops as the sniper kills a bunch of them, and in the end they find the sniper is just a young girl who just wants to be finished off and shot as she’s suffering from being shot. Besides this you see it in how the soldiers smack talk the Vietnamese allies and how no one trusts anyone. The only thing people know is to kill so there isn’t a clear goal. The Consequences of Dehumanization – We see the consequences of dehumanization countless time throughout the film. From the burning landscape of Vietnam, to Pyle losing his mind and in how our heroes treat the Vietnamese and to some degree one another. Everyone is out for themselves and is using others as they feel used. Each has been through trauma and been changed for the worse in the process. There aren’t any cons that I can really describe for this film. It shows what abuse can do to the human mind and what war can do and it doesn’t let up. Our characters are human and flawed and we see them make choices that cost them their soul in different ways and we see our protagonist try to hold onto what little humanity he has left. The story is a powerful, drama and tragedy and once again Kubrick has created gold. Final Score: 10 / 10
205	dbpedia	3	73	https://criterionforum.org/Review/barry-lyndon-the-criterion-collection-blu-ray	en	Barry Lyndon	https://criterionforum.o…photo1602211.jpg	https://criterionforum.o…photo1602211.jpg	[ "https://criterionforum.org/img/cf-logo-slim.gif", "https://criterionforum.org/img/header/headerphoto1602211.jpg", "https://criterionforum.org/img/associates/amazon/us_banner_logow.gif", "https://criterionforum.org/img/associates/amazon/ca_banner_logow.gif", "https://criterionforum.org/img/captures/barrylyndonblu00001.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00002.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00003.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00004.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00005.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00006.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00007.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00008.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00009.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00010.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00011.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00012.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00013.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00014.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00015.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00016.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00017.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00018.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00019.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00020.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00001.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00002.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00003.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00004.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00005.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00006.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00007.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00008.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00009.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00010.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00011.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00012.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00013.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00014.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00015.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00016.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00017.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00018.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00019.jpg", "https://criterionforum.org/img/captures/barrylyndonblu00020.jpg", "https://criterionforum.org/img/associates/amazon/us_banner_logow.gif", "https://criterionforum.org/img/associates/amazon/ca_banner_logow.gif", "https://criterionforum.org/img/cover/3713BC7C-53E5-A990-22DB-44CA3253D107.jpg", "https://criterionforum.org/img/bd_small.png", "https://criterionforum.org/img/header/headerphoto1074211.jpg", "https://criterionforum.org/img/header/headerphoto2063211.jpg", "https://criterionforum.org/img/header/headerphoto477211.jpg", "https://criterionforum.org/img/header/headerphoto6785211.jpg", "https://criterionforum.org/img/header/headerphoto6787211.jpg", "https://criterionforum.org/img/cf-logo.gif" ]	[]	[]	[ "" ]	null	[]	null	Stanley Kubrick bent the conventions of the historical drama to his own will in this dazzling vision of brutal aristocracy, adapted from a novel by William Makepeace Thackeray. In picaresque detail, <I>Barry Lyndon</I> chronicles the adventures of an incorrigible trickster (Ryan O’Neal) whose opportunism takes him from an Irish farm to the battlefields of the Seven Years’ War and the parlors of high society. For the most sumptuously crafted film of his career, Kubrick recreated the decadent surfaces and intricate social codes of the period, evoking the light and texture of eighteenth-century painting with the help of pioneering cinematographic techniques and lavish costume and production design, all of which earned Academy Awards. The result is a masterpiece—a sardonic, devastating portrait of a vanishing world whose opulence conceals the moral vacancy at its heart.	en			https://criterionforum.org/Review/barry-lyndon-the-criterion-collection-blu-ray/1	BUY AT: See more details, packaging, or compare Synopsis Stanley Kubrick bent the conventions of the historical drama to his own will in this dazzling vision of brutal aristocracy, adapted from a novel by William Makepeace Thackeray. In picaresque detail, Barry Lyndon chronicles the adventures of an incorrigible trickster (Ryan O’Neal) whose opportunism takes him from an Irish farm to the battlefields of the Seven Years’ War and the parlors of high society. For the most sumptuously crafted film of his career, Kubrick recreated the decadent surfaces and intricate social codes of the period, evoking the light and texture of eighteenth-century painting with the help of pioneering cinematographic techniques and lavish costume and production design, all of which earned Academy Awards. The result is a masterpiece—a sardonic, devastating portrait of a vanishing world whose opulence conceals the moral vacancy at its heart. Picture 10/10 In a very welcome surprise the Criterion Collection presents a new Blu-ray edition for Stanley Kubrick’s Barry Lyndon, presenting the film in its original aspect ratio of 1.66:1 on the first dual-layer disc of this two-disc set. The 1080p/24hz high-definition presentation comes from a new 4K restoration scanned from the 35mm original camera negative. Though the original disc from Warner Bros. received a staggering amount of criticism, specifically against the incorrect framing (it had a ratio of 1.78:1, cutting off the top and bottom) and its use of a new Warner Bros. logo to open the film (I can usually get past this kind of stuff but the black-and-white thing most definitely was ugly), to be fair, the presentation, which used the same master created for the remastered DVD set released in 2000, didn’t look that bad on a technical level. It could probably be better but the film had never looked so good on video. Still, Criterion’s new one does offer an improvement over that edition and I think it’s noticeable enough. Admittedly at first glance the two don’t look significantly different and that probably has to do with the colours, which do look very similar and just as good: nice reds, natural skin tones, excellent saturation, and so on. The included notes on the transfer mention that the old restoration was used for the reference in colour timing this one, so it’s no shock they look so similar in this regard. But the Criterion improves upon handling the film’s grain, which is very finely rendered but noticeable, and it looks very clean. I think details in the landscapes also come through a bit better in this one, cleaner and sharper, though close-ups, still great themselves, are probably comparable between the two since most of these tend to have an intentional softer look anyways (at least I always assumed this be the case). The candle-lit scenes also look wonderful, but again the Warner disc didn’t mess these up either. Black levels are superb, nice and rich without crushing out details in the shadows, especially important during these low-lit scenes. The restoration has cleared out blemishes and I don’t recall anything ever popping up. The other noticeable difference (other than the Saul Bass Warner Bros. logo opening the film again) is the aspect ratio. Arguably the difference between 1.78:1 and 1.66:1 is negligible but I would say that there are several moments that do look better composed here, though would probably limit them to the larger landscape shots, which do benefit quite a bit being opened up in the top and/or bottom. Even if other shots and scenes don’t benefit as obviously, getting the director’s preferred ratio on Blu-ray finally is still a good enough reason for this disc to exist, and I know many will be happy about that point on its own. Admittedly this isn’t an upgrade on the scale of Criterion’s Blu-ray of Being There over Warner’s processed disc: Warner’s Blu-ray of Barry Lyndon, outside of the justifiable criticisms against its incorrect aspect ratio, isn’t all that bad. But I still feel Criterion’s is a better, more filmic image in the end, a thing of beauty. Audio 8/10 Warner’s previous Blu-ray only featured the remastered 5.1 surround track created for the remastered DVD release, which was an annoyance to some. Criterion’s disc retains that surround track, presented in DTS-HD MA, but also offers the option of the film’s original monaural presentation, delivered in lossless PCM 1.0 mono. I never hated the 5.1 track and found it fine on the DVD and previous Blu-ray, and again I find it just fine on here as well. As Leon Vitali points out in one of the included interviews found on this release, the surround track ultimately just spreads out the mono presentation to immerse the viewer a bit more, and it was something Kubrick was fully behind; the only reason he didn’t do surround mixes for his films previously was because he didn’t like the idea that all theaters wouldn’t have the set-up for it, settling on monaural to ensure the experience was the same in all theaters. It was with the new DVD releases at the time he decided to go about with remixes. Both tracks, in the end, are great and which one you go with will simply come down to personal preference. They’re both very clear, deliver a fair bit of range, and show no signs of damage or distortion. The surround track isn’t overly aggressive, not coming off showy for the sake of being showy and volume levels typically stay the same (Vitali explains that Kubrick wanted it like this), but it certainly offers a more dynamic experience. It simply spreads out a lot of the action between the speakers, remains front heavy, and allows for panning and movement between the speakers. I also think certain effects do sound a bit sharper here but again aren’t mixed all that much louder in comparison to the mono track. Where the track seems to be most obviously different (outside of the audio being spread to the other speakers of course) is the music, which sounds significantly more dynamic and rich here, maybe even a bit louder, and I’m guessing it’s possible the pieces of music used throughout the film come from new remasters themselves. The mono’s presentation of the music does sound more of the time when the film was made. For myself I’ll probably stick with the surround track as I’ve been perfectly fine with it, but for those that prefer the monaural presentation they can rest assured that it also sounds excellent itself. Extras 10/10 Though Warner Bros. has really gone all out in with features on most of Kubrick’s films, for whatever reason Barry Lyndon (and Lolita) have only received barebone editions from them on DVD and Blu-ray, an odd choice since the film seems so ripe for, at the very least, some notable features on the technical merits of the film. Criterion thankfully fixes this with their new special edition, devoting a whole second disc (though only single-layer) to supplementary material that covers just about every area on the making of the film. No special features (sadly, not even a commentary) are found on the first disc, giving the film all the breathing room it needs. Starting things off is an extensive 38-minute making-of featuring interviews with executive producer Jan Harlan, assistant directors Brian Cook and Michael Stevenson, actors Dominic Savage and Leon Vitali, location scout Katharina Kubrick, Richard Daniels (senior archivist at the Stanley Kubrick Archive), and director Stanley Kubrick through an archival radio interview. On top of the research Kubrick put in (various paintings and artworks), the script (which existed in some form but was never really completed), using candle light (covered more extensively in other features on the disc), etiquette and posture (Kubrick even spoke to the Queen), and the costumes—all of which is fascinating—the best moments to the documentary are the various little stories about the production. I most enjoyed actor Vitali’s recollection about the duel scene, where it was decided that his character would throw up and the steps Kubrick had him do to get to that point, with the climax of that moment being, as Vitali recalls, the only single take he ever did during shooting. There are also fond recollections of working with O’Neal and there are plenty of stories about Kubrick’s demands and how one adapted to said demands. I hadn’t come across much about the film’s production so this documentary proves most invaluable while also being entertaining and unexpectedly funny. Expanding on details from that documentary about filming using only candlelight as the light source, the documentary Achieving Perfection—featuring focus puller Douglas Milsume, gaffer Lou Bogue, and archival audio of cinematographer John Alcott—goes into more detail about the procurement of the NASA lens needed to shoot in such lowlight conditions and then the process in rigging a camera to use it. Other issues came up with it but the biggest was the lack of depth-of-field and this called for a complicated set-up making use of CCTV cameras and monitors to measure the distance of the performers and allow Milsume to pull the focus appropriately. There were also a number of other issues that revolved around the candles: having to protect the ceilings from the heat since actual locations were used, dealing with the wax drippings, having to replace the candles between takes (for continuity), and then dealing with the fact the candle flames were sucking all of the oxygen out of the room. The participants also cover daylight sequences and the compositions of the scenes where a zoom-out would be employed, all of which proves fascinating but it’s the details on the candlelit scenes that I most enjoyed. Tony Lawson next talks about editing Barrry Lyndon in the 14-minute Timing and Tension, which offers some of the most captivating insight into Kubrick’s techniques in editing together his films, explaining a process Kubrick used to put together the appropriate takes to build a scene, explaining it as a more rudimentary system similar to modern digital editing. Criterion also provides visual aids to support Lawson’s explanations on how Kubrick would construct a simple sequence from all of the footage he had collected through his numerous takes for every shot. His process made it easier to deal with the footage but it still took a lengthy amount of time on certain sequences: the final duel took about six weeks to edit. Like the previous feature it’s very technical but, thanks to Lawson’s concise explanations and Criterion visual references it should be very clear to even the most novice film buff. In Drama in Detail Sir Christopher Frayling talks about production designer Ken Adams’ work on this film and the tumultuous relationship he had with Kubrick on this film and Dr. Strangelove. Adams had said working on the previous film with Kubrick was a nightmare and he had decided to not work with him again. Kubrick was able to appeal to him with this historical epic and Adams, though reluctant, did sign on, though it would lead to him having a nervous breakdown. He was annoyed by how Kubrick questioned him on everything with this film (on Strangelove he also questioned him constantly on little things, like why would the War Room have all these angles) and his refusal to use sets since Adams and crew had no control (or at least limited control) on actual locations. Though some sets were created, Adams was mostly in charge of properly dressing the locations while also protecting them from damage. Frayling is very thorough on Adams’ contributions with the film and the relationship between him and Kubrick, and it ends up being another engaging feature, running a brisk 13-minutes. Actor and assistant to Kubrick, Len Vitali, next talks about the film’s sound design and 5.1 remix Balancing Every Sound. Vitali, acknowledging he’s heard criticisms about the remixes, explains Kubrick’s desire to make more elaborate sound mixes but felt limited by the technology common in theaters at the time, which is why he resorted to monaural. When Warner showed interest in remastering the films for DVD (after that god-awful previous box set release) Kubrick was all for it, approving of sound mixer Chris Jenkins who had the same ideas as Kubrick. Kubrick would unfortunately pass away before everything was complete but Jenkins carried on the work. It’s only 10-minutes but a good feature, presented in 5.1 (Dolby Digital) to allow for comparisons between the two tracks and the mixes (of course, you can also do comparisons between tracks while watching the full film). Criterion includes both tracks with the film so it may be a moot issue, but Vitali is here to simply explain the history behind the remixes and what Kubrick and Jenkins were aiming to do with them. There is then an archival interview featuring costume designer Ulla-Britt Söderlund from a 5-minute excerpt in a 1976 episode of Le rendez-vous du Dimanche, the designer explaining how she came aboard, how she created the looks (some actual outfits were also used) and what the future holds for her. This is then followed by a couple of academic features: an 18-minute interview with Michel Ciment and a 15-minute one with MOMA Assistant Curator Adam Eaker. Ciment pays a bit more attention to Barry Lyndon but looks at Kubrick’s career as a whole, talking about the themes that drew him, how he sided with the victims in his stories, satirizes those in power, and so forth. Eaker provides context on the artwork that influenced the look of the film, going over works by William Hogarth (whose work was cinematic in itself), Thomas Gainsborough, Sir Joshua Reynolds, George Stubbs, and Johan Zoffany, with the feature also offering visual comparisons between shots from the film and a selection of works by the artists, the influences being quite obvious. The disc the closes with two theatrical trailers. Criterion also includes one of their best booklets in a long while. There’s a good essay on the film and Kubrick’s attention to detail by Geoffrey O’Brien, but the gems in the booklet are the two more technical articles on the look or the film, first a reprint of a lengthy 1976 interview with director of photography John Alcott for American Cinematographer magazine, and then a newer article about the new equipment used for the film, written by Ed DiGiulio, president of Cinema Products Corporation. They can both get very technical (Alcott’s especially) but they are must reads. It’s still a wonder why Warner never bothered giving the film a special edition previously (though I guess they figured it wouldn’t be a big seller) but Criterion has corrected that and then some. They extensively cover the technical areas of the film to a significant degree, sure to satisfy admirers of the film. Closing Criterion does a splendid job with their new Blu-ray of Barry Lyndon. Kubrick’s film has never looked so incredible on home video and Criterion’s supplements feel complete and satisfying. I very highly recommend this edition. BUY AT:
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"https://www.youtube.com/embed/LMTVVplDEno?feature=oembed", "https://www.youtube.com/embed/WOLZMr52Wcc?feature=oembed", "https://www.youtube.com/embed/fb7Meqaz7Aw?feature=oembed", "https://www.youtube.com/embed/kfNB4YepvTA?feature=oembed", "https://www.youtube.com/embed/a_MNryycOF4?feature=oembed", "https://www.youtube.com/embed/_E8C-3MU00g?feature=oembed", "https://www.youtube.com/embed/h4qdVX9YeTs?feature=oembed", "https://cinephiliabeyond.org/donation.html" ]	[]	[ "" ]	null	[ "cinephiliabeyond" ]	2020-03-02T11:17:46+01:00	By Tim Pelan I have had a complete set of Thackeray sitting on my bookshelf at home for years, and I had to read several of his novels before reading 'Barry Lyndon.' At one time, 'Vanity Fair' interested me as a possible film but, in the end, I decided the story could not	en	https://cinephiliabeyond.org/wp-content/uploads/2014/12/favicon.ico?x97248	Cinephilia & Beyond	https://cinephiliabeyond.org/barry-lyndon/	By Tim Pelan I have had a complete set of Thackeray sitting on my bookshelf at home for years, and I had to read several of his novels before reading ‘Barry Lyndon.’ At one time, ‘Vanity Fair’ interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film. This problem of length, by the way, is now wonderfully accommodated for by the television miniseries which, with its ten- to twelve-hour length, pressed on consecutive nights, has created a completely different dramatic form. Anyway, as soon as I read ‘Barry Lyndon’ I became very excited about it. I loved the story and the characters, and it seemed possible to make the transition from novel to film without destroying it in the process. It also offered the opportunity to do one of the things that movies can do better than any other art form, and that is to present historical subject matter. Description is not one of the things that novels do best but it is something that movies do effortlessly, at least with respect to the effort required of the audience. This is equally true for science-fiction and fantasy, which offer visual challenges and possibilities you don’t find in contemporary stories. —Stanley Kubrick Barry Lyndon is, like the Hogarth paintings its setting emulates, a Rake’s Progress of a kind, yet progress, our hero does not. It is the tale of a naïf: vain, selfish, constantly arriving, on the cusp of obtaining what he believes he holds most dear in the world: status. Barry subsumes his somewhat transparent persona to fit what he imagines are the societal norms he finds himself elevated to. He is the Zelig of the Age of Enlightenment, a state that passes our “shop dummy” hero (as Ryan O’Neill was unfairly criticized) by. Adapted by Stanley Kubrick from William Makepeace Thackeray’s novel, the story is split into two parts; how Irish rogue Redmond Barry achieves title and trappings of wealth as Barry Lyndon; and how misfortune dogs him from then on and leads to his downfall. The film replaces the novel’s unreliable first-person narrative in favor of a dryly ironic third-person one from Michael Hordern. After taking part in a duel for the affections of his cousin Nora with British officer Captain Quinn (Leonard Rossiter), Barry flees Ireland, mistakenly believing he has killed him. His family have in fact tampered with the shot, reluctant to lose the valuable stipend Quinn has promised in exchange for Nora’s hand. Barry enlists in the British army after being robbed at the outset of his odyssey. Deserting, he becomes press-ganged into the Prussian army, then becomes the protégé of gambler and spy Chevalier de Balibari (Patrick Magee), before eventually meeting Lady Lyndon (Marisa Berenson) at a game of cards. He marries her, achieving wealth and some social standing, before ultimately undoing all he achieved through financial profligacy and vanity, ensuring the venomous enmity of his stepson, Lord Bullingdon (Leon Vitali). Martin Scorsese said of the film, “I’m not sure if I can say that I have a favorite Kubrick picture, but somehow I keep coming back to Barry Lyndon. I think that’s because it’s such a profoundly emotional experience. The emotion is conveyed through the movement of the camera, the slowness of the pace, the way the characters move in relation to their surroundings. People didn’t get it when it came out. Many still don’t. Basically, in one exquisitely beautiful image after another, you’re watching the progress of a man as he moves from the purest innocence to the coldest sophistication, ending in absolute bitterness—and it’s all a matter of simple, elemental survival. It’s a terrifying film because all the candlelit beauty is nothing but a veil over the worst cruelty. But it’s real cruelty, the kind you see every day in polite society. His audacity is to insist on slowness in order to recreate the pace of life, and to ritualise behaviour of the time. A great example is the seduction scene, which he stretches until it settles into a sort of trance, what always struck me is the ballet of emotions of the film, watch the tension between the camera’s movements and the characters body language orchestrated by the music in this scene.” Leonard Rosenman’s incredibly powerful orchestration of Handel’s Sarabande drives home the inevitable, tragicomic downfall of our foolish hero. When first heard, it embellishes the pomp both of Barry’s ambitions and the old order; but as it recurs during Barry’s troubles the different orchestration suggests a funereal undertow. In his book, Screen, Culture, Psyche: A Post Jungian Approach to Working with the Audience, author John Izod states that Michel Sineux believes that with Barry Lyndon, as well as 2001: A Space Odyssey, and A Clockwork Orange, “music dominates, with the consequence that each film is rooted in the emotional and the sensorial. It addresses the intellect via feeling, and reaches the conscious mind only after having energized the unconscious.” In April 2017, the 50-piece Wordless Music Orchestra performed the score to a screening of the film in Kings Theatre on Flatbush Avenue, Brooklyn, New York. “Barry Lyndon lies at the exact corner of total freedom and total fidelity when it comes to music,” conductor Ryan McAdams told Bilge Ebiri for The Village Voice. “So many film scores today are pitched sound effects. It’s often a drone, or a hum, meant to heighten or deepen an emotional place; you’re not even supposed to be conscious of it. But with Kubrick, when music is played, it often dominates the film as much as any particular visual does. He traps you in that world, sometimes when the movie itself is not moving at a breakneck pace.” “If you listen to the music,” McAdams continues, “you realize that this film is not an attempt to re-create life in the eighteenth century, but an attempt to bring to life how these people wanted to have been seen.” Ebiri considers that, with the actors often in carefully framed repose, “the preponderance of zooms instead of tracking shots in the film may also have been a logistical choice: the production often shot in well-preserved historical homes and castles, and may have wanted to avoid damaging the delicate floors with heavy dolly tracks.” The one possible true note of passion, of the masks slipping, between Barry and Lady Lyndon occurs when they first meet across the card table. They are illuminated only by candles and captured by cinematographer John Alcott with those incredible space-age Zeiss lenses developed by NASA that Kubrick specifically sought out to capture the authentic, immersive reality of the period (not a single studio set was used—Kubrick had considered this lighting method as far back as production on 2001: A Space Odyssey, when he was planning his ultimately unmade epic on Napoleon). Scored by Leonard Rosenman to Franz Schubert’s Piano Trio in E-Flat, Op. 100, they exchange lingering looks. She excuses herself and goes outside to the terrace for some air. Barry follows. They gaze again into each other’s eyes and kiss gently. Not a single word is spoken. Kubrick stated, “It suggests the empty attraction they have for each other that is to disappear as quickly as it arose. It sets the stage for everything that is to follow in their relationship.” Mark Crispin Miller notes that Rosenman’s adaptation does not progress into Schubert’s passionate middle section but repeats the major theme. As Kubrick notes, this underscores both Lady Lyndon’s frustration and Barry’s failure to develop by committing to an enduring relationship. Kubrick settled on the choice of music during the editing of this scene. “I think I must have listened to every LP you can buy of eighteenth-century music. One of the problems which soon became apparent is that there are no tragic love-themes in eighteenth-century music. So eventually I decided to use Schubert’s Trio in E Flat, Opus 100, written in 1828. It’s a magnificent piece of music and it has just the right restrained balance between the tragic and the romantic without getting into the headier stuff of later Romanticism.” Kubrick supposedly shot 100 takes of this meeting. “He was incredibly careful, he shot for a long time and shot an enormous amount of footage. But you know, so what! He wanted to get it right,” Jan Harlan told Paul Whitington. Those Zeiss lenses required very exacting camera movement and placement of actors, as they greatly reduced depth of field, requiring other workarounds. Harlan elaborated: “You couldn’t move around, you could barely stand up, you know. It all had to be carefully rehearsed. If you moved your head forward five inches you’re totally out of focus. That’s why they sometimes look a little bit stiff! The background almost didn’t matter, it just had to have good colors, but we knew it was all totally out of focus. It didn’t matter, because the paintings of the time were also a little bit not sharp. But you had to get the lips and the eyes sharp, because that’s where people look. And that sometimes left you with a depth of field of only two to three inches. The candlelight photography was a real pain, but on the other hand it looked gorgeous. It would be a walk in the park today with all the new technology, but it wouldn’t look the same.” Throughout, Kubrick exposes the frailties, foolishness and frivolities of characters through slow reverse zoom outs from medium close-ups, to revealing tableaux through which they parade, as if paintings by Gainsborough and Hogarth, come to life. He reveals a beautiful, indifferent world that will endure beyond our short time. Kubrick spent almost a year touring the great houses of southeastern Ireland for locations; the actual shoot lasted around 300 days, the director tripling his budget. He was as meticulous with research on costumes and production design. “On Barry Lyndon, I accumulated a very large picture file of drawings and paintings taken from art books. These pictures served as the reference for everything we needed to make—clothes, furniture, hand props, architecture, vehicles, etc. Unfortunately, the pictures would have been too awkward to use while they were still in the books, and I’m afraid we finally had very guiltily to tear up a lot of beautiful art books. They were all, fortunately, still in print which made it seem a little less sinful. Good research is an absolute necessity and I enjoy doing it. You have an important reason to study a subject in much greater depth than you would ever have done otherwise, and then you have the satisfaction of putting the knowledge to immediate good use. The designs for the clothes were all copied from drawings and paintings of the period. None of them were designed in the normal sense. This is the best way, in my opinion, to make historical costumes. It doesn’t seem sensible to have a designer interpret— say—the eighteenth century, using the same picture sources from which you could faithfully copy the clothes. Neither is there much point sketching the costumes again when they are already beautifully represented in the paintings and drawings of the period. What is very important is to get some actual clothes of the period to learn how they were originally made.” Kubrick had also spent a year in pre-production on his “epic poem of action” Napoleon, visiting Elba, Waterloo and Austerlitz, and was disappointed that he could not ultimately get it made. “The two films would have had little in common, if Napoleon had gotten made,” Jan Harlan recalled. “But with Napoleon, he did want to find a new way of photographing the look of the time, and he did plan to use a very fast lens in order to achieve that painterly look on the screen.” The Kubrick Lyndon circus arrived in Dublin in May 1973, shooting one scene in Bray’s Ardmore Studios, before heading out on location. “Our base was Waterford, and then we went to Thomastown, Carrick-on-Suir, Ballynatray, that whole area, they were beautiful locations and landscapes. We had a wonderful time in Ireland. Hard work, though!” Kubrick fled Ireland when he received a death threat purporting to come from the IRA, supposedly for making a film with British soldiers on Irish soil. “Whether the threat was a hoax or it was real, almost doesn’t matter,” Jan Harlan said. “Stanley was not willing to take the risk. He was threatened, and he packed his bag and went home. And the whole crew went with him. Within 48 hours, we were all back in the southwest of England. Luckily we had really what we needed: one or two shots we would have done in Dublin Castle, we then transferred to a stately home in England. But the bulk of the film was made in Ireland.” An unusual “supercut” video is The Hats of Barry Lyndon, which illustrates Barry’s odyssey via costume. Its commissioner, Robert Everett-Green, said in WornJournal (the site is now no more): “Barry Lyndon spends the entire film trying to push his way up through a society in which clothes transmitted everyone’s status at a glance. His story is that of a man struggling to assemble and maintain the right appearances. The aristocratic widow he manages to marry is so perfectly projected by her clothing that she hardly needs to do or say anything. What Lyndon doesn’t realize is that her inertia is proof she belongs, while his pushing creates an appearance that dooms all his efforts.” Indeed, there is very little introspection and true communication in the stifling society presented. Kubrick reflected to Michel Ciment that, “At the beginning of the story, Barry has more people around him to whom he can express his feelings. As the story progresses, and particularly after his marriage, he becomes more and more isolated. There is finally no one who loves him, or with whom he can talk freely, with the possible exception of his young son, who is too young to be of much help. At the same time I don’t think that the lack of introspective dialogue scenes are any loss to the story. Barry’s feelings are there to be seen as he reacts to the increasingly difficult circumstances of his life. I think this is equally true for the other characters in the story. In any event, scenes of people talking about themselves are often very dull.” Each failing monetary transaction of Barry’s in an attempt to ingratiate himself into the society within which he has married drives a wider wedge between him and his wife, and ensuring the enmity of her lickspittle servant Rev. Runt (Murray Melvin) and Lord Bullingdon, finally resulting in the young man challenging him querulously but determinedly to a duel. The script for this scene simply reads, Barry duels with Lord Bullingdon. Yet this is one of the most powerful, tense and engaging sequences in the entire film, from the setting, the dread-inducing reprise of Handel’s Sarabande, and Barry’s naivety. Composer Frank Cogliano, who transcribed the score for the aforementioned Wordless Orchestra screening, noted that, “For the big duel scene at the end, you have this timpani part that’s playing these sixteen measures of Handel. It’s so little material, but it’s played in this way that goes on—I think one of the cues is eleven minutes. It’s always underlying, it’s always there. If you were to detach it from the movie, it would be monotonous.” Instead, it has the grim inevitability of death’s march—this film’s equivalent of the shark approach in John Williams’ Jaws score. Barry deliberately miss-aims, and leaves himself open to being shot in the leg by his quailing opponent. Paid off by Bullingdon and the smirkingly triumphant Rev Runt, Barry ends up abed in a Coach House, dismembered, attended by his mother. The final shot of Barry is a freeze-frame of his back as he awkwardly enters a carriage to return to Ireland, one leg amputated below the knee, face obscured, stripped of the social masks he displayed previously that hid whatever inner life he had. The film’s reverse zooms and this “turning away” of Barry at his end serve to remind us that, however much we seek to understand these characters, they are ultimately unknowable to our modern mores. The past, as L.P. Hartley’s The Go-Between opens, is a foreign country: they do things differently there. Kubrick’s painterly eye invites us to be all-seeing, but ultimately, unknowing. Tim Pelan was born in 1968, the year of ‘2001: A Space Odyssey’ (possibly his favorite film), ‘Planet of the Apes,’ ‘The Night of the Living Dead’ and ‘Barbarella.’ That also made him the perfect age for when ‘Star Wars’ came out. Some would say this explains a lot. Read more » “I wrote the screenplay for Barry Lyndon alone. The first draft took three or four months but, as with all my films, the subsequent writing process never really stopped. What you have written and is yet unfilmed is inevitably affected by what has been filmed. New problems of content or dramatic weight reveal themselves. Rehearsing a scene can also cause script changes. However carefully you think about a scene, and however clearly you believe you have visualized it, it’s never the same when you finally see it played. Sometimes a totally new idea comes up out of the blue, during a rehearsal, or even during actual shooting, which is simply too good to ignore. This can necessitate the new scene being worked out with the actors right then and there. As long as the actors know the objectives of the scene, and understand their characters, this is less difficult and much quicker to do than you might imagine.” —Stanley Kubrick A monumentally important screenplay. Screenwriter must-read: Stanley Kubrick’s screenplay for Barry Lyndon [PDF]. (NOTE: For educational and research purposes only). The DVD/Blu-ray of the film is available from the Criterion Collection and other online retailers. Absolutely our highest recommendation. STANLEY KUBRICK ON ‘BARRY LYNDON’ The following interview with Stanley Kubrick is excerpted from the book Kubrick by Michel Ciment. It was conducted upon the release of Barry Lyndon in 1975 and published in a partial form at the time. In 1981 Stanley Kubrick revised and approved the complete text of the interview for the English edition of Ciment’s book on his films. You have given almost no interviews on Barry Lyndon. Does this decision relate to this film particularly, or is it because you are reluctant to speak about your work? I suppose my excuse is that the picture was ready only a few weeks before it opened and I really had no time to do any interviews. But if I’m to be completely honest, it’s probably due more to the fact that I don’t like doing interviews. There is always the problem of being misquoted or, what’s even worse, of being quoted exactly, and having to see what you’ve said in print. Then there are the mandatory—“How did you get along with actor X, Y or Z?”—“Who really thought of good idea A, B or C?” I think Nabokov may have had the right approach to interviews. He would only agree to write down the answers and then send them on to the interviewer who would then write the questions. Do you feel that Barry Lyndon is a more secret film, more difficult to talk about? Not really. I’ve always found it difficult to talk about any of my films. What I generally manage to do is to discuss the background information connected with the story, or perhaps some of the interesting facts which might be associated with it. This approach often allows me to avoid the “What does it mean? Why did you do it?” questions. For example, with Dr. Strangelove I could talk about the spectrum of bizarre ideas connected with the possibilities of accidental or unintentional warfare. 2001: A Space Odyssey allowed speculation about ultra-intelligent computers, life in the universe, and a whole range of science-fiction ideas. A Clockwork Orange involved law and order, criminal violence, authority versus freedom, etc. With Barry Lyndon you haven’t got these topical issues to talk around, so I suppose that does make it a bit more difficult. Your last three films were set in the future. What led you to make an historical film? I can’t honestly say what led me to make any of my films. The best I can do is to say I just fell in love with the stories. Going beyond that is a bit like trying to explain why you fell in love with your wife: she’s intelligent, has brown eyes, a good figure. Have you really said anything? Since I am currently going through the process of trying to decide what film to make next, I realize just how uncontrollable is the business of finding a story, and how much it depends on chance and spontaneous reaction. You can say a lot of “architectural” things about what a film story should have: a strong plot, interesting characters, possibilities for cinematic development, good opportunities for the actors to display emotion, and the presentation of its thematic ideas truthfully and intelligently. But, of course, that still doesn’t really explain why you finally chose something, nor does it lead you to a story. You can only say that you probably wouldn’t choose a story that doesn’t have most of those qualities. Since you are completely free in your choice of story material, how did you come to pick up a book by Thackeray, almost forgotten and hardly republished since the nineteenth century? I have had a complete set of Thackeray sitting on my bookshelf at home for years, and I had to read several of his novels before reading Barry Lyndon. At one time, Vanity Fair interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film. This problem of length, by the way, is now wonderfully accommodated for by the television miniseries which, with its ten-to twelve-hour length, pressed on consecutive nights, has created a completely different dramatic form. Anyway, as soon as I read Barry Lyndon I became very excited about it. I loved the story and the characters, and it seemed possible to make the transition from novel to film without destroying it in the process. It also offered the opportunity to do one of the things that movies can do better than any other art form, and that is to present historical subject matter. Description is not one of the things that novels do best but it is something that movies do effortlessly, at least with respect to the effort required of the audience. This is equally true for science-fiction and fantasy, which offer visual challenges and possibilities you don’t find in contemporary stories. How did you come to adopt a third-person commentary instead of the first-person narrative which is found in the book? I believe Thackeray used Redmond Barry to tell his own story in a deliberately distorted way because it made it more interesting. Instead of the omniscient author, Thackeray used the imperfect observer, or perhaps it would be more accurate to say the dishonest observer, thus allowing the reader to judge for himself, with little difficulty, the probable truth in Redmond Barry’s view of his life. This technique worked extremely well in the novel but, of course, in a film you have objective reality in front of you all of the time, so the effect of Thackeray’s first-person story-teller could not be repeated on the screen. It might have worked as comedy by the juxtaposition of Barry’s version of the truth with the reality on the screen, but I don’t think that Barry Lyndon should have been done as a comedy. You didn’t think of having no commentary? There is too much story to tell. A voice-over spares you the cumbersome business of telling the necessary facts of the story through expositional dialogue scenes which can become very tiresome and frequently unconvincing: “Curse the blasted storm that’s wrecked our blessed ship!” Voice-over, on the other hand, is a perfectly legitimate and economical way of conveying story information which does not need dramatic weight and which would otherwise be too bulky to dramatize. But you use it in other way—to cool down the emotion of a scene, and to anticipate the story. For instance, just after the meeting with the German peasant girl—a very moving scene—the voice-over compares her to a town having been often conquered by siege. In the scene that you’re referring to, the voice-over works as an ironic counterpoint to what you see portrayed by the actors on the screen. This is only a minor sequence in the story and has to be presented with economy. Barry is tender and romantic with the girl but all he really wants is to get her into bed. The girl is lonely and Barry is attractive and attentive. If you think about it, it isn’t likely that he is the only soldier she has brought home while her husband has been away to the wars. You could have had Barry give signals to the audience, through his performance, indicating that he is really insincere and opportunistic, but this would be unreal. When we try to deceive we are as convincing as we can be, aren’t we? The film’s commentary also serves another purpose, but this time in much the same manner it did in the novel. The story has many twists and turns, and Thackeray uses Barry to give you hints in advance of most of the important plot developments, thus lessening the risk of their seeming contrived. When he is going to meet the Chevalier Balibari, the commentary anticipates the emotions we are about to see, thus possibly lessening their effect. Barry Lyndon is a story which does not depend upon surprise. What is important is not what is going to happen, but how it will happen. I think Thackeray trades off the advantage of surprise to gain a greater sense of inevitability and a better integration of what might otherwise seem melodramatic or contrived. In the scene you refer to where Barry meets the Chevalier, the film’s voice-over establishes the necessary groundwork for the important new relationship which is rapidly to develop between the two men. By talking about Barry’s loneliness being so far from home, his sense of isolation as an exile, and his joy at meeting a fellow countryman in a foreign land, the commentary prepares the way for the scenes which are quickly to follow showing his close attachment to the Chevalier. Another place in the story where I think this technique works particularly well is where we are told that Barry’s young son, Bryan, is going to die at the same time we watch the two of them playing happily together. In this case, I think the commentary creates the same dramatic effect as, for example, the knowledge that the Titanic is doomed while you watch the carefree scenes of preparation and departure. These early scenes would be inexplicably dull if you didn’t know about the ship’s appointment with the iceberg. Being told in advance of the impending disaster gives away surprise but creates suspense. There is very little introspection in the film. Barry is open about his feelings at the beginning of the film, but then he becomes less so. At the beginning of the story, Barry has more people around him to whom he can express his feelings. As the story progresses, and particularly after his marriage, he becomes more and more isolated. There is finally no one who loves him, or with whom he can talk freely, with the possible exception of his young son, who is too uoung to be of much help. At the same time I don’t think that the lack of introspective dialogue scenes are any loss to the story. Barry’s feelings are there to be seen as he reacts to the increasingly difficult circumstances of his life. I think this is equally true for the other characters in the story. In any event, scenes of people talking about themselves are often very dull. In contrast to films which are preoccupied with analyzing the psychology of the characters, yours tend to maintain a mystery around them. Reverend Runt, for instance, is a very opaque person. You don’t know exactly what his motivations are. But you know a lot about Reverend Runt, certainly all that is necessary. He dislikes Barry. He is secretly in love with Lady Lyndon, in his own prim, repressed, little way. His little smile of triumph, in the scene in the coach, near the end of the film, tells you all you need to know regarding the way he feels about Barry’s misfortune, and the way things have worked out. You certainly don’t have the time in a film to develop the motivations of minor characters. Lady Lyndon is even more opaque. Thackeray doesn’t tell you a great deal about her in the novel. I found that very strange. He doesn’t give you a lot to go on. There are, in fact, very few dialogue scenes with her in the book. Perhaps he meant her to be something of a mystery. But the film gives you a sufficient understanding of her anyway. You made important changes in your adaptation, such as the invention of the last duel, and the ending itself. Yes, I did, but I was satisfied that they were consistent with the spirit of the novel and brought the story to about the same place the novel did, but in less time. In the book, Barry is pensioned off by Lady Lyndon. Lord Bullingdon, having been believed dead, returns from America. He finds Barry and gives him a beating. Barry, tended by his mother, subsequently dies in prison, a drunk. This, and everything that went along with it in the novel to make it credible would have taken too much time on the screen. In the film, Bullingdon gets his revenge and Barry is totally defeated, destined, one can assume, for a fate not unlike that which awaited him in the novel. And the scene of the two homosexuals in the lake was not in the book either. The problem here was how to get Barry out of the British Army. The section of the book dealing with this is also fairly lengthy and complicated. The function of the scene between the two gay officers was to provide a simpler way for Barry to escape. Again, it leads to the same end result as the novel but by a different route. Barry steals the papers and uniform of a British officer which allow him to make his way to freedom. Since the scene is purely expositional, the comic situation helps to mask your intentions. Were you aware of the multiple echoes that are found in the film: flogging in the army, flogging at home, the duels, etc., and the narrative structure resembling that of A Clockwork Orange? Does this geometrical pattern attract you? The narrative symmetry arose primarily out of the needs of telling the story rather than as part of a conscious design. The artistic process you go through in making a film is as much a matter of discovery as it is the execution of a plan. Your first responsibility in writing a screenplay is to pay the closest possible attention to the author’s ideas and make sure you really understand what he has written and why he has written it. I know this sounds pretty obvious but you’d be surprised how often this is not done. There is a tendency for the screenplay writer to be “creative” too quickly. The next thing is to make sure that the story survives the selection and compression which has to occur in order to tell it in a maximum of three hours, and preferably two. This phase usually seals the fate of most major novels, which really need the large canvas upon which they are presented. In the first part of A Clockwork Orange, we were against Alex. In the second part, we were on his side. In this film, the attraction/repulsion feeling towards Barry is present throughout. Thackeray referred to it as “a novel without a hero.” Barry is naive and uneducated. He is driven by a relentless ambition for wealth and social position. This proves to be an unfortunate combination of qualities which eventually lead to great misfortune and unhappiness for himself and those around him. Your feelings about Barry are mixed but he has charm and courage, and it is impossible not to like him despite his vanity, his insensitivity and his weaknesses. He is a very real character who is neither a conventional hero nor a conventional villain. The feeling that we have at the end is one of utter waste. Perhaps more a sense of tragedy, and because of this the story can assimilate the twists and turns of the plot without becoming melodrama. Melodrama uses all the problems of the world, and the difficulties and disasters which befall the characters, to demonstrate that the world is, after all, a benevolent and just place. The last sentence which says that all the characters are now equal can be taken as a nihilistic or religious statement. From your films, one has the feeling that you are a nihilist who would like to believe. I think you’ll find that it is merely an ironic postscript taken from the novel. Its meaning seems quite clear to me and, as far as I’m concerned, it has nothing to do with nihilism or religion. One has the feeling in your films that the world is in a constant state of war. The apes are fighting in 2001. There is fighting, too, in Paths Of Glory, and Dr. Strangelove. In Barry Lyndon, you have a war in the first part, and then in the second part we find the home is a battleground, too. Drama is conflict, and violent conflict does not find its exclusive domain in my films. Nor is it uncommon for a film to be built around a situation where violent conflict is the driving force. With respect to Barry Lyndon, after his successful struggle to achieve wealth and social position, Barry proves to be badly unsuited to this role. He has clawed his way into a gilded cage, and once inside his life goes really bad. The violent conflicts which subsequently arise come inevitably as a result of the characters and their relationships. Barry’s early conflicts carry him forth into life and they bring him adventure and happiness, but those in later life lead only to pain and eventually to tragedy. In many ways, the film reminds us of silent movies. I am thinking particularly of the seduction of Lady Lyndon by Barry at the gambling table. That’s good. I think that silent films got a lot more things right than talkies. Barry and Lady Lyndon sit at the gaming table and exchange lingering looks. They do not say a word. Lady Lyndon goes out on the balcony for some air. Barry follows her outside. They gaze longingly into each other’s eyes and kiss. Still not a word is spoken. It’s very romantic, but at the same time, I think it suggests the empty attraction they have for each other that is to disappear as quickly as it arose. It sets the stage for everything that is to follow in their relationship. The actors, the images and the Schubert worked well together, I think. Did you have Schubert’s Trio in mind while preparing and shooting this particular scene? No, I decided on it while we were editing. Initially, I thought it was right to use only eighteenth-century music. But sometimes you can make ground-rules for yourself which prove unnecessary and counter-productive. I think I must have listened to every LP you can buy of eighteenth-century music. One of the problems which soon became apparent is that there are no tragic love-themes in eighteenth-century music. So eventually I decided to use Schubert’s Trio in E Flat, Opus 100, written in 1828. It’s a magnificent piece of music and it has just the right restrained balance between the tragic and the romantic without getting into the headier stuff of later Romanticism. You also cheated in another way by having Leonard Rosenman orchestrate Handel’s Sarabande in a more dramatic style than you would find in eighteenth-century composition. This arose from another problem about eighteenth-century music—it isn’t very dramatic, either. I first came across the Handel theme played on a guitar and, strangely enough, it made me think of Ennio Morricone. I think it worked very well in the film, and the very simple orchestration kept it from sounding out of place. It also accompanies the last duel—not present in the novel—which is one of the most striking scenes in the film and is set in a dovecote. The setting was a tithe barn which also happened to have a lot of pigeons resting in the rafters. We’ve seen many duels before in films, and I wanted to find a different and interesting way to present the scene. The sound of the pigeons added something to this, and, if it were a comedy, we could have had further evidence of the pigeons. Anyway, you tend to expect movie duels to be fought outdoors, possibly in a misty grove of trees at dawn. I thought the idea of placing the duel in a barn gave it an interesting difference. This idea came quite by accident when one of the location scouts returned with some photographs of the barn. I think it was Joyce who observed that accidents are the portals to discovery. Well, that’s certainly true in making films. And perhaps in much the same way, there is an aspect of film-making which can be compared to a sporting contest. You can start with a game plan but depending on where the ball bounces and where the other side happens to be, opportunities and problems arise which can only be effectively dealt with at that very moment. In 2001: A Space Odyssey, for example, there seemed no clever way for HAL to learn that the two astronauts distrusted him and were planning to disconnect his brain. It would have been irritatingly careless of them to talk aloud, knowing that HAL would hear and understand them. Then the perfect solution presented itself from the actual phsical layout of the space pod in the pod bay. The two men went into the pod and turned off every switch to make them safe from HAL’s microphones. They sat in the pod facing each other and in the center of the shot, visible through the sound-proof glass port, you could plainly see the red glow of HAL’s bug-eye lens, some fifteen feet away. What the conspirators didn’t think of was that HAL would be able to read their lips. Did you find it more constricting, less free, making an historical film where we all have precise conceptions of a period? Was it more of a challenge? No, because at least you know what everything looked like. In 2001: A Space Odyssey everything had to be designed. But neither type of film is easy to do. In historical and futuristic films, there is an inverse relationship between the ease the audience has taking in at a glance the sets, costumes and decor, and the film-maker’s problems in creating it. When everything you see has to be designed and constructed, you greatly increase the cost of the film, add tremendously to all the normal problems of film-making, making it virtually impossible to have the flexibility of last-minute changes which you can manage in a contemporary film. You are well-known for the thoroughness with which you accumulate information and do research when you work on a project. Is it for you the thrill of being a reporter or a detective? I suppose you could say it is a bit like being a detective. On Barry Lyndon, I accumulated a very large picture file of drawings and paintings taken from art books. These pictures served as the reference for everything we needed to make—clothes, furniture, hand props, architecture, vehicles, etc. Unfortunately, the pictures would have been too awkward to use while they were still in the books, and I’m afraid we finally had very guiltily to tear up a lot of beautiful art books. They were all, fortunately, still in print which made it seem a little less sinful. Good research is an absolute necessity and I enjoy doing it. You have an important reason to study a subject in much greater depth than you would ever have done otherwise, and then you have the satisfaction of putting the knowledge to immediate good use. The designs for the clothes were all copied from drawings and paintings of the period. None of them were designed in the normal sense. This is the best way, in my opinion, to make historical costumes. It doesn’t seem sensible to have a designer interpret—say—the eighteenth century, using the same picture sources from which you could faithfully copy the clothes. Neither is there much point sketching the costumes again when they are already beautifully represented in the paintings and drawings of the period. What is very important is to get some actual clothes of the period to learn how they were originally made. To get them to look right, you really have to make them the same way. Consider also the problem of taste in designing clothes, even for today. Only a handful of designers seem to have a sense of what is striking and beautiful. How can a designer, however brilliant, have a feeling for the clothes of another period which is equal to that of the people and the designers of the period itself, as recorded in their pictures? I spent a year preparing Barry Lyndon before the shooting began and I think this time was very well spent. The starting point and sine qua non of any historical or futuristic story is to make you believe what you see. The danger in an historical film is that you lose yourself in details, and become decorative. The danger connected with any multi-faceted problem is that you might pay too much attention to some of the problems to the detriment of others, but I am very conscious of this and I make sure I don’t do that. Why do you prefer natural lighting? Because it’s the way we see things. I have always tried to light my films to simulate natural light; in the daytime using the windows actually to light the set, and in night scenes the practical lights you see in the set. This approach has its problems when you can use bright electric light sources, but when candelabras and oil lamps are the brightest light sources which can be in the set, the difficulties are vastly increased. Prior to Barry Lyndon, the problem has never been properly solved. Even if the director and cameraman had the desire to light with practical light sources, the film and the lenses were not fast enough to get an exposure. A 35mm movie camera shutter exposes at about 1/50 of a second, and a useable exposure was only possible with a lens at least 100% faster than any which had ever been used on a movie camera. Fortunately, I found just such a lens, one of a group of ten which Zeiss had specially manufactured for NASA satellite photography. The lens had a speed of fO.7, and it was 100% faster than the fastest movie lens. A lot of work still had to be done to it and to the camera to make it useable. For one thing, the rear element of the lens had to be 2.5mm away from the film plane, requiring special modification to the rotating camera shutter. But with this lens it was now possible to shoot in light conditions so dim that it was difficult to read. For the day interior scenes, we used either the real daylight from the windows, or simulated daylight by banking lights outside the windows and diffusing them with tracing paper taped on the glass. In addition to the very beautiful lighting you can achieve this way, it is also a very practical way to work. You don’t have to worry about shooting into your lighting equipment. All your lighting is outside the window behind tracing paper, and if you shoot towwards the window you get a very beautiful and realistic flare effect. How did you decide on Ryan O’Neal? He was the best actor for the part. He looked right and I was confident that he possessed much greater acting ability than he had been allowed to show in many of the films he had previously done. In retrospect, I think my confidence in him was fully justified by his performance, and I still can’t think of anyone who would have been better for the part. The personal qualities of an actor, as they relate to the role, are almost as important as his ability, and other actors, say, like Al Pacino, Jack Nicholson or Dustin Hoffman, just to name a few who are great actors, would nevertheless have been wrong to play Barry Lyndon. I liked Ryan and we got along very well together. In this regard the only difficulties I have ever had with actors happened when their acting technique wasn’t good enough to do something you asked of them. One way an actor deals with this difficulty is to invent a lot of excuses that have nothing to do with the real problem. This was very well represented in Truuffaut’s Day For Night when Valentina Cortese, the star of the film within the film, hadn’t bothered to learn her lines and claimed her dialogue fluffs were due to the confusion created by the script girl playing a bit part in the scene. How do you explain some of the misunderstandings about the film by the American press and the English press? The American press was predominantly enthusiastic about the film, and Time magazine ran a cover story about it. The international press was even more enthusiastic. It is true that the English press was badly split. But from the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But, of course, the lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have. You are an innovator, but at the same time you are very conscious of tradition. I try to be, anyway. I think that one of the problems with twentieth-century art is its preoccupation with subjectivity and originality at the expense of everything else. This has been especially true in painting and music. Though initially stimulating, this soon impeded the full development of any particular style, and rewarded uninteresting and sterile originality. At the same time, it is very sad to say, films have had the opposite problem—they have consistently tried to formalize and repeat success, and they have clung to a form and style introduced in their infancy. The sure thing is what everone wants, and originality is not a nice word in this context. This is true despite the repeated example that nothing is as dangerous as a sure thing. You have abandoned original film music in your last three films. Exclude a pop music score from what I am about to say. However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you’re editing a film, it’s very helpful to be able to try out different pieces of music to see how they work with the scene. This is not at all an uncommon practice. Well, with a little more care and thought, these temporary music tracks can become the final score. When I had completed the editing of 2001: A Space Odyssey, I had laid in temporary music tracks for almost all of the music which was eventually used in the film. Then, in the normal way, I engaged the services of a distinguished film composer to write the score. Although he and I went over the picture very carefully, and he listened to these temporary tracks (Strauss, Ligeti, Khatchaturian) and agreed that they worked fine and would serve as a guide to the musical objectives of each sequence he, nevertheless, wrote and recorded a score which could not have been more alien to the music we had listened to, and much more serious than that, a score which, in my opinion, was completely inadequate for the film. With the premiere looming up, I had no time left even to think about another score being written, and had I not been able to use the music I had already selected for the temporary tracks I don’t know what I would have done. The composer’s agent phoned Robert O’Brien, the then head of MGM, to warn him that if I didn’t use his client’s score the film would not make its premiere date. But in that instance, as in all others, O’Brien trusted my judgment. He is a wonderful man, and one of the very few film bosses able to inspire genuine loyalty and affection from his film-makers. Why did you choose to have only one flashback in the film: the child falling from the horse? I didn’t want to spend the time which would have been required to show the entire story action of young Bryan sneaking away from the house, taking the horse, falling, being found, etc. Nor did I want to learn about the accident solely through the dialogue scene in which the farm workers, carrying the injured boy, tell Barry. Putting the flashback fragment in the middle of the dialogue scene seemed to be the right thing to do. Are your camera movements planned before? Very rarely. I think there is virtually no point putting camera instructions into a screenplay, and only if some really important camera idea occurs to me, do I write it down. When you rehearse a scene, it is usually best not to think about the camera at all. If you do, I have found that it invariably interferes with the fullest exploration of the ideas of the scene. When, at last, something happens which you know is worth filming, that is the time to decide how to shoot it. It is almost but not quite true to say that when something really exciting and worthwhile is happening, it doesn’t matter how you shoot it. In any event, it never takes me long to decide on set-ups, lighting or camera movements. The visual part of film making has always come easiest to me, and that is why I am careful to subordinate it to the story and the performances. Do you like writing alone or would you like to work with a script writer? I enjoy working with someone I find stimulating. One of the most fruitful and enjoyable collaborations I have had was with Arthur C. Clarke in writing the story of 2001: A Space Odyssey. One of the paradoxes of movie writing is that, with a few notable exceptions, writers who can really write are not interested in working on film scripts. They quite correctly regard their important work as being done for publication. I wrote the screenplay for Barry Lyndon alone. The first draft took three or four months but, as with all my films, the subsequent writing process never really stopped. What you have written and is yet unfilmed is inevitably affected by what has been filmed. New problems of content or dramatic weight reveal themselves. Rehearsing a scene can also cause script changes. However carefully you think about a scene, and however clearly you believe you have visualized it, it’s never the same when you finally see it played. Sometimes a totally new idea comes up out of the blue, during a rehearsal, or even during actual shooting, which is simply too good to ignore. This can necessitate the new scene being worked out with the actors right then and there. As long as the actors know the objectives of the scene, and understand their characters, this is less difficult and much quicker to do than you might imagine. VISUALISATION DRAWING Jan Harlan: “Storyboard is not the right word for what this is; Stanley did not construct his sequences in that kind of detail, but he certainly prepared himself well. Barry Lyndon has all these battle scenes, with lots of action, and Stanley would say: ‘How are we going to do this? I want some action.’ The art department would then come up with a visualisation of how to do a scene. Stanley wouldn’t have done this drawing himself; he was not a great pencil illustrator.” Stanley Kubrick sent a personal note to every projectionist, in every country that released the movie, giving them extremely detailed instructions of how his movie needed to be presented. New documentary featuring cast and crew interviews as well as audio excerpts from a 1976 interview with director Stanley Kubrick. KUBRICK’S GRANDEST GAMBLE In a December 1975 cover story, TIME magazine examines Barry Lyndon and the many paradoxes of Stanley Kubrick, covering the filmmaker’s Herculean task in bringing the 18th century novel by William Makepeace Thackeray to the screen and the near impossibility of selling a three hour art film spectacle to the masses. —New Beverly Cinema CASTLES, CANDLES AND KUBRICK In the summer of 1973, director Stanley Kubrick arrived in Ireland to make his period masterpiece Barry Lyndon. On an overcast night the following January, the director fled Ireland on a ferry from Dun Laoghaire. Within 48 hours the entire production also abandoned their stations. Produced by Pavel Barter, Castles, Candles and Kubrick tells, for the first time, the story behind the making of Barry Lyndon in Ireland, featuring interviews with cast and crew from the film. HOLLYWOOD IN ÉIRINN Subtitled Irish language documentary on Kubrick shooting Barry Lyndon in Ireland. When a major movie production machine rumbles into town, anything can happen and frequently does. An invigorating injection of magic, money and mayhem arrives along with it, all contributing to a wild sense of excitement and anticipation. Denis Conway travels to four such locations, small villages and towns, in search of the memories of residents who witnessed the high and low jinks during the making of four major Hollywood blockbusters: The Wind That Shakes the Barley, Barry Lyndon, Moby Dick and Song for A Raggy Boy. Contributors include film actors Aidan Quinn, Iain Glenn, Jan Harlan and Pádraig Delaney. Produced by Seabed Productions. KUBRICK RECALLED BY LEGENDARY SET DESIGNER SIR KEN ADAM “In 1972 he approached me about designing Barry Lyndon but I think he decided I was too expensive and he employed someone else. Three weeks later I was in the south of France doing a film and the phone went. It was Stanley sounding like a little New York boy: he said the designer hadn’t worked out and he needed me. He schmoozed me into doing the film and I was never happy about it.” Barry Lyndon was an ambitious historical epic to be shot on location. But there was a problem: Kubrick wanted to find locations while barely leaving his family home in Elstree, north of London. “So we set up in his garage a little war room, with Ordnance Survey maps on the walls and pins everywhere. We had an army of young photographers to go looking at buildings and possible locations and every evening we looked at what they’d done. He would be enthusiastic about a particular bed or whatever in a slightly voyeuristic way. But we’d have big arguments because I would say: ‘No that’s Victorian but the film is set in Georgian times.’ Well Stanley was so competitive that he bought almost every book available on Georgian architecture so he could argue with me. But none of this was getting the movie made because the buildings and peaceful locations he wanted just don’t exist anymore near London. “It was nerve-destroying. But after five months I got Stanley to switch production to the Republic of Ireland—which I thought was my masterstroke.” As Sir Ken recalls it, once in Ireland Kubrick changed totally. “He saw himself as General Rommel, who he admired greatly. He equipped all of us with Volkswagens so we became a complete mobile unit driving around Ireland finding locations. I spent weeks being chased through fields by bloody bulls. I was going crazy but this was Stanley’s character—with all his fears and anxieties he was relentless.” When Letizia, Sir Ken’s Italian-born wife, came out to Ireland she was shocked at his state of mind. She persuaded him to return to England and see a doctor for the sake of his health. “So now I was in hospital in England with a breakdown. Stanley rang the hospital every day to see how I was doing and if I was still alive. The day I left he phoned me at home. He said: ‘Ken you were right: we’re going to change the way we’re making the film and you’ll love it. I’m sending a second unit to Potsdam in Germany to pick up extra material and I want you to direct it.'” Sir Ken laughs. “Well I found that idea such a huge shock I had to go straight back to the clinic and check in again.” After Barry Lyndon, Sir Ken decided this time, whatever his admiration for Kubrick, the two would never work together again. It was a vow he adhered to with one brief and slightly bizarre exception. In 1977, designing the Bond film The Spy Who Loved Me, Sir Ken had built a vast set at Pinewood studios. It included a supertanker which was proving hard to light. “So I called Stanley up and asked him down to Pinewood to give me ideas. At first he said I was out of my mind but eventually he agreed to come on a Sunday when only security were around. He spent three or four hours with me telling me how he would light the stage. And of course the whole thing being in secret appealed to Stanley’s sense of drama. But I knew we would never work together again. And Stanley didn’t ask—he’d been so scared when he saw what happened to me half way through Barry Lyndon.” —Kubrick recalled by influential set designer Sir Ken Adam JOHN ALCOTT, BSC: PHOTOGRAPHING STANLEY KUBRICK’S ‘BARRY LYNDON’ March 1976 edition of American Cinematographer magazine with two Kubrick-related articles, each covering the photographing of the film Barry Lyndon. One article, Photographing Stanley Kubrick’s Barry Lyndon, focuses generally on the cinematography by John Alcott, while the other, Two Special Lenses for Barry Lyndon, focuses more closely on the specialized lenses utilized for the film. Subscribing to American Cinematographer is highly recommended. You’ve worked with Stanley Kubrick on three pictures: 2001: A Space Odyssey, A Clockwork Orange and now Barry Lyndon. Can you tell me a bit about that working relationship? We have a very close working relationship, which began on 2001. I had been assisting Geoffrey Unsworth [BSC] on that picture and then, when Geoff had to leave after the first six months, I was asked to carry on—so it was Stanley Kubrick who gave me my break. Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photography. What about the preplanning phase of Barry Lyndon? There was a great deal of testing of possible photographic approaches and effects—the candlelight thing, for example. Actually, we had talked about shooting solely by candlelight as far back as 2001, when Stanley was planning to film Napoleon, but the requisite fast lenses were not available at that time. In preparation for Barry Lyndon we studied the lighting effects achieved in the paintings of the Dutch masters, but they seemed a bit flat—so we decided to light more from the side. You photographed both A Clockwork Orange and Barry Lyndon for Stanley Kubrick and, obviously, the photographic styles of these two pictures were quite different from each other. Comparing the two, purely as a point of interest, how would you describe those stylistic differences? Well, A Clockwork Orange employed a darker, more obviously dramatic type of photography. It was a modern story, taking place in an advanced period of the 1980s—although the period was never actually pinpointed in the picture. That period called for a really cold, stark style of photography; whereas, Barry Lyndon is more pictorial, with a softer, more subtle rendition of light and shadow overall than A Clockwork Orange. As I saw it, the story of Barry Lyndon took place during a romantic type of period—although it didn’t necessarily have to be a romantic film. I say “a romantic period” because of the quality of the clothes, the dressing of the sets and the architecture of that period. These all had a kind of soft feeling. I think you probably could have lighted Barry Lyndon in the same way as A Clockwork Orange, but it just wouldn’t have looked right. It wouldn’t have had that soft feeling. How did you translate “that soft feeling” into cinematic terms, and what technical means did you use to achieve it? In most instances we were trying to create the feeling of natural light within the houses, mostly stately homes, that we used as shooting locations. That was virtually their only source of light during the period of the film, and those houses still exist, with their paintings and tapestries hanging. I would tend to re-create that type of light, all natural light actually coming through the windows. I’ve always been a natural light source type of cameraman—if one can put it that way. I think it’s exciting, actually, to see what illumination is provided by daylight and then try to create the effect. Sometimes it’s impossible when the light outside falls below a certain level. We shot some of those sequences in the wintertime, when there was natural light from perhaps 9 o’clock in the morning until 3 o’clock in the afternoon. The requirement was to bring the light up to a level so that we could shoot from 8 o’clock in the morning until something like 7 o’clock in the evening—while maintaining the consistent effect. At the same time, we tried to duplicate the situations established by research and reference to the drawings and paintings of that day—how rooms were illuminated and so on. The actual compositions of our setups were very authentic to the drawings of the period. In other words, then, you would take your cue from the way the natural light actually fell and then you would build that up or simulate it with your lighting units in an attempt to get the same effect, but at an exposurable level? Yes. In some instances, what we created looked much better than the real thing. For example, there’s a sequence that takes place in Barry’s dining room, when his little boy asks if his father has brought him a horse. That particular room had five windows, with a very large window in the center that was much greater in height than the others. I found that it suited the sequence better to have the light coming from one source only, rather than from all around. So we controlled the light in such a way that it fell upon the center of the table at which they were having their meal, with the rest of the room falling off into nice subdued, subtle color. In creating that particular effect, did you use any of the light actually coming through the windows? No, it was simulated by means of Mini-Brutes. I used Mini-Brutes all the time, with tracing paper on the windows—plastic material, actually. I find it to be a little bit better than the tracing paper. Was most of the picture shot in actual locations, or did you have to build some sets? Oh, no—every shot is an actual location. We didn’t build any sets whatsoever. All of the rooms exist inside actual houses in Ireland and the southwest of England. What about the physical problems of shooting inside those actual stately homes? Well, we did have problems, although they didn’t affect me too much. For instance, many of those stately homes are open to the public. We couldn’t restrict the public from going through—so we had to cater to them. We would use certain rooms with visitors virtually walking past in the corridor. They would simply close off that one room and have the public bypass it. However, at times our shooting schedule would be limited to the point where we had to work when they weren’t touring. They would go around in groups and we would virtually shoot when they were changing over from one group to another. In many of the locations, though, we had complete freedom of the house. We didn’t really have too many problems, except for having to build very large rostrums for the lighting in certain rooms. I also had rostrums built around the exterior windows. They could be wheeled out of the way for reverse angles when we were shooting toward the windows and wanted to show the view outside as well. Such was the case in the sequence that takes place in Countess Lyndon’s bedroom. Did you have to gel the windows, or were you using a daylight balance? In the actual interiors, most of the time, we did gel the windows, although there were a very few instances when we didn’t do it. We had neutral density filters made, as well—ND3, ND6 and ND9—so that we had a complete range to accommodate whatever light situation prevailed outside the windows. Also, on all the exterior shooting, I never used an 85 filter. What was your reason for not using 85? One reason was to get an overall consistent balance throughout the entire picture. In that sense, I tend to use it as I use forced development—that is, in every scene (including those that don’t actually need it), in order to maintain a consistency of visual character throughout. The second reason was simply that the exterior light was sometimes so low that I needed the extra two-thirds of a stop. Although we mostly used the zoom lens outdoors, there were many instances in which we ended up shooting wide open with the Canon T/1.2 lens. In other words, the light was sometimes so dull, so overcast that you had to open up that lens all the way. Is that right? Oh, yes—all the way. That was especially true in the holdup ambush sequence. We started off with a good day and there was plenty of light in the beginning, but the last part of that sequence was shot with the T/1.2 lens wide open. In order to match the brilliance of the normal daylight one had to be very fully exposed. I needed that fast lens. Can you tell me to what extent you used diffusion in shooting Barry Lyndon? When I went around looking at locations with Stanley we discussed diffusion, among other things. The period of the story seemed to call for diffusion, but on the other hand, an awful lot of diffusion was being used in cinematography at the time. So we tended not to diffuse. We didn’t use gauzes, for example. Instead I used a No.3 Low Contrast filter all the way through—except for the wedding sequence, where I wanted to control the highlights on the faces a bit more. In that case, the No.3 Low Contrast filter was combined with a brown net, which gave it a slightly different quality. We opted for the Low Contrast filter rather than actual diffusion because the clarity and definition in Ireland create a shooting situation that is very like a photographer’s paradise. The air is so refined, I think, because Ireland is in the Gulf Stream. The atmosphere is actually perfect and we thought it would be a pity to destroy that with diffusion, especially for the landscape photography. That’s rather refreshing. There seems to be a tendency these days, despite the nice sharp lenses that are available, to just fuzz everything out as a matter of course. Yes, it’s done a lot. I’ve even done it myself in shooting commercials. We did discuss the possibility for Barry Lyndon, but then we thought: “Well, it’s been done before so many times; let’s try for something different. Let’s go into low contrast.” We tested many filters and of all those we tested the Tiffen Low Contrast filters came out the best quality-wise. With the Tiffen filters we didn’t lose any quality whatsoever, even when shooting wide open, in fact. They were the best. Did you use any of the 5247 color negative, or was it all 5254? We used the 5254, because the 5247 wasn’t available even at the time when we finished shooting. It came out something like two months after we had finished the main shooting of the film. Now I find that, because of the fineness of the grain with the 5247, I would have had to use a No.5 Tiffen Low Contrast filter in order to get the same effect I got using the No.3 with the old stock. Do you find, as many other cinematographers have found, that the 5247 negative has an inherently higher contrast than the 5254? Well, they say it’s higher contrast, but I really think it’s not so much the contrast as the fact that the grain is so much finer. If the grain is finer, this will increase the apparent contrast. In other words, you’ve got to dress and color your sets to accommodate the film stock. Even the tiniest ornaments which are red will kick out on the new stock, whereas on the old stock they wouldn’t. This is because of the finer grain. It’s the color, in fact, which is building up the contrast. However, I can’t understand why anybody wouldn’t go for the finer grain, because that’s what it’s all about. The thing is to try to make it work by knocking down the contrast in some other way. We must either modify the lighting or design the set in a way to tone it down. For instance, in some of the interiors used for shooting Barry Lyndon there were lots of white areas—fireplaces and such. If you put a light through a window these would stick out like a sore thumb, as they say. So, most of the time, I covered them with a black net—the white marble of the fireplaces, the very large white three-foot-wide panels on the walls, and the door frames that were white. I covered them with a black net having about a half-inch mesh. You could never see it photographically unless you were really close to it—but in the long shots it wasn’t visible at all. It did wonders in toning down the white. I also used graduated neutral density filters on certain light parts of the set when the illumination was coming from a natural light source and there was no way to gobo it off. For example, if the light source were coming from the left and hitting something that it was not possible to put a net over, I would put a neutral density filter on the right side—an ND3 or ND6, depending upon the brightness. You would actually use graduated neutral density filters for shooting interiors? That’s not done very often, is it? I don’t think so—no. I know that when I use them now in different types of work that I do, some of the people on the set wonder what I’m up to, using graduated filters for interiors. But they work very well indeed. In fact, we had a matte box made to accept the three filters on the Arriflex 35BL. Incidentally, we used the Arriflex 35BL all the way through the picture. Can you give me some of your impressions of that camera? I think it’s a fantastic camera. To me, it’s a cameraman’s camera—mainly because the optical system is so good. Some optical systems give you a much more exaggerated tunneling effect than others, and I even came across someone the other day who prefers that long tunneling effect because it makes him feel like he’s in a cinema. Personally, I prefer it when my eye is filled with the actual picture image. You find that this only really occurs with the Arriflex 35BL. Another feature I like about the camera is that you’ve got the aperture control literally at your fingertips. It’s got a much larger scale and, therefore, a finer adjustment than most cameras. This feature is especially important when you’re working with Stanley Kubrick, because he likes to continue shooting whether the sun is going in or out. In Barry Lyndon, during the sequence when Barry is buying the horse for his young son, the sun was going in and out all through the sequence. You’ve got to cater to this. That old bit that says you cut because the sun’s gone in doesn’t go anymore. Instead, you try to ride it out by varying the aperture opening during the shooting of the scene? Yes, that’s why the Arriflex 35BL offers such an advantage. It’s got a finer aperture adjustment—more so than most other cameras—which allows you to cater to light variations while you’re actually shooting. On most lenses there’s not a great distance between one aperture stop and the next. There isn’t actually on the Arriflex 35BL lenses either, but it’s the gearing mechanism on the outside that offers the larger scale and, therefore, the possibility of more precise adjustment. It’s like converting a ¼-inch move into a 1-inch move. What about the use of the zoom lens in this film? Oh, yes—we used it a great deal. The Angenieux 10-to-1 zoom was used on the Arriflex 35BL, in conjunction with Ed DiGiulio’s Cinema Products “Joy Stick” zoom control, which is an excellent one. It starts and stops without a sudden jar, which is very important, and you can manipulate it so slowly that it almost feels like nothing is happening. This is very difficult to do with some of the motorized zoom controls. I find that this one really works. What types of lighting equipment did you use? We used Mini-Brutes and we used a lot of Lowel-Lights—all the time. I used the Lowel-Lights in umbrellas for overall fill. I always use the umbrellas—ever since A Clockwork Orange. I would find that the Lowel-Light has a far greater range of illumination from flood to spot than any other light I know of. In fact, it’s the only light of its type that gives you a fantastic spot, if you need it, and an absolute overall flood. Also, when you put a flag in front of most quartz lights you get a double shadow—but not with the Lowel-Lights. But then, of course, they were designed by a cameraman. What about the use of the moving camera in Barry Lyndon? We used it in certain sequences, but not too many. We had one very long tracking shot in the battle sequence, with the cameras on an 800-foot track. There were three cameras on the track, moving with the troops. We used an Elemack dolly, with bogie wheels, on ordinary metal platforms, and a five-foot and sometimes six-foot wheel span, because we found that this worked quite well in trying to get rid of the vibrations when working on the end of the zoom. It seemed to take the vibration out better than going directly onto the Elemack. Do I understand that you were racked out to the end of the zoom on that tracking shot? Yes, virtually all close-ups made from the track during that battle sequence were on the 250mm end of the zoom. That is really living dangerously. I made a test beforehand with the camera traveling on an ordinary track and one with this base, and the difference was quite amazing. That’s what got us round to building these platforms and using the Elemack with the bogie wheels on the four corners. They are really quite handy for doing all kinds of shots. What would you say was your most difficult sequence to shoot in this film? I think the most difficult bit was the scene in the club when Barry comes over to confront the nobleman sitting at the other table, is given the cold shoulder and then goes back to his own table. That involved a 180-degree pan and what made it difficult was the fluctuations in the weather outside. There were many windows and I had lights hidden behind the brickwork and beaming through the windows. The outside light was going up and down so much that we had to keep changing things to make sure the windows wouldn’t blow out excessively. This was the most difficult to do, because any time I changed the gels on the windows, I also had to change the lights outside in order to avoid getting too much light inside and not enough outside. I would say that was the most difficult shot in the whole picture, in terms of lighting. What complicated it further was the fact that this was one of those stately houses that had the public coming through and visiting at the same time we were shooting. Did you use much colored light during the filming? Yes, many times. An example that comes to mind is the scene in Barry’s room after he has had his leg amputated. I used a light coming through the window with an extra ½ sepia over it in order to give a warm effect to the backlight and sidelight. In other words, a 50% overcorrection. A similar effect was used on Barry in the sequence when his boy is dying. In some instances, I let the natural blue daylight come through in the background without correcting it. The result looked pleasing and it created a more “daylight” sort of effect. I can’t recall any night-for-night shots in the picture. Were there any, perhaps, that didn’t appear in the final cut? There weren’t really any night shots. There’s that one twilight scene of Barry by the fire meditating after he’s joined up, but that was shot at the “magic hour” and wasn’t a true night shot. Now we come to the scenes which have caused more comment than anything else in this overall beautiful film—namely the candlelight scenes. Can you tell me about these and how they were executed? The objective was to shoot these scenes exclusively by candlelight—that is, without a boost from any artificial light whatsoever. As I mentioned earlier, Stanley Kubrick and I had been discussing this possibility for years, but had not been able to find sufficiently fast lenses to do it. Stanley finally discovered three 50mm t/0.7 Zeiss still-camera lenses which were left over from a batch made for use by NASA in their Apollo moon-landing program. We had a non-reflexed Mitchell BNC which was sent over to Ed DiGiulio to be reconstructed to accept this ultra-fast lens. He had to mill out the existing lens mounts, because the rear element of this t/0.7 lens was virtually something like 4mm from the film plane. It took quite a while, and when we got the camera back we made quite extensive tests on it. The Zeiss lens was like no other lens in a way, because when you look through any normal type of lens, like the Panavision T/1.1 or the Angenieux f/0.95, you are looking through the optical system and by just altering the focus you can tell whether it’s in or out of focus. But when you looked through this lens it appeared to have fantastic range of focus, quite unbelievable. However, when you did a photographic test you discovered that it had no depth at all — which one expected anyway. So we literally had to scale this lens by doing hand tests from about 200 feet down to about 4 feet, marking every distance that would lead up to the 10-foot range. We had to literally get it down to inches on the actual scaling. You say that the focal length was 50mm? It was 50mm, but then we acquired a projection lens of the reduction type, which Ed DiGiulio fitted over another 50mm lens to give us a 36.5mm lens for a wider-angle coverage. The original 50mm lens was used for virtually all the medium shots and close shots. And those scenes were illuminated entirely by candlelight? Entirely by the candles. In the sequence were Lord Ludd and Barry are in the gaming room and he loses a large amount of money, the set was lit entirely by the candles, but I had metal reflectors made to mount above the two chandeliers, the main purpose being to keep the heat of the candles from damaging the ceiling. However, it also acted as a light reflector to provide an overall illumination of toplight. How many foot-candles—no pun intended—would you say you were using in that case? Roughly, three foot-candles was the key. We were forcing the whole picture one stop in development. Incidentally, I found a great advantage in using the Gossen Panalux electronic meter for those sequences because it goes down to half foot-candle measurements. It’s a very good meter for those extreme low-light situations. We were using 70-candle chandeliers, and most of the time I could also use either five-candle or three-candle table candelabra as well. We actually went for a burnt-out effect, a very high key on the faces themselves. What were some of the other problems attendant to using this ultra-fast lens to shoot entire by candlelight? There was, first of all, the problem of finding a side viewfinder that would transmit enough light to show us where we were framed. The conventional viewfinder would not do at all, because it involves prisms which cause such a high degree of light loss that very little image is visible at such low light levels. Instead, we had to adapt to the BNC a viewfinder from one of the old Technicolor three-strip cameras. It works on a principle of mirrors and simply reflects what is “sees,” resulting in a much brighter image. There is very little parallax with that viewfinder, since it mounts so close to the lens. What about the depth of field problem? As I suggested before, that was indeed a problem. The point of focus was so critical and there was hardly any depth of field with that f/0.7 lens. My focus operator, Doug Milsome [ASC], used a closed-circuit video camera as the only way to keep track of the distances with any degree of accuracy. The video camera was placed at a 90-degree angle to the film camera position and was monitored by means of a TV screen mounted above the camera lens scale. A grid was placed over the TV screen and by taping the various artists’ positions, the distances could be transferred to the TV grid to allow the artists a certain flexibility of movement, while keeping them in focus. It was a tricky operation, but according to all reports, it worked out quite satisfactorily. Douglas Milsome, ASC, BSC discusses his work on Barry Lyndon as a “focus puller,” or camera assistant. Also working as an AC for Kubrick and Alcott on A Clockwork Orange (1971) and The Shining (1980), Milsome would later collaborate with the director again as the lighting cameraman on Full Metal Jacket (1987). Stanley Kubrick’s Barry Lyndon candlelit photography tests. Photo taken from Stanley Kubrick and me, the compelling memoir of Emilio D’Alessandro, personal assistant to Stanley Kubrick for thirty years. Stanley Kubrick’s Barry Lyndon is often lauded as one of the greatest achievements in the history of cinematography. And in a decade or even a year with some of the toughest competition you can think of, Barry Lyndon always seems to stick out just a little bit more. But what sets the cinematography of Barry Lyndon apart from other movies? And how was it done? Another excellent video essay by CinemaTyler. A complete guide to the lenses used by Stanley Kubrick. Cinema Tyler takes an in-depth look at the many cameras used by the legendary director over the course of his career. The final duel in Barry Lyndon is one of our favorite scenes in all of Kubrick’s work. You could say that the sequence actually starts in the previous scene where Bullingdon challenges Barry. This beautiful composition of a grieving Barry alludes to one of the “Marriage A-la-Mode” series paintings by William Hogarth, which BFI notes is referenced in the original novel. The dueling theme music begins when Bullingdon asks to speak with Barry Lyndon and carries over into the dueling sequence. SIX KINDS OF LIGHT: JOHN ALCOTT John Alcott, the great cinematographer who worked with Stanley Kubrick for some time, speaks at length about Kubrick and his additional work on 2001: A Space Odyssey, for which he took over as lighting cameraman from Geoffrey Unsworth in mid-shoot, A Clockwork Orange, Barry Lyndon, the film for which he won his Oscar, andThe Shining. Kubrick promoted Alcott to lighting cameraman in 1968 while working on 2001: A Space Odyssey and from there the two created an inseparable collaboration, in which they worked together on more than one occasion. In 1971, Kubrick then elevated Alcott to director of photography on A Clockwork Orange. Alcott studied lighting and how the light fell in the rooms of a set. He would do this so that when he shot his work it would look like natural lighting, not stage lighting. It was this extra work and research that made his films look so visually beautiful. Along with his Academy award for Barry Lyndon, the film is considered to be one of the greatest and most beautiful movies made in terms of its visuals. Not one, but three films worked on by Alcott were ranked between 1950–1997 in the top 20 of ‘Best Shot,’ voted by the American Society of Cinematographers. Yet another great accomplishment made possible by John Alcott. Six Kinds Of Light (Masters Of Cinematography), a look at the work of six cinematographers—including Gordon Willis; Vilmos Zsigmond; Sven Nykvist, and, of course, John Alcott—was shown on PBS as part of their Film On Film series in 1986. A huge thanks to the original uploader, J Willoughby. Focus puller Douglas Milsome, BSC, ASC, gaffer Lou Bogue, and cinematographer John Alcott, BSC (archival audio) on the elaborate process of shooting Stanley Kubrick’s Barry Lyndon. THE EDITOR OF ‘BARRY LYNDON,’ TONY LAWSON “I do remember that Warner Bros. was expecting it for a Christmas release, and it wasn’t out until the following Christmas. We took a long time. Just to give you an example, the duel scene with Bullingdon in the barn took us around six to eight weeks to edit. It was a 10-minute scene, and the process of getting there was quite long. At some point during the editing of that scene, we got the Handel ‘Sarabande’ as the soundtrack. I was surprised, watching the film again recently, the number of variations of that “Sarabande” we ended up [using in the film].” —Tony Lawson During a break in filming Pat Heavin approached O’Neal for a photograph. “I was a member of the Waterford Camera Club at the time. I was conscious that no press were allowed on set so I kept it very low key. I asked Ryan O’Neal if I could take his picture. He was extremely friendly to me.” Then he spotted the famously irascible Kubrick, who hated being photographed, taking a break. “I said ‘To hell with it. I’ll go for broke.’ I asked if I could take his picture and with a bit of encouragement from Ryan O’Neal, Stanley smiled and I had my picture.” Kubrick is seen smiling in the photograph, something he rarely did and certainly not for the press. Heavin says he respected the circumstances in which he was allowed to take the photographs and has never released them publicly before now. —When Ryan O’Neal and Stanley Kubrick made a film in Waterford Here are some great photos taken behind-the-scenes during production of Stanley Kubrick’s Barry Lyndon. Photographed by Keith Hamshere © Peregrine, Hawk Films, Warner Bros. Kubrick on the set of Barry Lyndon, Waterford in 1973 by Pat Heavin. Photographs: SK Film Archives LLC, Warner Bros. and University of the Arts London. Courtesy of British Film Institute. Intended for editorial use only. All material for educational and noncommercial purposes only.
205	dbpedia	2	68	https://www.tv-films.co.uk/film/body-of-evidence-a-teagarden-mystery-2023/	en	Body of Evidence: A Teagarden Mystery (2023)	https://image.tmdb.org/t…74hK4aExzsKn.jpg	https://image.tmdb.org/t…74hK4aExzsKn.jpg	[]	[]	[]	[ "Body of Evidence: A Teagarden Mystery", "2023", "Evan Roderick", "Marilu Henner", "Skyler Samuels", "Jessica Harmon" ]	null	[]	null	Aurora Teagarden’s post-college days when she finds herself back home in Lawrenceton. While her mother, Aida, struggles to keep her newfound real estate business, Aurora supports herself by working as a teacher’s assistant in a crime fiction class, and waitresses at the local diner at night, where she shares her love of researching true crime with her friend Sally and police officer Arthur. When Sally’s fiancé doesn’t show up at their wedding rehearsal, Maid of Honor Aurora gets Arthur to help her search for him. When they discover a body, everyone assumes it is Sally’s tardy groom, but when it turns out to be someone else, Sally’s fiancé becomes the main suspect.	en	/static/listing/favicon/apple-touch-icon.png?v=pgdXJLre6e		null
205	dbpedia	2	13	https://www.rogerebert.com/reviews/body-of-evidence-1993	en	Body of Evidence movie review (1993)	https://s3.amazonaws.com…views-banner.jpg	https://s3.amazonaws.com…views-banner.jpg	[ "http://b.scorecardresearch.com/p?c1=2&c2=6324575&cv=2.0&cj=1", "https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg", "https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg", "https://www.rogerebert.com/assets/icons/great-movies-small-9dfdde4ea69b270580c266f0e23c6a65b4ede6004cd164c31560e7c1860677f7.svg", "https://www.rogerebert.com/assets/v2/ebert-thumb-a5ab7247762a64276f661a297845728fe95378b486e41852925efc73accc4aa9.svg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/user/primary_image/roger-ebert/featured_re_contrib.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/running-on-empty-2024/widget_MV5BZGFmNzUyYTktYWU1OS00MGZlLWI2NmEtMzUyYjIzYjIwNzAzXkEyXkFqcGc_._V1_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/daughters-2024/widget_EN-US_DTRS_Main_Vertical_4x5_RGB_PRE.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/dandelion-2024/widget_unnamed__8_.png", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/lady-in-the-lake/widget_MV5BNGQ2ZTlkNjEtOTJjNi00YTg5LThiYWYtYjg4Y2NjMmJlMTU3XkEyXkFqcGc_._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/scala-2024/widget_MV5BNGMxODZhMzgtZTc1Yi00ZjZkLTg1OTItYzNhOGE2YmU5MmViXkEyXkFqcGdeQXVyMTYxNjkxOQ__._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/the-convert-2024/widget_unnamed__7_.png", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/body-of-evidence-1993/large_eTKNtXvRdDoaWN54keYKGzeRqMO.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/interviews/the-fairy-tale-shoes-interview-with-the-cast-and-crew-of-cuckoo/thumb_CUCKOO_-_Still_3_Credit_Felix_Dickinson__Courtesy_of_NEON.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/interviews/india-donaldson-good-one-interview/thumb_GOOD_ONE_India_Donaldson_Credit_Eric_Ruby.jpeg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/mzs/the-texture-of-night-how-collateral-revolutionized-movies/thumb_Screenshot_2024-08-07_at_12.09.18_PM.png", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/festivals/sdcc-2024-activations-apes-and-other-animals/thumb_Kingdom.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/war-game-2024/widget_MV5BYzUwZTg1NmUtNWE1YS00OWFiLTk3NzctYjYwZjM0MDJkMGVmXkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/borderlands-2024/widget_MV5BOWZmOTM5YmMtNjliMi00OGRkLWIwNGUtNDI2NTE3NzZmMDdmXkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/trap-2024/widget_MV5BMzJiN2UyZjgtMjQ3MS00MDhhLTg5ZDItZmVjMTU3MTcwNzE4XkEyXkFqcGc_._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/harold-and-the-purple-crayon-2024/widget_MV5BMzM0MmUyNDgtZmYwNi00ZGI2LWJhNjYtMDQzMzhjOTcyNjdhXkEyXkFqcGc_._V1_.jpg", "https://www.rogerebert.com/assets/v2/ebert-thumb-a5ab7247762a64276f661a297845728fe95378b486e41852925efc73accc4aa9.svg", "https://www.rogerebert.com/assets/v2/roger-f7d187c3e0336205f50f366bdce798210b160173facf59555f66c0b5dfa284e2.png", "https://pixel.quantserve.com/pixel/p--5eK9YWya67RJ.gif" ]	[]	[]	[ "" ]	null	[ "Roger Ebert" ]	null	I've seen comedies with fewer laughs than "Body of Evidence," and this is a movie that isn't even trying to be funny. It's an excruciatingly incompetent entry in the "Basic Instinct" genre, filled with lines that only a screenwriter could love, and burdened with a plot that confuses mystery with confusion.	en	/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png	https://www.rogerebert.com/	https://www.rogerebert.com/reviews/body-of-evidence-1993	I've seen comedies with fewer laughs than "Body of Evidence," and this is a movie that isn't even trying to be funny. It's an excruciatingly incompetent entry in the "Basic Instinct" genre, filled with lines that only a screenwriter could love, and burdened with a plot that confuses mystery with confusion. The movie stars Madonna, who after "Bloodhounds of Broadway," "Shanghai Surprise" and "Who's That Girl?" now nails down her title as the queen of movies that were bad ideas right from the beginning. She plays a kinky dominatrix involved in ingenious and hazardous sex with an aging millionaire who has a bad heart. He dies after an evening's entertainment, and Madonna is charged with his murder. But she's innocent, she protests - and indeed there is another obvious suspect, the millionaire's private secretary (Anne Archer), who is also his spurned former lover. Willem Dafoe plays the defense attorney who firmly believes Madonna is innocent, or in any event very sexy, and Joe Mantegna has the Hamilton Burger role. The movie takes place in Portland, Ore. - a city small enough, Madonna volunteers from the witness stand, that she once dated a guy who dated a girl who dated Mantegna. That's a typical exchange in the courtroom scenes, which involve Dafoe being reprimanded by the judge for just about every breath he draws. I don't know whether to blame the director, the cinematographer or the editor for some of the inept choices in this movie. One example: Dafoe is addressing his opening remarks to the jury, and the camera pulls focus so that we see an attractive young female juror sitting in the front row. She gives Dafoe an unmistakable look. We in the audience are alerted that the movie is establishing her for a later payoff. We're wrong. She's just an extra trying to grab some extra business. But enough on the technical side. What about the story here? It has to be seen to be believed - something I do not advise. There's all kinds of murky plot debris involving nasal spray with cocaine in it, ghosts from the past, bizarre sex, and lots of nudity. We are asked to believe that Madonna lives on a luxury houseboat, where she parades in front of the windows naked at all hours, yet somehow doesn't attract a crowd, not even of appreciative lobstermen. What does she dedicate her life to? She answers that question in one of the movie's funniest lines, which unfortunately cannot be printed here. When it comes to eroticism, "Body of Evidence" is like Madonna's new book. It knows the words but not the music. All of the paraphernalia and lore of S & M sexuality are here, but none of the passion or even enjoyment. We are told by one witness that sex with the Madonna character is intense. It turns out later he's not a very reliable witness.
205	dbpedia	1	11	https://www.themoviedb.org/person/8306-douglas-milsome%3Flanguage%3Den-US	en	Douglas Milsome	https://www.themoviedb.o…197a37b367b5.png	https://www.themoviedb.o…197a37b367b5.png	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/gbmXTxJWfI6Fd4C2bJqzgHiXWUU.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/gieZbx5aiHu4XFBg4YzepzqKVdO.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/d48KIeuz1eO56onjHrWx29Oilnr.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/miGwamVR6zd9ADwCsrdZ6aPniE3.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/2lgaYcyGHdLs2KygYCzDkh1Tjpn.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/qTUci8a5t43cxCy1r8yactRNsKr.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/oDEGNCmOQqjp13WeWfpRF1c9SYI.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/kND5WBd3VE912wZXmaF6BdFSDu4.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Douglas Milsome is known as an Director of Photography, Cinematography, Camera Operator, Clapper Loader, Second Unit Director of Photography, Focus Puller und Additional Photography. Some of his work includes Shining, Full Metal Jacket, Robin Hood - König der Diebe, Der letzte Mohikaner, Highlander, Breakdown, Dungeons & Dragons und Der Legionär.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/person/8306-douglas-milsome	You need to be logged in to continue. Click here to login or here to sign up.
205	dbpedia	2	44	https://www.rollingstone.com/tv-movies/tv-movie-reviews/body-of-evidence-191304/	en	Body of Evidence	https://www.rollingstone…tone-Favicon.png	https://www.rollingstone…tone-Favicon.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif" ]	[]	[]	[ "" ]	null	[ "Peter Travers" ]	1993-01-15T17:09:00+00:00	When it comes to the come-on, nobody does it better than Madonna. In the last few months alone, she's hustled an album, Erotica, that wasn't erotic and a $49.95 picture book, Sex, that wasn't sexy. The suckers may howl, but her steely sales savvy has envious marketeers breathing hard.	en	https://www.rollingstone…Favicon.png?w=32	Rolling Stone	https://www.rollingstone.com/tv-movies/tv-movie-reviews/body-of-evidence-191304/	When it comes to the come-on, nobody does it better than Madonna. In the last few months alone, she’s hustled an album, Erotica, that wasn’t erotic and a $49.95 picture book, Sex, that wasn’t sexy. The suckers may howl, but her steely sales savvy has envious marketeers breathing hard. So, on the theory that Madonna is a turbo-tease with a major follow-through problem, let’s skip her two-hour movie Body of Evidence and jump to what really matters — the film’s two-minute trailer. Trailers, also known as previews or coming attractions, have become the movie art form of the Nineties — or con game, depending on your point of view. A stylish trailer can help even a bad movie, such as “Dracula,” open big. It can use original material — to plug Toys, Robin Williams was filmed doing shtick in a wheat field (“I’m back, wind me”) — or a hit song (Whitney Houston’s MTV-friendly “I Will Always Love You,” from The Bodyguard). Trailers even have a life outside of theaters — TV stations such as E! Entertainment Television run them as regular programming. No wonder studios will pay as much as $500,000 per trailer to the companies that produce them. An effective one is money in the bank. The Body of Evidence trailer, whipped up by Fattal & Collins in Santa Monica, provides a useful peek into how it’s done. Things begin with a roar. Not Madonna’s but the MGM lion’s. It’s a clever touch, associating Madonna with the classy studio that spawned Greta Garbo and Jean Harlow. Maybe Body of Evidence won’t be the lurid thriller its title suggests. Still, this glitzy star package hardly seems a step up for German director Uli Edel after his art-house hit Last Exit to Brooklyn. And producer Dino De Laurentiis once worked with Federico Fellini. Only writer Brad Mirman seems to be making a wise move; he used to be in real estate. Anyway, miracles can happen. Editor’s picks Madonna needs one. She hasn’t been impressive onscreen since Desperately Seeking Susan, except when she played herself in Truth or Dare. The trailer introduces her dressed dowdily in a dark coat and scarf and looking stricken as costar Willem Dafoe approaches her in a cemetery. Just when you fear the worst — Ms. Blond Ambition turns Master Thespian — the trailer cuts to Madonna leaning over Dafoe in bed. You can’t tell for sure if they’re completely naked, since genitals are a no-no in trailers. But even Macaulay Culkin would catch the drift as Madonna, holding a lighted candle of prodigious width, drips hot wax on Dafoe’s nipples and heads south while he writhes in what passes for ecstasy. Madonna lets her upper lip protrude wickedly as she blows out the candle. Just when we’re all het up, three words, accompanied by a drumroll, are spelled out: body of evidence. Next come flashes of scenes that let us in on what’s happening. Madonna is someone named Rebecca Carlson. You can tell she’s a babe with bucks by her killer wardrobe: silk pj’s with fuck-me pumps to match her mood in the boudoir and pearl earrings and necklace to match her innocent expression in court. The DA, played by Joe Mantegna, doesn’t buy her act. “She’s a killer and the worst kind,” he says. Dafoe, playing her lawyer, Frank Dulaney, insists that “the state’s case is built on fantasy, not fact.” What’s the case? Says the DA, “You have a weakness for rich, older men with bad hearts, don’t you, Miss Carlson?” Says the orally fixated Rebecca, sucking on a strawberry, “He was a sixty-three-year-old man — he couldn’t handle it.” Frank sums it up best: “It’s not a crime to be a great lay.” There you have it. Madonna in the role of a woman accused of using her body to kill. She’s a lethal sex weapon. Hell, Sharon Stone needed an ice pick to dispatch her bed mates in Paul Verhoeven’s Basic Instinct. The Basic Instinct parallels include the Germanic directors and the convenient battles to get an NC-17 rating changed to an R and reap lots of free press. But let’s stick to the trailers. Fattal & Collins, no fools they, know that Basic Instinct grossed $330 million world-wide. So they milk the Basic trailer shamelessly. Stone is a blonde suspected of multiple murder; ditto Madonna. Stone uses a handkerchief for bedtime bondage; Madonna uses handcuffs. Stone seduces Nick (Michael Douglas), the cop who protects her; Madonna seduces Frank, the lawyer who defends her. Douglas has a jealous girlfriend (Jeanne Tripplehorn) who warns him about Stone; Dafoe has a jealous wife (Julianne Moore) who slaps Madonna in a rage. Trending Related These femmes fatales even sound alike. Stone: “Have you ever fucked on cocaine, Nick? It’s nice.” Madonna: “Have you ever seen animals making love, Frank? It’s intense.” The dialogue is interchangeable. When Dafoe says to Madonna, “I must have been out of my mind to get involved with you,” we don’t hear her retort. But Stone’s line to Douglas in Basic would fit just fine: “Nicky got too close to the flame. Nicky liked it.” The Body trailer trades on associations with other hit thrillers that Body would desperately like to be. Anne Archer turns up for a close-up that seems purposeless except to remind viewers that she was the cheated-on wife in Fatal Attraction. Likewise, Moore appeared as the sassy friend in The Hand That Rocks the Cradle, for which “Body’s” composer, Graeme Revell, did the score. As the images add up — hands being tied, clothes being ripped, the smirking Madonna being forced to act — you have to marvel at the energy being expended to sell the same old sadism. But the job gets done. Anyone who wants to see more of Body of Evidence after this trailer is a glutton for punishment.
205	dbpedia	2	52	https://www.imago-images.com/st/0094750638	en	IMAGO.	https://www.imago-images.com/favicon/favicon.ico	https://www.imago-images.com/favicon/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null		de	/favicon/favicon.ico		null
205	dbpedia	1	4	https://www.tvguide.com/movies/body-of-evidence/cast/2000036664/	en	Body of Evidence - Full Cast & Crew	https://www.tvguide.com/…/1-172454597.jpg	https://www.tvguide.com/…/1-172454597.jpg	[]	[]	[]	[ "" ]	null	[]	null	Learn more about the full cast of Body of Evidence with news, photos, videos and more at TV Guide	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/movies/body-of-evidence/cast/2000036664/
205	dbpedia	3	49	https://www.creativescreenwriting.com/bitter-harvest/	en	Bitter Harvest: More Than Just a Movie	https://www.creativescre…021485381531.jpg	https://www.creativescre…021485381531.jpg	[ "https://www.creativescreenwriting.com/media/logo/CS_logo_lightbackground.svg", "https://www.creativescreenwriting.com/media/logo/CS_logo_darkbackground.svg", "https://www.creativescreenwriting.com/media/logo/CS_logo_lightbackground.svg", "https://www.creativescreenwriting.com/media/logo/CS_logo_darkbackground.svg", "https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2017/02/Bitter-Harvest-_G3A07021485381531.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/George-Mendeluk-1.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/Bitter-Harvest-1H1M29551485381537.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/Bitter-Harvest-1H1M09421485381537.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/Bitter-Harvest-1H1M29541485381538.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/Bitter-Harvest-1H1M97181485381542.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/Barry-Lyndon.jpg", "https://creativescreenwriting.com/wp-content/uploads/2017/02/Bitter-Harvest-BH_SG_1081487277358.jpg", "https://www.creativescreenwriting.com/cswcms/wp-content/uploads/2016/08/Brock-Swinson-7-150x150.jpg", "https://www.creativescreenwriting.com/media/logo/CS_logo_darkbackground.svg" ]	[]	[]	[ "" ]	null	[]	null	Bitter Harvest is set during Joseph Stalin’s genocide in 1930s Ukraine. Against such an evil backdrop, two young lovers		/favicon.png	Creative Screenwriting	https://www.creativescreenwriting.com//bitter-harvest	Bitter Harvest is set during Joseph Stalin’s genocide in 1930s Ukraine. Against such an evil backdrop, two young lovers struggle to survive while keeping their honor. As Stalin furthers his ambitions, a young artist named Yuri (Max Irons) endures famine and imprisonment. Meanwhile, his sweetheart Natalka (Samantha Barks), is also trying to survive “Holodomor,” a death-by-starvation program developed by Stalin that replicated natural famine. Creative Screenwriting spoke with writer-director George Mendeluk about pruning your script, why going to film school is a waste of time, and why writers don’t make good directors. How did you first get involved with Bitter Harvest? The original writer, Richard Bachynsky Hoover, was an actor. I had worked with him years and years ago as an extra, and he remembered my name. He had written the script, but was having a difficult time getting it off the ground. Then he found an investor, Ian Ihnatowycz. He told me, “I’ve got the money.” And I said, “Well, the script needs a rewrite.” In particular I wanted to flush out the theme of it. The theme was that the artist becomes a warrior after his journey as a hero, to use Joseph Campbell’s terms. So, Yuri starts off as a peasant kid who is an artist, and his darkest night of the soul, if you will, after he crosses the river of no return, is in the jail cell. Then, symbolically, he kills the guard with a brush, and that’s when he transforms into the artist-warrior and comes back home with the elixir. (That’s a boon or something similar, which changes that particular village or his relationship with it, which was that of the little boy.) I like that paradigm, and then we went through twelve drafts, until we finally shot it. How long does it take to write twelve drafts of a script? Well, I got his script in August or maybe September of 2012, and then we were going back and forth with different ideas. Originally, I’d thought of having the story told from old Yuri’s point of view, and he has Alzheimer’s. But he escapes from the hospital, and he goes to see his wife (and that’s Natalka, of course). And that was a subplot. We approached several actors, but I think they felt that maybe it would be cut. And they were right, it would have been. So we just made it “time present”, beginning with the Bolshevik Revolution and then ending with the Holodomor. I started the treatment in October, and I finished it in March. But I directed a movie in the interim. So I probably did the treatment in about two, two-and-a-half months, on and off. Once I got the treatment and it was approved, I got the script finished by August because we had to: we only had one day to film all the golden harvest scenes in the movie. That’s the sort of idealized Ukraine that the little boy grew up in. Then the rest of the movie began prep in October. So we started to shoot late October, and we finished beginning of December when the demonstrations and the war in Ukraine basically began. We did not shoot this after the war, it just happened to coincide. So, to answer your question about simply the script, it took me about three, three-and-a-half months to write the script, with about two months to write the treatment. Tell me about the logistics behind the writing. Did you ever work in the same room with Richard? This is a delicate subject. I would write a draft or some scenes and send it to Richard, and he would make his comments, and Ian might make his comments as the Executive Producer. Then I would make changes or not, and go on. I did the actual writing, and then we collaborated over the phone because he was in Ukraine. So, there was no sort of ‘let’s sit down’. I like collaborating, incidentally. I’ve collaborated all my life on various projects with other writers. When I do movies, usually the script needs a lot of work. When I come in, they say, “You’ve got two weeks to prepare,” and I say, “But I need about a week to rewrite it because of this, that or the other.” So, I’m used to it. But it was a collaboration. I basically did the final draft, the one that went to screen. And Richard did the first draft, you could say, the initial draft that got the funding. Really, what I did to begin with during the outline, during the treatment phase, was just to prune it down so that the themes were very clear: which is an artist who becomes a warrior, and that love transcends all, including the greatest sort of tragedy and heinous evil. So that’s what I plumbed out of his draft. Sometimes you’ll see historic stories like this shot on back lots. How important was it to shoot this film in the Ukraine? Well, I’m Ukrainian, though I grew up in Canada, and my mother and my aunt went through these events. So I grew up listening to some of the horror stories. When I arrived in the Ukraine, the very first thing I went to was the Kiev Monastery where my ancestors were buried from the 1600s. So it was like coming home, in a way. It was nice to go back, but it was also kind of sad at the same time. And then, of course, the war broke out. The end of the movie is very open… If you see the movie, which I hope everyone does, you’ll see that I’m not going to tell you how it ends, but I leave it up to the imagination of the viewer. Billy Wilder was a great fan of Ernst Lubitsch, who did screwball comedies in the ‘30s, and he used to say, “If you let the audience add one and one up, they’ll love you forever.” So, the point is, you’ve got to leave it open for interpretation, and for the audience to become invested in the characters and in the plot. Tell me about the historical research involved in writing and creating the film. I think I went through about seven different books, and also researched online. And also drawing from what Richard was providing as well, because he was living in Ukraine, and he was at the Maidan Square when the revolution was going on. Were there any cinematic influences on the film? I think that one of the movies that inspired me greatly as a young man was David Lean’s Doctor Zhivago. I’m not comparing myself to Lean, or my movie to Doctor Zhivago. Only in the sense that, story-wise, you have this love story that’s in front of something that’s really kind of revolutionary and nasty, and that was the end of the First World War and the Bolshevik Revolution. So, from that standpoint, I would say Doctor Zhivago really inspired me. I love the music of it, I love the emotionalism, and so I wanted those to be components of my film. I also was inspired, in terms of the look, by Stanley Kubrick’s Barry Lyndon. It’s a period piece and all the interiors are lit with candles, so it gives it that real painterly antique look, really soft light. There’s nothing like it, and the British are very fond of it. I also was inspired, in terms of the look, by Stanley Kubrick’s Barry Lyndon. It’s a period piece and all the interiors are lit with candles, so it gives it that real painterly antique look, really soft light. When you have low, low light, and there can be no light lower than candlelight, you need special lenses. Kubrick had them made for Barry Lyndon, and I think they were used by NASA, too. Douglas Milsome, our Cinematographer for Bitter Harvest, was the Focus Puller on Barry Lyndon, so and I think, cinematically, Barry Lyndon was another cinematic influence. Schindler’s List, as well, for the subject matter. And I would say those are sort of the main films that inspired this particular script. You have over 70 directing credits on IMDb. What has changed over the years? That’s a good question. I’ve always liked to work with actors, and I’ve just gotten more experienced doing it over the years. I mean, I’ve been directing for 45 years, believe it or not. I sometimes look back and I can’t even believe that it’s happened to me. Though it hasn’t been easy, believe me. These things didn’t fall into my lap. Remember, I didn’t speak English until I was five or six. What mistakes do you see novice filmmakers making? I’ve basically been an indie filmmaker all my life, except for my work in television, so I’ve actually written, directed and produced most of my feature films. I think a lot of time is wasted in rewriting and rewriting and rewriting. I think at some point you’ve got to say, “This is the movie I want to make, and I’ve got to go out and do it.” Raising the money is the hard part. I’ve been fortunate, but there have been many projects I’ve written and developed, that never got off the ground. People don’t come to you, you’ve got to go and find them. Just like I met Richard on set once 20 years ago, and then he contacts me and says, “Hey, I remember you. I’m Ukrainian, you’re Ukrainian. I want you to read this script.” Now, on set, writers don’t often make good directors, because you’ve got to be somehow a general, and you’ve got to marshal all these disparate disciplines of crewmembers, and wardrobe, and writing, and lighting, and all that stuff. You’ve got to know a little bit about everything, and the only way you learn about it is by just doing it. I never went to film school, I just learned doing it. I think you can waste a lot of time going to school and getting your degree, and learning who created the close-up and all that nonsense. Because all that stuff goes out the window when you’re standing there and an actress is having a hissy fit, and she hates her leading guy, and the leading guy won’t come out of the makeup trailer, and she’s pissed off because he’s got more lines than her. Nothing prepares you for that. You’ve got to be part psychologist, part priest, part rabbi, part magician, part bastard, part whatever, General. And here’s where the writing sensibility may not always jive with the directing sensibility. What I found out really early is when they say, “All right, guvnor, where does the camera go?” You can’t hem and haw, ever. For better or worse, you’ve got to say, “It goes here with this kind of lens, and we’re shooting this way. Thank you very much.” Now you’ll have about an hour or two, usually, to figure it out, if you haven’t already: how you’re going to block the actors and whatnot. But nobody wants a director to say, “Well, maybe we could do it this way,” or “What do you think?” The moment you do that, you’re going to get 150 people giving you ideas on how to direct the movie, and it’s frigging anarchy. Finally, is there anything else you’d like to share about the film? You know, I think it’s rare to have an opportunity to do a movie that educates without being dry, and hopefully, we’ve achieved this with Bitter Harvest. Because we tell a story that’s never been told before, and that’s rare. And the film is more than a movie, it’s basically a calling. It’s to provide a voice for the 4 to 7 million people who perished under horrible, horrible, brutal circumstances just to implement a regime. I also think it has a direct relevance to what’s happening in the Ukraine today, with the overtaking of Crimea and the war that’s going on in the East. I think it’s basically the same situation, just a different leader trying to subjugate Ukraine, and not a lot of people are helping. So, I think that’s important to draw that analogy, because it’s very fresh. Finally, and most importantly of all as far as I’m concerned, it’s not a political movie. As far as I’m concerned it’s a love story, and the message and the theme from a storyteller’s point of view, which I fancy myself to be, is that love transcends and conquers all, no matter what. Those are the things I hope that the audience takes away. Featured image: Max Irons as Yuri and Samantha Barks as Natalka in Bitter Harvest. Photo credit: Mark Tillie [addtoany]
205	dbpedia	2	72	https://www.theguardian.com/film/2001/aug/26/features.magazine	en	Mild at heart	https://assets.guim.co.u…allback-logo.png	https://assets.guim.co.u…allback-logo.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CLife+and+style%2CCulture%2CWillem+Dafoe" ]	[]	[]	[ "" ]	null	[ "Guardian Staff" ]	2001-08-26T00:00:00	<p>From a worm-swallowing paraplegic to a foul-mouth blackmailer, Willem Dafoe has cornered the movie market in scene-stealing weirdos. But when Lynn Barber meets the Hollywood heart throb, she discovers he's more trousers than mouth.</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/film/2001/aug/26/features.magazine	Sorry - I didn't ask Willem Dafoe about the size of his dong. It wasn't a failure of nerve exactly, more a failure of will. I couldn't bring myself to care enough. Also, I thought he was waiting for me to ask so that he could deliver some prepared putdown, and I wanted to deny him that moment of triumph. Anyway, there is plenty of independent evidence of its grandeur. When he appeared naked in a play in New York, a reviewer noted that, 'As one, the women in the audience let out a gasp of delighted astonishment.' Then Madonna chose him as her leading man for Body of Evidence and I'm sure she wouldn't want to waste her time dropping candlewax on just an average-sized willy. Enough already. We know Dafoe is King Dong - what else has he got going for him? Well, obviously he is a good actor - two Oscar nominations (for Platoon and last year's Shadow of the Vampire), plus an unforgettable cameo as the worm-swallowing paraplegic in Born on the Fourth of July, another as the morphine-shooting spy in The English Patient, and yet another as the motel creeper in David Lynch's Wild at Heart. He is always good at scene-stealing weirdos, but he was also good as Christ in Scorsese's The Last Temptation of Christ and as TS Eliot in Tom & Viv. In fact, his filmography is altogether impressive, largely because he chooses to work with interesting directors. He can afford to pick his films because the rest of the time he is fully engaged as a stage actor at the Wooster Group in New York, a company he co-founded with his partner, Elizabeth LeCompte, 24 years ago. Most women find him gorgeous. He has a very striking face - big mouth, big teeth, big eyes, triangular flat 'medieval' cheeks. He can do a sudden teeth-baring grin like Jack Nicholson's, which can be either terrifying or seductive. And he moves well, like a dancer, with a natural grace and rippling pantherish muscles. But I have to say that meeting him in the flesh in London, I was terribly disappointed. First - like so many film actors - he is shorter than you expect, about five six or seven. Second, he was wearing a dull grey suit and what looked like a polyester eau de nil shirt. His thick wavy hair was dyed purply-black (he explained he is currently playing a Mexican in a film), but his skimpy moustache was a Robin Cook ginger. Plus, he kept running away and giggling with Ralph Fiennes. This was at a party given by Sally Greene in her Cheyne Walk home, where the guests included not only fabulous me, but also Jerry Hall, Peter Mandelson, Chris Smith, Salman Rushdie, Fiona Shaw, plus an awful lot of middle-aged men in suits. It was a strange atmosphere, because no one seemed to know why they were invited - Peter Mandelson actually asked me (moi!) 'Who are all these people?' but I couldn't tell him. Many of the women cast yearning glances at Ralph Fiennes, but he was locked in conversation with Willem Dafoe. (They have been friends since The English Patient, Dafoe told me later, 'We meet somewhere in our heads.') Then Sally Greene summoned us all indoors, and stood on the stairs and made a brisk speech explaining what it was all about. She and Old Vic Productions (which she runs) and Lift, the London International Festival of Theatre, are bringing Dafoe's Wooster Group company over from New York for a season in London at the Riverside Studios next May, and this party was by way of a fund-raising launch. She summoned Dafoe to explain the work of the Wooster Group, but he made one of those awful oh-how-I-hate-public-speaking speeches, which just sort of petered out before he scampered away to gossip with Ralph Fiennes again. It was Fiona Shaw, a very bright cookie indeed, who saved the day. She leapt up the stairs, made lots of good jokes, then said, 'We need money, so dig deep in your pockets. What am I bid for 10 tickets for the Wooster Group season?' Jerry Hall gamely opened the bidding with £2,000, but there was a lot of shuffling after that. Fiona Shaw appealed to Ralph Fiennes, but he seemed to have gone deaf, Mandelson disappeared in a puff of smoke, and everyone was busy staring at their shoes. But then an American lady called Rhona Beck shouted £5,000 and her husband Graham immediately bellowed 'Make that £10,000!' (truly, the rich are different) and honour was satisfied. Next day I went to interview Dafoe in his hotel bedroom at One Aldwych. (Maybe it was the looming presence of the double bed that made me disinclined to ask the willy question.) He was perfectly friendly, and willing to talk about the Wooster Group seemingly for ever. This was the problem, though. I have only ever met one person who talks more slowly than Dafoe and that's John Malkovich, who sometimes seems to go into a coma between commas. But at least with Malkovich the words are usually quite interesting when they eventually emerge - not so with Dafoe. A fairly simple question like 'Do you prefer rehearsing or performing?' elicits the following, which I promise you is a masterpiece of concision compared to some of his answers: 'You know, I can't decide. I think I like performing. But in the making of a piece, we treat every rehearsal like a performance. I mean we enter the room and we try to put a text or an architecture or a piece of music or a dance on its feet, and the only way we know whether it appeals to us is to do it as if it were a performance. But at the same time I like the ritual of performing and reinvesting a score every night in a new way. It's a way that I feel very engaged. It's a good game, it's like being an athlete, it's like a great meditation. So I think I actually prefer performing to rehearsing. I love the idea of approaching the score. I love the doing . I don't like the planning, I don't like the ruminating, as much as I love the doing. I have a pure pleasure in the athleticism of that and the place where it puts me - everything drops away and I get a deep pleasure and I feel unified in a way doing simple actions that sometimes you don't have in life. There's a clarity there. I thrill to have that. Whereas often in rehearsal, particularly when we're making the pieces, there's a huge part of me that's always standing outside of it, watching to see how we're making it.' Phew - glad we've got that clear. He likes rehearsing, but he prefers performing. What can you do with answers like this, except wish profoundly you had never asked the question? But it's part of the quid pro quo of interviewing that you have to ask about 'the work' - the trouble is, the ice cap could have melted by the time he finishes. So let's leave him droning on about the space he's coming from, while I fill you in with some basic biog. He was born in Appleton, Wisconsin, a polluted papermill town, in 1955. His father was a surgeon, his mother a nurse, both very hard-working, and they had eight children of whom he was the seventh. He says his parents weren't Catholics, they used contraception, but they just must have been incredibly fertile because they kept producing babies. In theory, they were strict, even puritanical, but in practice, by the time he was born the rules had all broken down and 'It was chaos. It would hurt my mother if she read that but... it was.' Sometimes his older sisters looked after him, but mainly he looked after himself - being in a large family, he says, makes you self-sufficient. But, 'there are always identity questions. The picture is of a bunch of little piggies reaching for the teats, you know? And you've got to find your way in. And my way probably was to act up, and be a practical joker, a mimic, so I think that's really what made me a performer. Just to get attention.' His brothers and sisters all went through university and became doctors and lawyers. But he dropped out of the University of Wisconsin and joined a Milwaukee theatre group, Theatre X, and toured Europe for two years. It was a big change from Appleton. 'I saw people, and ways of living, that I didn't know existed. You fall about two economic classes immediately. You live in a bad neighbourhood, with the kind of people you've never lived with before, you start to try and educate yourself and adopt different views. You leave behind the Republican notions of your family and become a little radicalised, in every way. It's really starting over. But, you know, I was interested in losing myself - and I still am, in some ways. One of the pleasures of pretending, and telling other people's stories, is to get a different take on your own.' He landed in New York at 22, and gravitated to the Performance Group theatre. When he arrived he overheard Elizabeth LeCompte, the director, having a great row with Richard Schechner, the founder, shouting: 'Get him out of my house!' He remembers thinking, 'Hmm. Tough broad... It was only later that I found out she was sexy as well.' LeCompte flounced out of the Performance Group to start the Wooster Theatre Group - and took Dafoe with her, as her leading man and lover. He was 22, she 33. They have never married but they have a son, Jack, now 19. For a few years Dafoe devoted himself entirely to the Wooster Group, but in 1982 he made his film debut in The Loveless, and then soared through the next decade - Streets of Fire, To Live and Die in LA, Platoon, The Last Temptation of Christ, Mississippi Burning, Born on the Fourth of July, Wild at Heart. But then came the disaster that was Body of Evidence in 1993. He gave a curiously feeble performance as Madonna's lawyer and bedmate, not helped by a pompadour hairdo of almost Melvyn Braggian proportions. When Madonna dropped hot wax on his penis he winced as daintily as a manicurist encountering a broken nail. The film was not so much panned as excoriated by the critics; audiences laughed through the sex scenes and cheered at Madonna's murder. It is still a sore subject for Dafoe. What did he think of his own performance? 'You know, I do have thoughts, but on principle I prefer not to say. Not publicly. Because then they harden into opinions and then that kind of straps me. Why label yourself? Why take away people's imagination? What I may think is horrible, someone else might find great value in, so if I'm disappointed in a performance why spoil it for someone else? The more you make public certain opinions, the more inflexible your ability to transform is. What guides me are instincts. I think you learn your lessons intuitively, and the only reason why you would want to make a judgement on something once done, is to learn a lesson to avoid it. And I think you learn your lessons deeply! Do you understand?' I understand he knows he gave a bad performance, but we're not allowed to say so because it might harden into an opinion and we don't want that, do we? Goodness, we might be guilty of judgementalism. Anyway, after Body of Evidence, his Hollywood stock plummeted, and since then he has mainly worked in 'international' films - ie the films you only come across years later in some foreign hotel room. He is currently playing a Mexican in Robert Rodriguez's Once Upon a Time in Mexico - hence his dyed hair - and will be seen later this year in Paul McGuigan's The Reckoning, in which he plays the head of a medieval theatre company. His next proper Hollywood film is Spiderman, in which he plays the Green Goblin - a part originally offered to John Malkovich - but we'll have to wait till next summer to see it. Between films, he goes back home to work with the Wooster Group in New York. He says being with the group is like being in a big family, but there's always an odd moment of readjustment. 'You'll come home and they'll listen to your stories, but after a bit it's "Let's get on with it and do what we're here to do", and you're just another dope trying to get this show on its legs.' But it must be an odd relationship with LeCompte when she is both the 'mother' of the group, and his partner. He says they often have rows in rehearsals - just the other day she called him 'psychotic for attention' - but that's fine. 'I think in a lot of relationships there tends to be a support person and a headliner, but for us it goes flip flop flip flop all the time. So it's not like I can go home and complain about my horrible boss - there's no place to run to.' But at least he can go away and do a film when things get bad? 'It's true. God bless her. I owe her. I go out and I have these adventures and I think I bring back something with me, hopefully, in very real ways...' Such as money? 'Yes, and other ways as well. But for me personally that does create hiccups in the process. Much to my frustration, because I feel that some of the other people who are there all the time have a dynamism that I go in and out of. But it's my choice - and they are ridiculously supportive of my efforts outside.' But Hollywood doesn't always smile sweetly at actors who say they prefer doing theatre - does he think that's why he's never won an Oscar? 'People may put that kind of spin on it. I feel very easy about it. You know, when Hollywood works for me I love it, when it doesn't work for me, I don't love it, you know? But there are certain things that are just plain true: I prefer living in New York. That doesn't mean I hate LA. When I'm in LA I try to be happy there. The only thing about Hollywood is that whoever's doing the best business is celebrated, and people that aren't even respected in their art are exalted because of their commercial clout. That's understandable. You can cry about it, but that's just the reality of it. But if I was in those shoes, I would probably think it was a wonderful set-up. But since I seldom am, I can rail against it.' I told him, 'You do have a youthful street cred because people see you as a wild and wacky character...' and he interrupted, 'That's nice! I appreciate that.' But, I went on remorselessly, that it is only because people, very stupidly, confuse actors with the parts they play. He plays weirdos but, in fact, I would suggest, he is actually a very straight solid citizen - he has lived with the same woman for 20 odd years, stayed in the same theatre group, raised a son, never done anything too outrageous, never been druggy, as far as I know, never been drunk, never misbehaved. His face falls at this diagnosis, and he seems disposed to argue. OK, perhaps I'm wrong - was he ever druggy? 'None of your business!' he laughs. 'You want to leave that open?' 'Sure. On principle. Not to preach and not to repent.' 'What about booze?' 'What do you think? Look at my face. You know they say you get the face you deserve. What would it matter? Look. When I read profiles of actors, I love to read the personal stuff as much as the next person. And also when I'm in a room with you, I want to co-operate, you can seduce me with attention and I'll tell you anything. [In retrospect this is the moment when I should have asked the willy question, but I was numb with boredom.] However, there are certain things I don't want people to know about me, good and bad. I want to be a blank slate. So, you know, I want it both ways: I want people to be interested in me and come to see me in movies, but at the same time I don't want them to know much about me because I want to be revealed through the characters. I am an actor. I want to reveal myself, but in this context. I hear those questions and I get self-conscious immediately - not because I don't know the truth, but because I don't know how to package it, because I don't want to turn myself into a package. There's pleasure when I walk down the street and someone doesn't know my name, that they say "You're the actor! I love what you do." It's preferable to someone saying "Oh Willem Dafoe" and having a certain projection of who I am. Maybe I'm being unrealistic about this, but those are my impulses when I hear those questions. I love what you're doing. But do you understand what I'm saying? I wish I could lie. I admire liars. I wish I could just make shit up, like when you asked me about a druggy life, I wish I could make you up a whole story, and then in a different interview, another story.' God, so do I! I'm sure he'll be brilliant in the Wooster Group season, and all you eager theatregoers should be rushing now to book your tickets. But as an interviewee I'd rather have the talking clock.
205	dbpedia	1	27	https://directorsseries.net/2016/02/11/stanley-kubricks-full-metal-jacket-1987/	en	Stanley Kubrick’s FULL METAL JACKET (1987)	https://directorsseries.…16/02/skfull.jpg	https://directorsseries.…16/02/skfull.jpg	[ "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://player.vimeo.com/video/119358821?h=c8d8c17b76&dnt=1&app_id=122963" ]	[]	[ "" ]	null	[]	2016-02-11T00:00:00	https://vimeo.com/119358821 This article is an excerpt from "The Final Features", Part 5 of our video series on Stanley Kubrick The experience of the Vietnam War had soured America on the prospect of warfare, mostly because the widespread adoption of television allowed the war to be broadcast into the homes of every family— punctuating their supper…	en	https://s1.wp.com/i/favicon.ico	THE DIRECTORS SERIES	https://directorsseries.net/2016/02/11/stanley-kubricks-full-metal-jacket-1987/	The experience of the Vietnam War had soured America on the prospect of warfare, mostly because the widespread adoption of television allowed the war to be broadcast into the homes of every family— punctuating their supper with gunfire, explosions and the anguished cries of wounded men. Kubrick felt a desire to make a war film that reflected this new paradigm, and selected author Gustav Hasford’s 1979 novel “The Short-Timers” as the source material upon which he’d base the story for what would eventually become FULL METAL JACKET. Working once again with his brother-in-law and producing partner Jan Harlan, Kubrick recruited a novelist and Vietnam veteran named Michael Herr to help him craft the script. The shoot audaciously (but not really convincingly) faked rural England for the humid jungles of Vietnam, with the production timetable ballooning longer than a tour of duty in the military. Where most actors and craftsmen would quit in anger over the prolonged schedule, this element of Kubrick’s shooting style had become so well known by this point that his collaborators willingly signed on knowing full well it would happen. They placed their utmost faith and confidence in Kubrick, and that trust and passion shows through in the final product. FULL METAL JACKET may be a flawed, uneven film, but that can’t stop it from enduring as one of defining films in the war genre as well as Kubrick’s own body of work. In an attempt to do away with conventional modes of cinematic structure, Kubrick employs a two-act structure in FULL METAL JACKET. The first half takes place at a military base in South Carolina, where a band of new recruits are being trained to become the latest wave of efficient killing machines. They are under the command of Sergeant Hartman (R. Lee Ermey), a relentlessly abusive disciplinarian who has placed a special focus on an overweight recruit he dubs Gomer Pyle (Vincent D’Onofrio). He never misses an opportunity to remind Pyle that he is a worthless fat-ass and a disgrace to the Marine Corps. One of the other recruits, who Hartman has dubbed Private Joker (Matthew Modine) takes pity on Pyle and helps him shape up to Hartman’s superhuman standards. Under Joker’s positive encouragement, Pyle shows remarkable growth—but that growth comes at a cost, and on the eve of their graduation, Pyle murders Hartman before firing a rifle round into his own skull. The film’s second half is set in Vietnam during the Tet Offensive, one of the defining moments of the war. Joker is now a war correspondent for Stars and Stripes, the military-owned newspaper distributed to the troops. On a routine assignment, he runs into a buddy from his days in South Carolina, Cowboy (Arliss Howard), who is now running with a squadron making their way through Hue City. They eventually become lost and try to take refuge in the city’s abandoned ruins. They’re ambushed by relentless sniper fire, but there’s no retreat. If they want to live, they must forge ahead by any means necessary. By film’s end, we are left only with one question—what is the cost of warfare? Kubrick’s thesis posits that the answer lies not in the form of dollars, but in our very souls. Kubrick’s cast is comprised entirely of unknowns, and it’s a testament to their talents here that they all went on to respectable acting careers afterwards. Matthew Modine headlines the film as the gangly Joker— a mischievous subversive who pairs his military fatigues with a peace symbol decal, which makes his story arc of lost innocence all the more potent. He carries a smug grin on his face throughout the entirety of the film, but you better believe by the end that Kubrick will have wiped it right off his face. Vincent D’Onofrio makes his film debut in FULL METAL JACKET as the fat, uncoordinated Gomer Pyle. He purportedly gained seventy pounds to play the role, offering a hint of those“dedicated thespian” affectations his career would later be known for. Arliss Howard plays Cowboy, the squad’s flustered, short-lived leader. His performance is unremarkable in and of itself, but it took three screenings of the film for me to realize that he also plays the antagonistic role of John Hammond’s nephew in director Steven Spielberg’s THE LOST WORLD: JURASSIC PARK (1997). Spielberg was, of course, a close friend of Kubrick’s and his casting of Howard for his dino sequel speaks to how much he admired Kubrick and his work. The real star of the show, however, is R. Lee Ermey, who plays the hardass drill sergeant Hartman. Prior to the film, Ermey was a real-life retired Marine drill sergeant, and was brought onto the project as a tech consultant. His dedication to authenticity was so intense that he outright stole the role of Hartman from the guy who had been originally cast. His relentless abuse and creative grasp on insulting profanity approaches the level of performance art, and his particular showing in FULL METAL JACKET kickstarted a second career as an in-demand character actor that continues to this day. By this point in his career, Kubrick had built up a strong working relationship with cinematographer John Alcott, who shot his previous three features. When Kubrick began to assemble his crew for FULL METAL JACKET, Alcott declined a fourth go-round with the maverick auteur. In hindsight, this would prove to be a serendipitous move for both parties, considering Alcott died during the middle of production. Douglas Milsome, who had previously worked on Kubrick’s films as a focus puller, stepped up to assume the role of cinematographer on FULL METAL JACKET instead. Milsome and Kubrick craft a relatively straightforward visual presentation that’s high on style and low on flash. Kubrick’s compositions retain his signature one-point perspectives that emphasize depth and symmetry, while his camerawork builds on THE SHINING’s innovations with the Steadicam by incorporating it as often as possible. Kubrick has always favored extended tracking shots as a way to convey mood, and the rise of the Steadicam allowed him much greater flexibility and versatility in that regard. No longer bound by dolly tracks, he could mount the camera on a Steadicam rig and follow his subjects right into the maelstrom without so much of a hint of handheld jitter. Like BARRY LYNDON or THE SHINING before it, Kubrick counters the formalism of his camerawork with New Wave techniques like slow zooms and flash cuts. FULL METAL JACKET’s naturalistic aesthetic isn’t as lurid or evocative of other Vietnam classics like Oliver Stone’s PLATOON (1987) or Francis Ford Coppola’s APOCALYPSE NOW (1979), yet its visuals are just as (if not more) iconic due to Kubrick’s legendary eye for composition and considered movement. The music of FULL METAL JACKET marks an abrupt departure for Kubrick, who was well known for using prominent classical works to accompany his visuals instead of original scores. Instead of baroque concertos, Kubrick opts for the iconic sound of the Vietnam War: rock and roll. Beginning with Johnnie Wright’s crooning country ballad, “Hello Vietnam”, Kubrick uses an inspired selection of late 70’s-era rock music to reflect the dark, subversive and unpredictable nature of Vietnam’s combatants. A particular standout is the use of The Rolling Stone’s “Paint It Black” over the end credits—a musical echo of the darkness that Joker now dwells in after the completion of his character arc. Despite the heavy presence of rock cues, Kubrick does make potent use of an original score written by his daughter, Vivian Kubrick (credited here as Abigail Mead). Vivian creates a suitably foreboding, industrial sound using electronic instruments that appropriately reflect Kubrick’s pitch-black portrait of institutionalized destruction. While Kubrick’s films defy easy explanation, they can be distilled into the examination of two primal, opposing forces: violence and sex. His last two films—FULL METAL JACKET and EYES WIDE SHUT—would become companion pieces in that they each dealt with their respective theme (violence for the former, sex for the latter) in a singularly summative manner. Kubrick was no stranger to war films, but whereas PATHS OF GLORY dealt with the ethical conundrums of warfare on a collective scale, FULL METAL JACKET is more concerned with the psychological consequences of warfare on the level of the individual. The film focuses on the military as an institution not only capable of perpetuating man’s inhumanity towards his fellow man, but one that needs such devastation in order to thrive. Kubrick doesn’t depict the military so much as an institution, but as a machine—devouring countless scores of boys whole and spitting them out the other end as robotic killing machines devoid of compassion and empathy. The machine is kept fed by a surrounding culture that commodifies and glorifies violence; Joker’s iconic line, “I wanted to be the first kid on my block with a confirmed kill”, is terrifying precisely because it hits so close to home. Vietnam was more than just a war for the American public—it was an existential crisis that introduced the idea of cynicism and irony into warfare. It was, for lack of a better term, The Hipster War. Having peppered it throughout his filmography to extremely potent effect, Kubrick was no stranger to the concept of irony, and FULL METAL JACKET is stuffed to the brim with it. Joker complements a peace symbol decal with a helmet that has the words “Born To Kill” scrawled across it. The big bad sniper of the film’s denouement is revealed to be a scared twelve-year old girl. Soldiers march against fiery scenes of devastation while cheerily singing the Mickey Mouse Club theme song. A young recruit is trained into such an effective killing machine that he turns his rifle on the man who created him. FULL METAL JACKET came out the same year that Oliver Stone’s PLATOON did, and while Kubrick’s final statement on war and violence would eventually lose out the Best Picture Oscar to Stone’s breakout film, it now overshadows its former rival due to the legacy of its genius creator. It may not be the definitive Vietnam film, but it is certainly one of the most definitive films of the war genre. For Kubrick himself, FULL METAL JACKET serves as a fitting, yet, haunting conclusion to a topic that he spent a lifetime exploring. FULL METAL JACKET is currently available on high definition Blu Ray via Warner Brothers.
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"https://www.gtc.org.uk/media/classifieds/podthumbnails/0826c1f7888c438a96cca65f96f6fe9d.jpg", "https://www.gtc.org.uk/media/pod-rss.png", "https://www.gtc.org.uk/media/im/Placards/Advertise%20here(1).jpg", "https://www.gtc.org.uk/Content/img/logo-gtc-white.png", "https://www.gtc.org.uk/Content/img/logo-iawf-white.png", "https://www.gtc.org.uk/media/close-dialog.png", "https://www.gtc.org.uk/media/post-status.png" ]	[]	[]	[ "" ]	null	[]	null	The Guild of Television Camera Professionals (GTC) is an independent, international organisation that cares about camerawork and the people who make it their craft.	en	/favicon.ico		null	The GTC's twice yearly journal has been around since 1973, the year after the Guild was started. The hazy origins of its eccentric name may be hidden in the mists of time but the content of this well-respected magazine is always cutting edge and relevant to working camera crew. Zerb is unique in that it is both edited and largely written by camera operators, DoPs and camera technology experts. Each issue has both a managing editor and a production editor. The articles are predominantly told 'from the camera professional's point of view' and strive to be topical and objective, featuring an entertaining mix of location reports, technical information and human stories related to the craft of camerawork. The entire archive is now available online (see lower down this page for how to access). Zerb 98: Spring 2024 Managing Editor: Bill Shepherd Production Editor: Sarah Adams Design: Toast Design, Banbury The latest edition of Zerb remains available digitally to GTC members only until the next one comes out. Contents of Zerb 98 Editorial - Luke Sheehan, GTC Education Officer Julie Ritson, talks about why she is passionate about teaching camera professionals Capturing the cinematic beauty of underwater filmmaking James Cannon ACS and Alina Graciova: the war in Ukraine Vernon Layton BSC, DOP talks about his career in film and television Timeline TV: Remote broadcasting techniques for the British Basketball League Joshua Bosley, talks about his journey from cameraman to DOP Ester de Roij, Wildlife cinematographer: Bears and wolves in British Columbia Tom Cribbin, talks about how AI speeds up video production Jeremy Braben: Building a successful aerial filming company Innovative technology has revolutionised sports on television with Chris Hollier Gail Jenkinson talks about filming 'Patrick and the Whale' Q&A's with, Michael Sanders, Nic Holman & Natalya Redding OB cameraman captures Superbikes Championship with dynamic drone shots Talking Pictures TV, the UK's largest independent channel Getting started with Your Career in Television Barry Bassett, VMI talks about sustainable practices and embracing Net Zero goals Sample articles from Spring 2024 Click on the images below to see sample articles from the current issue of Zerb. GTC members wishing to view this edition digitally can access it here: www.gtc.org.uk/publications/gtc-member-digital-editions.aspx The Zerb Archive A history of television camerawork Over the years topics have included every conceivable aspect of camerawork and the body of back issues forms a fascinating archive of the trends and changes in TV technology and techniques. Recently this fascinating resource has been digitised, making available more than 45 years of TV history to both GTC members and non-members. Online access to Zerb Anyone, including non-members, can click on the cover images below to access the edition you would like to view online (apart from the most recent issue, which is for members only). Clicking on the cover will take you to the digital version of that issue (hosted by PageSuite) and also give access to all other issues in the archive, which is searchable (to search for specific content look for the search icon top right of the PageSuite screen). GTC members also have extra rights accessible via a GTC member log-in page. Not only can members view the latest issue online but they can also download material from any issue in the archive. The same permissions apply to GTC In Focus, which can be accessed from the same page. Non-members visiting the archive who would like to download content, please apply for permission: zerb.production@gtc.org.uk. Alternatively, you might like to consider joining the GTC to enjoy a wide range of member benefits. GTC member digital editions access page: www.gtc.org.uk/publications/gtc-member-digital-editions.aspx If you are having trouble locating any Zerb content you are searching for, please do not hesitate to contact zerb.production@gtc.org.uk. Zerb 97: Summer 2023 Managing Editor: Graeme McAlpine Production Editor: Sarah Adams Design: Toast Design, Banbury The latest edition of Zerb remains available digitally to GTC members only until the next one comes out. Contents of Zerb 97 Editorial - Chris Yacoubian, GTC Welfare Officer John Henshall, GTC President & Co-Founder - Extract from his forthcoming book The Mark Milsome Foundation aims to provide a positive legacy What goes on tour stays on tour... by Noel Wyatt I was Kylie's Cameraman by Dicky Howett 30 year anniversary of Visual Impact Northern Letting wild locations free your mind by Graham Horder Q&A's with, Sandra Pennington, Paul Dugdale (Duggers), Brett Turnbull, Nick Kauffman, Sally Garrett, Laura Howie, Tim Potter and Sam Creamer Getting airbourne with Carys Kaiser The future of syncing is simple and affordable The Digital Cinematography Revolution Ocean crossings with Dani Devine Becky is flying high - Becky Lee talks to Bill Shepherd about her role as an aerial gimbal technician Zerb 96: Spring 2023 Managing Editor: Rob Emmanuel Production Editor: Sarah Adams Design: Toast Design, Banbury Contents of Zerb 96 Falling Flat - the lockdown sitcom that we all need The Mick Deane Bursary - nurturing the next generation Valuable industry opportunities for new generation of camera professionals GTC Member James Dunlop swaps his clarinet for a camera Lighting the Platinum Party at the Palace Operation Lion: the view from Canada Gate TV OBs through the lens of Steve Challes Thriving between three freelance careers by Dan Poole The Fence: from short film to full-length feature Q&A with GTC Council members, John Templeton and Riccardo M Alfano Filming The Narrows on a virtual production stage From wheelchair to pedestal by Derek Halls Sample articles from Spring 2023 Click on the images below to see sample articles from the current issue of Zerb. Zerb 95: Spring 2022 Managing Editor: Rob Emmanuel Design: Toast Design, Banbury Contents of Zerb 95 An Unnatural History - IAWF member Robin Smith's path to filming wildlife Meet the Martins: The art of lighting sitcoms with Martin Hawkins and Martin Kempton Alan Duxbury - 50 years of change in camerawork The Life of Brian - The career of former GTC Chair Brian Rose Shooting Dolby Vision HDR on an iPhone by Kevin Augello Filming wildlife closer to home by IAWF member Marc van Fucht Nick Gilbey director of the BEHP - Taster of what the BEHP archive has to offer What is Vision Control? by Richard Carroll Zerb Basics: Understanding LED light sources A world of pure engineering imagination - Rob Emmanuel talks to Dave Bromfield Managing Director and Founder of Movie Camera Support Ltd Quick Q&As with former GTC council members Chris Owen, James French and GTC Honorary President John Henshall Sample articles from Spring 2022 Click on the images below to see sample articles from the current issue of Zerb. Zerb 94: Autumn 2021 Managing Editor: Rob Emmanuel Design: Toast Design, Banbury Contents of Zerb 94 I'm A Celebrity Get Me Out Of Here! – in times of COVID, by camera supervisor Tony Freeman Moving Pictures – a fine art – GTC member and jib operator Steve Fuller on adding fine art photography to his portfolio Going Live with Rambert Dance Company’s Draw From Within and Rooms by cinematographer Emma Dalesman Mike Dugdale – a remarkable life remembered. Nat Hill and Paul Dugdale reflect back on an extraordinary life Life at the sharp end: the role of a lens technician – Gary Leach and Ben Cridge from GTC Sponsor CVP on how they keep lenses in optimum condition Brave New World – by steadicam operator Junior Agyeman-Owusu Tiffen Steadicam workshops – attendee comments on the first live post-lockdown steadicam workshop run by GTC sponsor Tiffen Going Digital: clear wireless sound that makes headlines. Sam North, sales manager for Karno outlines the benefits of digital radio mic systems The history of ITV’s contribution to the evolution of sports broadcasting. Phil Nott from the Broadcast Engineering Conservation Group looks back on how ITV influenced the future of sports broadcasting 50 unforgettable years: GTC sponsor CP Cases celebrates its golden anniversary Quick Q&As with Council members Alan Duxbury, Clive North and Peter Rance Sample articles from Autumn 2021 Click on the images below to see sample articles from the current issue of Zerb. Zerb 93: Spring 2021 Managing Editor: Rob Emmanuel Design: Toast Design, Banbury Contents of Zerb 93 Filming Top Gear and The Grand Tour – by DoP Ben Joiner Taking drone filming to new heights – with Top Gear aerial experts Lec Park and Andrew Lawrence GTC member (Corporal) Agy Rudel explains what it takes to be a RAF Media Reservist The story behind Robbaduck Camera Services – GTC member Rob Ballantyne's new camera tracking company Bullet Time: how New World Designs' impressive bulllet time rig creates the 'game freezes' on The Million Pound Cube Weathering the storms with Pelis and penguins – IAWF members Natalie and Andreas Oberg test out their optimum camera setup in the Falkland Islands Focusing on Diopter lenses - the low-down on what these useful add-on tools can do and how to attach them What goes into creating an innovative piece of new camera mount technology – Sachtler's James Guest on the thinking and research behind the flowtech and activ products The Tank Factory – how GTC sponsor Prolink contributed to the equipping of this brand new West London studio facility Reflections from and warm tributes to camera supervisor supremo Tony Keene, who recently took the decision to retire after over 40 years behind camera Workflow efficiency with the latest CODEX high density encoding technology After 50 years in the business, Anton Bauer has an enviable reputation for providing reliable power solutions – read how they ensure these standards Introducing the new Fiilex Q5 color fresnel lamp Sample articles from Spring 2021 Click on the images below to see sample articles from the current issue of Zerb. Zerb 92: Autumn 2020 Managing Editor: Rob Emmanuel Design: Toast Design, Banbury Contents of Zerb 92 Guest editor Elisa L Iannacone shares experiences from shooting on the frontline, with advice on staying safe Ellen Kuras ASC interviewed – and her current project: a global collaborative documentary record of life under lockdown Filming drama remotely: how to coordinate and control a drama shoot from the comfort of your own home sofa – with the help of the actors' families Seeing in the dark: capturing never-before-seen night-time hunting behaviour of big cats for Night on Earth GTC member Al Livingstone's latest film shows the devastating effect of deforestation through the plight of a very inaccessible baby harpy eagle Cinematography in Flux: DoP Sarah Smither discusses changes in the industry, storytelling and the key importance of a caring attitude to crew Spiral of Containment: how a brave and honest multimedia project has helped rape victims to heal Do you love or loath a LUT? Two colourists explain how LUTs work and how to get the best out of them. Multi-drone shooting – how a team of drone operators faced the challenges of both weather and terrain to film a complex sheep gather So you want to improve your carbon footprint and keep travel costs down – is electric now a viable option for your crew and kit transport? Reflectric – a new energy-efficient lighting technique that achieves lovely natural-looking images with few lamps but multiple reflectors GTC member Simon de Glanville devised a home-schooling module that would allow him to keep his hand in as a wildlife cameraman while teaching his sons about filming and storytelling – the heroes were snails! The Helicopter Girls are well known for their aerial photography skills and cutting-edge drones. Now they have another challenge: juggling childcare Sample articles from Autumn 2020 Click on the images below to see sample articles from the current issue of Zerb. Zerb 91: Spring 2020 Managing Editor: Rob Emmanuel Design: Toast Design, Banbury Contents of Zerb 91 Festival of Remembrance – camera supervisor Nigel Saunders on the award-winning coverage of this national treasured event It's been a busy few years for Northern Ireland-based news cameraman David McIlveen – but he's still been able to innovate by shooting news on large-sensor cameras Rise of the Nazis: DoP Duane McClunie on creating the look for reconstructed scenes from this dark period of history Sex Education – DoP Jamie Cairney on shooting the second series of the hit Netflix comedy drama ... while camera trainee Andrea Jovanovska had a great opportunity to both operate and appear in an episode set in a TV studio Zerb looks back at and celebrates 40 years of innovation in specialist cameras from GTC sponsor company Aerial Camera Systems (ACS) Breaking barriers and finding balance: camera supervisors Liz Bell and Jo Hodges not only provide top-quality crews, they also look after health and wellbeing Retracing the great cave escape of Tham Luang Nang Non – how this extraordinary accident happened and then the rescue unfolded Bill Vinten GTC University Awards – the story behind our student awards Any fool can be uncomfortable: IAWF member Graham Horder gives the low-down on what it's really like to film natural history programmes (with a little help from some friends) Procam's Saul Gittens on this GTC sponsor company's comprehensive training programme for new entrants to the industry Life as a camera guarantee – GTC member Fiona Schimmel explains what this role involves and why it's a really great way to learn all about OB work Horse racing – a trio of articles on this busy area for camerawork: first, Matt Payne explains how he transitioned from jockey to camera operator; we hear how Italian GTC sponsor Cartoni custom built products for RaceTech; and James French reports on a visit to their factory in Rome Plastic Surgery Undressed – the low-down on the complicated linkage involved in showing live cosmetic surgery operations to studio guests elsewhere, including live two-way interviews with surgeons and patients A glass act: DoP Mark Warmington has a passion for beautiful lenses – and he has recently added rehoused Leicas to his kit collection Sample articles from Spring 2020 Click on the images below to see sample articles from the current issue of Zerb. Zerb 90: Autumn 2019 Zerb 90 is the last issue with Alison Chapman as Managing Editor and this time there was no guest editor. Design was by Toast Design, Banbury. Contents of Zerb 90 After Life – GTC member Martin Hawkins on working with Ricky Gervaise on his latest series GTC sponsor Helicopter Film Services introduce their impressive six-camera array, Typhon2 24 Hours in A&E – Vision Guarantee Richard Carroll on planning and controlling a 111-camera shoot in a high-paced emergency environment Tales from the snooker: GTC member Duncan Richmond has stories to tell from snooker and many other shoots – and he's compiled them in a book How do you operate a camera from a Segway following world-champion cyclists? GTC Award-winner Ifor Wyn Humphreys on this specialism Happy 30th Anniversary Top-Teks! We look back on the GTC's relationship with one of our longest-standing sponsor companies Bohemian Rhapsody: this iconic video launched the music video industry – and it was all shot in a half-day by four very early GTC members Zerb Managing Editor Alison Chapman looks back at 25 years overseeing the GTC's journal Microscopy expert Sinclair Stammers on a career of filming the tiniest creatures, in particular those who like to suck blood! Aerials over Buenos Aires – Argentinian DoP GTC member Alejandro Reynoso on building up the country's leading drone filming company Dreamflight – find out how you could join other GTC members in improving the lives of children facing enormous challenges by joining this charity's remarkable life-enhancing trips to Florida The Baby Club: 'Never work with children...' – GTC member explains why working with 12 babies on this innovative new series was actually fine Zerb Basics: Keeping your kit safe in cars and vans Why Boxx wireless products are the choice of one of New Zealand's top Steadicam and RF-camera specialists, Martin Stacey Sideshow – DoP Stephen J Brand on how to shoot a feature film on a very low budget in just 18 days – and in winter Green shoots – as the GTC sets out to formulate an environmental policy, it can learn a lot from GTC sponsor company VMI Managing Editor: Alison Chapman Sample articles from Autumn 2019 Click on the images below to see sample articles from the current issue of Zerb. Zerb 89: Spring 2019 The guest editor for Zerb 89 was Rob Emmanuel and design was by Toast Design, Banbury. Contents of Zerb 89 Parasol Peak – recording a live music performance on the top of a 3000m mountain Fergus Kennedy on moving from marine biologist to underwater cinematographer to drone specialist How do you visualise sound on camera? DoP Timur Civan on shooting the award-winning Nigel Stamford video Cymatics The art of shooting wildlife: IAWF member Sophie Darlington on filming big cats – and other animals One Box Television: Richard Stevenson celebrates 10 years of his innovative 'flyaway OB' system The portrait challenge – how difficult and different is it to record a theatre performance in 9:16 for viewing on Instagram? Smooth operator: a user's guide to gimbal rigs by Mark Langton Introducing EVI, the dynamic HDR converter that makes it possible to view HDR images on standard definition monitors – and more Paul Edwards looks back on a long and fulfilling career as Steadicam operator on many great features and training new operators at Tiffen Zerb Basics: Filters and Matte Boxes - with drama DoP Nick Dance Flying with batteries – frequent flyers news cameraman Bhasker Solanki and documentary DoP Jonathan Young on how to stay within the rules for transporting lithium batteries but also cut down on check-in hassle Hothead expert Manueal Balseiro assesses the new Kornercrane, which enables transitioning from underslung to overslung on shot The story of Easyrig – founder Johan Hellsten recalls 25 years of his back-saving rig Litepanels Gemini – Andrew Woodfin on developing the new soft light, while Version 2's Nick Edwards gives the end-user perspective Managing Editor: Alison Chapman; Guest Editor: Rob Emmanuel GTC members wishing to view this edition digitally can access it here: www.gtc.org.uk/publications/gtc-member-digital-editions.aspx Sample articles from Spring 2019 Click on the images below to see sample articles from the current issue of Zerb. Zerb 88: Autumn 2018 The guest editor for Zerb 88 was Laura Jeacocke and design was by Toast Design, Banbury. Contents of Zerb 88 DoP Nat Hill on the amazing one-take #BRUM shot Being Brunel – DoP Jon Pegler on visualising the mind of Isambard Kingdom Brunel Hector Skevington-Postles on capturing rare snow leopard footage Extreme: GTC award winner Ryan Atkinson on filming the Three Cs: caves, cliffs and under the canopy What does it take to be an on-board reporter on the gruelling Volvo Ocean yacht race? Agile Remote Cameras – the story behind the ultra-rugged PTZ cameras Filming from hot air balloons Out in the cold: tips on how to keep warm and mobile on skiing events – from GTC Chair Graham Maunder SKAPYA: the all-weather jacket that converts to a bag – and is great for documentary camera professionals The Helicopter Girls on their new light-bearing drone and partnership with Marzano Films Camera Supervisor Rob Sargent and his crew covered the Windsor Castle Route for Prince Harry and Meghan Markle's wedding Learning from the experts – shooting architecture and property shows RED owner/operator DoP Giles Harvey tries out the new GEMINI and MONSTRO cameras Zerb Basics: what do you need to know to keep your accounts in order? The Zerb Good Kit Hire Guide: how to build and sustain a great relationship with your kit hire company Cutting-edge innovations from GTC sponsor Ikegami – latest 8K cameras, HD trucks and monitors Happy Anniversary Panasonic! – we celebrate a remarkable centenary of delivering products that make 'A Better Life: A Better World' Managing Editor: Alison Chapman; Guest Editor: Laura Jeacocke GTC members wishing to view this edition digitally can access it here: www.gtc.org.uk/publications/gtc-member-digital-editions.aspx Sample articles from Autumn 2018 Click on the images below to see sample articles from the current issue of Zerb. Zerb 87: Spring 2018 The guest editor for Zerb 87 was Sally Garrett and design was by Toast Design, Banbury. Contents of Zerb 87 Marcella: Scandi-noir drama shot in summer London on VariCam – by DoP Kate Reid Expedition Volcano – by GTC members Will Edwards and Ryan Atkinson Learning from the experts: The Strictly crew Blue Planet II – IAWF cameraman Mark Payne-Gill on filming humpback whales for the most watched natural history series of 2017 Supervising the IAAF World Championship: Tim Moses on planning for a major international athletics championship Bhasker Solanki recalls a remarkable 38 years as a BBC News cameraman Kësulat – GTC Awards Officer on shooting her first feature, a powerful true story set in the Balkans War Andy's Safari Adventures – lighting and shooting a complex and innovative children's natural history show by DoP Stephen J Brand A trip to the Vitec Factory in Costa Rica – by Darren Bramley Kit review: Vitec flowtech 75 tripod The new Steadicam M1 Volt – tested by GTC member John E Fry Strictly has gone paperless – using iPads for shot cards IAWF member Simon Littlejohn on filming vultures in southern Spain How the BAFTA's albert Consortium is helping productions improve their carbon footprint – and save on their budgets too The Canon C700 camera road tested by DoP Jamie Cairney Also included with Zerb 87 was the special Zerb Mental Heatlh Supplement. Managing Editor: Alison Chapman; Guest Editor: Sally Garrett GTC members wishing to view this edition digitally can access it here: www.gtc.org.uk/publications/gtc-member-digital-editions.aspx Sample articles from Spring 2018 Click on the images below to see sample articles from the current issue of Zerb. Zerb 86: Autumn 2017 The current edition of Zerb is issue 86. Its guest editor was Hazel Palmer and design was by Toast Design. Contents of Zerb 86 Welcome to the GTC – Guild of Television Camera Professionals Why titles matter: Hazel Palmer explores the background to the GTC's name change Extreme Mountain Challenge – the story behind an hair-rasing adventure shoot from GTC member Keith Partridge Shooting wildlife with the Panasonic VariCam – by Dutch wildlife cameraman Dick Harrewijn The GTC wishes its long-standing sponsor ARRI a very Happy 100th Birthday – and looks forward to the next 100 years! Latest technology used to cover the Oxford v Cambridge boat race, one of the most complex annual UK OBs Grand Tours of the Scottish Islands – spectacular scenery in some of the most remote parts of the UK by Award-winning DoP Richard Cook Mutiny – Dan Etheridge was embedded with the 'mutineers' who recreated the famous voyage of the survivors of the Mutiny on the Bounty Motion Impossible... made possible. Meet the AGITO and MANTIS remote controlled tracking systems Taking off with drones – GTC member Aaron Cook on learning to fly a drone the right way by taking a recognised course and plenty of practice Learning from the experts – advice from multi award-winning cameraman Jonathan Young for student member Laura Jeacocke Between the tropics – GTC member Niall Newport on filming an extraordinary cycling expedition across Asia to Australia Channel vision – GTC member Tracey Cahill on her career working in news and factual programmes in the Channel Islands Rock steady – GTC TiCA winner Dominic Jackson on why the ARRI Trinity is now his camera stabilisation system of choice Rebuilding history – the story behind the complex recreation of John Logie Baird's first TV system in a Cambridge University engineering department Paramo clothing – ethically manufactured outdoor gear that is great for camera crews shooting in all weathers Diversity behind the camera – see the results of the Zerb survey into the state of diversity in the camera department today Managing Editor: Alison Chapman; Guest Editor: Hazel Palmer Sample articles from Autumn 2017 Click on the images below to see sample articles from Zerb 86. Zerb 85: Spring 2017 The current edition of Zerb is issue 85. Its guest editor was Ashley Meneely and design was by Toast Design. Contents of Zerb 85 Guest editor: John Rossetti Filming charity appeal films – Graham Maunder Tales behind the filming of the BBC natural history series The Hunt Director John Kirby on why a great relationship with the camera crew is key to successful live OBs Lighting refit: Sky Sports News studio Underwater filming: using custom-built mounts Latest generation cameras from RED Drama lighting: GTC workshop with DoP Nick Dance BSC Versatile head and jib arm – in action for the 2016 Euros in Paris Panasonic VariCam LT – filming badgers at night with the native 5000 ISO TLCI: latest news on how TLCI is being used from Alan Roberts Happy 70th Anniversary: Zerb pays tribute to Ikegami in its 70th year All about the Aurora remote control head UV filtration – don't get caught out by unexpected UV emissions from your lamps, especially in historic locations A DoP's tooolbox: latest range of top-end monitors from Transvideo Easyrig Cinema Flex Vest: new for the girls from GTC sponsors Easyrig ADAPT TV: recreating a 1970s OB Connections, connections – why contacts are all important in TV Sample articles from Autumn 2016 Click on the images below to see sample articles from Zerb 84. Zerb 83 Spring 2016 Guest editor: Peter Newman The Rugby World Cup 2015 Corporate – a look at the new opportunities for good quality work in this growth area The ALEXA Mini – user reports from documentary, drama and aerial shoots Doctor Foster – shot on the Panasonic VariCam New from Panasonic, the VariCam LT Introduction to the International Association of Wildlife Film-makers (IAWF) - newly incorporated into the GTC Filming leopards with camera traps by IAWF member Mateo Willis Power and backup in remote situations by GTC member Kevin Augello Glass revival: why optical filters matter – by filter guru Carey Duffy Dick Hibberd, Founder of the GTC, remembered Bill Vinten – a life lived to the full. Dudley Darby pays tribute Steadicam: a roundup of the latest generation models and training Kit review: Panasonic AG-DVX200 by GTC member Phil Thomas Eye care – what camera crew should know to preserve their eyesight Camera preservation – member Nick Gilbey explains how a few enthusiasts are preserving rare historic TV cameras Sample articles from Spring 2016 Click on the images below to see sample articles from Zerb 83. Zerb 82 Autumn 2015 Guest editor: Ged Yeates Gavin Finney BSC on Wolf Hall Ballot Monkeys, C4 General Election comedy Kliktrak/Kombidolly tracking system from Hillrigs Patrick van Weeren – in-house advisor at WTS Camerawork and motherhood -–are they compatible? Hemingway's car – Adam Docker on a Cuba shoot LUTCalc – by GTC member Ben Turley Kit review: Sony PXW-FS7 Fujinon UA-Series – latest 4K lens technology John Anderson talks to camera helicopter pilot Keith Thompson Colin Tomlin of Videosys on designing a new minicam Stornoway-based Alasdair Maclean: becoming a BBC news cameraman How the ExtraShot podcast is the new crewroom KerriKart – an innovative new camera cart/slider Zimbabwean GTC member Jeremy du Toit on relocating to the UK DJI Ronin training at GTC sponsor Off Trax Sample articles from Autumn 2015 Click on the images below to see sample articles from Zerb 82. Zerb 81 Spring 2015 Guest editor: Paul Mellon Epic time-travel drama Outlander The Ryder Cup Nick Dance BSC interviewed 4K toolkit – from GTC sponsors Sony The Gimbal Vest from Easyrig Still Game – TV sitcom as arena event Codex – high-end recording Paul Francis: the last cameraman at Camp Bastion Springwatch - using multiple remote high-quality cameras The new VariCam from GTC sponsors Panasonic High-speed developments in slow and ultra motion GTC member Mark Print on his triumph over a life-threatening illness UCD broadcast – how and when will we see this in our homes? The Bill Vinten GTC University Awards Spatial movie production – a glimpse into the future Sample articles from Spring 2015 Click on the images below to see sample articles from Zerb 81. Zerb 80 Autumn 2014 Guest editor: Neil Harrison Underwater camerawork David Beckham in the Amazon – RED Dragon The Brazil 2014 World Cup Sky cricket coverage The ARRI Amira Salford's digital dockland CTBF – the industry's benevolent charity Blackmagic in the desert Teaching actors to be cameramen for Alan Bennett's 'Enjoy' Top Gear Lens adaptors TLCI News from Alan Roberts Airline carry-on baggage rules The MoVI rig Sample articles from Autumn 2014 Click on the images below to see sample articles from Zerb 80. Zerb 79 Spring 2014 Guest editor: Peter Heap BT Sport's new studios at Olympic Park Perils on the seas of Peru Light-field cameras RIP BBC Outside Broadcasts America's Cup – official film shot on a Sony F55 America's Cup: SIS LIVE special cameras Miller celebrates 60 years of tripod manufacturing Learning to film with a multirotor Whatever happened to camera craft? Ninjas and Samurais - from Atomos Dreamflight – how to get involved with the children's charity RUBI-Radio Mini HD link system Zerb 78 Autumn 2013 Guest editor: Matt Grant Earthflight – aerial specialist Richard Cook Cold Chain Mission The TLCI measurement of lamps The ARRI L7-C reviewed The Sola ENG kit – GTC user review Grand Designs DoP Charles Lagus, Sir David Attenborough's first wildlife cameramen Gurdip Mahal – lighting director 'Designing with Light' Wireless technology for Steadicam from Boxx TV The Skquattro – from The Camera Store 75 years of televising the Oxford–Cambridge Boat Race Jonathan Harrison on LEDs Polecam a novel use in a miniature village Young RED user Joseph Hutson Camera training at The London Studios The Blackmagic Cinema Camera – GTC user review Zerb 77 Spring 2013 Managing editor: Alison Chapman Isles of Wonder – televising the London 2012 Opening Ceremony sequence Coldplay Live – the technology behind the Mylo Xyloto tour DVD The camera technology behind Felix Baumgartner's leap from space Filming chimps in the jungle Recollections of Hillsborough World Without End – achieving a Pre-Raphaelite look for an epic Medieval drama Outnumbered – producing naturalistic performances from the kids Slow motion camerawork Thomas English on the latest generation of Steadicam How do you become a cameraman? Advice from three recent entrants into the industry Hot Topic – Has camera design gone mad? FantasyCam – the perfect 'cameraman's camera' Emmerdale is 40 Interview with RTS Lifetime Achievement Award winner Martin Hawkins Latest on-camera monitors from Marshall road tested Zerb 76 Autumn 2012 Guest editor: Mark Langton Televising London 1948 contrasted with London 2012 Zerb Basics – the technology behind radio cameras The Royal Pageant – On board the Spirit of Chartwell and rigging Tower Bridge The Bill Vinten GTC University Award 4K – Separating the truth from the hype How would Canon's much lauded C300 camera stand up to the rigours of an expedition in rural China? Dan Greenway explains how minicams have come to be so omnipresent The technology behind the coverage of the progress of the Olympic Torch Take it easy on yourself – how Swedish cameraman came up with Easyrig The ALEXA family grows up – and then there were five Jules Greenway talks about his remarkable career as a cameraman Raise the Roof in Kenya – how cameramen and other TV professionals are helping children in Kenya Circumnavigating the globe for a corporate shoot Power to the pixels - the technology behind the latest generation of onboard monitors explored Kit reviews: the Sachtler Ace tripod system and the Ki Pro Mini from AJA Nic Holman on filming the restoration of a Lightning jet The media behind the mask – should you own a gas mask? Zerb 75 Spring 2012 Managing editor: Alison Chapman Freeze Frame: A cameraman's adventurers on ice EOS C300 – the latest little camera from Canon Undercover – covert filming of illegal hunters and traders around the world World War II Heroes – visualising the horror of war Compact handheld cameras – GTC road test of the Panasonic HPX250 and the JVC GY-HM150 What should you know to keep safe in a war zone? What will you learn on a hostile environment training course and why might it be the most important training you ever do? Minicams – which is the best one for your shoot? Forty Years Young: The GTC is 40! How did it all start? Pim Korver: 'Seanest' – Dutch cameraman Pim Korver on maritime filming High and Dry – filming on a tall ship with a team of young explorers Driving Wars: How the latest minicam technology captured exciting footage of a high-octane stunt driving challenge Open the BOXX – state-of-the-art low latency wireless technology Part 2 of Chris Dickinson's adventures filming in the China Video Ghost – a novel phantom powering system for cameras Zerb Basics: Codecs Zerb 74 Autumn 2011 Guest editor: Bill Garrett The Royal Wedding DSLRs – disappointment or delight? In China with GTC member Chris Dickinson Self-shooting in Africa with a Panasonic AF101 Aliasing – an in-depth technical explanation of this problematic phenomenon HD on the soaps – the camera decisions taken in the HD upgrade on the UK's leading soaps Cooke Optics – the story of a top-quality British brand Argentinian GTC member Martin Errea describes life as a working cameraman in South America Syntax makes a convert – Ged Yeates tries out this SD–HD upconverter GTC Royal Wedding album Zerb celebrates 40 years of Anton/Bauer batteries Damage limitation... for your ears only. How to protect your hearing at work How cameramen Jim Cemlyn Jones and John Brierley collaborated to release an album 'All these dreams' How to choose the right tripod and head for your shoot Introducing Wimbledon Studios, London's newest studio complex plus GTC sponsors 3D specialists DECODE Final Cut Pro X IPv6 is coming... are you ready for it? Travelling together – GTC members came together earlier in the year to film the Travel of the Photographer of the Year Award Winners exhibition John Summers: one of the very first TV cameramen Zerb 73 Spring 2011 Guest editor: Julian Hiorns The Commonwealth Games OK Go – the story behind the amazing one-shot 'This Too Shall Pass' video Shooting 3D handheld in the Amazon rainforest An Audience with the Pope – behind the scenes at this large OB from Cofton Park ACS SMARTheads French lens makers Angenieux's 75th Anniversary Camera review: Sony PMW500 The Panasonic AG-3DA1 in action filming 3D on an oil rig A colourful history – the story of GTC sponsors Rosco The Golden Eye of Georgia – report from this festival of camerawork Holographic TV – a glimpse into TV of the future Hearing without Headphones – PTSD, a health hazard for news crews The Rory Peck Trust Shooting 3D: how can you tell if you're getting it right? Camera Review: Canon XF305 and XF105 Zerb 72 Autumn 2010 Guest editor: Alan Duxbury 3D – The next dimension is closer than you think 3D rigs for football coverage Life on the road as a news and current affairs cameraman The General Election 2010 Mugabe and the White African To Argentina via Turkey with The Quails Life on the road with the Traffic Cops A Bird in the Hand: a history of Vinten in their centenary year Bill Vinten remembers ... Live from Albert Square – behind the scenes when EastEnders went live Vortex – how use of the Award-winning vertical rig is soaring A New Dimension for Panasonic – 3D from the French Open tennis Project Supo: an innovative cross-media teaching approach from Belgium Looking after your eyes on set One Box: an OB in a box – the story of an innovative flyaway kit DITs and DFTs – what do the new boys on the crew do? Goalmouth Technology – how Polecam gives a 3D view of football action Shooting an SIV on beekeeping Zerb 71 Spring 2010 Managing editor: Alison Chapman Green Shoots in Africa – David James Foundation Filming the world's longest horse race in Mongolia iPhone apps for cameramen Dreamflight – helping a charity for kids GTC members give to charity A short guide to CGI for cameramen Beagle's About – remote cameras go to sea Global Crisis – how cameramen can help LEDs: the energy-efficient solution A look at green practices at Sony's Pencoed base News about the latest generation of digital cameras from ARRI A Trip to Tripoli - two accounts of working on a large OB in Libya In search of an affordable HD LCD monitor – the JVC DT-V24L3D Jeremy Hoare on lecturing down under Lenses from Leicester. Dudley Darby visits the home of Cooke lenses Ronald Charles Green 1930-2009 – an affectionate tribute to this highly respected and sadly missed cameraman Cameraman's shoulder – and how to guard against it HD DSLRs: still developing. Update on the digital SLR cameras Making the Cut. David Fox reviews Final Cut Pro 7 Zerb 70 Autumn 2009 Guest editor: Nigel Cooper Do or Die in New York City – the making of a self-funded documentary I Can See Clearly Now ... the Sony PDW-700 Filming with the Yorkshire Air Ambulance Panasonic AJ-HPX3700 reviewed Aerial Filming: How safe are you? Can you really shoot HD on a digital SLR? How not to light a sitcom The GTC Awards 2009 The story behind ITV's Country Ways Tips of the Trade: Focus and Exposure X-Mo Super Slo-mo – slow-motion image capture at its best JVC GY-HM700 – a really well built budget camera MX02 – Digibeta quality edit suite in a bag? A truly portable edit solution In search of an affordable HD LCD monitor – the JVC DT-V24L3D Battery low, lights dim, picture intermittent – are you looking after yourself? Why Polecam is an ideal tool for 3D shoots Step by step guide to producing and marketing a special interest video Zerb 69 Spring 2009 Managing editor: Alison Chapman Multicamera coverage of the Beijing Olympics rowing Flycam – how to achieve spectacular overhead tracking shots Starting Out – real life stories of how GTC members became cameramen Polecam: lightweight jibs at the Olympics The planning behind the Beijing Olympics OB Liverpool Nativity: the story behind the massive award-winning live OB The other side of the track: how to track the horses A Day at the Races – the low-down on ACS's specialist camera systems F35 – digital film expert Dan Mulligan on Sony's latest top-end camera HD in Scotland from HD specialists Midas Multimedia A progress report and user views on the innovative RED Diary of a young cameraman – Part 1 of James Fulcher's story starting out Putting the Sony EX1 through its paces in Afghanistan Video 125 – the story of a highly successful 'niche' production company Need finance for your new camera kit? Advice from specialists Fineline. Time Scupture: the story behind an extraordinary 200-camera shoot Zerb 68 Autumn 2008 Guest editor: Ged Yeates The London Mayoral Debate – producing a major OB at short notice Nigel Meakin on shooting Michael Palin’s ‘New Europe’ on HD Visit to the lens specialists True Lens Services Filming the bears of Romania The story of sending pictures from the Moon for the Apollo programme FCP training – two approaches to getting to grips with the Final Cut suite Click – BBC News 24’s technology show Kosovo – filming when Europe’s newest state gained independence The latest on the tax status of freelance cameramen Polecam in the Arctic – filming walrus and seals in the frozen north Sony PMW-EX3 reviewed Multi-camera operations in a surgical operating theatre Relocating from Zimbabwe – starting all over again in the UK RoscoVIEW reviewed Panasonic AJ-HPX3000 reviewed The work of the BFI’s National Film & TV Archive Zerb 67 Spring 2008 Guest editor: Momin Javaid Keith Massey on how to survive in the industry Five events that changed the course of TV The Vortex aerial camera mount system Broadcasting over the internet ‘Top Gear’ in the Arctic and filming the audience show Coalhouse – reality TV in Wales Cycling special – aspects of cycling coverage Final Cut Studio 2 vs Creative Suite 3 Laurie Gilbert filming in Thailand Decade by decade – perspectives from six generations of cameramen Facilities and rentals – how to get the best out of these companies Source2sea – an account of filming this challenging team-building exercise LED lights come of age How to work out which luminaire will give you the right amount of light Which format – choosing the best format for the job Zerb Basics: Depth of Field Zerb 66 Autumn 2007 Guest editor: Ian McCann Paul Stewart on living and filming on the Galapagos Islands Time-lapse photography Filming the Battle of Britain Memorial Flight GTC – the first 35 years BBC – the Digital Media Initiative P2 – Andy Portch on using the Panasonic format in China ‘Pobol Y Cwm’ – goes tapeless Momin Javaid: impressions of using XDCAM HD for the first time ‘Time Team’ – through the ages What’s it like to be a staff cameraman at the Chernobyl reactor site? Silent Witness – shooting on the Arri D-20 ARRI: a celebration of the company’s 90 year history Sony Vegas 7 reviewed Mako Head – keeping a level horizon on the high seas Zerb Basics: A Glossary of HD Terminology Book review: Inventing Digital Television: The Inside Story of a Technology Revolution by Martin L Bell Zerb 65 Spring 2007 Guest editor: John Rossetti Peter Eveson on why TV cameramen are ideally skilled to shoot HD drama John Adderley on filming a time-lapse artwork Jimmy Jib in the Arctic How CMOS sensors work and what they can do Tony Grant on the skill of improvisation: lighting Hogfather – Sky’s biggest drama commission to date Filming in Africa for a wheelchair charity What does it take to be a cinematographer? Camera sensitivity: SD vs HD Filming against windows – tricks of the trade Crash testing for dummies – high speed photography at Thatcham Video Ark – ensuring archive video footage XDCAM HD reviewed Zerb Basics: Lighting 3 – The Great Outdoors Zerb 64 Autumn 2006 Guest editor: Clive North Laurie Gilbert: on Mt Merapi during the Indonesian earthquake Aerial cinematography over Everest for ‘Planet Earth’ Sky’s first HD documentary Total eclipse of the sun in Libya Grass Valley Viper on ‘Last of the Summer Wine’ Viper: Filmstream Ultimatte HD Filming an ascent on Mt Everest Live and Learn – we all had to start somewhere! The HD jungle – guide to the current crop of HD cameras Filming for charity in The Gambia on a Sony HVR-A1E camcorder Camera menus – a user guide Health and Safety at Work – what all cameramen should be aware of Report from the 2006 HD Masters Conference Zerb Basics: white balance Zerb 63 Spring 2006 Guest editor: Lee Helliar Using Edwardian technology to film modern London Visually Inarticulate part II – Jamie Cairney on shooting ‘The Thick of It’ ‘The Green Green Grass’ – HD sitcom Alien Revolution (AR) – camera stabilization In conversation with … John Simpson Jonathan Young on filming in hostile environments John Tempteton – in Iraq News from the Channel Islands Streaming for cameramen When the going gets rough – coping with the nightmare shoot Grass Valley Infinity – a new format JVC GY-HD100 reviewed Jeremy Hoare takes on a multi-camera shoot after a gap of 21 years Zerb Basics: Lighting Book Review: The Focal Easy Guide to Final Cut Pro Zerb 62 Autumn 2005 Guest editor: Alan Duxbury Tsunami: the disaster and the aftermath In conversation with… Sir David Attenborough Around the world with Michael Palin Diary of ITN’s general election coverage 'Tribe' – Tim Butt on filming cannibals for the BBC HD lenses – how do they differ from SD? Mailbox – BBC Birmingham’s new home How do directors choose their crew? Career change – starting out at Ravensbourne College Richard Hookings on using Polecam at the Athens Olympics Are you insured? Things to check before you shoot Digital Production – a new approach to ‘collaborative workflow’ Final Cut Studio reviewed Zerb Basics: Exposure Book Review: Practical Cinematography Book Review: The Camera Assistants Manual Zerb 61 Spring 2005 Guest editor: Jonathan Flanagan Account of a horrific helicopter accident while filming with Ray Mears Operating remote cameras Christian Parkinson on working as a ‘Broadcast Camera Journalist’ Shooting Partners test out P2 Clothing for extreme conditions The HD future – views from camera manufacturers and experts Sony HVR-Z1E – reviewed Panasonic AJ-SDC905 road test David Fox visits the Breda factory The future’s bright – latest lights Panasonic DVX100A – reviewed DV Rack software tested Motion – Apple motion graphics software review Zerb Basics: Widescreen framing issues Zerb 60 Autumn 2004 Guest editors: John Hoare and Dudley Darby Moving On – Is there life after camerawork? How filming techniques have changed over time Music in Mali – travelling to the middle of nowhere to film an amazing festival Russian Ark – the ultimate Steadicam shot Lord Puttnam interviewed XDCAM road test Filming ancient sports in Asia on HD Virtual reality studio Farewell to the ride-on cranes Excess baggage – the scourge of overseas shoots Kisslite – a camera mountable ring light G-PIXX – the helicopter built for aerial filming DV – the pros and cons of the low cost formats Zerb Basics: all you need to know about zoom lenses Zerb 59 Spring 2004 Guest Editor: Dave Ballantyne Commonwealth Games 2002 Digital wireless camera systems OB in Nigeria – filming the Queen In conversation with Dave Alex Riddett Muddied but unbowed – filming underground Garrett Brown – The Moving Camera Part II Military cameraman The Hospital – London’s newest facility Griptech – starting up an equipment hire company TV returns to East Timor Book review: Location Lighting for Television by Alan Bermingham Tapeless camera systems A look at some TV technology ideas that didn’t quite make the grade KE Remote Systems – a profile of the Aussie crane company Zerb Basics: Setting up your viewfinder Zerb 58 Autumn 2003 Guest editor: Christina Fox The Grand Zerb lighting challenge – 6 experts choose a £1000 lighting system The role of the military cameraman River to Heaven – Laurie Gilbert in India How to make money from your old footage Uploading video to your website What does the colourist like to see in your rushes? Achieving the required look in camera (rather than post) A guide to some of the effects that can be achieved in camera Garrett Brown – The Moving Camera Part I Steadicam – learning to use the rig on an intensive three-day course Mac v PC – which is best for editing? Final Cut Pro 4 – software review The Twic Olympics – filmed in Sudan Dmist – a solution for misty pictures Polecam – the story of how this lightest weight crane evolved Book Review: Audio for Single Camera Operation High Definition movies – CineAlta HD cameras Sony HDW 750P: road test Adobe After Effects – software review 360º imaging – the BBC’s ‘Where I Live' project Getting the film look on tape with Panasonic’s AJ-HDC27 HD camera Zerb Basics – Monitors Book Review: High Definition and 24P Cinematography by Paul Wheeler Zerb 57 Spring 2003 Guest editor: John Keedwell 30 Golden Rules of Camerawork A tour of America for GTC member Karl Lear DoP Chris Menges interviewed Richard van Nijnatten - in Norway with NATO Paul Wheeler on the mistake of cutting crew sizes Digi-Mitchell - bridging the film/video divide Peter de Jong on future-proofing movies Wildlife cameraman James Gray Optimising the hit rate of your website The Mole Crane - 45 years and still going strong Brian Sinclair on the art of editing Biological Weapons: what should you know about bioterrorism? The Thomson Viper: a grade above the rest? by Geoff Boyle Zerb Basics: Filters Zerb 56 Autumn 2002 Guest editor: Karl Lear Stephen Northcott on the art of the camera flyer Laurie Gilbert gets his HUET certificate Desmond Morris - interviewed Filming vocanoes Highly Defined: the CineAlta Charles Teton on shooting with DVCAM Shooting a feature film on HD Canon HD: New prime lenses HD review: Ikegami HdK-790D From one extreme to the other with cameraman Malcolm Ludgate Kayak Crazy: Exhiliarating camerawork in extreme conditions Rhys Williams travels the world following football Zerb Basics: Aerial cinematography from Laurie Gilbert Fibertec - the new lightweight tripod from Vinten Kit Review: the Red Eye wide-angle adaptor Emtec: A visit to a tape manufacturer in Germany The Whys and Wherefores of HD That Elusive Film Look Non-Linear Editing: The first step A Closer Look at High Definition TV Easy Rider - gathering news on a motor-bike Testing, testing... the Sony MPEG IMX Zerb 55 Spring 2002 Guest editor: Mac Kenny Afghanistan: In the line of fire... by Julie Ritson Making Waves - on the Blue Planet Afghanistan: For a few dollars more Mini DV for mainstream broadcast Stormchaser Alister Chapman on selling footage on the web How to make a pain-free insurance claim Fact or Fiction? by past GTC Chairman Peter Ward Court artist Elizabeth Cook on working with news crews Two Man Crews - a dying breed? Trevor Baylis - interviewed Training crews in Sierra Leone Get the right vaccinations for your foreign shoot Back to the Front - Life in the trenches Zerb Basics - Equipment: hire or buy? Zerb 54 Autumn 2001 Guest editor: Christine Stanley The GTC ballot on whether we should change our name Mac Suibhne on the General Election The lives and views of three camerawoman Filmmakers for Conservation – by Chris Dickinson 'Handy Andy' interviewed We're All Broadcasters Now – by Christina Fox The latest industry-based course from Ravensbourne Camerawoman Beka Dilworth on becoming a Steadicam operator Lighting up the Dark Continent: The work of the Mohammed Amin Foundation in Nairobi Ged Yeates loses his luggage in Romania Magnetic Tape: Do you know how to look after your tapes? Zerb Basics: Paul Sampson on non-linear editing Pangaea: A new 'Bed and Edit' facility in Devon Zerb 53 Spring 2001 Guest editor: Ged Yeates Laurie Gilbert goes supersonic with The Turkish Stars David Hands on working and keeping safe on the streets of Israel Rolf Harris – interviewed Paul Osborne on the potentially excellent DV format A–Z of digital terminology The latest widescreen DV cameras tested along with a tripod and head from Vinten A day in the life of a news cameraman in... Asia Spin that really works – how to keep your lens dry in the rain The new camerawork – deliberately or really incompetent? A revolutionary new field editor from Brick House Mark Capstick on why you shouldn't overdo negative gain Alister Chapman: storm-spotting in the USA The widest lenses from Fujinon and Canon compared Rene Collins shoots hi-def in Brazil Zerb Basics: Sound for the Single Camera Operator – Part 2 Zerb 52 Autumn 2000 Guest editor: Neil Faith What's in your kitbag? A wide angle on Ground Force Mostyn Price at the North Pole Gerald Kaufman – interviewed Cee Vee Central – selling yourself on the internet Desktop editing – does a cameraman need it? Roger Bolton on BECTU Creating the look in camera – Geoff Boyle on filters The post-production house 'Wizardry in Soho' shares a few of its secrets 'Live' from Westminster – televising and lighting Parliament Zerb Basics: Sound for the Single Camera Operator – Part 1 Hostile environments: Are you ready for them? Zerb 51 Spring 2000 Guest editor: Paul Mellon Millennium Moments – how we spent Millennium night Later than what...? – behind the scenes on the show that takes its music seriously Kirsty Wark – interviewed Pete Kelly and Des O'Hare shoot children's drama on a budget Advice on buying your own kit from industry experts What every cameraman should know... about Electricians How coverage of the new Welsh Assembly and Scottish Parliament comes to our screens Developments in Robotic Camera Control BBC thirty-six camera skiing coverage in Austria Could a Swedish invention for hand-held camera filming mean the end of back trouble? Getting trained to cope in an emergency Road-testing JVC's GY-DV500E Zerb Basics: The digital camera menu Peter De Vries turns Summer into Winter with Digital Betacam Zerb 50 Summer 1999 Guest editor: Ian Nelson Chris Yacoubian on using minicams in South Africa A walk up dream street with Caroline Wilson Alastair Stewart – interviewed Osteopath Jane Wheeler on keeping your spine in good shape What every cameraman should know... about Sound Mike Audick reports on shooting a Husky race How a cameraman can become a director/producer David Smith reveals the secrets of shooting a feature on tape The most helpful sound books for cameramen Tested – JVC's new DY-90 digital camera Zerb Basics: Timecode Book Review: Timecode: A User's Guide by John Ratcliff Darrell Thornton on the innovative lighting techniques used on Holby City Zerb 49 Spring 1999 Guest editor: Mike Monks Watching the Birdies with Bill Oddie Paul Riley on shooting aboard a submarine Mike Wood reflects on shooting Floyd Uncorked Norman Ormal: Creating History with Harry Enfield Training Tomorrow's Professionals Stress for cameramen and what to do about it Lord Puttnam – interviewed Book review: The Undeclared War by Lord Puttnam Film and Video: a marriage made in heaven? Zerb Basics: Lighting in the Dark Peter Ward talks about writing manuals for the industry Zerb 48 Autumn 1998 Guest editor: Andy Pellett How the BBC is dealing with the transition to widescreen Tackling the forest fires of South-East Asia Andi Peters – interviewed What every cameraman should know Zerb Basics: Lighting for the Single Camera Dave Lawson compares the training he received to what's available today Part 3 of Mike Winser's memories working around the World Paul Bowen on the madness of the sportsmen taking part in the Winter Olympics in Japan JVC's latest cameras tested The history of Fountain's Studio 5 at Wembley Zerb 47 Spring 1998 Guest editor: Helen McAdie Steve Hall on covering the funeral of Diana, Princess of Wales Experiences while covering the Big Cat Diary A look back at the career of Ian Stanley What every cameraman should know Michael Palin – interviewed Teletubbies – how it all started and some of the secrets from begind the scenes Multi-Camera Camerawork by Peter Ward – reviewed Brian Cave on his coverage of orpahns in Romania and how he continues to help them today Oceanic UK's underwater image making studio Zerb Basics: Exposure Part 2 of Mike Winser's memories working around the World Zerb 46 Autumn 1997 Guest editor: Dick Hibberd A look back at the first Guild Council 25 years ago Laurie Gilbert chronicles a shoot in Vietnam Michael Bond on his days as a BBC cameraman Dave Rogers avoiding housework in Africa Michael Buerk – interviewed Peter Hodges on the move towards digitalisation Training Focus: Extending one's skills, View from the Trainer and Once a Cameraman...! Val Sawdy reflects on the problems of her pregenancy pause Colour Viewfinders – the debate goes on 25 Years of TiCA Looking back at the challenges in the early days of the Guild Part 1 of Mike Winser's memories working around the World Peter Davies recalls making a medical documetary in Wales Is the Big Screen coming into the home and should you be prepared for it? Tony Grant clarifies the art of White Balance Zerb 45 Spring 1997 Guest editor: Steve Hall Does the HSE include cameramen in their calculations? Can camerawomen afford to have children? SX Camcorder – reviewed Jack Cardiff – interviewed Father Paul's confessional – stories from the Pros Steve Hall looks at the list of new digital formats A look back at the life of Mohammed Amin Dicky Howett meets Bill Vinten Tim Felstead on CCDs that switch aspect ratio from 16:9 to 14:3 Paul Hirons gives an account on his company's past, present and future Howard Dartnell on life on the road as a lone news cameraman Zerb 44 Autumn 1996 Guest editor: Mark Print Rhys Williams – a welshman abroad The stories behind staging Les Miserables A look at the latest camera operating techniques Vinten's Fulmar pedestal scoops another award Mark Print on how Mini-cams can be successful Dicky Howett inside Sammy's The man behind the National Musuem of Photography, Film and Television Sky Football – on the road with Ron Seeth Book Review: Picture Composition for Film and TV by Peter Ward Phillip's unique approach to 16:9 switchability Laurie Gilbert's secrets to success as a freelancer Father Paul's confessional – stories from the pros Zerb 43 Spring 1996 Guest editor: John Constable A look back to the pioneering days of television operation The Evolution of Steadicam A combat cameraman's view of the Vietnam War Leo Dickinson talks about filming on Everest The truth behind British TV – from Canary Wharf Skillset – NVQs demystified The case for keeping analogue processing in cameras Scentsurround – an exclusive preview Trouble shooting Health and Safety concerns A glimpse into the future of cameras Battle of the Aspect Ratios – the Widescreen debate continued Zerb 42 Autumn 1995 Guest editor: Phill Dobson An assistant cameraman's POV working in the Atlas Mountains of Morocco Dicky Howett on restoring ancient TV cameras On the Edge – An insight into working in dangerous situations How Widescreen Video Cameras can take us closer to filmic style Brian Madison takes a look at the life of a Freelance Cameraman Peter Ward considers Video Journalists, the role of a cameraman and the current state of the industry Improving the reliability of rechargable batteries What do 'Widescreen' and 'Digital Television' really mean? Zerb 41 Spring 1995 Guest editor: Paul Sampson Demand for crews is up, but can the quality flag keep flying? Pete Ward sees red of the topic of black-and-white Viewfinders Frank Biffone on making an antipodean documentary How BBC News is tackling new technology and new challenges Ben Cope talks about the human eye Dutch cameraman Pim Korver – interviewed An insight into a cameraman's wet weather gear John Sharp on why he would go back to America if he had the chance Pye – a piece of television history A tribute to Bernard Hesketh Tony Grant discovers Calmar Filters and picks up some tips along the way An encounter with Ikegami's 'cross-eyed camera' Chairman-torial – fighting to improve the Art and Craft of Camerawork Zerb 40 Autumn 1994 Guest editor: Peter Ward Shooting a Hi-8 documentary in Southern Sudan Tony Grant checks out the 'bells and whistles' available for portable cameras Andy Hall returns to the 'Street' he left many years ago Getting into television – the crisis in training Mike Winser – interviewed Lamps – cold lighting for hot results Car insurance hazards Rugby coverage of television News coverage on both Film and Tape A Stills Photographer's view of the Television Cameraman The volunteers who provide a hospital television service Bob Ewens in Istanbul Dicky Howett remembers the EMI 203 A report from a Guild workshop on 'Going freelance' Police television – Mark Berners and the Essex 'Bill' Zerb 39 Spring 1994 Managing editor: Alison Chapman Graham Jaggers shoots drama in the Hebrides An actors view from the other side of the camera Stephen de Vere on spending a year in Antartica A year 'on call' filming Salcombe lifeboat crew Anchor Marine Services explain why they are a must for production companies filming at sea Alan Jessop on travelling around Europe for the BBC The Guild's 21 years communicating with equipment manufacturers The work of Peter Parks, world expert in Cine-photomicrography Tales from two months covering cricket in India A Helicopter Tale – Rex Palmer's lucky escape Reg King looks back at his earliest encounters with the industry John Wykes makes the most of current frequency allocations and equipment options Zerb 38 Winter 1993 Guest editor: Peter Ward The Guild's 21st anniversary Year by year highlights of the Guild between 1972 and 1993 Dick Hibberd speculates on the future of the Guild Gallery from the 1993 AGM Guild Awards BAFTA Craft Awards Zerb 37 Spring/Summer 1993 Guest editor: Jill Ranford The future of the BBC – the Guild's submission to the Department of National Heritage The story of the British expedition that sent live pictures from 18,000 feet up Mount Makalu Michael Starks on how 'Producer Choice' works Sid Perou shoots in the air and below the ground How Ian Savage picked up a small, desirable job Crawford Telfer on working for the Christian TV Association Community TV in Brazil The secret of Video Diaries The life of a freelance cameraman in Holland Gary Buck travels the world with Hi-8 The birth and death of Eldorado, through the eyes of a cameraman Steve Cowin on training engineers in Asia The views from a casualty of the latest BBC reorganisation Zerb 36 Autumn/Winter 1992 Guest editor: Mark Jerome How the race was won to manufacture and install dozens of remote heads in time for the Barcelona Olympics A cautionary tale about the threat of back pain Dick Hibberd reflects on changes affecting cameramen over the last 10 years Ira Tiffen's Guild workshop on Filters The history of the Vinten family business The 1992 Open Golf Laurie Gilbert talks about his work in New Zealand, Australia and Europe A report on the ambisonic sound demonstrations given at the HDTV symposium in Dublin Reviews of a large range of lighting books Peter Bower on his involvement in one of Spain's first HDTV studio productions Keith Gibson talks about covering golf Zerb 35 Spring 1992 Guest editors: Martin Hawkins & Tony Keene 1991 – The year of change Stuart Bush on the Jimmy Jib Mohamed Amin – interviewed Graham Maunder on a difficult 1991 Russians lighthearted search for the Loch Ness Monster Learning some lighting tricks from old masters Alan Cooke's journey to create the ultimate battery belt Martin Hawkins returns to Siret one year on Diary of a Challenge Anneka location manager Graham Brown's lighting approach to Brookside Mike Dugdale risks his life twice in one day Audio facilities – how redundancy lead to success Zerb 34 Autumn 1991 Guest editor: Paul Sampson Differences between video and film camera outputs VICAL – calibration device for location video shooting Two independent film makers begin to blossom Travelling through India with Bobby Robson PAG and Anton Bauer explain the Ni-Cad battery 25 years of Mark Roberts Film Services The use of carbon fibre in the Apogee motion control rig Proposals to ensure predictable standards for all location cameras A news editor's experiences in Kuwait during the Gulf War On the move – Cover by FIMBRA Camera coverage of Branson and Lindstrand's hot air balloon flights A history of NASA's use of television in space A Welsh Soap that records each programme on the day of transmission One man's experiences of Technocrane Zerb 33 Spring 1991 Guest editor: Steve Hall The past, present and future of BBC TV OBs A rough guide to the foreign shoot The joys of working with silver rather than rust Mike Winser on the Africawatch Pre-shoot How the live Africawatch transmissions were covered Charting the development of the BBC's Radio Camera alongside a cameraman famous for digital communications A television teaching trip to the Kingdom of Brunei Rendezvous in Romania The technology behind the BBC's Cordless Camera Cinevideo's Robin Tomlin – interviewed Clive Lovell contacts his optician Keith Gibson on Bi-focals and looking after your eyes Zerb 32 Autumn 1990 Guest editor: Mandy Moles Making a programme with the Awfully Nice Video Company Scorpio – shooting video 3000 feet below sea level Slim MacDonnell on being an underwater cameraman Ron Green on working with HDTV Overcoming the problems of filming Traffik A look at the achievements of Pierre Angenieux Behind the scenes of Greater Manchester Police's training school Whitbread around the world – filming yacht racing Extracts from Mike Blakeley's diary while in deepest Ethiopia What is it like for an Englishman working for a Dutch facilities company? The story behind a documentary on skiing with the physically disabled Zerb 31 Spring 1990 Guest editor: Deek Rose A look at Sony's DAT portable audio recorder Birdwatch – a cliffhanging story Ian Lewis pays tribute to Peter Wayne David Hahn looks at some of the latest equipment David Matthews talks about filming in Africa The story of Dave Hatter's fight against blindness Neville Smith on communist Albania Recent developments of the Betacam SP format A look at the first year of independent company 'Young Productions' An introduction to the work of environmental media charity Media Natura Covering a winter sports endurance competition Jon Wensley talks about working on a Moscow OB Keith Gibson on framing for the 16:9 HD aspect ratio Keith Salmon on some amusing incidents covering live drama Zerb 30 Autumn 1989 Guest editors: James French and Toby Horwood Covering the Comrades Marathon Celebrating Concorde's 20th anniversary with the BBC Ravensbourne – Training for the future Two Guild members at Montreux 1989 A look at Ted Churchill's Optex Steadicam course Jill Ranford's impressions of the course John Barlow's Commonwealth Relations Trust trip to India Some memoral moments travelling through India 30 years of the Film and Television Institute of India The making of the first Eureka HDTV programme The current state of Sony's HD video system ZIT – Pebble Mill's alternative to Zerb SSVC – entertaining troops around the world Holgar Dohn describes the magic of Vinten's Merlin Arm CCDs – how they work and the latest developments A Dutch cameraman scales new peaks with a Philips LDK 90 The story behind BBC Newcastle's old and new headquarters Video Stills Cameras Martin Hawkins mourns the death of Limehouse Studios Zerb 29 Spring 1989 Guest editors: David Petrie and Brian Maddison Salute to John Duncum's work for Zerb Visiting the North-East's open air 'living' museum Chris Kelly – taking the first steps into writing for television Marking 100 years of Barr and Stroud A look at the RSPB film unit Still life – A bird's eye view of a cameraman Ian White on covering cycling for television David Petrie charts the careers of two men who have spent most of their working lives with Vinten The background of ITV's 'Get Fresh' G.S.A.P. – An interesting use for a cartridge camera Martin Petit takes a busman's holiday in Japan A look at film in Japanese TV Montreux and all that Jazz Poland – behind the curtain Zerb 28 Autumn 1988 Guest editor: Peter Ward New Techniques in TV drama production Content v Technique and Film v Tape debated Single or multi-camera shoots? Single camera studio drama productions Brookside – revolution in UK 'soap' production 1984 TiCA Awards Classic shots by the master of the crane The television cameraman in 1936 A cameraman's view of the 1953 Coronation Colour V/F – Dream or Reality? Zerb 27 Spring 1988 Guest editor: Keith Gibson A tribute to Dave Swan – by Barrie Dodd The pitfalls of shooting video drama Mainline cameras – The Future? The first video pictures from within a british deep coal mine Tonight – one part of a 'Two-way story' Getting the best out of a helicopter shoot In Hong Kong – That's just not Cricket! The colouristaion of black and white movies Heart attack – a personal point of view Tony Maynard – cameraman On tour on a motorbike Telstar – a brief history of the Goonhilly Satellite Earth Station The Granada TV studios give their first impressions of the Ikegami 323 Network 7 – the lowdown on angles Freelance cameraman Tony Keene on the perils of answering the phone A video drama using Prime Lenses Zerb 26 Autumn 1987 Guest editor: Jeff Naylor Swedish TV's remotely controlled submarine Roger Bruce – the wrong side of the lens The different working environments experienced by one freelance cameraman Zerb photographic competition A cameraman's view of all that was new at Montreux '87 Getting to grips with Steadicam at the National Film and Television school Geoff Feld on the past, present and future of video camerawork An operator's perspective of HD television BTS LDK90 – reviewed Why did Granada's 'Flood Tide' look so filmic? Remote control cranes Steve Wood investigates Chapman's crabbing crane dolly How a Granada TV prgamme prompted Reg King to tell us all AGM 1987 Ron Seath talks about working on the first Western programme broadcast in the USSR Montreux diary Richard Lindsay of W. Vinten explains the principles behind the vision range Walter Lasselly's autobiography – reviewed Zerb 25 Spring 1987 Guest editor: Graeme McAlpine Tony Grant looks at operational camera requirements Keith Salmon – 1986 TiCA Craft Award Winner Recording Torvill and Dean's 'Fire and Ice' Russelll Baxter on working in two very different climatic conditions Harefield Hospital Television The work of London Fire Brigade's cameraman The early days of TV sound How the Philips LDK 90 was designed ZIT – The National Association of Camera Assistants Duncan Richmond talks about a 'live' parachute descent Tyne Tee's cameraman Brian Madison not knowing his left from his right Brookside's Alan Marsden and the Merseyside wonder Training TV cameramen at the BBC TV pictures from occupied Paris John Henshall unravels the mystique surrounding filters Paul Kay remembers his experiences with the Mole Crane CCD Betacam David Petrie talks about handhelds in large mountings Tony Grant's views on lens specification Israel's educational TV LWT cameraman Andrew Vale with his views on the future of the industry Zerb 24 Autumn 1986 Guest editor: John Duncum Chairman Lawrie Duley on the Guild of Television Cameramen Schoolboy Simon Leigh spends a day with an OB camera crew Mike Winser does location drama much justice Cameraman Jill Ranford Hans Essenberg on covering an ice skating tour TV Optics – Canon's guidebook Reg Neadles talks about Elstree Aerodrome Harry the RAF pilot on filming for QED A tribute to Sir Huw Wheldon The odd couple – David Sparks and Peter Garland Sexy Folies Aaron Ben-David and the West Midlands Fire Service Data Protection Act – How the Guild and Zerb keep their noses clean on your behalf Will BBC producer John Shrewsbury ever forgive cameraman Nick Jordan J. Kingston Platt remembers Hal Minchingtrope and actor Peter Jones knows them both Reg King reveals his kinky past Ron Green talks about cranes A Man with a Heavy Camera Camerawork - Kiwi style! Chris Owens gives his views on the Periscope Lens Attachment Zerb 23 Spring 1986 Guest editor: John Duncum Night vision broadcast quality cameras BAFTA – Biased Awards For Television Artisans? Fuji 44x Zoom Lens North of the Himalaya ATN 7 Sydney cameraman Peter Westley on Racecam The 1986 GTC council members Is there life after ATV? A Graphic Account from graphic designer Don Baker Community Carnet – Free of charge bureaucracy Vari-Lite – The beginning of sophisticated lamp control? Zit Sony BVP 360 – reviewed Safety – It is your concern or your neck! Merry Christmas, Mr. Maunder! Two LWT cameramen take a backwards drive Zerb 22 Autumn 1985 Guest editor: Graham Maunder Dave Maxwell 'shoots' with the stars Holography Supervisor aptitude test Montreux 1985 Oman – Another tight squeeze by VisionsMobiles Live Aid 2 – The greatest media event ever? Live Aid 3 – Harvey Lee, TV critic, gives his views Let's take safety seriously New Zealand – Country GP Giacomo Cerina finds out about Sony's HD TV system Viewfinders – as two cameramen see them Batteries – the final word? Film vs Betacam ENG cameras Zerb 21 Spring 1985 Guest editor: Peter Ward TiCA Awards Roy Simpler looks back at ATV Elstree Philips LDK 54 – reviewed Limehouse Studios – Life in a facility company The chairman of PAG Ltd talks about batteries The Economics of Television Productions Miles Kington examines the mounting of cameras Working on the Coronation OB Helen Kingsbury describes her days as a camera trainee Jane Osbourne writes about the ergonomics of camera design Tony Grant gives the update on viewfinders The Old Man of Hoy – Selwyn Cox reviews the latest BBC climb Donald Aldous tells the story of the BBC's first commercial competitor Captain Christopher Spencer faces the dangers of ice bergs and Central TV in the filming of 'The Last Place on Earth' Guild AGM 1985 details Zerb 20 Autumn 1984 Guest editor: Bob Wilson Graham Maunder gives an insight into Skycam An update on the facilities available on the Goodyear Airship 'Europa' Bruce Miller on 'Heli-Tele' Helicopter pilot Capt. Eric Brown talks about the relationship between a cameraman and his pilot Geoff Thomas on covering boxing Sports director Jim Jennett talks about working on both sides on the 'pond' Underwater film and video techniques Jim Day recalls working on the D-day celebrations BBC calling – The secret war of Charles Fraser-Smith Paul Graham describes the thought behind designing his camera trolley A contrast in camera techniques between the 1936 and 1984 Olympics Lawrie Dudley describes how he saw Lime Grove enter the TV era What can you say about batteries? Inside CBS operations Zerb 19 Spring 1984 Guest editor: Peter Ward BAFTA cameraman nominations and awards John Henshall speculates on future camera design The use of TV cameras for motorway surveillance Techniques which will enable computers to analyse video pictures John Duncum on covering the Sarajevo winter olympics Donald Aldous visits the National Museum of Photogrpahy Alan Martin recalls the early days of Lime Grove studios How Francis Ford Coppola uses 'video assist' in film production Dick Hibberd writes an open letter to international members Dave Davies on restoring a steam road roller Hitachi SK-110 – reviewed The definitive viewfinder specification Laurie Quayle on editing South West Week Peter Ward reviews a new report on HD television systems Zerb 18 Autumn 1983 Editor: John Duncum Television cricket – Kiwi style GTC AGM 1983 Peter Ward argues that TV should be a converstaion with the audience The move to FEP John Henshall on lighting Page and a pram – a true story Zerb magazine – a case study Nigel Reynolds, owner of Redapple, talks about how he and his partner found the cash to start their own company A tribute to broadcaster Stuart Hibberd Draft outline specification for viewfinders – part 2 Zerb 17 Spring 1983 Editor: John Duncum Robin Sutherland talks about filming from the back of a motorbike Keith Salmon on working on 'Boys from the Blackstuff' Video – Creative stumbling block? Paul Cheary on macro/micro photography Lighting training methods – past, present and future Television producer Heather Mansfield talks about 'Brookside' The effects of a TV series on the police force Richard Pilbrow – a personal story Ex-cameraman Tony Swain talks about following his dreams Bill Vinten on his past and plans for the future Draft outline specification for viewfinders – part 1 Zerb 16 Autumn 1982 Editor: John Duncum Zerb's 10th anniversary The EBU strive to standardise Mervyn Wilson talks about his years in the film industry Bob Coles of Tarn describes a rather amazing commerical shoot Tribute to John Tonge MBE Dave Ballantyne talks about the BBC's lighting training Never marry a cameraman unless... Correspondance between cameraman Dave Hunter and Bill Vinten of W. Vinten. Ltd Dave Crawley talks about electronic graphics J.C.A Chaimowicz on the basics of light measurement Does TV impacts a hostage situation? Michael Collcutt on the changes occurring within the TV industry Bruce Miller talks about a rather clever helicopter camera mount The American market excuse RCA TK47 – reviewed Zerb 15 Spring 1982 Editor: John Duncum Light-weight portable cameras and the changing future of video Underwater wonderland – TV underwater The new two man low angle dolly from Vinten The story of Mark Hume McCormack The British Amateur Television Club Peter Mcintyre – interviewed (part 2) Barry Stevens answers some FAQs on video editing Is the TV industry heading in the right direction? Peter Ward suggests TV has lost its ability to discriminate between fiction and reality Maurice Gorham on the struggles of re-opening the British Television Service after the war Paul Harding talks about working on the BBC's 'Triangle' Why is make-up so important? Mike Winser talks about his life Zerb 14 Autumn 1981 Editor: John Duncum A look back at Mike Soloman's time as chairman of the guild The dangers of working near microwaves Live on the rocks – filming climbers The Open University – Student and Teacher P.O.V.s Peter Mcintyre and his LVP company Aspheric optical surfaces The Adventures of Niko – competing against the big boys New Guild chairman Lawrie Duley takes a trip down memory lane The Cost of Camera Mobility – New possibilities Bill Barry on Ireland's national radio and TV service Tim Watson of Westward TV recounts a trip to India How do you get a journalist's job in radio or TV? Mike Solomons and two colleagues visit the Angenieux lens factory Simon Fone on his time as a mature student at York University Zerb 13 Spring 1981 Editor: John Duncum John Mayhew explains why his companies uses film cameramen instead of TV cameramen Geoff Greenslade talks about working on two completely different productions Should we watch TV's watchers more than we have in the past? EBU on ENG lenses Heather Mansfield takes the editor to task over the image he perpetrates with Zerb of cameramen Kevin Kavanagh – Film cameraman and editor of the magazine Eyepiece Survive a plane crash – part 2 The most exciting TV show since the embassy siege Alan Brill gives his personal thoughts on 'Talkback' Cameraman Mike Hobbs has discovered that there is more to life than work BBC Lighting Supervisor Hu Cartwright – interviewed Mike Baldock – Getting to know the he man behind the camera How do you spend your days off? A brief history of mechanical television Sportsfocuser – Automatic focusing The bare essentials forgotten during recent camera development Zerb 12 Autumn 1980 Editor: John Duncum GTC AGM 1980 The BBC's supplementary coverage of the 1980 Olympic games in Moscow John Thornton – photographer The EBU's thinking on camera lenses for ENG The Guild – the story so far Cameraman Iain Nowell on his lucky escape from a helicopter crash Your ideal camera department? Deciding what's News – reviewed A short story about a BBC ENG seminar How to survive a plane crash Mike Winser looks back at 18 months working on location drama Sid and Mary Sidebottom talk about their personal experience of vasectomies What really makes a cameraman a cameraman? TV cameraman goes filming Part 2 of an extract from the biography of Kenneth Horne Do you want to go to America? Editor John Duncum is taken to task by Vernon Dyer Raymond Brooks-Ward recalls the lighter side of his broadcasting career The secret Paris of the 30s David Dimbleby – interviewed Dave Hunter, Phil Jones, Roger Prior and Martin Wyatt prove they are more than just zoom and focus merchants Susan Mayer talks about going through a marriage breakdown Zerb 11 Spring 1980 Editor: John Duncum Colour V/F – Dream or Reality? Cameraman Alistair Watt talks about ENG in Scotland John Radley talks about life in Canada A Westward Television production crew talk about their new purpose-built Sony OB unit A different girl every night – Sci-Fi by Dr. John Pierce Just for you – A high fibre diet A message to broadcasters from Leo Sturgess Part 1 of an extract from the biography of Kenneth Horne Pope John Paul's visit to Ireland Freelance sound engineer Chris Wolf deescribes his way of life The production side of lunchtime show 'Pebble Mill at One' Buying early cottage furniture – What should you be looking for? Nigel Renolds – interviewed Director Roger Gage looks at life from both sides of the camera Zerb 10 Autumn 1979 Editor: John Duncum Coverage of the San Diego air disaster Stuart Orme – The Mersey Pirate Live current affairs TV – What could go wrong? Covering a total solar eclipse Alan Marsden talks about his travels in Asia The ITN ENG Technical Evaluation Period Tony Astridge tells a tale of TV coverage in Oman Philips LDK 514 – reviewed Rambling Dick Hibberd Montreux '79 – report Bob Coles on the design and modifications of future portable cameras The secret Paris of the 30s Mike Baldock – A tribute by Mike Solomons HMI Lighting Tommy Hodgson describes climbing the Lake District's second highest peak Canned laughter – Good or Bad? Back pain The IBA and the Future ORW-EL Television Inc. Simon Fone talks about life as a mature student at York University John Pett discusses whether the 'fun' as gone out of television Protecting your eyesight – An experts advice VTR editing – The future? Zerb 9 Spring 1979 Editor: John Duncum The 1978 GTC AGM Bob Turner talks about working as a Newsfilm cameraman Miniaturising the Louma Camera Crane Multi-camera shooting A glimpse into the private life of Douglas Birkinshaw OBE Freelancers' success with ENG Society of TV Lighting Directors Nigel Fitzhue reveals almost all 'What became of the Telepole idea?' The Future of the GTC – Point of view answers to Rod Allen's opinions An excerpt from the late Henry Longhurst's autobiography The GTC – What do you think so far? TV in New Zealand Portables – Five different cameras reviewed by the professionals that use them CCD Chips for Tubeless TV Cameras Mike Solomons on the new Health and Safety Act Zerb 8 Autumn 1978 Editor: John Duncum John Henshall on Dick Hibberd Harry Storey tells of a time of heavy camera gear Packer Cricket Part 2 of an excerpt from the biography by Richard Dimbleby Who wants to be ENGenius? Will Wyatt describes another way to produce a programme VTR Animation Vintage TV cameras Gore-tex – The future of waterproof clothing The low down on the Institute of Broadcast Sound American ENG Le Patomane – A tribute to the unique act which shook and shattered the Moulin Rouge The new Vinten 'Post Head' – Opinions from the pros Back pain – A doctor osteopath's approach Why I dislike cameramen by Mike Wilson A Canadian view of NAB Simon Fone on the BBC Location Production Unit Film director Bernie Lewis discusses cameramen Angenieux – The problems/The solutions Brief first impressions on the Marconi Mk. 9 Steve Jellyman on Phonographs To train a cameraman Philips LDK 15 L – reviewed Wimbledon as seen through the eyes of John Duncum The GTC – Of value to manufacturers and users of cameras alike The Journal of the GTC 7 Spring 1978 Editor: John Duncum Reports on the first all ENG programme produced in the UK Swedish Radio Bob Coles talks about RTS's 'Light revolution' symposium at Pebble Mill Jon Rees column – The problem of foreigners on holiday The work of a TV cameraman History of the Zoom Lens – part 2 Ronnie Wladman – A brief tribute by Robin Scott Sheila Hocken tells us about how she can see after years in the dark A TV and film lens testing system Dave Rogers on his initiation tour of BBC's Lime Grove studios Geostationary satellites and communications Part 1 of an excerpt from the biography by Richard Dimbleby Ron Tufnell – A 'behind the scenes' man who has acheived much with little recognition Microprocessors A Guild guide to cameraman training? – by Dick Hibberd IVC Portable on Vinten Ped Ros Storey checks out some new vision mixing equipment Thin Film TV Panel – How soon the end of the Cathode Ray Tube? The Cancer Puzzle by Robert F. Weaver Sheer enjoyment – by a sound engineer First impressions of the Thomson Microcam A brief report on the Scorpion Dolly The Journal of the GTC 6 Autumn 1977 Editor: John Duncum GTC AGM 1977 There's not many people know this by Reg King An International Ideal – The future of the Guild Burt Betts – His life and times IVC – The first 12 months Swiss-French ENG Angenieux – The problems/The solutions NECAM – The Neve Computer Aided Mixing System John Duncum's first impressions of Steadicam Run for your life – Why you should take up athletics Jon Rees column – My holiday Citizen's Band radio Using films in the classroom Lulu Whittlesea achieves fame through the BBC's 'It's a knockout' Vinten's Peregrine crane New techniques in TV drama production History of the Zoom Lens – part 1 T.C. 6 & Link – Part 2 Lasers – present and future Weekend in Europa by Chris Williams and Robin Sutherland The work of a TV cameraman The Journal of the GTC 5 Spring 1977 Editor: John Duncum Pocket Television Ideas to increase AGM attendance ITN's two camera range rover Television – A career? Vinten's Mk. 5 pan and tilt head – reviewed Plains goes to Washington – The first BBC ENG documentary John Bliss looks back at how TV has changed during his career Was Paul Revere a minute person? Calculating the width of shot – the easy way Bill Vinten on the Vinten Peregrine Murphy's law – if it can happen, it will! Philips LDK 25 at Yorkshire TV Film or Television cameraman? John Glenister on his career Portable TV lighting control system John Duncum on fluid heads Avoiding back trouble at work New directions for cameramen Jim Atkinson 'Hell on Wheels' – TV drama from the cameraman's point of view BBC Television Studio 6 and the Link 110 camera Seaside Special by a sound engineer The prototype Canon 25-1 The Journal of the GTC 4 Autumn 1975 Editor: John Henshall Perspective – The editor's thoughts on equipment, packaging, entertainment, a new magazine title, and the next issue of the magazine How two ITV companies came to cover the same football match An engineer comments on professionals in the industry Vinten Petrel pan and tilt head – reviewed Philips LDK 5 – reviewed The 1974 March GTC council meeting report Did you know – discussions about camera hardware A tribute to Dave Rogers Keith Salmon on the Vinten Peregrine Love and lust behind the camera Profile 3: Vernon Dyer The 1974 June GTC council meeting report The Marconi Mk. 8 portable camera – reviewed The Journal of the GTC 3 Winter 1974 Editor: John Henshall The last 1973 GTC council meeting report The aims and means of the GTC A visit to Rank Optics Heard and seen – the first camera Profile 2: Ted Cocks Waterbound – HTV Scanner takes to water David Bull – interviewed LDK 15 Mk. 2 – reviewed Vernon Dyer on Zoom vs Turret Thermal underwear for cameramen Book review – TV Camera Operation by Gerald Millerson The Journal of the GTC 2 Autumn 1973 Editor: John Henshall Being a cameraman – It's easy if you have fourhands! Profile 1: Peter Sargeant The ACC 5000 Portable Colour TV Camera – reviewed Link's Series 110 Colour camera – reviewed The Flying Pod – transporting portable cameras from one shoot to the next John Scarrott on Granada's Studio 8 The June 1973 GTC council meeting report Peter Jones at the AGM The Journal of the GTC 1 Spring 1973 Editor: Dave Rogers
205	dbpedia	1	89	https://www.journals.uchicago.edu/doi/abs/10.1086/416717	en	Metabolic Rate Depression and Biochemical Adaptation in Anaerobiosis, Hibernation and Estivation	https://www.journals.uch…fs/qrb/cover.gif	https://www.journals.uch…fs/qrb/cover.gif	[ "https://www.journals.uchicago.edu/pb-assets/images/ucp-banner-1578340427373.png", "https://www.journals.uchicago.edu/pb-assets/images/header-logo-xs-1574835275577.png", "https://www.journals.uchicago.edu/pb-assets/images/twitter-28x28-1597429052280.png", "https://www.journals.uchicago.edu/pb-assets/images/rss-28x28-1597429052000.png", "https://www.journals.uchicago.edu/cms/10.2307/i330474/asset/17017876-6117-1787-e611-017876e61170/cover.gif", "https://www.journals.uchicago.edu/pb-assets/journalpromos/files/etoc-1596132677487.png", "https://www.journals.uchicago.edu/specs/products/themes/classic/releasedAssets/images/spinner-1ffd60b3aabe5b09bc98c48345208fd9.gif", "https://www.journals.uchicago.edu/pb-assets/images/Logos/footer-logo-1672324467357.png" ]	[]	[]	[ "" ]	null	[ "Kenneth B. Storey", "Janet M. Storey" ]	null	For many animals, the best defense against harsh environmental conditions is an escape to a hypometabolic or dormant state. Facultative metabolic rate depression is the common adaptive strategy of anaerobiosis, hibernation, and estivation, as well as a number of other arrested states. By reducing metabolic rate by a factor ranging from 5 to 100 fold or more, animals gain a comparable extension of survival time that can support months or even years of dormancy. The present review focuses on the molecular control mechanisms that regulate and coordinate cellular metabolism for the transition into dormancy. These include reversible control over the activity state of enzymes via protein phosphorylation or dephosphorylation reactions, pathway regulation via the association or dissociation of particle-bound enzyme complexes, and fructose-2, 6-bisphosphate regulation of the use of carbohydrate reserves for biosynthetic purposes. These mechanisms, their interactions, and the regulatory signals (e.g., second messenger molecules, pH) that coordinate them form a common molecular basis for metabolic depression in anoxia-tolerant vertebrates (goldfish, turtles) and invertebrates (marine molluscs), hibernation in small mammals, and estivation in land snails and terrestrial toads.	en	/products/uchicago/releasedAssets/images/favicon/favicon-35991e76163d690e92a3ff7033d8f50c.ico	The Quarterly Review of Biology	https://www.journals.uchicago.edu/doi/10.1086/416717	For many animals, the best defense against harsh environmental conditions is an escape to a hypometabolic or dormant state. Facultative metabolic rate depression is the common adaptive strategy of anaerobiosis, hibernation, and estivation, as well as a number of other arrested states. By reducing metabolic rate by a factor ranging from 5 to 100 fold or more, animals gain a comparable extension of survival time that can support months or even years of dormancy. The present review focuses on the molecular control mechanisms that regulate and coordinate cellular metabolism for the transition into dormancy. These include reversible control over the activity state of enzymes via protein phosphorylation or dephosphorylation reactions, pathway regulation via the association or dissociation of particle-bound enzyme complexes, and fructose-2, 6-bisphosphate regulation of the use of carbohydrate reserves for biosynthetic purposes. These mechanisms, their interactions, and the regulatory signals (e.g., second messenger molecules, pH) that coordinate them form a common molecular basis for metabolic depression in anoxia-tolerant vertebrates (goldfish, turtles) and invertebrates (marine molluscs), hibernation in small mammals, and estivation in land snails and terrestrial toads.
205	dbpedia	1	31	https://www.komparify.com/entertainment/movie/body-of-evidence	en	Body of Evidence Reviews + Where to Watch Movie Online, Stream or Skip?	https://movieassetsdigital.sgp1.cdn.digitaloceanspaces.com/thumb/d020fcdb70756731c4338c5b597f18bc9ce5caf9	https://movieassetsdigital.sgp1.cdn.digitaloceanspaces.com/thumb/d020fcdb70756731c4338c5b597f18bc9ce5caf9	[ "https://c.kmpr.in/assets/header_new/komp-logo.png", "https://c.kmpr.in/assets/header_new/Sign%20in%20Form%20Password.png", "https://c.kmpr.in/assets/streaming-sources/12.png", "https://c.kmpr.in/client/bajaj_off_gen.png", "https://movieassetsdigital.sgp1.cdn.digitaloceanspaces.com/favicon.44a5c8e8-35b8-4ea1-adc8-6c49ce66f8cb", "https://movieassetsdigital.sgp1.cdn.digitaloceanspaces.com/favicon.070d8693-188e-48c0-af0c-720940e56fa6", "https://c.kmpr.in/assets/movies/clip_copy-6a3de045c3676f04223bdb28a7671383.png" ]	[]	[]	[ "" ]	null	[ "Komparify.com" ]	null	Where to Watch Body of Evidence / Body of evidence (1993 film) Full Movie Streaming online on iTunes. Find the best sources playing your favorite movies.		https://c.kmpr.in/assets…6ea960dcda81.png	komparify.com	https://www.komparify.com/entertainment/movie/body-of-evidence	Where to Watch Body of Evidence? Full movie is streaming online in HD on iTunes. Is Body of Evidence playing on iTunes? - YES Body of Evidence is playing on iTunes. Is Body of Evidence streaming on Hotstar or ErosNow or Amazon Prime or Netflix or Jio Cinema or Hungama Play or BigFlix or Google Play or YouTube or Spuul or YuppTV or Viu or Viki or ALT Balaji or Airtel Xstream or Vodafone Play or Zee 5 or HoiChoi or MxPlayer or Shemaroo or meWATCH or Starhub or Tata Sky or TubiTV or Quibitv or TVF or AppleTv+ or Docubay or ZeePlex or WatchO or Epicon or Discovery+ or Lionsgate Play or Hayu or fuse.tv or Manorama MAX or aaonxt or Jio TV or Bongo TV or Adda Times or Playflix or Sabot or FilmBox+ or Klikk TV or NAMMAFLIX or Planet Marathi or Koode or ReelDrama or Chaupal or Tarang Plus or OTT Play or ETV Win or VROTT or TravelXP or ShortsTv or Hallmark or Curiosity Stream or Divo or Dollywood or Social Swag or Ultra or Istream or FanCode or Stage or Animax or PTC Play or JioSaavn or YouTube Free Movies or AYYO? - NO Body of Evidence is playing only on iTunes.
205	dbpedia	3	28	https://andyfilm.com/2022/08/11/8-16-22-imprint-new-releases/	en	8-16-22: Imprint New Releases			[ "https://andyfilm.com/wp-content/uploads/2013/05/site_logo3.gif", "https://andyfilm.com/wp-content/uploads/2022/08/315555_front-235x300.jpg", "https://andyfilm.com/wp-content/uploads/2022/08/61Qu0924WVL-300x149.jpg", "https://andyfilm.com/wp-content/uploads/2022/08/315556_front-235x300.jpg" ]	[]	[]	[ "" ]	null	[]	2022-08-11T00:00:00		en			https://andyfilm.com/2022/08/11/8-16-22-imprint-new-releases/	For barely over a year, Oscar-winning British producer David Puttnam became the head studio chief at Columbia Pictures, promising to open the door to creative voices and bring his own sense of filmmaking individuality to Hollywood. The net result was a disaster across every spectrum, resulting in one of the more dizzying arrays of box-office flops imaginable (check out the full list). Among them was THE BEAST (110 mins., 1988, R), a drama about a Russian tank playing a game of survival in Afghanistan with Mujahideen fighters after they bombard a local village, killing many of its inhabitants. The subject matter wouldn’t have seemed well positioned for the box-office back in 1988 – and especially not after Puttnam and director Kevin Reynolds decided to say “no” to the likes of Kevin Costner and Christopher Plummer, both of whom wanted to make the film. Instead, Puttnam and Reynolds gave character actor (but not exactly a “star”) George Dzundza top billing, sharing it alongside younger leads Jason Patric and Steven Bauer – thereby sealing the commercial fate of this not inexpensive picture, which played only in New York and Los Angeles before being sent to home video (like many films in Puttnam’s Columbia slate). Looked at today, “The Beast” is still one of the most interesting, and easily satisfying, of all of Putnam’s films produced at Columbia. William Mastrosimone adapted his play “Nanawatai” for this tale of how war can bring both certain forces and their enemies together, with Dzundza playing the psychotic driver of a Russian tank, Don Harvey and Stephen Baldwin as two of his crewmen, and Patric the more conscientious fourth member of the crew who looks away when Dzundza drives over Afghans and obstinately pilots his tank through a ravine with no other way out. Meanwhile, after seeing their village destroyed, the Afghans look for revenge, with Bauer the younger fighter pressed into leadership after his father and brother are slain in the early skirmish. Unflinchingly violent, “The Beast” is a gripping if not emotionally involving picture that offers an awful lot of scope for its $7 million budget. Cinematographer Douglas Milsome and Reynolds do an excellent job capturing the Israeli shooting locations while the story is opened up in such a way that you’d never have imagined this material was ever based on a stage play. The performances are credible, though there’s a serious disconnect in the Russian characters all speaking unaffected English (and played by the likes of Patric and Baldwin, who look more suited to hanging out in southern California), while the Afghan characters are subtitled. While the need to separate the languages is obviously a key part of the story, the Russians come off as so “Americanized” it’s not surprising new Columbia head Dawn Steel (who replaced Puttnam) reportedly walked out of the movie’s screening just 20 minutes in after having seen how the movie handled the use of language (and subtitles). Nevertheless, “The Beast” is a commendable film with a subject matter that’s obviously still relevant today – and with key themes about freedom and ethics, even on the battlefield, that apply no matter what the conflict may be. Special recognition should also extend to Mark Isham’s score – this early effort by Isham is one of his best scores, lending the film a moody, dreamy soundscape that’s alternately harsh and lyrical, somber and spiritual. Many other composers back in the ’80s tried to utilize a “wall of sound” approach, with an emphasis on electronics, but most of them come off today as strident and dated – not so this score, which Isham used as a grounding for a “middle eastern sound” countless other films have employed in its wake. It’s a superb effort that’s worth tracking down, some 34 years after its release. “The Beast” makes its worldwide Blu-Ray debut from Imprint and ViaVision this month in limited-edition form. The Sony-licensed 1080p master (1.78, 2.0 PCM stereo) is obviously older and sometimes looks flat in terms of detail, but given the alternative standard-def options, this master – while showing its age – is still good enough to get by. The stereo sound is well engineered and the disc includes a commentary by David J. Moore and – more significantly – a full two-hour documentary on the movie’s production courtesy of Daniel Griffith’s Ballyhoo Pictures. Producer Dale Pollock outlines having to work with a line producer that was part of the pre-Puttnam Columbia regime, while Kevin Reynolds, Jason Patric, Mark Isham, Steven Bauer and William Mastrosimone (audio only) also comment on the picture’s fascinating production history. It’s one of the best special features to be found on any disc so far this year. There’s a revealing quote from director Jim Sheridan on the back of Imprint’s four-disc Blu-Ray anthology DIRECTED BY… JIM SHERIDAN: FOUR IRISH FILMS: “Give all the bad information up front and then try and make the story, where I can elevate the spirit.” That’s true, at least, in three of the films from the Irish director included in this release, representing the full collaboration between Sheridan and actor Daniel Day-Lewis, who catapulted onto the international stage with his Oscar-winning turn in 1989’s “My Left Foot.” MY LEFT FOOT (103 mins., 1989, R) tells the story of Christy Brown, Irish writer and painter, whose mobility was restricted due to his affliction from Cerebral Palsy. Shane Connaughton and Jim Sheridan’s script – adapted from Brown’s own memoir – makes for an at-times painful but ultimately uplifting picture that earns its emotion through Day-Lewis’ stalwart performance as Brown, while a superlative supporting cast includes Brenda Fricker, Ray McAnally, Cyril Cusack, Fiona Shaw and Hugh O’Conor. A film that celebrates the artistic impulse in spite of severe handicaps, “My Left Foot” here includes a 1080p transfer (1.78) similar to the previously-released Blu-Ray we’ve seen here in the U.S., along with commentary from Bryan Reesman. There’s also one of several new interviews with Sheridan, a segment on “The Real Christy Brown,” and the trailer. A box-office success, Sheridan had his pick of projects for his next film but curiously chose an adaptation of John B. Keane’s downbeat (really downbeat) mid ’60s play THE FIELD (107 mins., 1990, R). The movie does benefit from a rich, late-career performance from Richard Harris, playing an obstinate Irish farmer whose rented land is about to go up for auction to the highest bidder. Tom Berenger plays the American who covets the land for future development, but runs into a road block in Harris’ anti-hero. Tragedy awaits them all in a film that reunited Sheridan with many of his “My Left Foot” crew, including composer Elmer Bernstein, but this difficult and grim picture failed to meet with the same level of critical or commercial acclaim. Imprint’s Blu-Ray – the film’s debut in the format – houses a perfectly serviceable MGM master (1.85), Making Of documentary, Sheridan’s interview, trailer, and commentary by Scott Harrison. Sheridan reunited with Daniel Day-Lewis twice more in the ’90s to superior results – first, and more successfully, in IN THE NAME OF THE FATHER (133 mins., 1993, R), where Day-Lewis plays a young Irish man mistaken for an IRA sniper. Ultimately becoming one of the “Guildford Four,” Day-Lewis’ Gerry Conlon is imprisoned and put on trial for a 1974 IRA bombing he didn’t commit, spending time in prison while his father (the superb Pete Postelthwaite) and lawyer (Emma Thompson) actively attempt to reverse his sentence. An absorbing and effective true story brought to the screen courtesy of Sheridan and writer Terry George, “In the Name of the Father” earned strong reviews and solid box-office; Imprint’s Blu-Ray includes a Universal licensed 1080p (1.85) transfer with 5.1/2.0 DTS MA audio, an interview with Sheridan, archival interviews with Day-Lewis and Postelthwaite, the trailer, and a commentary from Bryan Reesman. Day-Lewis and Sheridan worked together again on THE BOXER (113 mins., 1997, R), another drama focusing on the IRA and, in this instance, a would-be champion boxer (Day-Lewis) who threw his life away after getting involved with the the organization. After completing a prison term over a decade long, he returns to his roots and the girl he left behind (Emily Watson) while local politics and the threat of violence remain in his Northern Ireland home. While not a commercial success and a bit more conventional than expected, “The Boxer” is still a decent view because of the performances of Day-Lewis – restrained and soulful here – and Watson; their chemistry carries the viewer through a movie that doesn’t reach the emotional heights of Sheridan’s best work, and is driven more by plot than character. Again working from a capable Universal catalog master (1.85, 5.1/2.0), “The Boxer” offers another new interview with Sheridan and commentary by the director along with other archival extras like deleted scenes, an alternate ending, Making Of featurette, TV spots, trailer, and an older interview with Watson. All four films have been included here in one of Imprint’s sturdy boxes, each picture adorned in its own separate plastic case. THINGS TO DO IN DENVER WHEN YOU’RE DEAD (115 mins., 1995, R): Deemed a Tarantino wannabe in the wake of “Pulp Fiction” and then quickly put out to pasture by Miramax once Siskel & Ebert gave the movie “two thumbs down,” this highly uneven but occasionally poignant mob drama from writer Scott Rosenberg – helmed by his Boston University classmate Gary Fleder – has long carried a small cult following. If only for the performances, Rosenberg’s movie about characters with looming expiration dates (he wrote the film shortly after his father’s passing) is worth checking out: Andy Garcia plays a mobster hoping to connect with beautiful Gabrielle Anwar, but saddled with intimidating a young man at the behest of wheelchair-bound mob boss Christopher Walken. Garcia assembles his old crew (Treat Williams, William Forsythe, Christopher Lloyd and Bill Nunn) but things go south fast – leading to to each one of them having to contemplate their mortal existences before a slick hit man (Steve Buscemi) comes calling. Rosenberg’s script was a hot commodity in the early ’90s and the Weinstein brothers saw its potential, as Tony Scott among others tried to convince the screenwriter that they were better suited to direct it than the relatively inexperienced Fleder. The author, however, kept his word to his friend and retained Fleder despite overtures from bigger directors, though in the end, it’s possible another filmmaking voice might have brought some stability to the material that the material could’ve used. This is a story that veers from “contemporary noir” to offbeat comedy and romance, sometimes jarringly – it likewise will mix a moving speech (like Lloyd’s conversation about being resigned to his fate) with grizzly bursts of violence, all with a dated visual aesthetic common to the mid ’90s. It’s not a film that particularly works – and probably was only ever going to be admired by a small group – but there are pockets of it that are effective, along with a superb, poignant Michael Convertino score that sounds an awfully lot like Thomas Newman, but there’s no need to plunder that topic again! Imprint’s Blu-Ray (1.85, 5.1/2.0) offers a number of excellent interviews with Rosenberg, Fleder, Garcia, and production designer Nelson Coates. Working with the Weinsteins is covered (Fleder recounts the moment when Bob Weinstein came up to him at the premiere and simply said “hey Gary, two thumbs down!” in reference to Gene and Roger’s review), as is having to let go of a major actor who was having “prescription drug issues” (Rosenberg floats James Caan’s name at one point but Fleder doesn’t identify him by name). It’s an interesting mix of comments from an era in which “chatty gangsters” were all the rage at the box-office, when one of the era’s more revered scripts became a flat-out flop that its production company seemingly lost all interest in distributing.
205	dbpedia	3	53	https://www.hometheaterforum.com/community/threads/htf-dvd-review-stanley-kubrick-warner-home-video-directors-series.261813/	en	DVD Review - HTF DVD REVIEW: Stanley Kubrick : Warner Home Video Director's Series	https://www.hometheaterforum.com/community/favicon.ico	https://www.hometheaterforum.com/community/favicon.ico	[ "https://www.hometheaterforum.com/community/data/assets/logo/HTF-Logo2x.png", "https://www.hometheaterforum.com/community/data/assets/logo/HTF-Logo2x.png", "https://www.hometheaterforum.com/community/data/avatars/m/283/283154.jpg?1454147795", "https://static.hometheaterforum.com/imgrepo/e/ed/ronsreviews_covers_89049.jpg", "https://www.hometheaterforum.com/community/data/avatars/m/296/296201.jpg?1602690265", "https://www.hometheaterforum.com/community/data/avatars/m/287/287413.jpg?1454147925", "https://www.hometheaterforum.com/community/data/avatars/s/340/340046.jpg?1640825235", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706", "https://www.hometheaterforum.com/community/data/avatars/s/332/332509.jpg?1454149115", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706", "https://www.hometheaterforum.com/community/data/avatars/s/347/347524.jpg?1454149550", "https://www.hometheaterforum.com/community/data/avatars/s/347/347524.jpg?1454149550", "https://www.hometheaterforum.com/community/data/avatars/s/347/347524.jpg?1454149550", "https://www.hometheaterforum.com/community/data/avatars/s/411/411629.jpg?1631909224", "https://www.hometheaterforum.com/community/data/avatars/s/298/298929.jpg?1522216565", "https://www.hometheaterforum.com/community/data/avatars/s/298/298929.jpg?1522216565", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706", "https://www.hometheaterforum.com/community/data/avatars/s/335/335377.jpg?1454149197", "https://secure.gravatar.com/avatar/942318dab4226cebf96b9ac0b4a5ce30?s=48", "https://www.hometheaterforum.com/community/data/avatars/s/269/269846.jpg?1588693747", "https://www.hometheaterforum.com/wp-content/uploads/2024/08/p152512_i_h10_aa-150x150.jpg", "https://www.hometheaterforum.com/wp-content/uploads/2024/08/haremscarumtop-150x150.jpg", "https://www.hometheaterforum.com/wp-content/uploads/2024/08/ted-lasso-photo-021201-1633638264927-150x150.jpg", "https://www.hometheaterforum.com/wp-content/uploads/2024/07/the-last-emperor-150x150.jpg", "https://www.hometheaterforum.com/wp-content/uploads/2024/08/batwhispertop-150x150.jpg", "https://www.hometheaterforum.com/community/data/avatars/s/269/269895.jpg?1610303706" ]	[]	[]	[ "" ]	null	[ "Ken_McAlinden" ]	2007-11-22T15:28:20+00:00	Stanley Kubrick : Warner Home Video Directors Series 2001: A Space Odyssey (1968), A Clockwork Orange (1971), The Shining (1980), Full Metal Jacket...	en	/community/data/assets/logo/HTF-192x192_blue.png	Home Theater Forum	https://www.hometheaterforum.com/community/threads/htf-dvd-review-stanley-kubrick-warner-home-video-directors-series.261813/	Stanley Kubrick : Warner Home Video Directors Series 2001: A Space Odyssey (1968), A Clockwork Orange (1971), The Shining (1980), Full Metal Jacket (1987), Eyes Wide Shut (1999) Studio: Warner Bros. Year: 1968 -1999 Rated: G, R, Unrated Film Length: Various Aspect Ratio: Various Subtitles: Various Release Date: October 23, 2007 Warner's previous releases of the films of Stanley Kubrick were the source of much discussion and debate, particularly concerning the 4:3 full-frame aspect ratios in whichThe Shining, Full Metal Jacket, and Eyes Wide Shut were presented - reportedly due to Kubrick's expressed preference - and the lack of 16:9 enhancement for all titles except for 2001: A Space Odyssey. All five Kubrick film's in this entry in the Warner Home Video Directors series are presented in 16:9 enhanced video at aspect ratios approximating their orginal theatrical presentations. In addition to retaining the excellent Stanley Kubrick: A Life in Pictures documentary from the 2001 Stanley Kubrick Collection box set, this set also has extensive special features specific to each film. The Films 2001: A Space Odyssey (1968 - MGM - 149 minutes) Directed By: Stanley Kubrick Starring: Keir Dullea, Gary Lockwood, William Sylvester, Douglas Rain After a prologue where a group of prehistoric apes discover a strange monolith that seems to inspire them to fashion materials into rudimentary weapons, we flash forward through the entire history of human evolution to the year 2001. Dr. Heywood Floyd (Sylvester) travels first to an orbiting space station and then to the moon where he provides a briefing on the top secret recent discovery and excavation of a black monolith buried beneath the moon's surface. Months later, a deep space mission to Jupiter is launched with a crew of five astronauts, three of whom are in suspended animation. The two conscious astronauts, Dave Bowman (Dullea) and Frank Poole (Lockwood) must contend with some seemingly unusual behavior by the ship's computer Hal 9000 (voice of Douglas Rain), and their final destination turns out to be beyond the parameters of their mission and imaginations. 2001: A Space Odyssey remains a landmark film which regularly holds a spot on consensus "best film" lists. As such, it is unlikely that I will add anything substantial to the mountains of critical analysis that have been heaped upon it over the last four decades, so I will keep my comments brief. It is difficult to compare 2001: A Space Odyssey to other films because it is by design so unlike most other films. Largely experiential in nature, the film all but demands viewers contemplate the ideas behind it from their own perspective rather than through identification with charismatic characters in a thematically leading narrative. Dialog is kept to a bare minimum and, with a few key exceptions, is either purely functional or mundane. Methodically paced sequences set to carefully chosen music or sound effects display the bravura specials effects and production design while giving the audience a chance to consider what they have seen, turn it over in their minds, and examine it from different angles. Most Kubrick films work on more than one level, but 2001...affords audience members the chance to contemplate this during the actual film as well as in the lobby afterwards. While other filmmakers have similarly experimented with the narrative form of cinema and attempted to convey ideas and raise questions through unconventional cinematic methods, they have usually not done so via a big budget large-format special effects extravaganza with such a detailed devotion to scientific plausibility. A Clockwork Orange (1971 - Warner - 136 minutes) Directed By: Stanley Kubrick Starring: Malcolm McDowell, Patrick Magee, Michael Bates, Warren Clarke, James Marcus, Michael Tarn A Clockwork Orange adapts Anthony Burgess' novel about Alex, the unrepentantly vicious leader of a violent youth gang in the near future who commits one act of "ultra-violence" too many and is incarcerated. Desperate to get out, he volunteers for an experimental government program which conditions him to have a negative physical reaction to even the thought of sex, violence …or Beethoven's Ninth Symphony. "Cured" of his violent impulses, Integration into a no less violent society proves more than a little challenging. After having the plug pulled on his planned big budget epic about Napoleon, Kubrick decided to shift gears and make a relatively low-budget adaptation of Anthony Burgess' controversial novel. The future fashioned here is a long way from the high technology space faring of 2001: A Space Odyssey. The world of A Clockwork Orange is pure post-swinging London stylization. The stylization serves to create an ironic emotional distance from the terrible acts of violence that are depicted throughout, but at all times, the viewer is aware that the film is deconstructing modern society more so than speculating about what a future society will be like. Throughout the 1960s, British cinema produced a series of new young stars, largely appearing in adaptations of novels from the "Angry Young Man" literary movement of the prior decade. Late in this cycle, in 1968, director Lindsay Anderson simultaneously subverted and built on this tradition with his film "If…", providing the first big break for actor Malcolm McDowell. Kubrick recognized McDowell as a perfect fit for the character of Alex, and made a juvenile delinquent film to end all juvenile delinquent films. McDowell brings exactly the right sensibility to the part, pulling audiences in with his unabashed joie de vivre while simultaneously performing unforgivable acts of violence. His first person narration sets a perfect conspiratorial tone, much of it pulled straight from the novel and making heavy use of Burgess' invented "Nadsat" slang which combines cockney expressions with Russian/Yiddish terms. By the end of the film, one feels almost guilty about how sympathetically they are rooting for Alex to get one over on the government bureaucrats who have "programmed" him. On one level, the film can be seen as a funhouse mirror illustration of the violence inherent in youth and the futility of society's attempts to stamp it out. On another level, it can be looked at as a treatise on fascism versus free will. Laying those two concepts on top of each other raises some disturbing and thought-provoking questions. Rather than trying to provide facile answers, Kubrick allows viewers to make up their own rassoodocks. The Shining (1980 - WB - 142 minutes) Directed By: Stanley Kubrick Starring: Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers, Barry Nelson "The Shining" adapts Stephen King's novel about the Torrance family consisting of parents Jack (Nicholson) and Wendy (Duvall) and their young child, Danny (Lloyd). Jack, a novelist, accepts a position as a winter caretaker at a mountain resort hotel that closes down for the season due to extreme weather, and brings along his family. He plans to use the free time to work on his novel. Jack has a history of alcoholism, but has been sober since he injured his son while intoxicated. Danny has an imaginary friend he calls "Tony", who we learn is connected to a psychic gift which the hotel's cook (Crothers) refers to as "shining". The hotel itself has a history of tragedy, including a former winter caretaker who murdered his family. As their stay in the remote hotel progresses, Jack and Danny both have disturbing visions that seem connected to the hotel's dark past. This leads to increasingly erratic behavior from Jack to the point that Wendy and Danny begin fearing that history may repeat itself. Kubrick's one and only attempt at the horror genre uses King's novel as a jumping-off point, but takes things in a completely different direction by the film's conclusion. Kubrick adds psychological elements reminiscent of The Turn of the Screw and Don’t Look Now to the mix, purposely keeping the plot much more vague than in King's novel. To be honest, I'm not sure he is entirely successful as the end chosen by Kubrick proves to be more than a little contrived and unsatisfying. The ride is certainly an interesting take on the fear of what could happen if one's nuclear family "goes nuclear", but the destination is a disappointment. That being said, the film benefits from excellent performances from its principal cast who modulate steadily from seemingly self-conscious low-key routine family exchanges to hysterical aggression and terror as the film progresses. The innovative use of the steadicam to create a sense of movement through space not only makes the sets seem impressively massive and real, but also adds to the sense of the hotel itself as a menacing and threatening presence. Kubrick, in collaboration with camera operator Garret Brown and lighting cinematographer John Alcott impressively manages to create tracking shots that begin and end on typically "Kubrickian" strong images with more than a few in the middle as well. Full Metal Jacket (1987 - WB - 116 minutes) Directed By: Stanley Kubrick Starring: Matthew Modine, Vincent D'Onofrio, R. Lee Ermey, Arliss Howard, Adam Baldwin, Dorian Harewood, Kevyn Major Howard "Full Metal Jacket" follows the experiences of a sardonic Vietnam-era United States Marine recruit, identified throughout the film only as Private "Joker" (Modine), beginning with basic training at Parris Island, South Carolina. While enduring the rigors of training, he befriends Private "Cowboy" (A. Howard) and witnesses the tragic deconstruction of overweight recruit Private Leonard "Gomer Pyle" Pratt (D'Onofrio) by their fiercely profane Drill Instructor, Gunnery Sergeant Hartman (Ermey). Months later, we find that Joker has been working as a journalist for a military publication and has seen little actual combat. He receives an assignment, along with photographer "Rafterman" (K. Howard) that brings them to the city of Hue in the midst of the Tet Offensive. Joker is reunited with "Cowboy" and experiences harrowing urban combat with a company of Marines including "Eightball" (Harewood) and "Animal Mother" (Baldwin). While Kubrick's Paths of Glory from 1957 was a clear indictment of the elite officer class with an unambiguous pacifist message, Full Metal Jacket, adapted from the Gustav Hasford novel "The Short Timers", attempts to do nothing more than to provide a grunt's eye view of war. The emphasis of the movie is on the mindset of the soldiers and how they rationalize, with varying levels of success, their seemingly irrational profession. By purposely avoiding serious examination or comment on the necessity of war, political or otherwise, the film enhances its boots on the ground perspective about the insanity of the experience. Structurally, most reviewers have described the film as being divided into two parts, the first consisting of the Parris Island basic training and the second being the Vietnam experience. This lines up with the novel on which the film was based which had three sections, only two of which were adapted for the screenplay. Looking at the structure of the film independently, however, it seems to divide more neatly into thirds, with the Vietnam segment starting off as a semi-satiric piece which at times is reminiscent of the absurdity of Dr. Strangelove, and then shifting radically in tone once Joker and his brothers in arms find themselves pinned down by a sniper in an actual combat situation. The film's commercial prospects were no doubt hurt by its release only six months after Oliver Stone's Oscar-winning Vietnam film, Platoon, but viewed in retrospect, they actually complement each other nicely. Stone's film was rooted in his own personal experiences in Vietnam with a highly allegorical plot. Kubrick, being more removed from author Hasford's Vietnam experience, is slightly more detached from the material, less leading in how he wants audiences to interpret the events on screen, and thematically more concerned about soldiering in war in general than about Vietnam in particular. Both films were a long way removed from the hoo-rah jingoism of the previous summer's immensely popular Top Gun. The cast is uniformly excellent, with Modine providing a suitable center as the sardonic everyman. The film features career-defining breakout performances from D'Onofrio and Ermey. D'Onofrio reportedly gained 70 pounds to play Private Pyle, and completely disappears in the role. Ermey, a retired Marine who had been a real life drill instructor at the Marine Corps Recruit Depot in San Diego, California and was initially hired on the film as a technical adviser, made sure that he was seen in uniform drilling the actors he trained, and eventually won the part away from the actor originally cast in the role. His improvised vulgarities were incorporated into the script to great effect. The strength of these performances did lead to criticism upon the film's initial release that the Vietnam scenes, in which they did not appear, were a relative disappointment. Eyes Wide Shut (1999 - WB - 159 minutes) Directed By: Stanley Kubrick Starring: Tom Cruise, Nicole Kidman, Sydney Pollack, Todd Field, Marie Richardson, Rade Serbedzija, Leelee Sobieski, Vinessa Shaw In Eyes Wide Shut, adapted by Kubrick and Frederick Raphael from Arthur Schnitzler's Freudian novella "Traumnovelle", Bill Harford (Cruise) is a successful physician who lives in Manhattan with his wife Alice (Kidman) and their young daughter. After an evening at a party hosted by their friend Arthur Ziegler (Pollack) where they both have flirtatious encounters, Bill and Alice have a heated argument in which Alice reveals just how close she has come to cheating on him in the past. This incenses Bill, who storms out of the house with a head full of sexual jealousy. During his evening travels Bill's frustration mounts as he receives a strangely indecent proposal from the married daughter (Richardson) of a patient who has just died, has an extended discussion with a prostitute (Shaw), learns from friend and musician Nick Nightingale (Field) about a mysterious ritualistic masked sex party, and encounters a strange costume shop owner (Serbedzija) and his daughter (Sobieski) when trying to obtain a mask for the party. Caught after sneaking into the party, he spends the next day revisiting most of these experiences and finding that they were even more dangerous and strange than he initially believed. While not intended as Kubrick's final film, Eyes Wide Shut manages to provide an interesting last chapter in his professional life by harkening back to elements from his previous films without actually seeming like any of them in tone. Superficially, the structure resembles that of A Clockwork Orange, in the way the events and locations of the first day are revisited on the second day much like how Alex re-encounters his victims after taking "The Cure". The film is also something of a modified "rake's progress" a la Barry Lyndon, although the degree of sexual frustration encountered by Cruise's Bill Harford has an even more direct antecedent in the character of Humbert Humbert from Lolita. The Lolita tie suggests that there is an element of dark comedy to Harford's constant frustration, and I believe there is, but the movie never betrays it with a wink, with the possible exception of a scene involving Alan Cumming as a hotel clerk and the great final punch line delivered by Kidman. Kubrick was a big James Cagney fan, and I think he enjoyed having tyro actors give "large" performances when it worked for his movies. Cruise is certainly in this mold, as was Jack Nicholson in The Shining and Malcolm McDowell in A Clockwork Orange. He is asked to play the part more or less like he plays all of his parts, but the sexually frustrated and increasingly paranoid character works against this established persona to an interesting effect. Kidman is absent for large sections of the movie, but has two great scenes, which is certainly the best any actress has fared in a Kubrick film since Marie Windsor in "The Killing". The fact that the film can be approached as a serious meditation on sexual obsession and jealousy, a paranoid thriller, or a perversely humorous variation on a rake’s progress narrative is one of the reasons it is worthy of repeat viewings. The fact that it is best viewed and appreciated from multiple angles may also be what prevented it from being unanimously embraced by audiences and critics who found it difficult to digest with a single viewing during its initial release. This is a trait fairly common for Kubrick films, which generally gain in meaning and audience appreciation the more they are discussed, considered, and otherwise revisited. Stanley Kubrick - A Life in Pictures (2001 - WB - 142 minutes) Directed By: Jan Harlan This is exactly the same disc which debuted and was exclusively available as part of the "Digitally restored and remastered" Stanley Kubrick Collection DVD box set from 2001. It has been re-packaged in a standard Amaray case, but is otherwise unchanged. This is not necessarily a bad thing as the documentary presents an excellent overview of Kubrick's life and career. Participation of Kubrick's family and close associates (director Harlan was Kubrick's brother-in-law and also worked in a production capacity for him for many years) likely results in a somewhat rosier picture than a more personally distanced filmmaker might have drawn, but it also results in an unprecedented amount of personal and archival material being made available to the filmmakers. Furthermore, it nicely compliments the supplements appearing on the individual discs on this collection. While there is curiously little discussion of Douglas Trumbull's slit-scan technique used for the star gate sequence of 2001: A Space Odyssey on that disc's many special features, he discusses it specifically in this documentary. While Shelley Duvall and Matthew Modine are completely absent from the special features for The Shining and Full Metal Jacket, both are present and accounted for here. The Jack Nicholson interview conducted for this documentary appears to be the source for his comments on the special features for The Shining and Eyes Wide Shut DVD special features as well. Narrated by Tom Cruise, on-camera interview participants consist of friends, family, collaborators, and admirers including Ken Adam, Margaret Adams , author Brian Aldiss, filmmaker Woody Allen, Steven Berkoff, Louis C. Blau, John Calley, Milena Canonero, Wendy Carlos, Arthur C. Clarke, Alex Cox, Allen Daviau, Ed Di Giulio, Keir Dullea, Shelley Duvall, Todd Field, Anthony Frewin, Harlan, James B. Harris, Michael Herr, Mike Herrtage, Philip Hobbs, Irene Kane, Nicole Kidman, Barbara Kroner, Anya Kubrick, Christiane Kubrick, Katharina Kubrick-Hobbs, Paul Lashmar, György Ligeti, Steven Marcus, Paul Mazursky, Malcolm McDowell, Douglas Milsome, Matthew Modine, Jack Nicholson, Tony Palmer, Alan Parker, Sydney Pollack, Richard Schickel, Martin Scorsese, Terry Semel, Alex Singer, Steven Spielberg, Sybil Taylor, Doug Trumbull, Peter Ustinov, Leon Vitali , Marie Windsor, and Alan Yentob. Archival comments from Kubrick and his mother, Gert Kubrick, also appear. The Video With the exception of Stanley Kubrick: A Life in Pictures, All films are presented in 16:9 enhanced video. 2001: A Space Odyssey shows the least dramatic improvement in its 2.2:1 widescreen transfer from its predecessor, but that's because there was very little wrong with that presentation in the first place. Halos around high contrast edges are still noticeable, particularly along the horizon lines in the "Dawn of Man" sequence and around the people and furniture against the bright white of the space station. Other than that, there is not a lot to complain about with excellent detail, contrast, and compression throughout. The 1.66:1 presentation of A Clockwork Orange benefits from 16:9 enhancement, but is otherwise very similar in character to the previously "digitally restored and remastered" edition. Kubrick's fondness for using fast film stocks and pushing exposure without a lot of fill lighting results in an image that is usually a bit soft in appearance, although certain scenes, such as the exterior where Alex clubs his droogies into the water in slow motion look more detailed than others. Edge halos are minimal to non-existent and compression artifacts are not noticeable from a reasonable viewing distance. The transfer for The Shining fills the entire 16:9 enhanced frame. Compared to the full frame DVD release from 2001, there is a little more room on the left and right sides of the frame in most shots. As with the previous release, detail is very good and contrast is very carefully rendered with no overloaded whites despite the bright diffuse light from the background windows in many shots. Edge halos rarely intrude and compressions is very good. Both Full Metal Jacket and Eyes Wide Shut also appear in transfers that fill the entire 16:9 enhanced frame. Like A Clockwork Orange, the way they were filmed prevents them from appearing especially detailed. In the case of Eyes Wide Shut film grain is visible, but I suspect that it has been softened somewhat by filtering in the digital video domain. Aside from being cropped to approximate their theatrical aspect ratios, enhanced for 16:9 displays, and having subtly improved compression, they appear very similar in character to the previously available DVDs from 1999. Edge halos rarely intrude. A Life in Pictures is identical to the previous release. Presented in 4:3 video, all of the newly shot interview footage and the scans across still photos are letterboxed to an approximately 16:9 aspect ratio. Clips from Kubrick's films are presented at the same aspect ratios as their video presentations circa 2001 which range from 2.2:1 forSpartacus and 2001…to 4:3 full frame for many others. Home movie footage is presented in 4:3 full frame. The new footage is all shot on film and looks very good with natural grain. The Audio All of the films are presented with English Dolby Digital 5.1 mixes that sounded very similar to the 2001 DVD releases, which is not a bad thing. The mono original theatrical mixes for A Clockwork Orange, The Shining, and Full Metal Jacket are not included, but the remixes are very faithful to the theatrical mixes with noticeably improved musical fidelity. The remix for The Shining must have been an especially difficult process, as the score consists of a lot of edit pieces from various sources. Surrounds and LFEs are used sparingly on the remixes of the mono films, primarily for very specific effects such as explosions in Full Metal Jacket. All titles in the collection except for A Life in Pictures include French dubs in Dolby Digital 5.1. The Shining and Full Metal Jacket also include Spanish dubs in Dolby Digital 5.1. All titles include subtitles in French and Spanish with English subtitles for the deaf and hearing impaired. A Life in Pictures also has subtitles in Portuguese. The Extras While the previous "digitally restored and remastered" Kubrick collection was light on special features (basically just trailers, Vivian Kubrick's "The Making of The Shining", the "A Life in Pictures" documentary, and a few featurettes on the Columbia/Sony Dr. Strangelove disc), this Director's Series release finds each disc chock full of special features as detailed below: 2001: A Space Oddyssey: Disc one features an audio Commentary from Keir Dullea and Gary Lockwood. Recorded separately, both actors have interesting things to say about the film, and it is clear that they have been talking about it for several years. Lockwood's comments are more frequent than Dullea's, but he does lapse into telling the listener what is happening in the film from time to time. Their most interesting comments are when they are sticking to observations about working as actors on the film, with the most entertaining bit for my money being when they discuss the on-set voice of Hal having a cockney accent. Lockwood comes off a bit blustery at time, but slightly self-consciously owns up to that fact before doing so. Also included on the first disc is a theatrical trailer running one minute and 51 seconds and presented in a format filling the entire 16:9-enhanced frame. Disc two consists entirely of special features. All are presented with Dolby Digital 2.0 sound and without chapter stops unless otherwise indicated: 2001: The Making of a Myth – This Paul Joyce-directed BBC documentary produced in 2001 runs 43 minutes and five seconds and is presented in 16:9 enhanced video. It provides a nice retrospective look at the film from the perspective of particpants, admirers, and scientists. Discussion of the film's special effects, includes some demonstration and recreations as well. For the demo of the floating pen effect, they even include Heather Downham, the actress who played the flight attendant in the film. It is also amusing to hear the computer singing "Daisy" that inspired its use for Hal's swan song. James Cameron provides the introduction and then narrates throughout. Interview participants include "2001…" Author Arthur C. Clarke, "2001" Special Photographic Effects Supervisor Con Pederson, "2001" Special Photographic Effects Supervisor Doug Trumbull, "2001" Special Effects Artist Brian Johnson, 2001 Scientific Consultant Fred Ordway, "2001" Actress Heather Downham, "2001" Actor Ed Bishop, Mime/Actor Dan Richter (he played the "Moonwatcher" ape), Mime/Actor Keith Denny, Writer/Critic Professor Camille Paglia, "2001" Film Editor Ray Lovejoy, Keir Dullea, AT&T Artificial Intelligence Expert Dr. Ron Brachman, Film Critic Elvis Mitchell, Washington DC Space Policy Unit Director John Logsdon, AT&T Videophone Technologist Roy Coutinho, and former Bell Labs Voice Recognition Expert Dr. Larry Rabiner. Standing on the Shoulders of Kubrick: The Legacy of 2001 runs 21 minutes and 24 seconds. Directed by Gary Leva, it focuses on the influence of 2001… on other filmmakers. Although presented without chapter stops, on-screen titles divide it up into sections named First Impressions (covers reactions to the film), Reinventing the Form (emphasizes groundbreaking accomplishments), Breaking New Ground (more emphasis on visual effects), A Feast for the Senses (focuses on effect of design and music), Commitment to Truth (covers research and commitment to realism), and A Filmmakers's Filmmaker (discusses subsequent films that were influenced by 2001…and Kubrick's other films) Interview participants include director Steven Spielberg, actor/director Sydney Pollack, screenwriter Jay Cocks, visual effects artist Phil Tippet, director George Lucas, cinematographer Caleb Deschanel, visual effects supervisor Dennis Muren, Sound Designer/Editor Ben Burtt, Film Critic Roger Ebert, Visual Effects Supervisor John Dykstra, Director Peter Hyams, Kubrick Assistant Anthony Frewin, Screenwriter Dan O'Bannon, Director/Cinematographer Ermest Dickerson, Author David Hughes, Director William Friedkin, Author Paul Duncan, Former WB Executive John Calley, Producer Jan Harlan, Cinematographer Janusz Kaminski, "2001…" Visual Effects Supervisor Douglas Trumbull, Author Paul Duncan, and Author John Baxter Vision of a Future Passed: The Prophecy of 2001 runs 21 minutes and 30 seconds. Directed by Gary Leva, it includes discussion of the scientific assumptions and predictions inherent to 2001 related to space travel, computers, and other subjects as well as an assessment of how accurate they were. Although there are no chapter stops, it is divided into sections by on-screen titles named: "A Credible Future?", "The Reality of Space Travel", "A Product of Its Era", and "The Altar of Technology". On-camera interview partcipants include "2001…" author Arthur C. Clarke, Baxter, Frewin, Muren, Ebert, Hughes, Trumbull, O'Bannon, Visual Effects Animator Rob Coleman, Trumbull, Duncan, Author Bettyann Holtzmann Kevles, Dykstra, Producer Jan Harlan, Friedkin, Calley, Edlund, and Pollack. 2001: A Space Odyssey: A Look Behind the Future runs 23 minutes and ten seconds and is presented in 4:3 video. It is a vintage documentary from 1966 that appears to have been shot on 16mm color film. It was produced by "Look" magazine, and consists of a behind the scenes documentary on the production of "2001…" framed by an introduction and epilogue from magazine publisher Vernon Myers giving a pitch to advertisers to support "Look Magazine's" 1st 1967 issue special section on space exploration. This is a wonderful supplement to include, and is the source for just about all of the behind the scenes footage I have ever seen on the film's production, including all of the vintage clips included in the documentaries on this DVD. What is Out There? runs 20 minutes and 41 seconds and is presented in 16:9 enhanced video. Keir Dullea presents an essay on the scientific and philosophical issues raised by2001:ASO intercut with film clips, stills, a vintage Clarke interview, and a little behind the scenes footage. 2001: FX and Early Conceptual Artwork runs nine minutes and 32 seconds and is presented in 16:9 enhanced video. It is more or less exactly what its title suggests. The first few minutes include discussion by Trumbull on how some of the stargate images were created. He refers to a variation of the slit scan technique used for the light streaking effects, but does not describe it. You will have to check out the "Stanley Kubrick: A Life in Pictures" documentary to see him do that. After that we have an introduction from Christiane Kubrick followed by a montage of mostly unused pre-visualization paintings intercut with a couple images from the film. Look: Stanley Kubrick runs three minutes and fifteen seconds and is presented in 16:9 enhanced video. After a brief title card introduction, it presents a montage of photographs taken by a young Kubrick for Look magazine set to music from a five piece jazz combo. 11/27/1966 Interview with Stanley Kubrick is an audio-only supplement that runs one hour, sixteen minutes, and 26 seconds. It is a recorded interview between Kubrick and journalist Jeremy Bernstein. Kubrick covers biographical background and discussion of all of his films through the then in production 2001…. There is a pretty funny moment when the interviewer confuses "The Killing" with "The Asphalt Jungle" and Kubrick realizes it right away. A Clockwork Orange: The first disc of A Clockwork Orange includes an audio commentary from Malcolm McDowell and Nick Redman. They sit together for the duration, and it proves to be a fun listen. McDowell is a gifted raconteur and tells just about every story I have ever heard him tell about the making of the film in as good or better form as I have heard. Redman does a good job of filling in details not covered or remembered by McDowell and keeping things on tracks. It is a lively commentary with only a few extended gaps. The films theatrical trailer is also included on the first disc. It runs exactly one minute and is set to the sped up synthesized "William Tell Overture" used in the film. It is very creative, but it is cut at a pace that could cause an epileptic seizure. Disc two consists entirely of three documentaries. All are presented with Dolby Digital 2.0 sound and without chapter stops unless otherwise indicated: Still Tickin': The Return of Clockwork Orange runs 43 minutes and 37 seconds and is presented in 16:9 enhanced video. Produced in 2000, this is another BBC documentary directed by Paul Joyce. Topics covered include the circumstances of Kubricks's banning of the Film in the UK after 15 months, background information about the novel, the British Board of Film Classification's liberal attitude towards censorship of films like The Devils, Straw Dogs, and A Clockwork Orange in the early 1970s, the social and political environment in UK at that time, The technique of the voiceover in the film, Malcolm McDowell, the strange appeal of disturbing characters, the handling of violence in the film, the controversy concerning the book's final chapter, and the relationship between art and violence. Interview participants include Director Sam Mendes, Director Mary Harron, Writer Mark Kermode, Author William Sutcliffe, Writer/Critic Alexander Walker, Author/Filmmaker William Boyd, Writer/Poet Blake Morrisson, Author Anthony Burgess (via archival clips), Artist Damien Hirst, 1971 BBFC Viewing Committee Member Ken Penry, Ex-Director, BBFC Robin Duval, Malcolm McDowell, Director Tony Kaye, and Author/Critic Camille Paglia. Great Bolshy Yarblockos!: Making A Clockwork Orange runs 28 minutes and fifteen seconds and is presented in 4:3 video. Directed by Gary Leva, it provides a general overview of the film's production and the controversy surrounding its release. Although presented without chapter stops, on-screen titles divide it up into sections named It's All About Me, My Droogies (focuses on McDowell), These paltry Gollies Won't Buy Us Peanuts(discusses low budget nature of the production), A Real Pain in the Gulliver He Was… (concerns Kubrick's methodical production approach and physical demands, especially on McDowell), A Bit of the Old Ultra-Violence, and This is the Real Weepy and Tragic Part of Our Story, Oh My Brothers…(the varied Responses to film and its eventual withdrawal from the UK). Interview participants include Pollack, Friedkin, Spielberg, ACO Associate Producer Bernard Williams, Duncan, Baxter, Author J. David Slocum, Hughes, Author Neil Fulwood, Author Stuart McDougal, Director Hugh Hudson, Calley, ACO Costume Designer Milena Canonero, ACOMakeup Artist Barbara Daly, Cocks, Deschanel, Editor Bill Butler, Dickerson, and Lucas. O Lucky Malcolm runs one hour, 26 minutes, and six seconds and is presented in 16:9 enhanced video including chapter stops accessible via an on-screen menu. It is a feature length documentary on the life and career of Malcolm McDowell directed by Jan Harlan. Breakthrough roles from his early career are covered in great detail including his collaborations with director Lindsay Anderson and his performance in A Clockwork Orange. After discussion of 1979's Caligula and Time After Time. however, the discussion completely skips the 1980s and 1990s and focuses on films McDowell has made since 2000. What's there is covered with decent depth, but the documentary does feel unbalanced by its significant omissions. On-screen interview participants include McDowell, Christiane Kubrick, Daughter Lilly McDowell, Son Charlie McDowell, Producer and close friend Mike Kaplan, Actress.and ex-wife Mary Steenburgen, Wife Kelley McDowell, Director Edoardo Ponti, Actress Deborah Kara Unger, Writer and Friend Peter Bellwood, Director Mike Hodges, Director Robert Altman, Actress Neve Campbell, Director Tamar Simon Hoffs, Actor Max Beesley, and Director David Grieco. The Shining: The first disc of The Shining includes a commentary by steadicam inventor/operator Garrett Brown and film historian/author John Baxter. They were recorded separately, but their edited comments compliment each other nicely. Baxter sometimes seems to be stretching things a bit thin in his thematic interpretations, but that is not unusual in scholarly commentaries. Brown's first-hand observations of the production are priceless and presented with both technical acumen and a dry sense of humor. By far my favorite moment of the commentary came a few minutes shy of the two hour mark when Brown tells an anecdote about convincing Kubrick that the RF transmitter allowing him to operate wirelessly would not be broadcasting into nearby homes. Brown even affects a Monty Python-esque ladies voice of a housewife receiving the broadcast and commenting on how hard Stanley is being on the actors and what lens he is using. The eerie theatrical teaser trailer running one minute and 34 seconds is also included on the first disc. View from the Overlook: Crafting The Shining runs 30 minutes and 20 seconds and is presented in 4:3 video. Directed by Gary Leva, it presents a "big umbrella" making of featurette covering several aspects of the production. Although presented without chapter stops, on-screen titles divide it up into sections named Into the darkness,Stanley's Toy Box, Lost in the Maze, Beneath the Surface, Reality is Overrated, and The Nature of Evil. Interview participants include Pollack, Friedkin, Author/Screenwriter Diane Johnson, Calley, Author Charles Champlin, Baxter, Duncan, Harlan, Production Designer Roy Walker, Jack Nicholson, Hughes, Brown, Dickerson, Deschanel, Canonero, Daly, Spielberg, Hudson The Visions of Stanley Kubrick runs seventeen minutes and sixteen seconds and is presented in 4:3 video. Directed by Gary Leva, it starts out covering six more minutes of "The Shining" discussions before moving on to more general "Kubrickian" topics, including his penchant for strong images, his beginnings in still photography, Camera movements and zooms in his films, and Kubrick's artistic achievements. On camera interview participants include Spielberg, Pollack, Nicholson, Kaminski, Deschanel, Baxter, Walker, Brown, Duncan, Friedkin, McDougal, Calley, Dickerson, Daly, Canonero, and Lucas. The Making of the Shining runs 34 minutes and 59 seconds and is presented in 4:3 video with DD 5.1 sound. Directed by Vivian Kubrick, this behind the scenes documentary has a tremendous amount of on-set footage and, much like the Look magazine documentary on 2001… it is the source for all such footage I have scene of the film's production. One sequence of Kubrick and Shelley Duvall having a prickly exchange on set has become somewhat infamous, looming large in the legend of both participants. Vivian Kubrick's commentary is informative if occasionally a bit too apologetic, and provides additional insight into the making of the documentary as well as the subject film itself. Wendy Carlos, Composer runs seven minutes and 30 seconds and is presented in 16:9 enhanced video. Carlos discusses her work on both A Clockwork Orange and The Shining, plays some unused music passages, and shows some of the electronic devices used to create the sounds and score. Full Metal Jacket: Full Metal Jacket fits the film and all of its special features on a single dual-layered disc. The first special feature is an audio commentary from Adam Baldwin, Vincent D'Onofrio, Lee Ermey, and Jay Cocks. All participants were recorded separately. The majority of the comments are from D'Onofrio and Cocks. Baldwin and Ermey only comment during the portions of the movie where they appear. D'Onofrio's comments continue throughout with surprising amounts of background information even concerning the scenes in which he did not appear. D'Onofrio covers a wide range of topics from specifics about how he got the part and the on-set working methods to more analytic and reflective comments about how Full Metal Jacket compares to other Vietnam films and how he owes his career to this particular role. Cocks takes a pretty straightforward critical/scholarly approach to his comments and as such, I found myself occasionally disagreeing with his analysis when he strayed to far into the subjective. Subjective opinions aside, there's no denying his mispronunciation of Lee Ermey's last name throughout his comments. Full Metal Jacket: Between Good and Evil runs 30 minutes and 47 seconds and is presented in 4:3 video with Dolby Digital 2.0 stereo sound. Directed by Gary Leva, it covers the entire production from adaptation/script stage through its release and reception. Although presented without chapter stops, on-screen titles divide it up into sections named Battle Plan (Adaptation/Script and casting), Field of Battle (East London gas works location and production design), Into the Breach (Kubrick's working with actors, the original decapitation ending, and Kubrick as pefectionist), Commander in Chief (Additional Personal reminiscences about Kubrick), Killing Machines (Thematic concerns), and Legacy of War (the film's conclusion and responses to the film of various people including Marines On-camera interview participants include Harlan, Calley, Hughes, R. Lee Ermey, Baxter, Adam Baldwin, Kevyn Major Howard, Vincent D'Onofrio, Steadicam Operator John Ward, Assistant Art Director Nigel Phelps, actor Dorian Harewood, Dickerson, Cocks, and Hyams. Eyes Wide Shut: All of the special features for Eyes Wide Shut appear on the second disc of the set. Note: The rear of the Eyes Wide Shut cover indicates that it includes both the unrated cut of the film as well as the R-rated North American release. The unrated cut is the only version actually appearing on the disc. Subsequent pressings are reportedly being updated with a label indicating this fact. Also, studio press material in advance of this release indicated that a commentary from Sydney Pollack and historian Peter Loewenberg would be included, but this never came to fruition. To be fair, the press materials also indicated that all enhanced content listed was subject to change. The Last Movie: Stanley Kubrick and Eyes Wide Shut runs 43 minutes and three seconds if "Play All" is selected. It is presented in 16:9 enhanced video with Dolby Digital 2.0 stereo audio. Directed by Paul Joyce, this BBC documentary from 1999 looks not just at Eyes Wide Shut as its title suggests, but at a substantial span of Kubrick's career during which he developed both A.I. and Eyes Wide Shut. On disc, it is encoded as three separate chapters which can be watched separately or together via a "Play All" option, the film itself is actually divided by on-screen titles into six sections named:The Haven/Mission Control (Living and working in England with relative anonymity), Visions of the Future (how Kubrick's interest in sci-fi grew after meeting Clarke, 2001: A Space Odyssey, A Clockwork Orange, and its withdrawal from exhibition in the UK), Artificial Intelligence or The Writer as Robot (The development of AI, and Kubrick's sometimes prickly relationship with collaborators), Style & Method (Observations on Kubrick's working methods), Eyes Wide Shut, A Film by Stanley Kubrick (The film's development and production), Beyond the Finite (Personal Reminiscences of his life and passing from his family, Cruise, and Kidman). On-Camera interview participants include Tom Cruise, Nicole Kidman, Spielberg, Pollack, Christiane Kubrick, Katharina Kubrick-Hobbs, Anya Kubrick, Novelist & EWS collaborator Candia McWilliam, Warner Bros Chairman & CEO Terry Semel, Novelist/AI collaborator Brian Aldiss, Director John Boorman, Novelist/AI Collaborator Sara Maitland, Novelist/AI Collaborator Ian Watson, and Harlan. Lost Kubrick: The Unfinished Films of Stanley Kubrick runs 20 minutes and eighteen seconds and is presented in 16:9 enhanced video with Dolby Digital 2.0 stereo sound. Directed by Gary Leva and narrated by Malcolm McDowell, this featurette covers films for which Kubrick conducted substantial pre-production work, but never produced. After an initial mention of A.I. which was eventually produced under the direction of Steven Spielberg, the focus shifts to the Napoleon biopic developed by Kubrick after 2001: A Space Odyssey. The plug on this project was pulled by MGM after the lack of box-office success of the 1970 Rod Steiger film, Waterloo. Next, the focus shifts to Kubrick's work on The Aryan Papers a holocaust drama based on the novel Wartime Lies by Louis Begley. This project was postponed largely due to the release of the similarly themedSchindler's List. On-camera interview participants include Nicholson, Pollack, Harlan, Calley, Baxter, Frewin, Duncan, Author Stewart McDougal, Richter, Wartime Lies Author Louis Begley, Actor Joseph Mazzello, Makeup Artist Barbara Daly, and Walker. DGA D.W. Griffith Award Appearance Speech runs four minutes and three seconds and is presented in Dolby Digital 2.0 stereo sound. After brief introductory comments by Jack Nicholson, it presents the filmed comments of Kubrick from 1998 in recognition of receiving the award. Interview Gallery runs 35 minutes and eighteen seconds if "play all" is selected and is presented in 4:3 video with Dolby Digital 2.0 stereo sound. It consists of one-on-one interviews with Tom Cruise, Nicole Kidman, and Steven Spielberg conducted by Paul Joyce in 1999. Cruise & Kidman were recorded in New York just prior to the US premiere of Eyes Wide Shut. Spielberg was recorded in Hollywood about a week later. The interview footage was eventually edited into the The Last Movie… BBC documentary. The interview footage with Spielberg is also the source for every appearance of Spielberg on the featurettes for 2001: A Space Odyssey, A Clockwork Orange, and The Shining listed above. Theatrical Trailer runs one minute and eleven seconds and is presented in artifact-riddled 4:3 video with Dolby digital 2.0 stereo sound. TV Spots runs one minute and eight seconds if "Play All" is selected and are presented in 4:3 Video. They are labeled as "Jealousy" and "Combo". "Jealousy" is essentially an abbreviated version of the theatrical trailer set to the music of Chris Isaak's "Baby Did a Bad Bad Thing". "Combo” is set to the Lygeti "Musica Ricercata II: Mesto, Rigido e Cerimonale" piano piece used in the film. Packaging The DVDs are packaged inside a thin cardboard box with the individual titles enclosed in standard Amaray-style cases. 2001…, A Clockwork Orange, The Shining, and Eyes Wide Shut include a hinged tray that allows for a second disc with special features. Having released all of the films multiple times with replications of original poster art (on snapper cases), Warner took a novel approach to the disc covers in this package, focusing on a single iconic image from each film. You get Hal 9000's "eye" from 2001…, Alex's mascara'd eye from A Clockwork Orange, the "Born to Kill/ Peace Sign helmet from Full Metal Jacket (which actually was the theatrical poster), and the mask fromEyes Wide Shut. I thought this was a graphically interesting approach except that for some reason, they abandoned it for The Shining. Based on the graphics on the back of the box, it looks like they were going to use the infamous "Redrum" door, but instead, we get the same glowering "Here's Johnny" Jack Nicholson face from previous releases. Even the typesetting on the spine of The Shining does not match with the rest of the films in the box. "A Life in Pictures" uses essentially the same cover graphics as before, upgraded from a snapper case to an Amaray. Summary The five theatrical films included in the Stanley Kubrick: Warner Home Video Directors Series box set all feature transfers as good or better than their preceding releases from the 2001 Stanley Kubrick Collection. They offer 16:9 enhancement and theatrical widescreen aspect ratios on the titles where it was not previously available. All five films also include a substantial upgrade in the area of special features. The Stanley Kubrick: A Life in Pictures Documentary is the same disc that was available in the previous collection, but it is a worthy addition as its contents dovetail nicely with the special features on the discs for each film with less redundancy than one might reasonably expect. This is a worthy purchase for anyone interested in the behind the scenes extras, the theatrical aspect ratio presentations for three of the titles, and the 16:9 enhancement for A Clockwork Orange. Regards,
205	dbpedia	1	8	https://www.imdb.com/title/tt0106453/faq/	en	Il corpo del reato (1992)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:147-4103006-7999858:S02BVQE5G665EWZXT3GG$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DS02BVQE5G665EWZXT3GG:0", "https://m.media-amazon.com/images/M/MV5BMDMxYzMzYTktNzE2MC00YWVkLWI0NDEtN2I3OTVhMzkzOThmXkEyXkFqcGdeQXVyNjQ2MjQ5NzM@._V1_QL75_UX90_CR0,1,90,133_.jpg", "https://m.media-amazon.com/images/M/MV5BMDMxYzMzYTktNzE2MC00YWVkLWI0NDEtN2I3OTVhMzkzOThmXkEyXkFqcGdeQXVyNjQ2MjQ5NzM@._V1_QL75_UX90_CR0,1,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:147-4103006-7999858:S02BVQE5G665EWZXT3GG$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DS02BVQE5G665EWZXT3GG:0" ]	[]	[]	[ "Frequently Asked Questions" ]	null	[]	null	Body of Evidence - Il corpo del reato (1992) - Top questions and answers about Body of Evidence - Il corpo del reato (1992)	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0106453/faq/
205	dbpedia	3	12	https://www.imdb.com/list/ls064640637/	en	The 30 Greatest Cinematographers in Movie History	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:145-8244836-6820052:N6DG5E9QRY7FWCF0WY5X$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DN6DG5E9QRY7FWCF0WY5X:0", "https://m.media-amazon.com/images/M/MV5BZmRlZjcwMmMtNGViMi00YjA4LThhM2YtOGY2NTFhMmQzZTYyXkEyXkFqcGdeQXVyMzM0OTI5MQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BY2NlYjI2ZjAtMzFmMS00YmQ2LTk0YmUtOWJhMTc4NGQ3ZWE0L2ltYWdlXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTY1MDAyMTgwOF5BMl5BanBnXkFtZTYwMjEwNzM2._V1_QL75_UY60_CR9,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTIxNzM5MDg4N15BMl5BanBnXkFtZTYwMjQwOTY0._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BM2YzNjE2OTQtZjE4My00MzlhLTk5ZTAtMDA4ODdmNmE3NGQ1L2ltYWdlXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BNTcxNzYwNDU4MF5BMl5BanBnXkFtZTgwODExNDU5MTE@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMjA2ODk5MDE4Ml5BMl5BanBnXkFtZTcwMTkzMjgxNA@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BNGZiODgwNDctYzIyMi00ZWM2LTkzYmEtMzI1Nzg0NDlmMTRjXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BYzA2YjIxZmUtNzNiOC00Y2M5LTgyYzAtOTQ0ODliOWFhYjRmXkEyXkFqcGdeQXVyNjUxMjc1OTM@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BNTVkNzAzZWMtOWQ5MC00OTRlLWJiZjYtOTUzYTA0NDA4MDkyXkEyXkFqcGdeQXVyMjE5MzM3MjA@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMDUzNTVlMzMtZTNiZS00NmUxLWI1YmEtMDM2NmVhNDM3YzdhL2ltYWdlXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY60_CR5,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTYxNzUzMDc5NF5BMl5BanBnXkFtZTYwNTkzODM2._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMjhjNWNiZjctZjc4ZS00MWFkLThhMDUtMWNmY2IxZGRhOThmXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM4ODI4NjU1N15BMl5BanBnXkFtZTcwNTE0MzY1Mw@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMjE5OTI2NTc0NF5BMl5BanBnXkFtZTgwNTgxNDcyNTM@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BNTgzMTI2OTgxN15BMl5BanBnXkFtZTcwMDUxOTU5Ng@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BODVjMjM5YTYtOTdiZC00MTY5LTk1ODUtMWM2YjA2OWY5NWM0XkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY60_CR1,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTJhN2E0YmYtOTZhNi00Y2FkLWJjNzMtMTc1MzE5NDIzYzllXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTkyNDM2NTg3Ml5BMl5BanBnXkFtZTcwOTc0NDAxMw@@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM3ODk5NTk3OV5BMl5BanBnXkFtZTcwNjA4NTg2OA@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMjM4ZDBjZDMtNDFmZS00MGI2LWEyYjUtNGY0OTA2Mjc3ZWNhXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY60_CR32,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTU3NDkxMjEyNl5BMl5BanBnXkFtZTYwMDk2NjEz._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTMzMjU0NDI1OV5BMl5BanBnXkFtZTYwOTAzNDI2._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BOGM1NmExNDktYjBiNS00MzcwLTgxZGUtNzFiNjYxNzE3NWM5XkEyXkFqcGdeQXVyMjE5MzM3MjA@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMWQ0Zjk1OTItYjlmYy00ODg1LWEyZjAtYWMxNjMzMjg1OGQ5L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:145-8244836-6820052:N6DG5E9QRY7FWCF0WY5X$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DN6DG5E9QRY7FWCF0WY5X:0" ]	[]	[]	[ "" ]	null	[]	null	This is alphabetical ordered list from the TASTEOFCINEMA.com made by Carolina Starzynski. I will point out the three most important movies per cinematographer. PS I also made a few changes in the choices of cinemtographers	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/list/ls064640637/	John Alcott, the Oscar-winning cinematographer best known for his collaboration with director Stanley Kubrick, was born in 1931, in Isleworth, England, the son of movie executive Arthur Alcott, who would become the production controller at Gainsborough Studios during the 1940s. Alcott began his film career as a clapper boy, the lowest member of a camera crew. By the early 1960s he had worked his way up to focus puller, the #3 position on a camera crew after the lighting cameraman and camera operator. As a focus puller Alcott was responsible for measuring the distances between the camera and the subject being shot, which is critical during traveling shots, and more vitally, he was tasked with adjusting the lens when the camera is following a subject. By the mid-'60s Alcott was a member of the camera team of master cinematographer Geoffrey Unsworth, working on Kubrick's 2001 - Odyssee im Weltraum (1968). When Unsworth had to leave the project during its two-year-long shoot to meet other commitments, Alcott was elevated to lighting cameraman by Kubrick. Thus began a collaboration that would reach its zenith a decade later with Barry Lyndon (1975). His association with Kubrick propelled him to the top of his craft, in terms of both style and in pushing the technical aspects of the discipline. Alcott preferred lighting that appeared natural and did not draw attention to itself. His ideas meshed perfectly with those of Kubrick, and the two developed their ideas about "natural" lighting in two landmark films, Uhrwerk Orange (1971) and "Barry Lyndon", which incorporated scenes shot entirely by candlelight. The idea of using candlelight solely for illumination was discussed by Alcott and Kubrick after the wrap of "2001" for Kubrick's planned film about the life of Napoleon, but there wasn't a fast-enough lens in existence then. After a search, Kubrick located three unique 50mm f/0.7 still-camera camera lenses designed by the Zeiss Corporation for use by NASA in its Apollo moon-landing program in order to shoot still pictures in the low light levels of outer space. The lens was 2 f stops faster than the fastest movie camera lens made at the time. Kubrick tasked Cinema Products Corp. to adapt a standard 35mm non-reflexed Mitchell BNC movie camera so that the camera could accept the lens. The camera was outfitted with a side viewfinder from one of the old Technicolor three-strip cameras that used mirrors rather than prisms (like a modern camera) to show what it "sees", the mirrors providing a much brighter image than did a prism-based single-lens reflex system, which could not obtain enough light to register an image. There was no real problem with parallax, as the viewfinder was mounted close to the lens. Cinema Products also created two special lenses by mating a 70mm projection lens with the remaining 0.7 Zeiss 50mm lenses. This battery of three lenses allowed Kubrick and Alcott to shoot the indoor scenes using nothing but candlelight. It was a formidable task, as the lenses could not be focused by eye. Metal shields also had to be installed above the sets, which were filmed in actual castles and manor houses in Ireland and England, to keep the heat and smoke from the candles from damaging the ceilings. Fortitously, the shields also reflected the candlelight back into the scene (this approach was later used successfully by lighting cameraman Alwin H. Küchler on the western Das Reich und die Herrlichkeit (2000), which shot its saloon interiors in very low light). The candles had to be constantly replaced to keep continuity during the scenes, and shooting was hampered by the fact that many of the manor houses were open to the public and the crew had to wait until the intervals between tours to film a scene. Alcott told "American Cinematographer" in a December 1975 interview that the ultra-fast lens had no depth of field at all. This necessitated the scaling of the lens by doing hand tests. Alcott's focus puller, Douglas Milsome (who would succeed him as Kubrick's cinematographer), used a closed-circuit video camera at a 90-degree angle to the film camera to keep track of the distances to maintain focus. A grid was placed over the TV screen and, by taping the various actors' positions in the set, the distances could be transferred to the TV grid to allow the actors a limited scope of movement during the scene, while keeping in focus. Alcott won an Academy Award for his work on "Barry Lyndon", which is considered one of the most visually beautiful movies ever made. (Three of Alcott's movies were ranked in the top 20 of "Best Shot" movies in the period after 1950-97 by the American Society of Cinematographers: "2001" at #3, "Barry Lyndon" at #16, and "A Clockwork Orange", for which he won the British Academy Award, at #19.) Alcott realized Kubrick's vision by evoking the paintings of Corot, Gainsborough, and Watteau, creating gorgeous tableaux. It was the aesthetic opposite of the cubism evoked by "A Clockwork Orange", While shooting what would turn out to be his last film for Kubrick, Shining (1980), Alcott lit the hotel sets with "practicals" (sources of lighting that are visible on screen as part of the set, such as lighting fixtures). As on "Barry Lyndon", Alcott supplemented the lighting with illumination coming into the set from outside the windows, though the "windows" on "The Shining" were part of a set. The high temperatures (110 degrees Fahrenheit) caused by the 700,000 watts of illumination outside the set's "windows" Alcott used to create the high white effect favored by Kubrick caused the set to burn down. Alcott, who shot films and TV commercials for other directors in the UK, moved to the US in 1981 in order to obtain more steady work than was possible in the ailing British film industry. His non-Kubrick projects as a cinematographer included three films with director Stuart Cooper and two with Roger Spottiswoode. Alcott could not shoot Kubrick's Full Metal Jacket (1987), which commenced shooting in 1985 and -- like any Kubrick shoot -- would involved a substantial commitment of time, as Alcott was committed to other projects (Kubrick hired Douglas Milsome, who had been Alcott's focus puller on "Barry Lyndon" and "The Shining", to shoot "Jacket"). His non-Kubrick oeuvre was eccentric, and included the Canadian slasher film Blutiger Valentinstag (1981), but he was able to bring his outstanding visual quality to such movies as Fort Apache (The Bronx) (1981), Beastmaster - Der Befreier (1982), Unter Feuer (1983) and Hugh Hudson's Greystoke - Die Legende von Tarzan, Herr der Affen (1984). Alcott suffered a massive heart attack and died on July 28, 1986, in Cannes, France. At the time of his death he was considered one of the film industry's great artist-technicians, someone who through his ability to push back the boundaries of what was technically possible, linked technology to aesthetic needs and contributed to the development of cinema as an art form. His last film, No Way Out - Es gibt kein Zurück (1987), was dedicated to his memory. The British Society of Cinematographers named one of its awards the "BSC John Alcott ARRI Award" in his honor to commemorate his role as a lighting cameraman in the development of film as an art form. Master cinematographer James Wong Howe, whose career stretched from silent pictures through the mid-'70s, was born Wong Tung Jim in Canton (now Guangzhou), China, on August 28, 1899, the son of Wong How. His father emigrated to America the year James was born, settling in Pasco, Washington, where he worked for the Northern Pacific Railroad. Wong How eventually went into business for himself in Pasco, opening a general store, which he made a success, despite the bigotry of the locals. When he was five years old, Wong Tung Jim joined his father in the US. His childhood was unhappy due to the discrimination he faced, which manifested itself in racist taunting by the neighborhood children. To get the kids to play with him, Jimmie often resorted to bribing them with candy from his father's store. When Jimmie, as he was known to his friends and later to his co-workers in the movie industry, was about 12 years old he bought a Kodak Brownie camera from a drugstore. Though his father was an old-fashioned Chinese, suspicious about having his picture taken and opposed to his new hobby, Jimmie went ahead and photographed his brothers and sisters. Unfortunately, when the photos were developed, the heads of his siblings had been cut off, as the Brownie lacked a viewfinder. His childhood dream was to be a prizefighter, and as a teenager he moved to Oregon to fight. However, his interest soon waned, and he moved to Los Angeles, where he got a job as an assistant to a commercial photographer. His duties included making deliveries, but he was fired when he developed some passport photos for a friend in the firm's darkroom. Reduced to making a living as a busboy at the Beverly Hills Hotel, he journeyed down to Chinatown on Sundays to watch movies being shot there. Jimmie Howe made the acquaintance of a cameraman on one of the location shoots, who suggested he give the movies a try. He got hired by the Jesse Lasky Studios' photography department at the princely sum of $10 per week, but the man in charge thought he was too little to lug equipment around, so he assigned Jimmie custodial work. Thus the future Academy Award-wining cinematographer James Wong Howe's first job in Hollywood was picking up scraps of nitrate stock from the cutting-room floor (more important than it sounds, as nitrate fires in editing rooms were not uncommon). The job allowed him to familiarize himself with movie cameras, lighting equipment and the movie film-development process. His was a genuine Horatio Alger "Up From His Bootstraps" narrative, as by 1917 he had graduated from editing room assistant to working as a slate boy on Cecil B. DeMille's pictures. The promotion came when DeMille needed all his camera assistants to man multiple cameras on a film. This left no one to hold the chalkboard identifying each scene as a header as the take is shot on film, so Jimmie was drafted and given the title "fourth assistant cameraman. He endeared himself to DeMille when the director and his production crew were unable to get a canary to sing for a close-up. The fourth assistant cameraman lodged a piece of chewing gum in the bird's beak, and as it moved its beak to try to dislodge the gum, it looked like the canary was singing. DeMille promptly gave Jimmie a 50% raise. In 1919 he was being prepared for his future profession of cameraman. "I held the slate on Zustände wie im Paradies (1919)", he told George C. Pratt in an interview published 60 years later, "and when Mr. DeMille rehearsed a scene, I had to crank a little counter . . . and I would have to grind 16 frames per second. And when he stopped, I would have to give him the footage. He wanted to know how long the scene ran. So besides writing the slate numbers down and keeping a report, I had to turn this crank. That was the beginning of learning how to turn 16 frames". Because of the problem with early orthochromatic film registering blue eyes on screen, Howe was soon promoted to operating cameraman at Paramount (the new name for the Lasky Studio), where his talents were noted. A long-time photography buff, Jimmie Howe enjoyed taking still pictures and made extra money photographing the stars. One of his clients was professional "sweet young thing" Mary Miles Minter, of the William Desmond Taylor shooting scandal, who praised Jimmie's photographs because they made her pale blue eyes, which did not register well on film, look dark. When she asked him if he could replicate the effect on motion picture film, he told her he could, and she offered him a job as her cameraman. Howe did not know how he'd made Minter's eyes look dark, but he soon realized that the reflection of a piece of black velvet at the studio that had been tacked up near his still camera had cast a shadow in her eyes, causing them to register darkly. Promoted to Minter's cameraman, he fashioned a frame of black velvet through which the camera's lens could protrude; filming Minter's close-ups with the device darkened her eyes, just as she desired. The studio was abuzz with the news that Minter had acquired a mysterious Chinese cameraman who made her blue eyes register on film. Since other blue-eyed actors had the same problem, they began to demand that Jimmie shoot them, and a cinematography star was born. Jimmie Howe was soon advanced beyond operating cameraman to lighting cameraman (called "director of photography" in Hollywood) on Minter's Drums of Fate (1923), and he served as director of photography on The Trail of the Lonesome Pine (1923) the next year. As a lighting cameraman he was much in demand, and started to freelance. Notable silent pictures on which he served as the director of photography include Paramount's Der Weiberfeind (1926), starring "It Girl" Clara Bow, and MGM's Lach, Clown, lach! (1928), starring silent superstar John Gilbert opposite Joan Crawford. The cinematography on "Mantrap" was his breakthrough as a star lighting cameraman, in which his lighting added enormously to bringing out Clara Bow's sex appeal. He bathed Bow in a soft glow, surrounding the flapper with shimmering natural light, transforming her into a seemingly three-dimensional sex goddess. Even at this early a stage in his career, Howe had developed a solid aesthetic approach to film, based on inventive, expressive lighting. The film solidified his reputation as a master in the careful handling of female subjects, a rep that would get him his last job a half-century later, on Barbra Streisand's Funny Lady (1975). Jimmie Howe journeyed back to China at the end of the decade to shoot location backgrounds for a movie about China he planned to make as a director. Though the movie was never made, the footage was later used in Josef von Sternberg's Schanghai Express (1932). When he returned to the US, Hollywood was in the midst of a technological upheaval as sound pictures were finishing off the silent movie, which had matured into a medium of expression now being hailed as "The Seventh Art." The silent film, in a generation, had matured into a set art form with its own techniques of craftsmanship, and pictures like Im siebenten Himmel (1927) and Die Brücke von San Luis Rey (1929) generally were thought to be examples of the "photoplay" reaching perfection as a medium. This mature medium now was violently overthrown by the revolutionary upstart, Sound. The talkies had arrived. The Hollywood Howe returned to was in a panic. All the wisdom about making motion pictures had been jettisoned by nervous studio heads, and the new Hollywood dogma held that only cameramen with experience in sound cinematography could shoot the new talking pictures, thus freezing out many cameramen who had recently been seen as master craftsmen in the silent cinema. Director William K. Howard, who was in pre-production with his film Transatlantic (1931), wanted Jimmie Howe's expertise. Having just acquired some new lenses with $700 of his own money, Howe shot some tests for the film, which impressed the studio enough to gave Howard permission to hire Jimmie to shoot it. Once again, his career thrived and he was much in demand. He earned the sobriquet "Low-Key Howe" for his low-contrast lighting of interiors, exerting aesthetic control over the dark spots of a frame in the way that a great musician "played" the silences between notes. In 1933 he gave up freelancing and started working in-house at MGM, where he won a reputation for efficiency. He shot Mordsache Dünner Mann (1934) in 18 days and Manhattan Melodrama (1934) in 28 days. It was at MGM that he became credited as "James Wong Howe". Howe's original screen credit was "James Howe" or "Jimmie Howe", but during his early years at MGM "Wong" was added to his name by the front office, "for exotic flair", and his salary reached $500 a week. After shooting 15 pictures for MGM, he moved over to Warner Bros. for Algiers (1938), garnering him his first Academy Award nomination. Studio boss Jack L. Warner was so thrilled by Howe's work with Hedy Lamarr that he signed Jimmie to a seven-year contract. James Wong Howe shot 26 movies at Warners through 1947, and four others on loanout to other studios. A master at the use of shadow, Howe was one of the first DPs to use deep-focus cinematography, photography in which both foreground and distant planes remain in focus. His camerawork typically was unobtrusive, but could be quite spectacular when the narrative called for it. In the context of the studio-bound production of the time, Wong Howe's lighting sense is impressive given his use of location shooting. Citic James Agee called him one of "the few men who use this country for background as it ought to be used in films." Wong Howe used backgrounds to elucidate the psychology of the film's characters and their psychology, such as in Späte Rache (1947), where the austere desert landscape serves to highlight the tortured psyche of Robert Mitchum's character. Wong Howe was famed for his innovations, including putting a cameraman with a hand-held camera on roller skates inside a boxing ring for Jagd nach Millionen (1947) to draw the audience into the ring. He strapped cameras to the actors' waists in Frauen und Toreros (1951) to give a closer and tighter perspective on bullfighting, a sport in which fractions of an inch can mean the difference between life and death. He was hailed for his revolutionary work with tracking and distortion in Der Mann, der zweimal lebte (1966), in which he used a 9mm "fish-eye" lens to suggest mental instability. James Wong Howe became the most famous cameraman in the world in the 1930s, and he bought a Duesenberg, one of the most prestigious and expensive automobiles in the world. His driving his "Doozy" around Hollywood made for an incongruous sight, as Chinese typically were gardeners and houseboys in prewar America, a deeply racist time. During World War II anti-Asian bigotry intensified, despite the fact that China was an ally of the United States in its war with Japan. Mistaken for a Japanese (despite their having been relocated to concentration camps away from the Pacific Coast), he wore a button that declared "I am Chinese." His close friend James Cagney also wore the same button, out of solidarity with his friend. Wong Howe was involved in a long-term relationship with the writer Sanora Babb, who was a Caucasian. Anti-miscegenation laws on the books in California until 1948 forbade Caucasians from marrying Chinese, and the couple could not legally marry until 1949, after the laws had been repealed. In September of 1949 they finally tied the knot, and Sanora Babb Wong Howe later told a family member that they had to hunt for three days for a sympathetic judge who would marry them. Wong Howe eventually bought a Chinese restaurant located near the Ventura Freeway, which he managed with Sanora. When a photographer from a San Fernando Valley newspaper came to take a picture of the eatery, Howe counseled that he should put a wide-angle lens on his camera so he wouldn't have to stand so close to the freeway to get the shot. "I'll take the picture," the photographer unknowingly snapped at one of the master cinematographers of the world, "you just mind your goddamned noodles!" Perhaps due to the sting of racism, the hypocrisy of a country fighting the Nazis and their eugenics policies that itself allowed the proscription of racial intermarriage, which kept him from legally marrying the woman he loved, or perhaps because of the Red-baiting that consumed Hollywood after the War, James Wong Howe's professional reputation began to decline in the late 1940s. Losing his reputation for efficiency, he was branded "difficult to work with," and producers began to fear his on-set temper tantrums. Though Wong Howe was never blacklisted, he came under the scrutiny of the House Un-American Activities Committee for his propensity for working with "Reds", "Pinks" and "fellow-travelers" such as John Garfield. Though he was never hauled in front of HUAC, Wong Howe's good friend Cagney had been a noted liberal in the 1930s. James Wong Howe felt the chill cast over the industry by McCarthyism. In 1953 Wong Howe was given the opportunity to direct a feature film for the first time, being hired to helm a biography of Harlem Globetrotters founder Abe Saperstein, Artisten des Sports (1954). The film, which was brought in at 21 days on a $130,000 budget, did nothing to enhance his reputation. Howe managed to pull out of his career doldrums, and after McCarthyism crested in 1954 he won his first Oscar for the B+W cinematography of Die tätowierte Rose (1955), in which the shadows created by Howe's cinematography reveal the protagonist Serafina's emotional turmoil as much as the words of Tennessee Williams. He directed one more picture, the undistinguished Invisible Avenger (1958), a B-movie in which The Shadow, Lamont Cranston, investigated the murder of a New Orleans bandleader, before returning to his true vocation, the motion picture camera. By the mid-'50s Howe had made it back to the top of the profession. In 1957 he did some of his most brilliant work on Dein Schicksal in meiner Hand (1957), a textbook primer on the richness of B+W cinematography. Ironically, he was not Oscar-nominated for his work on the film, but was nominated the following year for his color work on Der alte Mann und das Meer (1958) and won his second Oscar for the B+W photography of Der Wildeste unter tausend (1963). Once again Wong Howe used a landscape, the barren and lonely West Texas plains, to highlight the psychological state of the film's protagonist, the amoral and go-it-alone title character played by Paul Newman. One of Wong Howe's favorite assignments in his career was the five-month shoot under the once-blacklisted Martin Ritt on Verflucht bis zum jüngsten Tag (1970), a tale of labor strife, which was shot on location in the Pennsylvania coal fields. His health started to fail after the shoot, and he was forced into retirement, requiring frequent hospitalization in the final years of his life. Reportedly he had to turn down the offer to shoot Der Pate (1972), as he was not healthy enough to undertake the assignment. Gordon Willis got the job instead. When Funny Lady (1975) producer Ray Stark fired Vilmos Zsigmond as the director of photography of his Funny Girl (1968) sequel, he hired Howe due to his faith that the great lighting cameraman who had done wonders with Mary Miles Minter, Clara Bow, and Hedy Lamarr could glamorize his star, Barbra Streisand. Howe took over the shoot, but his health gave out after a short time and he collapsed on the set. Oscar-winner Ernest Laszlo, then-president of the American Society of Cinematographers, filled in until Howe returned from the hospital and finished the shoot. He received his last Oscar nomination for his work on the film. It marked the end of a remarkable career in motion pictures that spanned almost 60 years. By the time of his retirement, he had long been acknowledged as a master of his art, one of the greatest lighting cameramen of all time, credited with shooting over 130 pictures in Hollywood and England. He worked with many of the greatest and most important directors in cinema history, from Allan Dwan in the silent era to Sidney Lumet in the 1960s. He created three production companies during his professional career, an untopped career in which he racked up ten Academy Award nominations in both B+W white and color (including notoriously difficult Technicolor), in formats ranging from the Academy ratio to CinemaScope, all of which he mastered. An even greater honor than his two Oscar wins came his way. In 1949, when he was chosen to shoot test footage for the proposed comeback of the great Greta Garbo in the proposed movie "La Duchesse de Langeais," such was his reputation. Sanora Babb Wong Howe wrote after his death, "My husband loved his work. He spent all his adult life from age 17 to 75, a year before his death, in the motion picture industry. When he died at 77, courageous in illness as in health, he was still thinking of new ways to make pictures. He was critical of poor quality in any area of film, but quick to see and appreciate the good. His mature style was realistic, never naturalistic. If the story demanded, his work could be harsh and have a documentary quality, but that quality was strictly Wong Howe. If the story allowed, his style was poetic realism, for he was a poet of the camera. This was a part of his nature, his impulse toward the beautiful, but it did not prevent his flexibility in dealing with all aspects of reality." His greatest asset to film may have been his adaptability, the many ways in which he could vary his aesthetic in service of a story. Howe initially fought the notoriously gimmicky John Frankenheimer over his desire to use a fish-eye lens for "Seconds." Subsequently, Howe used the lens masterfully to convey the psychological torment of the protagonist, locked in a beyond-Kafkaesque nightmare that simply relying on sets and lighting couldn't bring across. He had made it work by adapting his aesthetic to the needs of the story and its characters, in service to his director. Howe's work was given retrospectives at the 2002 Seattle International Film Festival, and in San Francisco in 2004, a rare honor for a cinematographer. It was testimony to his continuing reputation, more than a quarter century after his death, as one of the greatest and most innovative lighting cameramen the world of cinema has ever known. Perhaps the greatest honor that can be bestowed on James Wong Howe is that this master craftsman, a genius of lighting, refutes the auteur theory, which holds that the director solely is "author" of a film. No one could reasonably make that claim on any picture on which Howe was the director of photography.
205	dbpedia	2	3	https://www.rottentomatoes.com/m/body_of_evidence	en	Body of Evidence	https://resizing.flixste…490_p_v10_ae.jpg	https://resizing.flixste…490_p_v10_ae.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/qnbpd7IU3H726oMY2ECgoARAxnc=/fit-in/128x128/v2/http://resizing.flixster.com/Y3Y6hr3-A3hM0F4i_CjMXVGsYdg=/38x43/v1.YzsxNTk3O2c7MTk5ODA7MjA0ODszODs0Mw", "https://resizing.flixster.com/14RVtjLzxyL81iVLhZL7CPNQpgc=/fit-in/128x128/v2/http://resizing.flixster.com/Dn8i4fin55KJATNpPgDmXUpjAII=/38x33/v1.YzsxNjIxO2c7MTk5ODA7MjA0ODszODszMw", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/f_2rtOgTWQp4h8JGlDYmBMCYmOo=/fit-in/128x128/v2/http://resizing.flixster.com/gpvkBjZ5d5XjuCSPVHBwE9lWBqo=/128x128/v1.YzszMDU3O2o7MTk5ODA7MjA0ODszNjA7Mzgx", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	When an elderly millionaire is found dead with cocaine in his system, his will leaves $8 million to Rebecca Carlson (Madonna), who was having an affair with him. District attorney Robert Garrett (Joe Mantegna) decides to prosecute Rebecca, arguing that she deliberately engaged in wild sex with the old man to overexcite him and lead to his premature death. Defense attorney Frank Dulaney (Willem Dafoe) defends Rebecca in court while getting sucked into a dangerous affair with her.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/body_of_evidence	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
205	dbpedia	3	44	https://www.filmscoremonthly.com/board/posts.cfm%3FthreadID%3D126614	en				[]	[]	[]	[ "" ]	null	[]	null					null
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"https://www.youtube.com/embed/_uWJZtgSD0A?feature=oembed", "https://cinephiliabeyond.org/donation.html" ]	[]	[ "" ]	null	[ "cinephiliabeyond" ]	2020-06-17T00:45:28+02:00	By Tim Pelan “It's not pro-war or anti-war. It's just the way things are,” Stanley Kubrick said of Full Metal Jacket, his 1987 adaptation of Gustav Hasford’s novel, The Short-Timers. Hasford was a combat correspondent with the Marine Corp in Vietnam, and Matthew Modine’s character Joker, who we follow through basic training and	en	https://cinephiliabeyond.org/wp-content/uploads/2014/12/favicon.ico?x97248	Cinephilia & Beyond	https://cinephiliabeyond.org/full-metal-jacket/	By Tim Pelan “It’s not pro-war or anti-war. It’s just the way things are,” Stanley Kubrick said of Full Metal Jacket, his 1987 adaptation of Gustav Hasford’s novel, The Short-Timers. Hasford was a combat correspondent with the Marine Corp in Vietnam, and Matthew Modine’s character Joker, who we follow through basic training and the battle of Hue during the 1968 Tet offensive, was shaped by his experiences. Kubrick signed up another ex-war correspondent, Michael Herr, the writer of the narration for Apocalypse Now to work with him on the script in what Herr wryly described as “one phone call lasting three years, with interruptions.” The point of the material to Kubrick was how the system breaks down and restructures young men into killing machines, as exemplified by R. Lee Ermey’s antonymously named Sergeant Hartman: “Your rifle is only a tool. It is a hard heart that kills.” Effectively, the film can be divided into two segments, harsh, brutalizing training in the first, and Vietnam in the second, although, strictly, the final segment, known as “The Sniper,” makes it three. Modine had recommended an old friend, Vincent D’Onofrio, for the role of gormless Leonard, aka Gomer Pyle (after the initial introduction, none of the marines are referred to by their actual names. The fact that they retain their nicknames or adopt new ones suggests a part of their old identity has been subsumed by the “lean, green, killing machine”). Pyle’s ineffectual inability to keep up has him singled out for particular attention and Joker is made to make him shape up. Ironically, Kubrick’s taskmaster approach fed resentment between the two actors. The one thing Pyle has going for him is he is an excellent marksman, which will have a tragic outcome. Once the others make it to Vietnam, Hartman has indoctrinated them so much that they can barely talk in little more than cliches of the “phony tough and the crazy brave,” sussing each other out in terms of point-scoring and domination. Joker tries to stay out of the shit by being assigned to the forces magazine Stars and Stripes, but the war comes for him anyway, and he will be forever changed by it. Full Metal Jacket treats war phenomenologically, as Kubrick explained at the beginning of this piece. It just accepts wars as an unfortunate fact of human nature. Joker pisses off the brass by writing “Born to kill” on his helmet whilst wearing a peace badge on his uniform, expressing the “Jungian thing,” the duality of man. “Vietnam was such a phony war,” Kubrick told Alexander Walker, the Evening Standard critic, “in terms of the technocrats fine-tuning the facts like an ad agency, talking of ‘kill ratios’ and ‘hamlet pacification’ and inciting the men to falsify a ‘body count’ or at least total up the ‘blood trails’ on the assumption they’d lead to bodies somehow.” Joker comes up against this bullshit in his journalistic cushy number, cracking wise to his commander after the news of Tet, “Sir, does this mean Ann-Margret isn’t coming?” Jan Harlan, Kubrick’s brother in law, stated that Kubrick, without explaining it too broadly, wanted to suggest that everyone in the film wore a mask, to survive, to get through what war requires them to do. Nathan Abrams in his piece for Forward suggests that Full Metal Jacket could be Kubrick’s “stealth Holocaust movie” (famously, Kubrick pre-planned for so long on The Aryan Papers that he was beaten to the punch by Steven Spielberg’s Schindler’s List). In Hasford’s novel: “Arguably,” Abrams writes, “Jewishness remained beneath the surface in two key characters. Joker (played by Mathew Modine) is a cerebral writer who’s smarter, more sensitive, streetwise and sympathetic than those around him. His spectacles denote his intelligence. He’s an insubordinate, wise-cracking smartass who clearly delights in showing how much cleverer he is than his superior officers. He’s also a mensch who helps the gormless Leonard ‘Gomer Pyle’ Lawrence (Vincent D’Onofrio) through his basic training. Joker can posture as only ‘phony tough.’ He feels real remorse at having to shoot a sniper, an act that he eventually performs as a mercy killing. And by removing any suggestion that Pyle was the redneck of Hasford’s novel, Kubrick allows us the possibility of reading him as Jewish as well. Kubrick retained the name ‘Leonard,’ possibly because interwar Jewish parents, like his own, chose such regal-sounding names in trying to give their sons a boost toward upward mobility in America. Leonard was Kubrick’s own father’s middle name as well as the given name of the Jewish doctor Clam Fink in Norman Mailer’s 1967 novel Why Are We in Vietnam?” D’Onofrio was asked by Kubrick to “Pyle” on 70 pounds to portray the character as a shy, flabby child-like innocent, out of his depth, the target of Hartman’s ire, a stain on his Corp. This equal opportunity bigot has it in for him. To further the Holocaust subtext further, Hartman berates him during PT to give him “One for the Kommandant.” The sergeant threatens to sterilize Pyle so that he “can’t contaminate the rest of the world.” And the blanket party beating, where his frustrated platoon take turns to beat him in his bunk across the stomach with bars of soap in towels? Holocaust survivors, upon arrival in Israel after the war, where disdainfully referred to as the Hebrew word for soap, sabon. Hasford described the Parris Island training facility in Carolina as “symmetrical but sinister like a suburban death camp.” To double for this, Kubrick used the Territorial Army barracks in Enfield. Here, the camera slowly tracks around the room, following Hartman around the carefully regimented, symmetrical bunks, lockers, and recruits. For the sequence where he jogs them around their bunks, repeating “This is my rifle, this is my gun, this is for fighting, this (groin) is for fun” Kubrick was insistent they all were precise and uniform in their movements. “Guys”, he would say, “some of you are only jerking (your groin) twice. In time to the rhythm of the words, please.” The recruits are like insects, scuttling around the polished floor. Later, in Vietnam with green combat gear and hugging the blasted urban landscape, the transformation will be complete. As if they are cockroaches, the only survivors of the apocalypse around them. Ermey was a former Marine Corp drill instructor who also served in Vietnam, He had initially settled in the Philippines after being medically discharged and acted as a technical advisor there on Apocalypse Now. Kubrick had envisioned him acting in the same role on FMJ but he had second thoughts when he saw Ermey tear into Territorial Army extras. His endlessly inventive invective cracked Kubrick up, and much of it found its way into the notoriously regimented director’s final script. “I’d say 50 percent of Lee’s dialogue, specifically insult stuff, came from Lee,” Kubrick admitted. However, with no acting background, Ermey had trouble remembering all his lines. Leon Vitali, Kubrick’s former actor turned dedicated assistant, had him drilled on videotape, hurling obscenities as he was pelted with oranges and tennis balls. The training sequence was shot after the combat at Beckton gas works in East London, standing in for the pummelled city of Hue. When Kubrick was dissatisfied with the hair clippers used to cut the recruits’ hair down to the scalp, Ermey called an old Marine buddy who revealed that at Parris Island they actually used clippers meant for shearing French poodles. The actor originally intended for the role of drill instructor, Tim Colceri, got compensated with the small but memorable role of helicopter door gunner, and a second unit trip to Norfolk flying over palm trees to boot. Hartman has succeeded too well in training Pyle. We see him subsequent to the blanket party with a disturbing intensity to his face and voice—reciting the Credo in his bunk as he swears before God that he will kill his enemy. Pyle has Hartman in his sights. He has somehow squirreled away a full clip of live rounds, the eponymous “full metal jacket”. On their final night in hell, which they have seemingly passed through unscathed, his full volume drill instruction in the toilets has attracted Joker, on night watch, and the incongruously dressed Hartman in his smoky bear and shorts. “What in the name of Jesus H. Christ are you animals doing in my head?” he yells. Pyle is about to do for the animal in his head, by shooting Hartman, then turning the rifle on himself, obscenely sucking on the barrel to further hammer home the pornographic imagery of war that has been drilled into the recruits. Jeff Westerman, “Animals In My Head”: “Hartman, when he realizes he’s going to have to put his life on the line to stop Pyle, smiles to himself in a strangely elated way, before he speaks his final sentences. He seems to be pleased, recognizing that Fate is allowing him a great moment in which to distinguish himself as a valorous Marine. And Pyle, too, smiles, at the same moment of realization—he has engaged his enemy head-on, and they are both now consciously stepping forward to play out their ultimate roles. It’s a smile of recognition which passes between them, rank against rank, life against life, authority versus individual will. One man will only give up his power by dying, and the other can only gain it through killing.” For the shot of Pyle’s brains being blown against the white tiled wall behind him, Matthew Modine came up with the solution. He told Kubrick about William Friedkin’s To Live and Die In L.A., and the scene where William Petersen takes a shotgun blast to the face. They obtained a print and watched it slowed down with no sound. Rather than using a squib, which Kubrick’s crew had been attempting, they realized the solution here was someone flinging guts into the actors face with a catapult. Friedkin then spliced several frames to hide the effect coming from off camera. Kubrick used a three-foot long pipe, propelling a mixture of pasta and fake blood via pressurized air. At that speed, only one frame had to be removed. (Incidentally, it is extremely unlikely a recruit could sequester ammunition like this. The Marine Corp are fanatical about accounting for every round during training. Instead, real-life Parris Island veterans testify how they were intimidated on the best ways to commit suicide if they can’t cut it, told to open a vein with a razor blade lengthways down the arm.) The shoot ran for thirty-nine weeks, over twice the estimated eighteen. Kubrick achieved the impossible, and made the abandoned Beckton gas works in East London stand in for the bombed city of Hue. He even shipped in two hundred palm trees from Spain, kept hydrated by the fire brigade. After the harrowing training segment, the sequences in Vietnam are full of grim humor until the agonizingly drawn out sniper sequence. Although Joker’s John Wayne act (“A day without sunshine is like a day without blood”) is shaken when the NVA attack his base during the night. In the novel, Joker and Rafterman, his photographer, hook up with his old pal Cowboy and the Lust Hog squad in a cinema, mocking John Wayne’s film, The Green Berets, full of “the phony tough and the crazy brave.” In the film, they meet in a courtyard, and Joker and Animal Mother (Adam Baldwin) square off as if they are overgrown schoolboys, albeit Lord of the Flies style—armed to the teeth, with no parental control. As Crazy Earl says, revealing his “friend”, a dead enemy soldier, “We’re jolly green giants, walkin’ the Earth, with guns!” Dig his smile of surprised delight later as he catches a second NVA soldier run across his sights in the ruins and lets rip with a burst, bringing him down, before Surfin’ Bird kicks in. The upbeat pop music a deliberate ironic counterpoint to the bizarre hellscape around them. Bilge Ebiri: “I noted the bizarreness of the architecture of where Cowboy’s group was camped outside of Hue—specifically, the setting of the scene where Joker first meets them and they show them the dead Vietnamese lounging in a chair. The place seemed to be made up of circular entrances. I was in Vietnam last year and I tried to think if I had seen any architecture resembling this. Then it hit me—I saw this kind of architecture at one of the Imperial tombs, on the outskirts of—you guessed it—Hue, the ancient capital. It’s a wonderfully subtle move from someone who was working primarily from photographs.” Kubrick got ill-informed flack for filming in London, an ignorance born by clichéd views of Vietnam as primarily jungle and bamboo huts. In actual fact, the buildings closely resembled the basic architectural layout of the 20th century aspect of Hue—“all in this industrial functionalism style of the 1930s, with the square modular components and big square doors and square windows,” he recalled. Many of Beckton’s buildings had coincidentally been designed by the same French architect who had built in Hue. Production designer Anton Furst sent his team to the US Library of Congress to scour Vietnamese magazines. Adverts were microfilmed, blown up into signs and posters for Vietnamese verisimilitude. Kubrick secured three period-authentic M14 tanks from a sympathetic Belgian military (the US Army deferred). Six weeks of demolition work knocked off corners and blasted windows to resemble a war zone. Kubrick’s precision applied as much to the seeming chaos of the Hue war scenes, his camera hugging the “blasted heath” as it prowls along with the crouching Marines. He once had the crew dig through solid concrete for one such shot. Gas heaters used to eliminate un-Vietnam like foggy breath caused breathing problems for the actors, out in the rubble for weeks on end, working on the same scene. “Beckton Gas Works on the Isle of Dogs was, besides Ground Zero during 9/11, the most toxic place I’ve ever had the displeasure of being,” Modine recalled. “We all knew we were crawling around in asbestos and we understood the dangers of that. But we had no understanding of the heinous chemicals that were in the soil. During tea breaks dust was always settling on the cakes and biscuits, floating on top of our tea. God knows how much we ingested and what effect it’s had on our bodies. When we got home and took our baths, the tubs would turn a cobalt blue from the dirt that was in our hair and on our bodies.” Modine documented his time filming in what became known as the Full Metal Jacket Diary, now turned into an app. He also took many photographs on an old camera which Kubrick chided him about, knowing he was hoping to impress the former LOOK photographer. The Beckton set was surrounded by multi-colored cargo containers to obscure unwanted elements creeping into shot. “The containers are timeless and colorful,” Modine wrote. “Rusty red. Dull yellow. Orange. Plain steel. An efficient and inexpensive way to block out England.” The actor felt transported. “One corner has metamorphosed into a typical street in Da Nang. A beautiful pagoda is being constructed off in a field. In another corner is the destroyed city of Hue.” Interviewed during a lull in fighting by a CBS news crew, the squad offer up their thoughts on the war. Joker lulls them with a seemingly cultured take on his enforced “tour”, straight from the book—“I wanted to meet interesting, stimulating people of an ancient culture, and kill them. I wanted to be the first kid on my block to get a confirmed kill.” The complexity of the location shoot and Kubrick’s perfectionism began to take a toll. “Days can’t be measured by the rise and set of the sun but only by the next call sheet,” wrote Modine. Kubrick was stuck on the ending, where a young female sniper has Eightball (Dorian Harewood) shot and used as bait to draw the squad out of cover, Adam Baldwin’s Animal Mother enraged and leading the charge across the square. Kubrick brought the actors into his motorhome. “You know, I’m not sure how I want to end this film. Do you guys have any ideas?” There were already a couple of scrapped suggestions. Joker was to die, and his death would be intercut with clips of him as a young boy. The ending of the book was filmed, then discarded, with Animal Mother hacking off the sniper’s head and hoisting it aloft on the end of his weapon. Kubrick wanted the reveal of the sniper as a young girl to be shocking. As she begs for death’s release from her wounds, Joker reluctantly gets his interview wish, finishing her off. The final minutes of the film bring us full circle. The same eerie music plays over the sniper’s final moments as when Pyle shoots Hartman, and when Pyle receives the barrack-room blanket beating. Joker, upon delivering the coup de grace, is “born again hard” as he kids himself in voice over, reborn into a new world of shit, the valorous soldiers marching through the smoke and flame to the regressive marching rhythm of the Mickey Mouse Club song. Joker’s thousand-yard stare tells the true tale of how he feels though. As Modine put it, “It is the moment that Joker dies and has to spend the rest of his life alive.” Tim Pelan was born in 1968, the year of ‘2001: A Space Odyssey’ (possibly his favorite film), ‘Planet of the Apes,’ ‘The Night of the Living Dead’ and ‘Barbarella.’ That also made him the perfect age for when ‘Star Wars’ came out. Some would say this explains a lot. Read more » “The more highly paid you were, or the closer to the actual shooting, the more enslaved you were likely to be. If you were right there on the set with film running, the pressure could be amazing, or so I was convincingly told by many of the cast and crew of Full Metal Jacket. I wasn’t the cameraman or the art director or even a grip, or, thank God, an actor. I was only even on the location two or three times, so maybe I wasn’t properly enslaved at all. I may have rewritten a few scenes 20 or 30 times—I would have done that anyway—but I never had to go through the number of takes Stanley would require. It was everything anyone ever said it was and more, and worse, whatever it took to ‘get it right,’ as he always called it. What he meant by that I couldn’t say, nor could hundreds of people who have worked for him, but none of us doubted that he knew what he meant.” —Michael Herr, Grove Press, 2000 Screenwriter must-read: Stanley Kubrick, Michael Herr & Gustav Hasford’s screenplay for Full Metal Jacket [PDF]. (NOTE: For educational and research purposes only). The DVD/Blu-ray of the film is available at Amazon and other online retailers. Full Metal Jacket 4K Blu-ray is coming September 22nd. Absolutely our highest recommendation. Having based his treatment on Gustav Hasford’s 1979 novel, The Short-Timers, Kubrick then met with Michael Herr—Vietnam war correspondent and author of Dispatches (1977)—to break the treatment down onto index cards, before Herr wrote the first draft of the screenplay. Michael Herr wrote the narration for Francis Ford Coppola’s Apocalypse Now (1979), then co-wrote Full Metal Jacket (1987) with Stanley Kubrick, which contained elements of Dispatches. Kubrick, Herr, and Hasford would all receive a screenplay credit in the end. [Bonhams] The cover of Kubrick’s draft of Full Metal Jacket and additional page of the script with Kubrick’s handwritten notes. The Rolling Stone interview: Stanley Kubrick in 1987, by Tim Cahill. This article appeared in the August 27, 1987 issue of Rolling Stone. He didn’t bustle into the room, and he didn’t wander in. Truth, as he would reiterate several times, is multi-faceted, and it would be fair to say that Stanley Kubrick entered the executive suite at Pinewood Studios, outside London, in a multifaceted manner. He was at once happy to have found the place after a twenty-minute search, apologetic about being late and apprehensive about the torture he might be about to endure. Stanley Kubrick, I had been told, hates interviews. It’s hard to know what to expect of the man if you’ve only seen his films. One senses in those films painstaking craftsmanship, a furious intellect at work, a single-minded devotion. His movies don’t lend themselves to easy analysis; this may account for the turgid nature of some of the books that have been written about his art. Take this example: “And while Kubrick feels strongly that the visual powers of film make ambiguity an inevitability as well as a virtue, he would not share Bazin’s mystical belief that the better film makers are those who sacrifice their personal perspectives to a ‘fleeting crystallization of a reality [of] whose environing presence one is ceaselessly aware.’” One feels that an interview conducted on this level would be pretentious bullshit. Kubrick, however, seemed entirely unpretentious. He was wearing running shoes and an old corduroy jacket. There was an ink stain just below the pocket where some ball point pen had bled to death. “What is this place?” Kubrick asked. “It’s called the executive suite,” I said. “I think they put big shots up here.” Kubrick looked around at the dark wood-paneled walls, the chandeliers, the leather couches and chairs. “Is there a bathroom?” he asked, with some urgency. “Across the hall,” I said. The director excused himself and went looking for the facility. I reviewed my notes. Kubrick was born in the Bronx in 1928. He was an undistinguished student whose passions were tournament-level chess and photography. After graduation from Taft High School at the age of seventeen, he landed a prestigious job as a photographer for Look magazine, which he quit after four years in order to make his first film. Day of the Fight (1950) was a documentary about the middleweight boxer Walter Cartier. After a second documentary, Flying Padre (1951), Kubrick borrowed $10,000 from relatives to make Fear and Desire (1953), his first feature, an arty film that he now finds “embarrassing.” Kubrick, his first wife and two friends were the entire crew for the film. By necessity, Kubrick was director, cameraman, lighting engineer, makeup man, administrator, propman and unit chauffeur. Later in his career, he would take on some of these duties again, for reasons other than necessity. Kubrick’s breakthrough film was Paths of Glory (1957). During the filming, he met an actress, Christiane Harlan, whom he eventually married. Christiane sings a song at the end of the film in a scene that, on four separate viewings, has brought tears to my eyes. Kubrick’s next film was Spartacus (1960), a work he finds disappointing. He was brought in to direct after the star, Kirk Douglas, had a falling-out with the original director, Anthony Mann. Kubrick was not given control of the script, which he felt was full of easy moralizing. He was used to making his own films his own way, and the experience chafed. He has never again relinquished control over any aspect of his films. And he has taken some extraordinary and audacious chances with those works. The mere decision to film Vladimir Nabokov’s Lolita (1961) was enough to send some censorious sorts into a spittle-spewing rage. Dr. Strangelove (1963), based on the novel Red Alert, was conceived as a tense thriller about the possibility of accidental nuclear war. As Kubrick worked on the script, however, he kept bumping up against the realization that the scenes he was writing were funny in the darkest possible way. It was a matter of slipping on a banana peel and annihilating the human race. Stanley Kubrick went with his gut feeling: he directed Dr. Strangelove as a black comedy. The film is routinely described as a masterpiece. Most critics also use that word to describe the two features that followed, 2001: A Space Odyssey (1968) and A Clockwork Orange (1971). Some reviewers see a subtle falling off of quality in his Barry Lyndon (1975) and The Shining (1980), though there is a critical reevaluation of the two films in process. This seems to be typical of his critical reception. Kubrick moved to England in 1968. He lives outside of London with Christiane (now a successful painter), three golden retrievers and a mutt he found wandering forlornly along the road. He has three grown daughters. Some who know him say he can be “difficult” and “exacting.” He had agreed to meet and talk about his latest movie, Full Metal Jacket, a film about the Vietnam War that he produced and directed. He also co-wrote the screenplay with Michael Herr, the author of Dispatches, and Gustav Hasford, who wrote The Short-Timers, the novel on which the film is based. Full Metal Jacket is Kubrick’s first feature in seven years. The difficult and exacting director returned from the bathroom looking a little perplexed. “I think you’re right,” he said. “I think this is a place where people stay. I looked around a little, opened a door, and there was this guy sitting on the edge of a bed.” “Who was he?” I asked. “I don’t know,” he replied. “What did he say?” “Nothing. He just looked at me, and I left.” There was a long silence while we pondered the inevitable ambiguity of reality, specifically in relation to some guy sitting on a bed across the hall. Then Stanley Kubrick began the interview: I’m not going to be asked any conceptualizing questions, right? All the books, most of the articles I read about you—it’s all conceptualizing. Yeah, but not by me. I thought I had to ask those kinds of questions. No. Hell, no. That’s my… [He shudders.] It’s the thing I hate the worst. Really? I’ve got all these questions written down in a form I thought you might require. They all sound like essay questions for the finals in a graduate philosophy seminar. The truth is that I’ve always felt trapped and pinned down and harried by those questions. Questions like [reading from notes] “Your first feature, Fear and Desire, in 1953, concerned a group of soldiers lost behind enemy lines In an unnamed war; Spartacus contained some battle scenes; Paths of Glory was an indictment of war and, more specifically, of the generals who wage it; and Dr. Strangelove was the blackest of comedies about accidental nuclear war. How does Full Metal Jacket complete your examination of the subject of war? Or does it?” Those kinds of questions. You feel the real question lurking behind all the verblage is “What does this new movie mean?” Exactly. And that’s almost impossible to answer, especially when you’ve been so deeply inside the film for so long. Some people demand a five-line capsule summary. Something you’d read in a magazine. They want you to say, “This is the story of the duality of man and the duplicity of governments.” [A pretty good description of the subtext that informs Full Metal Jacket, actually.] I hear people try to do it—give the five-line summary—but if a film has any substance or subtlety, whatever you say is never complete, it’s usually wrong, and it’s necessarily simplistic: truth is too multifaceted to be contained in a five-line summary. If the work is good, what you say about it is usually irrelevant. I don’t know. Perhaps it’s vanity, this idea that the work is bigger than one’s capacity to describe it. Some people can do interviews. They’re very slick, and they neatly evade this hateful conceptualizing. Fellini is good; his interviews are very amusing. He just makes jokes and says preposterous things that you know he can’t possibly mean. I mean, I’m doing interviews to help the film, and I think they do help the film, so I can’t complain. But it isn’t… it’s… it’s difficult. So let’s talk about the music in Full Metal Jacket. I was surprised by some of the choices, stuff like “These Boots Are Made for Walkin’,” by Nancy Sinatra. What does that song mean? It was the music of the period. The Tet offensive was in ’68. Unless we were careless, none of the music is post-’68. I’m not saying it’s anachronistic. It’s just that the music that occurs to me in that context is more, oh, Jimi Hendrix, Jim Morrison. The music really depended on the scene. We checked through Billboard’s list of Top 100 hits for each year from 1962 to 1968. We were looking for interesting material that played well with a scene. We tried a lot of songs. Sometimes the dynamic range of the music was too great, and we couldn’t work in dialogue. The music has to come up under speech at some point, and if all you hear is the bass, it’s not going to work in the context of the movie. Why? Don’t you like “These Boots Are Made for Walkin’”? Of the music in the film, I’d have to say I’m more partial to Sam the Sham’s “Wooly Bully,” which is one of the great party records of all time. And “Surfin’ Bird.” An amazing piece, isn’t it? “Surfin’ Bird” comes in during the aftermath of a battle, as the marines are passing a medevac helicopter. The scene reminded me of Dr. Strangelove, where the plane is being refueled in midair with that long, suggestive tube, and the music in the background is “Try a Little Tenderness.” Or the cosmic waltz in 2001, where the spacecraft is slowly cartwheeling through space in time to “The Blue Danube.” And now you have the chopper and the “Bird.” What I love about the music in that scene is that it suggests postcombat euphoria—which you see in the marine’s face when he fires at the men running out of the building: he misses the first four, waits a beat, then hits the next two. And that great look on his face, that look of euphoric pleasure, the pleasure one has read described in so many accounts of combat. So he’s got this look on his face, and suddenly the music starts and the tanks are rolling and the marines are mopping up. The choices weren’t arbitrary. You seem to have skirted the issue of drugs in Full Metal Jacket. It didn’t seem relevant. Undoubtedly, marines took drugs in Vietnam. But this drug thing, it seems to suggest that all marines were out of control, when in fact they weren’t. It’s a little thing, but check out the pictures taken during the battle of Hue: you see marines in fully fastened flak jackets. Well, people hated wearing them. They were heavy and hot, and sometimes people wore them but didn’t fasten them. Disciplined troops wore them, and they wore them fastened. People always look at directors, and you in particular, in the context of a body of work. I couldn’t help but notice some resonance with Paths of Glory at the end of Full Metal Jacket: a woman surrounded by enemy soldiers, the odd, ambiguous gesture that ties these people together… That resonance is an accident. The scene comes straight out of Gustav Hasford’s book. So your purpose wasn’t to poke the viewer in the ribs, point out certain similarities… Oh, God, no. I’m trying to be true to the material. You know, there’s another extraordinary accident. Cowboy is dying, and in the background there’s something that looks very much like the monolith in 2001. And it just happened to be there. The whole area of combat was one complete area—it actually exists. One of the things I tried to do was give you a sense of where you were, where everything else was. Which, in war movies, is something you frequently don’t get. The terrain of small-unit action is really the story of the action. And this is something we tried to make beautifully clear: there’s a low wall, there’s the building space. And once you get in there, everything is exactly where it actually was. No cutting away, no cheating. So it came down to where the sniper would be and where the marines were. When Cowboy is shot, they carry him around the corner—to the very most logical shelter. And there, in the background, was this thing, this monolith. I’m sure some people will think that there was some calculated reference to 2001, but honestly, it was just there. You don’t think you’re going to get away with that, do you? [Laughs] I know it’s an amazing coincidence. Where were those scenes filmed? We worked from still photographs of Hue in 1968. And we found an area that had the same 1930s functionalist architecture. Now, not every bit of it was right, but some of the buildings were absolute carbon copies of the outer industrial areas of Hue. Where was it? Here. Near London. It had been owned by British Gas, and it was scheduled to be demolished. So they allowed us to blow up the buildings. We had demolition guys in there for a week, laying charges. One Sunday, all the executives from British Gas brought their families down to watch us blow the place up. It was spectacular. Then we had a wrecking ball there for two months, with the art director telling the operator which hole to knock in which building. Art direction with a wrecking ball. I don’t think anybody’s ever had a set like that. It’s beyond any kind of economic possibility. To make that kind of three-dimensional rubble, you’d have to have everything done by plasterers, modeled, and you couldn’t build that if you spent $80 million and had five years to do it. You couldn’t duplicate, oh, all those twisted bits of reinforcement. And to make rubble, you’d have to go find some real rubble and copy it. It’s the only way. If you’re going to make a tree, for instance, you have to copy a real tree. No one can “make up” a tree, because every tree has an inherent logic in the way it branches. And I’ve discovered that no one can make up a rock. I found that out in Paths of Glory. We had to copy rocks, but every rock also has an inherent logic you’re not aware of until you see a fake rock. Every detail looks right, but something’s wrong. So we had real rubble. We brought in palm trees from Spain and a hundred thousand plastic tropical plants from Hong Kong. We did little things, details people don’t notice right away, that add to the illusion. All in all, a tremendous set dressing and rubble job. How do you choose your material? I read. I order books from the States. I literally go into bookstores, close my eyes and take things off the shelf. If I don’t like the book after a bit, I don’t finish it. But I like to be surprised. Full Metal Jacket is based on Gustav Hasford’s book The Short-Timers. It’s a very short, very beautifully and economically written book, which, like the film, leaves out all the mandatory scenes of character development: the scene where the guy talks about his father, who’s an alcoholic, his girlfriend—all that stuff that bogs down and seems so arbitrarily inserted into every war story. What I like about not writing original material—which I’m not even certain I could do—is that you have this tremendous advantage of reading something for the first time. You never have this experience again with the story. You have a reaction to it: it’s a kind of falling-in-love reaction. That’s the first thing. Then it becomes almost a matter of code breaking, of breaking the work down into a structure that is truthful, that doesn’t lose the ideas or the content or the feeling of the book. And fitting it all into the much more limited time frame of a movie. And as long as you possibly can, you retain your emotional attitude, whatever it was that made you fall in love in the first place. You judge a scene by asking yourself, “Am I still responding to what’s there?” The process is both analytical and emotional. You’re trying to balance calculating analysis against feeling. And it’s almost never a question of “What does this scene mean?” It’s “Is this truthful, or does something about it feel false?” It’s “Is this scene interesting? Will it make me feel the way I felt when I first fell in love with the material?” It’s an intuitive process, the way I imagine writing music is intuitive. It’s not a matter of structuring an argument. You said something almost exactly the opposite once. Did I? Someone had asked you if there was any analogy between chess and filmmaking. You said that the process of making decisions was very analytical in both cases. You said that depending on intuition was a losing proposition. I suspect I might have said that in another context. The part of the film that involves telling the story works pretty much the way I said. In the actual making of the movie, the chess analogy becomes more valid. It has to do with tournament chess, where you have a clock and you have to make a certain number of moves in a certain time. If you don’t, you forfeit, even if you’re a queen ahead. You’ll see a grandmaster, the guy has three minutes on the clock and ten moves left. And he’ll spend two minutes on one move, because he knows that if he doesn’t get that one right, the game will be lost. And then he makes the last nine moves in a minute. And he may have done the right thing. Well, in filmmaking, you always have decisions like that. You are always pitting time and resources against quality and ideas. You have a reputation for having your finger on every aspect of each film you make, from inception right on down to the première and beyond. How is it that you’re allowed such an extraordinary amount of control over your films? I’d like to think it’s because my films have a quality that holds up on second, third and fourth viewing. Realistically, it’s because my budgets are within reasonable limits and the films do well. The only one that did poorly from the studio’s point of view was Barry Lyndon. So, since my films don’t cost that much, I find a way to spend a little extra time in order to get the quality on the screen. Full Metal Jacket seemed a long time in the making. Well, we had a couple of severe accidents. The guy who plays the drill instructor, Lee Ermey, had an auto accident in the middle of shooting. It was about 1:00 in the morning, and his car skidded off the road. He broke all his ribs on one side, just tremendous injuries, and he probably would have died, except he was conscious and kept flashing his lights. A motorist stopped. It was in a place called Epping Forest, where the police are always finding bodies. Not the sort of place you get out of your car at 1:30 in the morning and go see why someone’s flashing their lights. Anyway, Lee was out for four and a half months. He had actually been a marine drill instructor? Parris Island. How much of his part comes out of that experience? I’d say fifty percent of Lee’s dialogue, specifically the insult stuff, came from Lee. You see, in the course of hiring the marine recruits, we interviewed hundreds of guys. We lined them all up and did an improvisation of the first meeting with the drill instructor. They didn’t know what he was going to say, and we could see how they reacted. Lee came up with, I don’t know, 150 pages of insults. Off the wall stuff: “I don’t like the name Lawrence. Lawrence is for faggots and sailors.” Aside from the insults, though, virtually every serious thing he says is basically true. When he says, “A rifle is only a tool, it’s a hard heart that kills,” you know it’s true. Unless you’re living in a world that doesn’t need fighting men, you can’t fault him. Except maybe for a certain lack of subtlety in his behavior. And I don’t think the United States Marine Corps is in the market for subtle drill instructors. This is a different drill instructor than the one Lou Gosset played in An Officer and a Gentleman. I think Lou Gosset’s performance was wonderful, but he had to do what he was given in the story. The film clearly wants to ingratiate itself with the audience. So many films do that. You show the drill instructor really has a heart of gold—the mandatory scene where he sits in his office, eyes swimming with pride about the boys and so forth. I suppose he actually is proud, but there’s a danger of falling into what amounts to so much sentimental bullshit. So you distrust sentimentality. I don’t mistrust sentiment and emotion, no. The question becomes, are you giving them something to make them a little happier, or are you putting in something that is inherently true to the material? Are people behaving the way we all really behave, or are they behaving the way we would like them to behave? I mean, the world is not as it’s presented in Frank Capra films. People love those films—which are beautifully made—but I wouldn’t describe them as a true picture of life. The questions are always, is it true? Is it interesting? To worry about those mandatory scenes that some people think make a picture is often just pandering to some conception of an audience. Some films try to outguess an audience. They try to ingratiate themselves, and it’s not something you really have to do. Certainly audiences have flocked to see films that are not essentially true, but I don’t think this prevents them from responding to the truth. Books I’ve read on you seem to suggest that you consider editing the most important aspect of the filmmaker’s art. There are three equal things: the writing, slogging through the actual shooting and the editing. You’ve quoted Pudovkin to the effect that editing is the only original and unique art form in film. I think so. Everything else comes from something else. Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience. Pudovkin gives an example: You see a guy hanging a picture on the wall. Suddenly you see his feet slip; you see the chair move; you see his hand go down and the picture fall off the wall. In that split second, a guy falls off a chair, and you see it in a way that you could not see it any other way except through editing. TV commercials have figured that out. Leave content out of it, and some of the most spectacular examples of film art are in the best TV commercials. Give me an example. The Michelob commercials. I’m a pro-football fan, and I have videotapes of the games sent over to me, commercials and all. Last year Michelob did a series, just impressions of people having a good time— The big city at night… And the editing, the photography, was some of the most brilliant work I’ve ever seen. Forget what they’re doing—selling beer—and it’s visual poetry. Incredible eight-frame cuts. And you realize that in thirty seconds they’ve created an impression of something rather complex. If you could ever tell a story, something with some content, using that kind of visual poetry, you could handle vastly more complex and subtle material. People spend millions of dollars and months’ worth of work on those thirty seconds. So it’s a bit impractical. And I suppose there’s really nothing that would substitute for the great dramatic moment, fully played out. Still, the stories we do on film are basically rooted in the theater. Even Woody Allen’s movies, which are wonderful, are very traditional in their structure. Did I get the year right on those Michelob ads? I think so. Because occasionally I’ll find myself watching a game from 1984. It amazes me that you’re a pro-football fan. Why? It doesn’t fit my image of you. Which is… Stanley Kubrick is a monk, a man who lives for his work and virtually nothing else, certainly not pro football. And then there are those rumors… I know what’s coming. You want both barrels? Fire. Stanley Kubrick is a perfectionist. He is consumed by mindless anxiety over every aspect of every film he makes. Kubrick is a hermit, an expatriate, a neurotic who is terrified of automobiles and who won’t let his chauffeur drive more than thirty miles an hour. Part of my problem is that I cannot dispel the myths that have somehow accumulated over the years. Somebody writes something, it’s completely off the wall, but it gets filed and repeated until everyone believes it. For instance, I’ve read that I wear a football helmet in the car. You won’t let your driver go more than thirty miles an hour, and you wear a football helmet, just in case. In fact, I don’t have a chauffeur. I drive a Porsche 928 S, and I sometimes drive it at eighty or ninety miles an hour on the motorway. Your film editor says you still work on your old films. Isn’t that neurotic perfectionism? I’ll tell you what he means. We discovered that the studio had lost the picture negative of Dr. Strangelove. And they also lost the magnetic master soundtrack. All the printing negatives were badly ripped dupes. The search went on for a year and a half. Finally, I had to try to reconstruct the picture from two not-too-good fine-grain positives, both of which were damaged already. If those fine-grains were ever torn, you could never make any more negatives. Do you consider yourself an expatriate? Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it’s inferior to London as a production center. Hollywood is best, but I don’t like living there. You read books or see films that depict people being corrupted by Hollywood, but it isn’t that. It’s this tremendous sense of insecurity. A lot of destructive competitiveness. In comparison, England seems very remote. I try to keep up, read the trade papers, but it’s good to get it on paper and not have to hear it every place you go. I think it’s good to just do the work and insulate yourself from that undercurrent of low-level malevolence. I’ve heard rumors that you’ll do a hundred takes for one scene. It happens when actors are unprepared. You cannot act without knowing dialogue. If actors have to think about the words, they can’t work on the emotion. So you end up doing thirty takes of something. And still you can see the concentration in their eyes; they don’t know their lines. So you just shoot it and shoot it and hope you can get something out of it in pieces. Now, if the actor is a nice guy, he goes home, he says, “Stanley’s such a perfectionist, he does a hundred takes on every scene.” So my thirty takes become a hundred. And I get this reputation. If I did a hundred takes on every scene, I’d never finish a film. Lee Ermey, for instance, would spend every spare second with the dialogue coach, and he always knew his lines. I suppose Lee averaged eight or nine takes. He sometimes did it in three. Because he was prepared. There’s a rumor that you actually wanted to approve the theaters that show Full Metal Jacket. Isn’t that an example of mindless anxiety? Some people are amazed that I worry about the theaters where the picture is being shown. They think that’s some form of demented anxiety. But Lucas-films has a Theater Alignment Program. They went around and checked a lot of theaters and published the results in a [1985] report that virtually confirms all your worst suspicions. For instance, within one day, fifty percent of the prints are scratched. Something is usually broken. The amplifiers are no good, and the sound is bad. The lights are uneven… Is that why so many films I’ve seen lately seem too dark? Why you don’t really see people in the shadows when clearly the director wants you to see them? Well, theaters try to put in a screen that’s larger than the light source they paid for. If you buy a 2000-watt projector, it may give you a decent picture twenty feet wide. And let’s say that theater makes the picture forty feet wide by putting it in a wider-angle projector. In fact, then you’re getting 200 percent less light. It’s an inverse law of squares. But they want a bigger picture, so it’s dark. Many exhibitors are terribly guilty of ignoring minimum standards of picture quality. For instance, you now have theaters where all the reels are run in one continuous string. And they never clean the aperture gate. You get one little piece of gritty dust in there, and every time the film runs, it gets bigger. After a couple of days, it starts to put a scratch on the film. The scratch goes from one end of the film to the other. You’ve seen it, I’m sure. That thing you see, it looks like a hair dangling down from the top of the frame, sort of wiggling there through the whole film? That’s one manifestation, yeah. The Lucas report found that after fifteen days, most films should be junked. [The report says that after seventeen days, most films are damaged.] Now, is it an unreal concern if I want to make sure that on the press shows or on key city openings, everything in the theater is going to run smoothly? You just send someone to check the place out three or four days ahead of time. Make sure nothing’s broken. It’s really only a phone call or two, pressuring some people to fix things. I mean, is this a legitimate concern, or is this mindless anxiety? Initial reviews of most of your films are sometimes inexplicably hostile. Then there’s a reevaluation. Critics seem to like you better in retrospect. That’s true. The first reviews of 2001 were insulting, let alone bad. An important Los Angeles critic faulted Paths of Glory because the actors didn’t speak with French accents. When Dr. Strangelove came out, a New York paper ran a review under the head Moscow could not buy more harm to America. Something like that. But critical opinion on my films has always been salvaged by what I would call subsequent critical opinion. Which is why I think audiences are more reliable than critics, at least initially. Audiences tend not to bring all that critical baggage with them to each film. And I really think that a few critics come to my films expecting to see the last film. They’re waiting to see something that never happens. I imagine it must be something like standing in the batter’s box waiting for a fast ball, and the pitcher throws a change-up. The batter swings and misses. He thinks, “Shit, he threw me the wrong pitch.” I think this accounts for some of the initial hostility. Well, you don’t make it easy on viewers or critics. You’ve said you want an audience to react emotionally. You create strong feelings, but you won’t give us any easy answers. That’s because I don’t have any easy answers. Thanks to the great folks at Movie Geeks United!, Tim Cahill’s 1987 interview with Stanley Kubrick, published in Rolling Stone magazine, is now available in its taped entirety. Enjoy two hours with Kubrick discussing his latest film Full Metal Jacket. For more exclusive Kubrick-related audio materials, visit The Kubrick Series. Kubrick’s casting note in his draft of the Full Metal Jacket script, courtesy of Will McCrabb. Kubrick’s daughter Vivian—who appears uncredited as a news-camera operator at the mass grave—shadowed the filming of Full Metal Jacket and shot eighteen hours of behind-the-scenes footage for a potential ‘making-of’ documentary similar to her earlier film documentary on Kubrick’s The Shining; however, in this case, her work did not come to fruition. Snippets of her work can be seen in the 2008 documentary Stanley Kubrick’s Boxes. Matthew Modine, star of Full Metal Jacket, has published a digital recreation of his limited edition (now out of print) book. Full Metal Jacket Diary iPad app includes over 400 high-res photos from the set, five chapters from Modine’s book, and a four-hour audio experience that takes you through the production, beginning to end. A Pinewood Dialogue with Matthew Modine offers rare insight into Kubrick’s techniques in directing his actors. DOUGLAS MILSOME BSC, ASC Douglas Milsome BSC, ASC, who had pulled focus for John Alcott BSC on The Shining, stepped in as cinematographer for Stanley Kubrick on this film, which the director again opted to shoot with ARRIFLEX 35BL cameras. Despite being set in Vietnam, the entire film was produced and filmed in England—at Pinewood Studios, Bassingbourn Barracks and Beckton Gasworks. Milsome experimented with different shutter angles for battle scenes, a technique Janusz Kaminski borrowed for Saving Private Ryan. September 1987 issue of American Cinematographer, detailing the making of Stanley Kubrick’s Full Metal Jacket, by Ron Magid. It has been exactly thirty years since Stanley Kubrick’s first “war movie” Paths Of Glory, laid the foundation for his undisputed status as a world class filmmaker. The film is at times naively ideological but full of power and passion in its belief that the common man is merely a pawn in the game of war. Now, on the thirtieth anniversary of Paths Of Glory, Kubrick has presented us with what is arguably his most cynically Produced and directed by Stanley Kubrick Director of Photography, Douglas Milsome despairing, grim and disturbing film ever: Full Metal Jacket. The common man may still be a pawn of the government’s war machine, but this time around the price of obedience isn’t his life—although that may become forfeit-but his humanity. The title refers to a type of bullet commonly used in the Vietnam war, but it might also reflect the icy documentary-like detachment that characterizes the film’s sardonic tone. Kubrick is definitely a team player, so it comes as no surprise that the man he chose to shoot Full Metal Jacket, Douglas Milsome, has been a participant on every one of his films beginning with A Clockwork Orange, where he served as the late John Alcott’s focus puller. Milsome quickly moved up through the ranks, becoming Alcott’s first assistant on The Shining. lt was on this film that he was allowed to shoot some first unit footage after Alcott left to work on another project. On his own after fifteen years with Alcott, Milsome has proved himself a worthy successor to his great mentor, whose style and meticulous attention to detail he tries to emulate. “I’d like to carry on where John stopped, actually,” he says. “I thought he was a great photographer and I learned a lot from him working with Stanley. I use the Alcott System all the time now. He taught me how to use black and white Polaroids to measure a great deal more than just exposure—it gives you the balance and allows you to go much higher or lower than the meter would otherwise indicate against film speed. The Polaroid film delineates very well between light and shade, and also gives a tremendously good idea of how windows are going to look if they’re over- or-underlit. The passing of John was such a blow to me that I’ve determined to try to perpetuate what he was trying to do. He lit like no other cameraman, so effectively with little or no light. Most of his lighting went into one suitcase, and that’s what I like and it’s what Stanley likes too.” Although Kubrick’s films take notoriously long to shoot, nothing is left to chance and much of that time is spent in pre-production with the cinematographer. “Although I was actually on the film for a year and a half,” Milsome points out, “the shooting actually took a lot less time than people believe. The actual shooting took just over six months and we had to shut down for some twenty plus weeks due to injuries and accidents. My period of pre-production, however, was considerably longer than most. There’s always an awful lot to discuss with Stanley during pre-production because there’s so much involved with his films. They’re always big subjects, so the cinematographer is often brought in quite a bit earlier than usual, not just to check the equipment but to check every single aspect of every possible situation to the nth degree. It involves painstaking time for discussion. He’s just as methodical in his prep as he is in his shooting. Sometimes his prep takes as long as his shooting, often longer. He gives a new meaning to the word meticulous’ and the word ‘methodical’. As far as the lighting is concerned, that’s open to discussion. We build models of our sets and discuss how to light them and then we do extensive testing.” Nearly all of the equipment used by Milsome on Full Metal Jacket was owned by Kubrick, who maintains stores of the most up-to-date and advanced equipment available. For many of the large tracking shots that comprise much of the film’s action footage, a variety of cranes and Steadicam were employed. Primarily, Milsome used the Arri BL camera and Zeiss high speed lenses. For some extreme slow motion effects, Kubrick purchased two of Doug Fries’ high speed cameras adapted from standard Mitchells, which were used in combination with numerous Nikon lenses. From its inception, Kubrick and Milsome agreed that Full Metal Jacket should have the desaturated, grainy look of a documentary. “We did that by using the high speed Kodak 5294, which we rated at 800 ASA all the way through,” Milsome recalls. “It should’ve been 400, so we were pushing it a little beyond where it would’ve given us a really solid black. By pushing the film all the way, we were able to bring the fog level up, and there was a natural lean toward the milkier, less solid blacks and grays, which documentary film tends to have. The film helped us a lot in achieving that look, coupled with the fact that we were working wide open. Even on days where it was fairly hazy but sunny, we used a lot of neutral density filters on the camera purely as a means of reducing the light transmission through the lens, which took some of the contrast out of the image and flattened it a little more. Also, we shot without an 85 correction filter for daylight, which gave us an extra % of a stop in hand. We pulled the blue out to make it look less cold, but we were able to correct for this color shift on the set. It just enabled us to get that little extra half hour or hour’s shooting at the end of the day.” That extra bit of time can be crucial. Though Kubrick’s films have lengthy schedules, it isn’t because he tends to work at a leisurely pace. Kubrick’s demanding perfectionism is both a strain and an extremely rewarding attitude for those used to working with directors who expect less, Milsome explains: “I’ve actually had a lot harder time working for a lot less talented people than Stanley. He’s a drain because he saps you dry, but he works damn hard himself and expects everybody else to. Sometimes it becomes a plod because it’s so slow and intricate, but he loves to do things quite differently than what’s ever been done before. You can’t really do that sort of thing off the top of your head, so you work very hard to get it together and make something different which bears his mark. That can be a little overbearing and it tends to zap you and take up nearly all of your time. Sometimes the relationship can get a little strained because you’ve got to be devoted to him. You eat, drink and sleep the movie, and you’re under contract to Stanley body and soul. But he allows you the time to get everything absolutely right, which is what I find so rewarding.” It is this insistence on achieving perfection regardless of how many takes are necessary for which Kubrick is most infamous. “Stanley always has done many, many takes” Milsome says, “but in fact, the many takes are not just repetitions of the same thing, they are often building upon a theme or idea that can mature and develop into something quite extraordinary. The whole structure of the scene can actually change during the operation of filming it. Also, Stanley gets a lot more out of his actors after he works with them a lot longer. It’s especially valuable in bringing out something in actors who may not be exactly up to the part, but Stanley works on them jolly hard until they produce the goods. That’s why he’s so good with actors: in the end, he’ll rehearse and rehearse them until they’re word perfect, and when they’ve got the words perfect then the rest has to happen—they then have to act. The large number of takes are used mainly to get something out of the actors that they’re not willing to provide right away. Of course, it’s demanding on the crew as well, but it’s a lot harder for the actors than it is for us. Once you’ve done an eight or ten minute scene a number of times, after take thirty or thirty-five, you’re really into it!” Milsome laughs. “Actually, it doesn’t always go that many takes. There were occasions on Full Metal Jacket where we went a few more than twenty-five or thirty takes, but we usually didn’t average more than ten to fifteen takes, although sometimes we’d go back and reshoot certain scenes later.” Full Metal Jacket was shot entirely in England on sets ranging from a meticulously reconstructed Marine Corps, barracks to a blasted coke plant that served as the background to the Tet Offensive at the end of the film. The two part structure of the film necessitated recreating the Marine training camp at Parris Island in great detail for the basic training of the “grunts” that comprises the film’s grueling first half, while the second half of the film had to look like Vietnam location footage. Surprisingly, Kubrick found the ideal location for both sets in three different locations in the Northeast London area, not more than thirty miles apart. Parris Island’s training camp was a real military base in Bassingbourne, the barracks were built at Enfield, and the vast rubble and blasted buildings of the Tet Offensive were to be found in an East London gasworks. The film opens inside the practical barracks set Kubrick had constructed at Enfield, as Milsome’s camera dollies along with Gny, Sgt. Hartman, played by Lee Ermev, as he indoctrinates the new “grunts” into the harsh, contradictory realities of Marine Corp life. Ermey, who is not an actor—he was actually the film’s technical advisor and a real life drill instructor—went through the sequence again and again, as Kubrick coached him on the precise inflections and mannerisms he wanted. All told, there were twenty-five takes or so the first time around. Ermey suffered injury in a car accident during shooting, after which “he’d improved no end as an actor,” Milsome relates. “I think he polished up his part quite well, so we did that particular scene all again. It was well worth it because he was so much better.” In order to accommodate Kubrick’s proposed 360° shot. Milsome had to place all of his lighting outside the set, where it streamed in like cold sunlight through the large windows on either side of the barracks. Milsome had become accustomed to the director’s need for total freedom on the set, and so emulated Alcott’s daytime interior look for the palaces of Barry Lyndon and the lobby of The Shilling’s Overlook Hotel. “You can’t restrict anything Stanley wants to do by having a light source which shouldn’t be in the shot in the way,” he confirms. “Stanley likes the total freedom of being able to go anywhere at any time, so we reproduced the look of sunlight streaming through the windows. The lighting was all totally outside—there were no lamps inside anywhere except for the warm white deluxe daylight flourescent tubes in the overhead strips which were featured as a source light anyhow. So we just let the sunlight bleed in through the windows, which gave us a very natural single source light with a very soft fill, roughly about 3:1 on the shadow side. For this effect, we used the Par 600 watt lamps—each light has six 100 watt bulbs on it. We put four of these lamps outside each of the seven window’s in the set, so we had 24,000 watts burning outside each window. We had them filtered through the Rosco plastic 216 fibre, which gave us a very nice soft warm look. “We used a very old moviola dolly with pneumatic tires which we let down so they had only a minimal amount of air in them. Although the floor of the barracks set wasn’t that smooth, we were able to wheel the dolly about the floor because the fairly flat tires actually made the shot very smooth. “The Louma crane was a great tool to us,” he says. “We did a lot of low angle tracking shots that ended with the camera soaring up into the sky as the troops were drilled. We had a remote hot head rig we could operate from below so we didn’t have to actually sit on the crane. We also mounted our camera on a Tulip crane with a Skycam extension, so we could get our lens over thirty feet up. We were able to use both types of crane rigs to create some really interesting camera moves that enhanced the training sequences. With this equipment, when they went over the obstacle course, we could go up with them, so there were quite a lot of shots of them climbing ropes and over barriers and things where we just followed them up. “Because we were using the Louma crane quite often, we decided to have the crane ready assembled on a track always,” Milstone continues. “Although the crane itself is not that heavy-about a thousand pounds—it does take some hours to put together. We got a sixty seat coach, left the cab as it was, sawed the coachwork off and made the rear end into a thirty foot long tracking platform on which we laid our rails. Our crane was always completely assembled on this tracking coach, so we could drive it into any position within minutes, secure it with hydraulic jacks and be ready to do our shot very quickly.” The climax of the film’s boot camp segment is carefully orchestrated in two powerful and disturbing nighttime scenes in the barracks, where the harsh blue moonlight filtering in through the windows is in sharp contrast to Milsome’s warm pink daylight look. The first sequence consists of the ritual beating of Gomer Pyle by his fellow recruits after they are forced to do push-ups when Hartman discovers a donut in the overweight private’s trunk. The sequence is eerie and frightening, and Pyle’s pain and horror are well served by Milsome’s objective photography and stylized lighting. “We wanted to introduce a strong moonlight effect, which I think worked and gave a weird feeling to it all. It’s similar to the blue light we used in the maze in The Shining. For this scene, we used an open Fresnel Brute, which gave us very sharp shadows, and four 10K HMIs, white flame without condensers so they also cast very long and definite shadows. The Brute was placed at one end, giving a much wider, brighter beam, and the other four windows were each lit by one of the 10K HMIs. We then put half blues over them to give us a kind of Hollywood moonlight glow. Again, all of our light came from outside, and we used polystyrene to bounce the light or we bounced light from a 1000 watt snooted Lowell off the ceiling just to reflect a little bit of white light into the shadow side. We had a key of F.2, so we probably had about .70 on the shadow side, which meant we were working at roughly a 4:1 ratio.” That same combination of naturalism and stylization pays off handsomely in the gruesome max of the film’s first half, wherein Pyle goes quietly mad after becoming a full-fledged Marine killing machine. Eyes rolled back into his skull and glowing with a strange inner light, he turns his rifle—with its full metal jacket shells—first on an outraged Hartman and then on himself. “That scene was very powerful,” Milsome agrees. “D’Onofrio flashes what people are now referring to as the ‘Kubrick crazy stare’. Stanley has a stare like that which is very penetrating and frightens the hell out of you sometimes—I gather he’s able to inject that into his actors as well. The light in D’Onofrio’s eyes was achieved quite naturally: the bathroom was tiled out quite white, so there was a massive amount of light coming back off them onto his face, which helped. “Again, the lighting was fairly straightforward. We had the same configuration as in the barracks, except with 5Ks in this case, placed four flights up shooting down through the bathroom window and throwing patterns on the wall, and we introduced the blue element again. The action part of the sequence didn’t take as much time as getting a performance. The pattern of Pyle’s brain on the wall after he shoots himself didn’t take all that long to get right, and for Hartman’s death, Ermey just shot straight back—I think he’s been hit before, because he bounced back well!’ Fade to black. When the lights come back on, we’re on a surdit street somewhere in Vietnam, following close on the heels of a voluptuous Vietnamese hooker as she propositions a couple of our boys. This shot typifies the style of the remainder of the film, as Milsome’s roving camera prowls through one vast urban landscape after another. “We used the Louma crane to a large extent on our exteriors,” Milsome says. “We had no exterior light apart from daylight and we used that right up until the eleventh hour. There was no day for night at all. We shot night for night lit by these Wendy lights, which each hold about two hundred bulbs. When hoisted up over a hundred feet on a cherry picker, they can light an enormous area from over two hundred yards away. They each took about 1200 amps, and we could actually light an area of 400 square yards quite easily at a light level of T1.4.” Milsome also made use of a rather unusual dolly for many of the battle sequences: a camera car with its engine removed. “Stanley bought a Citreon Mahari, which proved to be quite useful,” he recalls. “It’s a very good, soft suspended tracking car, on which we mounted two cameras. We ripped the engine out of this one and pushed it along—it was fairly easy to push—and we did a lot of our tracking shots with that. We used it on Barry Lyndon to do many of our tracking shots across fields. It worked much better than a dolly because, tracking that fast, a dolly would have meant an unsteady picture, and I don’t think a Chapman crane could’ve tracked that fast with stability on a non-metallic surface. The car had an extremely soft ride and we were able to push it quite fast. We often had about six people pushing, one steering and three or four cameramen.” The Tet Offensive, which compromises the primary focus of Full Metal Jacket’s grim second half, began quite treacherously at dusk on a Vietnamese holiday, during which time both sides had agreed there would be no fighting. Kubrick decided to stage the first wave of the offensive outside an American army base, where soldiers are holed up behind sandbags in flimsy tents. This set, called “the hooches,” was built at Bassingbourne, across from the camp that doubled as Parris Island. Milsome remembers the inherent difficulties in photographing huge scale special effects for this sequence: Choreographing our camera movement was extremely important, otherwise we’d waste a lot of money on effects we wouldn’t catch on film if we’d missed our mark. It became a question of rehearsing a number of times to insure we got it right.” The lighting source for the night for night sequence were four Wendy lights posted in different corners of the training camp, which greatly facilitated quick changes from one angle to another. “If we wanted to change the direction in which we were shooting,” Milsome explains, “we’d just save one lamp and switch another one on so we always had a moonlit backlight source illuminating the scene. Once the Wendy lights are in position, they’re a hell of a job to maneuver, especially on soft ground, so having four saved us a great deal of time we would have spent moving them about, which enabled us to get our night work done that much faster. The lamps, from over 250 yards away, were able to give us a fast 1.4 backlight on the 94 Kodak film. We’d shoot at F.2, which was about one stop under. It was quite enough, and the rest of our light we would fill using sheets of styrene. We black velveted the actual trucks and the jib arms the lights were on so you couldn’t see them if we panned across them.” The last twenty minutes of Full Metal Jacket comprise Private Joker’s “dark night of the soul,” as he and his photographer, Rafterman, played by Kevin Major Howard, are caught in an ambush along with the platoon they’ve been assigned to cover. The platoon leader has been killed, so leadership now falls to one of Joker’s fellow “grunts” from boot camp. Cowboy (Arliss Howard), who is ill suited to the task of negotiating his way out of the deadly situation. The tension is evident as the recruits huddle in fear behind a blasted wall as buildings blaze hellishly around them. “The final ambush sequence was shot over several afternoons around the tow end of the day, when the exposure wedge was dropping away,” Milsome recalls. “It was a good time to do that because we were wide open so we got the maximum effect from the flames. If you underexpose them, you don’t get the maximum effect. This way, the flame looked so much brighter and had a glowing quality, which was helped by the fact that they were all shot around magic hour-dusk time. We carried on with our shooting from late afternoon as it turned into evening, before it actually became night, for days. We were working with fast film and fast lenses at 1.4 going way down until the exposure level just went. “Although we had exposure from the sky,” he continues, “we still needed to throw some light on the actors’ faces. We mainly did that using kicker lights that glanced off their heads or gave us a ¾ backlight. We primarily used Lowells or Redheads from quite a distance away, spotted up so they had a very directional beam that wouldn’t spill anywhere else. We introduced flame red into the color of the lights too, to give them a warm glow.” Interestingly, the scene of the troops awaiting Cowboy’s decision is as formally framed as Kubrick’s handheld-style battle footage that follows, which Milsome finds remarkable; “Stanley’s composition is very stylized. The way he places people is just amazing. You’ll never find a Kubrick setup where the actors’ feet are cut off every shot is either from the waist up or full length. Every one of his movies has that look; very square, very level and symmetrical. Things are placed exactly right every time. I use that style a lot even when I’m not working with him because that’s the sort of thing that I like myself. The use of extreme wide angle lenses is distinctive, too, and allows us a great area in which to manipulate the action. We used a lot of wide angles to compose interesting shots, as well as a lot of very close angles on the same shots, and then Stanley would cut from one extreme to the other.” For the intensely visceral battle sequence that ensues, in which members of the platoon are mercilessly, repeatedly wounded by a hidden Vietnamese sniper in a largely successful attempt to draw the other members of the company out into the open, Milsome employed a great deal of Steadicam shots following the Americans across the battlezone. For the bloody closeups of the massacre itself, in which two soldiers are literally blown to pieces, Kubrick utilized exteme slow motion to emphasize the pain and the horror. “We had two high speed Fries cameras going at five times speed as the soldiers were shot,” Milsome remembers. “We just tore them open with lots of squibs and ran our cameras at very high speed. We used Nikon lenses to a very large extent in this sequence, not only for their extremely sharp definition and clarity, but for their many varying focal lengths. The range of the focal lengths go from five mil every mil up to one- or two hundred. The long focus lenses go up to 1200mm, which we could double and make 2400mm. They’re slow, but with the fast p stock we still had the aperture we needed on location without losing any of the quality—they don’t look like regular telephoto lenses. I think they have the supreme edge for optimum definition throughout the whole focal range.” Milsome’s clinical, detached photography of Full Metal Jacket’s visceral battle footage lends Kubrick’s film a distant, yet poignant quality, which the cinematographer was afraid might be lost when he used the finely honed Nikon lenses. “I was hoping that detached documentary look would come across, but I worried that those Nikon lenses tend to bit into so much that there’s almost nothing you don’t see, whereas in documentaries, you can’t always see everything,” Milsome says. “I wanted the camera to seem detached—that’s exactly what the idea was. I did that by making the subject come to me, rather than going to them. There’s an intermediate distance where lenses become very detached, although over a certain focal length you can get too close or too wide and become very integrated into the action. We were aiming for the middle distance where we could reach a focal length that would allow us to remain slightly more divorced from the action and still see it all.” The surviving G.I.s ultimately confront the sniper inside one of the bombed out buildings, in what appears to be some sort of decimated temple. The sniper is at first unaware that her enemies have entered the stronghold, but as soon as their presence is detected, the killer of half the platoon whirls about madly to do battle with the rest. The film’s supreme shock moment—the revelation that the sniper is merely a teenage girl—is poetically served by Milsome’s unusual stroboscopic slow motion cinematography. “We used a take where she looks very strange as she turned around,” he says, “where the fires blazing in the room seem almost to eat into her face as they bleed in from the background. This wasn’t just achieved by slowing the film down. We actually put the shutter of the camera out of phase with the movement of the film, which created a slight vertical strobe. As she was moving up and down and turning around, the flames seem to be standing still, and when she moved into the flames, they didn’t move with her but seemed to bleed onto her face. The film is actually exposing as it’s moving, which is what gives it that strobe effect. Normally, the film stops when the shutter opens, which freezes the picture., but in this case, the film’s still moving while the shutter’s open. Only slightly out of sync—maybe 25%—but it’s enough to give the effect of light lasting that much longer in the shot.” The resolution of Private Joker’s moral ambiguity—as symbolized by the “Peace” button and the “Born To Kill” moniker he paradoxically sports on his helmet—is evidenced when he kills the young girl who so ruthlessly attacked them. Afterwards, he and the remaining soldiers march through the blasted concrete and twisted metal, a truly hellish landscape of angry orange and red flame, and Milsome’s camera captures the film’s final action with eloquent simplicity. “We really seemed to be lighting that sequence with calor gas and napalm,” Milsome wrily points out. “The buildings the soldiers march past were lit with a tank filled with 3000 gallons of burning gas, and we had oil burning Dantes which created the big fires that glowed in the background. The calor burns very red-yellow and the Dantes burn with a black smoke combined with a lot of color. Together, they produced a strong red glow. We did the final shot with a Louma crane, but it wasn’t shot from a great height. Instead, we extended the Louma crane some twenty feet away from the track, and we actually used it to get closeups of our actors on the march without making them come to camera. We also used a Python crane and a straight dolly on this same track, which was a thousand feet or so in length. We had a Brute lamp aimed at our actors and tracking with the camera from a long way off-fifty or sixty feet from the lens.” The ending of Full Metal Jacket is the most disturbing, despairing and cynical of any Kubrick film. In the three decades since Paths Of Glory, the brilliant but naive young filmmaker has apparently lost whatever faith he may have held in the humanity of the human race. At the end of Paths Of Glory, Kubrick’s soldiers are able to rediscover their souls, but in Full Metal Jacket, they have lost theirs irretrievably. When Joker says he faced the enemy and “felt no fear,” we know that the bullet that ended the Vietnamese girl’s life also killed the Joker that resisted the Marine Corp training for so long. As the Americans march through the burning Hell they’ve made, singing a perverse rendition of the “Mickey Mouse Club Song,” the image goes dark and the Rolling Stones beg us to “Paint It, Black.” Films don’t get any blacker than Full Metal Jacket. Working closely with Stanley Kubrick, who seemed to have a thing for hats, illustrator Philip Castle created the iconic posters for two of his key films, Full Metal Jacket and A Clockwork Orange. Here, Castle opens some old boxes filled with treasures and shares the experience. A Film 87 report on the work of greensman Philip Honey, who had to look after over 100 palm trees brought in to make London’s docklands look like Vietnam for Stanley Kubrick’s Full Metal Jacket. One of the longest dolly tracks in the history of movies for the Mickey Mouse March in Kubrick’s Full Metal Jacket. Through interviews with Kubrick’s collaborators and cast members, including Vincent D’Onofrio, Lee Ermey and Adam Baldwin, this documentary reveals how Kubrick’s brilliant visual sense, astute knowledge of human nature, and unique perspective on the duality of man came together to make Full Metal Jacket an unforgettable cinematic experience, taking its place in his “war trilogy” alongside cinematic landmarks Fear and Desire and Paths of Glory. The character of Gunnery Sergeant Hartman in Stanley Kubrick’s Full Metal Jacket was made iconic by the actor R. Lee Ermey. Ermey spent thirty months as a drill instructor in San Diego and then he was sent to the front lines of the Vietnam War where he took shrapnel from an enemy rocket, which “ended his dream of a long career in the Corps.” He would never leave the Marine Corps behind, but it wasn’t until making Full Metal Jacket in the 80s that he would bring not only a real sense of authenticity to a Vietnam War film, but draw on his past experiences to create one of the most memorable characters of all time. Here’s how it happened… This video essay was written, edited, and narrated by Tyler Knudsen. The actor Kubrick first hired to play Gunnery Sergeant Hartman was Tim Colceri. Over the course of production, R. Lee Ermey, who was originally hired on as the technical advisor, found a way to ‘audition’ for the role despite it already being cast. Colceri would end up playing the door gunner who shoots at random civilians from the helicopter in the film, but the story of Colceri losing the role would certainly classify him as one of the most tortured Kubrick actors. This video essay was written, edited, and narrated by Tyler Knudsen. The second half of Stanley Kubrick’s Full Metal Jacket takes place in several locations around Vietnam. For a variety of reasons, Kubrick wanted to do all of the filming near his home in England, but how do you make a Vietnam movie in England? By sheer chance, the production managed to find an abandoned gasworks just outside of London that they could shoot in and because the gasworks was already set for demolition, Kubrick was able to turn the location into perhaps the biggest and most unusual movie set in the history of cinema. This is the story of how Kubrick managed to recreate Vietnam in England. This video essay was written, edited, and narrated by Tyler Knudsen. The most difficult and challenging thing about directing a film is getting out of the car. —Stanley Kubrick (inside his Mercedes, one morning during the filming of Full Metal Jacket) Here are several photos taken behind-the-scenes during production of Stanley Kubrick’s Full Metal Jacket. Photographed by Delton Anderson & Matthew Modine © Natant, Stanley Kubrick Productions, Warner Bros. Intended for editorial use only. All material for educational and noncommercial purposes only.
205	dbpedia	1	9	https://www.cinema.com/people/002/096/douglas-milsome-bsc/	en	Douglas Milsome, BSC			[ "https://www.cinema.com/affiliates/bet.me/header.gif", "https://www.cinema.com/images/toolbar.gif", "https://www.cinema.com/images/twitterLogo.png", "https://www.cinema.com/image_lib/22427_fp_side.jpg", "https://www.cinema.com/images/fp_bluemore.gif", "https://www.cinema.com/images/front_page_comp.gif", "https://www.cinema.com/images/fp_bluemore.gif", "https://www.cinema.com/images/fp_bluemore.gif", "https://www.cinema.com/affiliates/bet.me/footer.gif" ]	[]	[]	[ "Douglas Milsome", "BSC", "biography", "news", "filmography" ]	null	[]	null	Douglas Milsome, BSC				null	In his long and varied career, Doug Milsome has received numerous accolades for his extensive work in film and television. Milsome was nominated for two Emmy Awards and received the ASC Award for CBS's "Lonesome Dove" and "Loneseome Dove II, The Return", the latter of which he was a director. He also received an Academy Award nomination and the British Critics Circle Award for his work on Stanley Kubrick's Full Metal Jacket. Milsome also received a British Film Institute award for camera operation on the original Highlander. Milsome has worked extensively with many top film directors including Stanley Kubrick (Full Metal Jacket and The Shining), Michael Cimino (Desperate Hours and Sunchaser), Kevin Reynolds (The Beast and Robin Hood: Prince of Thieves) and Michael Mann (Last of the Mohicans). M ilsome's other film credits include Body of Evidence, Breakdown, Hawks, Sunset Grill and Highlander- End Game. Milsome also has several television credits to his name including "Glory and Honor" on TNT, "Liz" The Liz Taylor story for NBC, "Diana: Her True Story" for NBC, "Great Expectations" and "The Old Curiosity Shop," both for the Disney Channel, and "Seasons of the Heart" for Showtime. BRYCE PERRIN (Production Designer) Australian-born Bryce Perrin has over 15 years of experience in production design, art direction and set design. Most recently, he designed Fox 2000's horror-comedy Ravenous, starring Robert Carlyle and Guy Pearce, for director Antonia Bird. His other production designer credits include such critically-acclaimed independent productions as Sound of One Hand Clapping, which debuted at the 1999 Berlin Film Festival; Kiss of Fire for director Antonio Tibaldi, Nevada, and the Icelandic adventure The Viking Sagas. He has also served as art director and set decorator on a number of other notable productions, including Legends of The Fall," El Patrullero; Old Gfingo and Walker.
205	dbpedia	2	49	https://www.sebcamco.com/products/body-of-evidence-rated-r	en	Body of Evidence [Rated R]	http://www.sebcamco.com/cdn/shop/products/s-l1600_73_600c944e-3055-4a08-9d2f-52d59745104e_grande.jpg?v=1492734132	http://www.sebcamco.com/cdn/shop/products/s-l1600_73_600c944e-3055-4a08-9d2f-52d59745104e_grande.jpg?v=1492734132	[ "https://www.sebcamco.com/cdn/shop/t/4/assets/logo.png?v=64399227755593002321614225366", "https://www.sebcamco.com/cdn/shop/products/s-l1600_75_5c35167c-4473-4946-97d3-cbc838b9967f_1024x1024.jpg?v=1492734128", "https://www.sebcamco.com/cdn/shop/products/s-l1600_75_5c35167c-4473-4946-97d3-cbc838b9967f_grande.jpg?v=1492734128", "https://www.sebcamco.com/cdn/shop/products/s-l1600_74_d66359c5-ad61-4e25-ae19-1f309e00aebd_grande.jpg?v=1492734130", "https://www.sebcamco.com/cdn/shop/products/s-l1600_73_600c944e-3055-4a08-9d2f-52d59745104e_grande.jpg?v=1492734132", "https://www.sebcamco.com/cdn/shop/products/DSC07870_large.JPG?v=1525635433", "https://www.sebcamco.com/cdn/shop/products/s-l1600_89_b1306660-576a-4175-84f4-d8b99bc04267_large.jpg?v=1493693577", "https://www.sebcamco.com/cdn/shop/products/DSC00134_large.JPG?v=1483816694", "https://www.sebcamco.com/cdn/shop/products/25319670_10159649497710321_1797927795_o_large.jpg?v=1513065387" ]	[]	[]	[ "" ]	null	[]	null	1993, NTSC. Rated R version Body of Evidence is a 1993 American erotic thriller film produced by Dino De Laurentiis and distributed by Metro-Goldwyn-Mayer and originally had the rare NC-17 rating. It was directed by Uli Edel and written by Brad Mirman. The film stars Madonna and Willem Dafoe, with Joe Mantegna, Anne			Championship Vinyl	https://www.sebcamco.com/products/body-of-evidence-rated-r	1993, NTSC. Rated R version Body of Evidence is a 1993 American erotic thriller film produced by Dino De Laurentiis and distributed by Metro-Goldwyn-Mayer and originally had the rare NC-17 rating. It was directed by Uli Edel and written by Brad Mirman. The film stars Madonna and Willem Dafoe, with Joe Mantegna, Anne Archer, Julianne Moore and Jürgen Prochnow in supporting roles. The first theatrical release was censored for the purpose of obtaining an R rating, reducing the film's running time from 101 to 99 minutes. The video première, however, restored the deleted material. Madonna's performance in the film was universally derided by film critics and it marked her fourth film acting performance to be widely panned Body of Evidence also exacerbated an already burgeoning controversy about Madonna's frequent association with pornography. Before its release she had already published her softcore coffee table book Sex, and the film features her and Dafoe's characters in graphic scenes
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"https://0.gravatar.com/avatar/3581ff7f9c5f480443c5641e1670405354b5a922fbd688a1acdf026936272830?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/4eaae99724422c05da6fcda1a2a39d8db643f0238480e592804040a51d84c948?s=48&d=identicon&r=G", "https://secure.gravatar.com/blavatar/8f0354128976f3bd2521307c5e8fbe81f3d8ec62bf891280bc307878ae38cb57?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/8f0354128976f3bd2521307c5e8fbe81f3d8ec62bf891280bc307878ae38cb57?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2016-02-03T00:00:00	Body Of Evidence (1993) Directed by Uli Edel. With Madonna, Willem Dafoe, Joe Mantegna, Julianne Moore, Anne Archer and Frank Langella. Released just one-year after the success of Basic Instinct, it's hard to see Uli Edel's Body of Evidence and anything other than an all-star, bargain basement rip-off. Fronted (fully) by Madonna, at perhaps the…	en	https://secure.gravatar.com/blavatar/8f0354128976f3bd2521307c5e8fbe81f3d8ec62bf891280bc307878ae38cb57?s=32	Gareth Rhodes Film Reviews	https://garethrhodes.wordpress.com/2016/02/03/body-of-evidence-1993-film-review-by-gareth-rhodes/	Body Of Evidence (1993) Directed by Uli Edel. With Madonna, Willem Dafoe, Joe Mantegna, Julianne Moore, Anne Archer and Frank Langella. Released just one-year after the success of Basic Instinct, it’s hard to see Uli Edel’s Body of Evidence and anything other than an all-star, bargain basement rip-off. Fronted (fully) by Madonna, at perhaps the peak of her fame, the film aims to get its male-targeted audience hot under the collar, but rather than doing so, succeeds only in being an exercise in endurance. The IMDb synopsis says it best; “A woman is accused of killing a man to inherit his millions by having sex with him”. Madonna just can’t seem to help herself. I have always admired her for taking risks, but this seems like a strange one, even for her. Of course, she isn’t celebrated as an actress, but what makes this worse, is that the director seems all too aware of it. Oddly, aside from the cringe-inducing sequences of “making love” (she seems to endlessly spout that sickly term), Madonna spends much of the film as a silent spectator. Yes, there’s sex, and lots of courtroom stuff, little of which requires Madonna to open her mouth and speak. When she does talk, it’s to say phrases like the one she aims at Willem Dafoe when she turns and says – “Have you ever seen animals make love”? Eurgh! There’s a sense that Edel, and Madonna, are trying to go one further than Paul Verhoeven and Sharon Stone in Basic Instinct here, as her Madge-esty plays the ice-cool femme fatale, walking that tightrope of dangerous seduction. Sadly, the imitation game of aping Basic Instinct means they immediately wobble and fall off that tightrope, as Edel’s film begins like a note-for-note copy of Verhoeven’s trashy classic, attempting to hitch a ride on the same wave.
205	dbpedia	3	91	http://www.visual-memory.co.uk/faq/index3.html	en	The Kubrick FAQ Part 3			[ "http://www.visual-memory.co.uk/faq/images/faq.gif", "http://www.visual-memory.co.uk/faq/images/tinyb.gif", "http://www.visual-memory.co.uk/faq/images/tinyb.gif", "http://www.visual-memory.co.uk/faq/images/playboys.jpg", "http://www.visual-memory.co.uk/faq/images/tinyb.gif" ]	[]	[]	[ "Kubrick", "Stanley Kubrick", "Stanley Kubrick FAQ", "Kubrick FAQ", "alt.movies.kubrick faq", "Stanley Kubrick", "2001: A Space Odyssey", "Barry Lyndon", "The Shining", "Full Metal Jacket", "Eyes Wide Shut", "Lolita", "Dr. Strangelove", "Spartacus", "The Killing", "A Clockwork \nOrange", "Killer's Kiss" ]	null	[]	null	The Kubrick FAQ is a scholarly examination of the films of the great American film director, Stanley Kubrick, drawn from the posts of the alt.movies.kubrick newsgroup.		favicon.ico		null	frequently asked questions part 3 22/ Can you suggest some good WWW links for Kubrick info? Kubrickfilms.com - The Authorized Stanley Kubrick Web Site. Warner's Stanley Kubrick site is sanctioned by his family and has the potential to be an important Kubrick resource. Currently there are some good things in it; information you will not have read before and a few rare photographs. But it's a shame, given the considerable resources of Warners, that Kubrickfilms.com cannot not (as yet) be considered a serious contender for the best Kubrick site on the web. Two major disadvantages are that it isn't updated as regularly as it should be, and it is built in Macromedia Flash, which means accessing the site can be a slow business. I ask myself, does an artist like Kubrick really benefit from this bangs and whistles style of presentation? The Kubrick Site is the WWW resource of alt.movies.kubrick and is probably the best Kubrick site on the web - a collection of interviews, film scripts and excellent essays of in-depth critical appreciation - many of which are exclusive to the site. There is a slightly disproportional amount of information on 2001 compared with other Kubrick films. Recent additions to the site include the original script for "Eyes Wide Shut" and an exclusive interview with Dan Richter who played Moon Watcher in "2001." Kubrick Multimedia Film Guide One of the best known Kubrick sites boasting a beautifully designed interface, great stills, an excellent filmography and even a discussion forum. The site is updated regulary so is worth visiting on a regular basis. Look out for the new additions like the Kubrick image gallery, poster gallery, Eyes Wide Shut noticeboard and breaking news on Speilberg's film of Kubrick's AI. Other recommended sites Kubrick On The Web The original alt.movies.kubrick FAQ explores some questions in minute detail and contains a lot of information and speculative interpretations of Kubrick's work culled from the postings of amk circa 1995/96. Its no exaggeration to say that the material is heavily biased towards "2001" but the insights are thought provoking. The FAQ has now, for the most part, stopped being updated, (hence the existence of this site!) although you can download an recently compiled acrobat file of reviews and opinions of Eyes Wide Shut. Kubrick the Master Filmmaker Contains some well researched information, an excellent biography, some unique material such as a list of Kubrick homages in other films, comprehensive review of Kubrick books, a mini FAQ, and a trivia quiz! Stanley Kubrick - 1928 - 1999 This site stopped being updated on September 4 1999 and is now only available as an archive. Nevertheless it contains a lot of excellent information on Eyes Wide Shut, and much material on Kubrick unique to the Internet, such as reviews and critical writings. Not the sleekest designed site or the easiest to navigate, but well worth taking the time to explore in some detail because there are some treasures to be found here. New York Times This is a great resource. Practically every story the New York Times has run on SK has been archived here. The articles cover the whole span of Kubrick's career from a review of Fear and Desire (1953) to articles on Eyes Wide Shut (1999). Users have to fill out a subscribe form before they can access the site. Stanley Kubrick Links A pretty comprehensive list, although way the information is presented does not discriminate between good and er... less good Kubrick sites. Nevertheless, don't bother with the vagaries of search engines, your search for Kubrick stuff on the Internet should start here. RM 23/ What's the best Biography of Kubrick? Nick James Which of the books is the most unreliable? Christiane Kubrick The Baxter and The Raphael [...] Katharina Kubrick Anya said that the more she reads about daddy, the more she thinks that Howard Hughes was probably a perfectly normal person. (1) ***** What is very apparent from a trawling through the published Kubrick biographies, is that the definitive book on Kubrick's life is yet to be written. Given the subject's strong aversion to publicity in his lifetime, and the fierce loyalty he inspired in those who knew him even after his death, it is a frankly doubtful whether a definitive biography ever could be written. Certainly those biographers who are skilful enough to be able to fully explore and evaluate the many paradoxes that Kubrick presents us with, may think twice before tackling such an inaccessible subject. That said, those seeking to unravel the contradictions of so complex a man would do well to read Michael Herr's excellent articles for Vanity Fair now also available in book form (2). There is more genuine insight in the 20 or so pages Herr has written than in all the pages of Baxter and Lobrutto's books combined. This section has grown somewhat of late to include reviews of current Kubrick books in print. RM Stanley Kubrick : A Biography by John Baxter Paperback - 384 pages (October 1997) (US) Carroll & Graf; ISBN: 0786704853 John Baxter's "Kubrick" dwells on reports of the directors's behaviour, and addresses itself to Hollywood as a big power game - signs of a sensationalist author. This flimsy work is nothing more than a platform from which he vents his criticism of the Stanley Kubrick myth, which is unquestioningly equated with Stanley Kubrick the man. Written in an efficient journalistic style, the Biography really falls down on it's lack of research - he even manages to get Kubrick's birth date wrong! The fact that much of the material is taken from second hand sources often with no accreditation including: large portions of Malcolm McDowell interview from Paul Joyce's film The Invisible Man, (3) some quotes from Brian Aldiss' found in his autobiography and portions of Alexander Walkers Biography "Stanley Kubrick Directs." An aggrieved Walker went on record to accuse Baxter of: "using them to furnish hostile evidence of a passive-aggressive film-maker getting his way by attrition, consumed by phobias, riddled by misanthropy, cold in style and heartless in manner." Gordon Stainforth who worked with SK remarked: "John Baxter's book fell into the trap of so many, I think, of seeming to have decided what Stanley was like before he had even started to write the book, based on the myth of the 'difficult tyrant', and I think the picture he thus paints is about 95% wrong!" In truth, all these criticisms miss their target, because even a cursory glance at the text reveals Baxter to be an journalist not visited by the kind of scruples that would trouble a serious biographer. The result is that his book is very cynical and very complacent - a homage to muck raking. RM Stanley Kubrick : A Biography by Vincent Lobrutto Paperback - 606 pages (April 1999) (US) Da Capo Pr; ISBN: 0306809060 LoBrutto is a film historian and editor who teaches at the School of Visual Arts in Manhattan. His Stanley Kubrick biography is brilliantly researched, but written in a rather pedestrian way. Often the same information is repeated verbatim a little later on in the text, and some sentences are so poorly worded that you wonder if he wasn't doing it for a comic effect. For example, from page 303 of the US hardback edition: "The Star Gate segment which concludes the film, earned 2001 its reputation with the children of the Age of Aquarius as the penultimate 60s film...". Errors like these make the book appear rather unpolished, although this may not be entirely the fault of LoBrutto, as they should have been corrected at the editing/ proof-reading stages. The biography is a bit of an insight free zone, LoBrutto's doesn't attempt to paint psychological portrait of Kubrick. Alexander Walker says of it: When you finish the 579 pages, you know virtually everything about Kubrick - more, certainly, than you wished - and still understand nothing. I do not think a single anecdote has been omitted, true or apocryphal, but their place in Kubrick's cultural and psychological make-up is as empty as the space that should have been devoted to examining the place where truth about both can be found - in the films.". On the positive side LoBrutto's approach to his subject is much more even-handed than Baxter's - It's instructive to read both back to back and compare how each handles the presentation and interpretation of what is mostly the same source material. The big plus point about LoBrutto's Stanley Kubrick though is that it is, for the most part, accurate - which makes it the best Kubrick biography so far and the book I tend to reach for whenever I want to check a Kubrick fact. RM &amp ME Eyes Wide Open: A Memoir Of Stanely Kubrick And Eyes Wide Shut by Frederic Raphael Hardcover - 186 pages 1999 Orion Book Ltd. Upon its release, this book prompted Christianne Kubrick to issue a strongly worded protest on her web page about its accuracy and his exploitative intentions. I would not wish to disagree with her assessment but my impression is that it was not Raphael intention to harm Kubrick's reputation, although his motivation for writing the book was undoubtedly a financial one. Michael Herr's assessment sums it up best: "it wasn't just that it was so antagonistical to Stanley, or even that it was so bitter and self-humiliating, but that is was so unfailingly patronizing. Stanley, we gather, hadn't been sufficiently deferential to Raphael's credentials, to his academic attainments and his immense store of knowledge, his often unfortunate command of foreign words and phrases and the insolent presumptions of superiority that came along with it all, however unentitled. We read of Stanley the tyrant, secretive Stanley, Stanley, and a new one - particularly distasteful because it was so gratuitously trumped up as to look like a mere projection - Stanley the self-hating Jew." Perhaps "Eyes Wide Open," Rather than being "A Memoir Of Stanley Kubrick," should be re-titled "An Account Of Failure;" Raphael's failures to write a script that satisfies Kubrick, his failure to befriend Kubrick, and ultimately his failure to penetrate Kubrick's enigma. As an account of a screenwriter coming to terms with these failures it is of marginal interest only. Perhaps then its rush-release, so soon after Kubrick's death, is merely Raphael's attempt to salvage something for himself. RM Stanley Kubrick Director by Alexander Walker, Sybil Taylor, Ulrich Ruchti Hardcover - 368 pages Rev & Exp edition (US) W.W. Norton & Company; ISBN: 039304601X Alexander Walker's revised and updated edition of his excellent 1971 'Stanley Kubrick Directs written in collaboration with journalist Sybil Taylor and designer Ulrich Ruchti is a great disappointment. The new sections dealing with the later films from Barry Lyndon to Eyes Wide Shut give the impression that they were rather thrown together and sit ill with the insightful and carefully researched pieces on the films prior to, and including A Clockwork Orange. As part of the new additons, there is a laughably inept essay on Kubrick's use of colour "..the artist Joseph Albers writes "if one says red... and there are fifty people listening, it can be expected that there will be fifty reds in their minds.... all different" Not so perhaps when there are fifty people looking" (well yes quite!). Also the illustrations are mainly high contrast black and white stills and look as if they were prepared on a school photocopier - all this for $35 (US), £25 (Sterling). If you are thinking of buying Stanley Kubrick Director, the advice is, if you don't own a copy of "Stanley Kubrick Directs," buy this book, if you do: AVOID. RM The Stanley Kubrick Companion by James Howard Paperback - 192 pages B T Batsford Ltd; ISBN: 071348487X List Price: $22.95 (US), £15.99 (UK) "The Stanley Kubrick Companion" (by sometime amk contributor James Howard) is a very readable well researched and clearly written introduction to Kubrick's work. It is not a biography but an appreciation of the films, from his early shorts to Eyes Wide Shut; written with a generosity of spirit towards Kubrick which is so lacking in some other Kubrick books. Although its pitched at the commercial end of the market, and therefore only intended as an introduction, "The Stanley Kubrick Companion" nevertheless manages to unearth some new information, due to some fastidious research and a fresh approach. James Howard is also to be congratulated for including some background information on the historical events that informed the films - for instance background on the nuclear arms race in the chapter on Dr Strangelove. Kubrick never worked in a historical vacuum, although this may have been overlooked by critics at the time because people could not help but be aware of issues like say the Cold War in 1963 when Strangelove was released: or the moon landing in the case of 2001. But times have changed, and the inclusion of a historical perspective adds greatly to the appreciation of Kubrick's work for a new generation. On the downside, Howard is guilty of some blunders, the biggest being the misappropriation of Katharina Kubrick's parentage, and the section on Eyes Wide Shut was written before the film was released and suffers accordingly, but these are mere quibbles and do not overshadow what is the best of the crop of recent Kubrick books. RM Notes: (1) Quotations taken from an interview in Sight and Sound Magazine Sept. 1999 (back) (2) Kubrick by Michael Herr, Published by Grove Press; ISBN: 0802116701. His first Vanity Fair article is available online at Stanley Kubrick 1928 - 1999 (back) (3) A Kubrick FAQ review of The Invisible Man can be found on this page (back) 24/ Is it true that.....? "Part of my problem is that I cannot dispel the myths that have somehow accumulated over the years. Somebody writes something, it's completely off the wall, but it gets filed and repeated until everyone believes it. For instance, I've read that I wear a football helmet in the car." (1) Stanley Kubrick *** "All the things people believe they know about Stanley they get from the press, and the entertainment press at that. Almost none of these reporters ever met him, because he thought you had to be crazy to do interviews unless you had a picture coming out, and even then it had to be very carefully managed. It wasn't personal with him but I think it became personal with a lot of them. [...] So I can see in a time when so many celebrities are so eager to hurl themselves into our headlights, where anyone who doesn't want to talk with the entertainment press might seem eccentric, reclusive, and misanthropic; crazy, autocratic and humorless; cold and phobic and arrogant." (2) Michael Herr *** ........Kubrick wouldn't fly ? Yes. Kubrick did not fly even though he was a licenced pilot Kubrick himself put it this way. "Call it enlightened cowardice, if you like. Actually, over the years I discovered that I just didn't enjoy flying, and I became aware of compromised safety margins in commercial aviation that are never mentioned in airline advertising. So I decided I'd rather travel by sea, and take my chances with the icebergs [...] I am afraid of aeroplanes. I've been able to avoid flying for some time but, I suppose, if I had to I would. Perhaps it's a case of a little knowledge being a dangerous thing. At one time, I had a pilot's licence and 160 hours of solo time on single-engine light aircraft. Unfortunately, all that seemed to do was make me mistrust large aeroplanes." Christiane Kubrick explained her husband's fear of flying to journalist Peter Warren. "As a photographer for Look magazine early in his career he had to learn to fly and nearly crashed his plane. Shortly after, a colleague was killed piloting a plane and for some reason his camera and notebooks, horribly squashed and burnt, were sent to Kubrick. It traumatised him. But it was only when he flew to Spain to film Spartacus that the reaction hit him. Terribly ill, in a state of nervous shock, the return flight was his last." (3) ........wouldn't allow his chauffeur to drive him more than 30 miles per hour? No. Christiane Kubrick said that rumour started because he hurt his back and couldn't move, so he chose to be driven at thirty miles an hour, rather than staying at home and recouperating in bed, which he should have done. (4) Kubrick remarked to Tim Cahill, "In fact, I don't have a chauffeur. I drive a Porsche 928S, and I sometimes drive it at eighty or ninety miles an hour on the motorway." (4a) Kubrick owning a Porsche was confirmed by Alexander Walker in his book, 'It's Only A Movie Ingrid: " I noticed a beautiful white Porsche standing in the forecourt of his mansion. It was a thoroughbred among work-horse Range Rovers and trucks in the adjoining stable. [...] Now Kubrick's concern for his physical safety is well known. He doesn't even use commercial aircraft [...] He views speed with the same scepticism. He has been known to ring off his car phone if he is approaching an intersection then call back once he has safely negotiated the crossing. So I was surprised to discover that the Porsche belonged to him. Yet considered simply as a piece of superb engineering, the car makes a statement about its owner that has absolutely nothing to do with status. It is "the works" in it that he admires" Michael Herr reported that Kubrick" drove the white Porsche that he supposedly used only to tool around his driveway in. He handled the stick with great proficiency. He drove at speeds above 60, and neither of us wore crash helmets. ........was a chess Grand Master? No. Although his playing was of a very high standard. In his late teens, early twenties Kubrick was a chess 'hustler' playing for quarters in Washington Square, Manhattan. He estimated that he used to earn as much as three dollars a day, which, as he once said, "goes a long way if all you are buying with it is food." (5) ........... was an obsessive perfectionist. Depends how you define the terms, certainly it can be said that Kubrick's obsessive and perfectionist tendencies did not stray beyond the boundaries of sanity, but it's also true that he would pursue a goal beyond the point that others would have thought to abandon it (which is one of the reasons he is an extraordinary director). As the following quotations reveal Kubrick always followed his instincts as an artist, and readily threw away an idea worked out with painstaking effort for a better one, though up on the spur of the moment, even if the former had been a long time in the planning. He once remarked: "I think it was Joyce who observed that accidents are the portals to discovery. Well, that's certainly true in making films. And perhaps in much the same way, there is an aspect of film-making which can be compared to a sporting contest. You can start with a game plan but depending on where the ball bounces and where the other side happens to be, opportunities and problems arise which can only be effectively dealt with at that very moment. And when asked how much planning he did before he shot a scene he replied "As much as there are hours in the day, and days in the week. I think about a film almost continuously. I try to visualise it and I try to work out every conceivable variation of ideas which might exist with respect to the various scenes, but I have found that when you come down to the day the scene is going to be shot and you arrive on the location with the actors, having had the experience of already seeing some of the scenes shot, somehow it's always different. You find out that you have not really explored the scene to it' fullest extent. You may have been thinking about it incorrectly, or you may simply not have discovered one of the variations which now in context with everything else that you have shot is simply better than anything you had previously thought of. The reality of the final moment, just before shooting, is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless adjust to it, adapt to it and accept the times terrifying weaknesses it can expose, you can never realise the most out of your film." (6) ........lived as a recluse? Definitely not. Many people who knew Kubrick have gone on record to contest this rumour Steven Spielberg said of him something to the effect that, he was more in touch with Hollywood than most of the people who lived there. Jocelyn pook who composed the original score for Eyes Wide Shut said: "I found him really courteous and considerate and warm and encouraging....This crap about him being a recluse is just crazy; he was somebody who enjoyed working. It doesn't mean he's a recluse because he doesn't court the media. He seemed quite the normal person to me." (7) Julian Senior, Warner Brothers European Executive said: "To say he was reclusive is not true, He didn't want a photo spread about himself in Hello magazine, but he was aware of everything going on and especially with what was going on with his beloved New York Yankees. He loved life, he loved chess, he loved documentaries. You'd go over to his home and there'd be John le Carré in his kitchen. He was not reclusive at all." and Wendy Carlos said: "A true recluse does not enjoy meeting new people, having hour-long phone calls with friends and associates, and inviting many of the most able people in a given field to come work with him." Michael Herr said of Kubrick's famed reclusiveness: "He was in fact a complete failure as a recluse, unless you believe that a recluse is someone who seldom leaves his house [...] he was one of the most gregarious men I ever knew, and it didn't change anything that most of this conviviality went on over the phone." Director John Borman recalled that he met Stanley throught the telephone, for several years and spoke to him regularly and at one point he said, "Stanley, we should meet up and have dinner" and [Kubrick] said, "Why should we meet? We have a perfectly good telephonic relationship." (8) RM Notes: (1) Stanley Kubrick Quote taken from the Rolling Stone interview available on The Kubrick Site (back) (2) Quotation taken from Michael Herr's Vanity Fair article on Kubrick. (other quotations accredited to Michael Herr are also from the same article). (back) (3) The article, Myths and the legend of KUBRICK by Peter Warren, from which this quotation is taken can be read on line at http://www.lineone.net/express. (back) (4) Taken from a remark Christiane Kubrick made to Nick James: Sight and Sound Magazine (September 1999 issue). (back) (4a) In spite his claim to the contrary, Kubrick did have a driver, Emilio D'Alessandro, who was on his staff since the mid sixties and frequently mentioned in personal recollections by the likes of Anthony Burgess, Jeremy Berstein, Brian Aldiss and Sara Maitland. (back) (5) Quotation taken from 2001 foyer program available online in both text form at The Kubrick Site and with images at The 2001: A Space Odyssey Program (back) (6) Quotations taken from Joseph Gemelis and Michel Ciment interviews available online at The Kubrick Site (back) (7) Quotation taken from Pook interview in New Times Los Angeles Online (back) (8) Michael Herr quotation from his book "Kubrick". John Borman quotations taken from "The Last Movie: Stanley Kubrick & Eyes Wide Shut" a film by Paul Joyce. (back) 25/ Did Kubrick make an appearance in any of his films a la Hitchcock? "Acting is an amazing, part crazy, part magical gift, an actor's power rests in his ability to create emotion in himself, and thus in the audience. The ability to cry at the crack of a clapper board is a very strange and rare talent. Stanley Kubrick *** He never had the impulse to slip around to the other side of the camera like Orson Welles or John Huston or Hitchcock. I think he felt that he impressed quite enough of himself on his films without that. Michael Herr *** There are no Kubrick performances in the sense of a walk-on part or cameo, although here are a few appearances Lolita In the first shot inside Quilty's mansion, Kubrick is a shadowy figure walking out of the frame on the right side. It's very bizarre and pointless, but you can see it if you go frame by frame. SK's distinctive hairline is in view in one frame. 2001 An accidental appearance, his reflection can be seen in the space helmets after the astronauts have descended the ramp leading to the excavated monolith in the Tycho crater on the moon. 2001 Katharina Kubrick Hobbs recently revealed to alt.movies.kubrick that the breathing heard in the Discovery section of 2001, when Bowman and Poole go spacewalking, is done by Stanley. She writes: "I only found out who was "breathing" myself last night. Mum and I were talking about the [New Years day National Film Theatre] screening at dinner. I said that I thought Keir Dullea's appropriately paced breathing was very effective. She then told me it was Daddy. Gulp! A Clockwork Orange In the Chelsea drug store in A Clockwork Orange, a man possibly Kubrick is on the right with his back to the camera. The Shining Kubrick was thought to have played Charley, the Radio 63, K.H.O.W. radio station weather. Gordon Stainforth writes: "As I have said before (I'm sure), we have Stanley's voice in The Shining talking about the weather on the radio when Halloran is coming to the rescue in the snowcat. 'It's what you call your bad day out there' etc. I'm about 99.9 percent certain that is Stanley's voice - I remember him going off to record it one lunchtime with [one of the sound editors on the film] Wyn Ryder. It certainly sounds just like him." However, Denver resident Kenneth Walters responds, "That is not Kubrick's voice, it belongs to radio personality Charley Martin.Hal & Charley (Hal Moore and Charley Martin) were the drivetime team on AM 630 KHOW (Denver) for over 25 years.Since I grew up listening to those voices, I know that voice belongs to Charley, it has his particular vocal cadence and mannerisms, there's no doubt in my mind that is Charley Martin's voice, not Stanley's. Perhaps Gordon Stainforth's recollection is right and Kubrick did record something but later decided to use the actual radio host's voices, who knows? All I know is I've driven through quite a few bad snowstorms listening to Hal & Charley for updates on road closures and chain law restrictions, that was a nice touch of realism." Full Metal Jacket You can here his voice as Murphy, this was confirmed to amk by Gerard Maguire: "Murphy's voice was recorded at Delta Sound in Shepperton by Stanley. He simply spoke into one of the walkie-talkies that he always used. It was then recorded by the simple means of placing a microphone next to the receiving walkie-talkie in another room. The whole thing start to finish took no more than a couple of takes." The film Director featured in Full Metal Jacket isn't Kubrick, despite a passable resemblance, and numerous newgroup posts attesting that he is. Eyes Wide Shut A man resembling Kubrick is seen when Bill meets Nightingale in the Cafe Sonata. You can see him at one of the tables, talking to a woman just as Nick sits down. This man wasn't Kubrick, a fact confirmed by his daughter Katharina Kubrick Hobbs on amk. However Katharina and Kubrick's assistant Emilio D'Alessandro both appear in the film. Katharina and her son are the patient and mother in Dr Bill's surgery and Emilio is the newspaper seller Dr Bill stops to buy a paper from when he is being stalked by the mysterious bald man. RM, FQ, ME, KKH, GS 26/ What films/filmmakers impressed Kubrick "There are very few directors, about whom you'd say you automatically have to see everything they do. I'd put Fellini, Bergman and David Lean at the head of my first list, and Truffaut at the head of the next level." Stanley Kubrick (1966) *** "He watched The Godfather again [...] and was reluctantly suggesting for the 10th time that it was possibly the greatest movie ever made and certainly the best cast" Michael Herr (1999) writing in Vanity Fair. *** In 1963 he was asked by the US publication Cinema to compile a list of his favourite films They were: I Vitelloni (Federico Fellini, 1953), Wild Strawberries (Ingmar Bergman, 1958), Citizen Kane (Orson Welles, 1941), The Treasure of the Sierra Madre (John Huston, 1948), City Lights (Charles Chaplin, 1931), Henry V (Laurence Olivier, 1945), La Notte (Michelangelo Antonioni, 1961), The Bank Dick (W.C. Fields, 1940), Roxie Hart (William Wellman, 1942), Hell's Angels (Howard Hughes, 1930). Q: Have the works of certain directors, or pictures, been milestones for you? SK: "I believe Bergman, De Sica, and Fellini are the only three filmmakers in the world who are not just artistic opportunists. By this I mean they don't just sit wait for a good story to come along and then make it. They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them." Kubrick was known to be a fan of the German director Max Ophuls, "Highest of all I would rate Max Ophuls, who for me possessed every possible quality. He has an exceptional flair for sniffing out good subjects, and he got the most out of them. He was also a marvellous director of actors." and his use of tracking is especially reminiscent of Ophuls work - "I particularly admired his fluid camera techniques." Compare the barracks scene of Hartman in Full Metal Jacket with Peter Ustinov Circus master in Lola Montes (1955). Elia Kazan: "without question the best director we have in America. And he's capable of performing miracles with the actors he uses." In later decades it was reported that he was also very fond of Kieslowski's Dekalog (1) series of films contributing a forward to the published screen plays as well as reportedly lending a copy to Frederic Raphael when they began their collaboration on the script of Eyes Wide Shut. He said of Krzysztof Kieslowski and his co-author, Krzysztof Piesiewicz: "it should not be out of place to observe that they have the very rare ability to dramatise their ideas rather than just talking about them [...] They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart." Katharina Kubrick-Hobbs was asked on amk about her father's favourite films, she responded: "...he loved FILM, period. Obviously the "great" film directors that this group knows so well were also appreciated by Stanley. He watched them all. Even bad films have good moments,or interesting shots in them. But there does seem to be a weird desire from people to "list" things.The best, the worst. greatest,most boring etc.etc. For the record, I happen to know that he liked: Closely Observed Trains- (Jiri Menzel, 1966) An American Werewolf in London (John Landis, 1981) The Fireman's Ball (Milos Forman, 1967) Metropolis (Fritz Lang , 1926) Spirit of the Beehive (Victor Erice, 1973) White Men Can't Jum (Ron Shelton, 1992) Beauty and the Beast (Jean Cocteau,1946) The Godfather (Francis Ford Coppola, 1972) Texas Chainsaw Massacre (Tobe Hooper, 1974) Dog-day Afternoon (Sidney Lumet , 1975) One Flew Over The Cuckoo's Nest (Milos Forman, 1975) Citizen Kane (Orson Welles, 1941) Abigail's Party (Mike Leigh, 1979) Silence of the Lambs (Jonathan Demme , 1991) and I know that he hated "The Wizard of Oz" Ha Ha! Don't go analysing yourself to death over this half remembered list. He liked movies on their own terms." David Lynch also talks about Eraserhead being one of Kubrick's favourite films in Lynch On Lynch. Apparently he met some people from Lucasfilm when The Elephant Man was being shot and was told by them that Kubrick had screened Eraserhead for them. Another film Kubrick was reported to have admired was Michael Moore's Roger & Me and Jan Harlan added Tarkovsky's Solaris , Carlos Saura's Blood Wedding and Edgar Reitz's Heimat to this ever growing list. KKH, RM, ME, FQ, AF Note: (1) "Dekalog," also known as "The Ten Commandments," is a series of 10 films originally made for Polish Television, although "Dekalog 5 - Thou Shalt Not Kill" and "Dekalog 6 - Thou Shalt Not Commit Adultery," were expanded and released in the cinema as, "A Short film About Killing" and "A Short film About Love." (back) 27/ I heard Kubrick was a hard taskmaster. Did anyone work with him more than once? "Tom and I had a different relationship with him than most actors -- usually it was about actors resisting him and the way he worked. But we didn't resist... Nobody was being exploited -- that is not Stanley Kubrick. But he could be very demanding? He was demanding, so demanding. In what way? Of your time, your concentration. He wanted it. He wanted... you. Wanted you to reveal things, be there for him at all times... He sounds quite controlling. It wasn't controlling; it was wanting you to be dedicated. Was Kubrick a father figure or friend? Both. Stanley was so different from how everyone perceived him. He was so nurturing toward me. Gentle." From Rolling Stone interview with Nicole Kidman *** "He isn't a tyrant. Stanley is quiet. He's intimidating only because of his enormous talent..." and "I have such admiration for him... I mean even after [doing so many takes] I thought, 'if he were to ask me to do another film, I'd do it.'" Anne Jackson, who played the doctor in The Shining *** The often repeated myth that Kubrick was a tyrant and someone who people only worked with once was rarely challenged despite being easily disproved. Even one of his biographers John Baxter, said of him: "Actors are drawn to him because of his undoubted skills and mystique, but they only work for him once. Even by Tinseltown standards he is a tyrant." In fact the opposite is true. Like Woody Allen, Kubrick gathered around him a loose 'repertory company' of actors and technicians, whose talents he regularly drew upon. Here is a list of those who have worked with him on more than one occasion. And this is by no means a definitive list! Actors Steven Berkoff: A Clockwork Orange, Barry Lyndon Timothy Carey: The Killing, Paths of Glory Kirk Douglas: Paths of Glory, Spartacus Sterling Hayden: The Killing, Dr. Strangelove Partick Magee: A Clockwork Orange, Barry Lyndon Godfrey Quigley: A Clockwork Orange, Barry Lyndon Leonard Rossiter: 2001, Barry Lyndon Peter Sellers: Lolita, Dr Strangelove Anthony Sharp: A Clockwork Orange, Barry Lyndon Philip Stone: A Clockwork Orange, Barry Lyndon, The Shining Frank Silvera: Fear and Desire, Killers Kiss Joe Turkel: The Killing, Paths of Glory, The Shining Margaret Tyzack: 2001, A Clockwork Orange Directors of Photography John Alcott: 2001 (additional photography), A Clockwork Orange, Barry Lyndon, The Shining Larry Smith: Eyes wide Shut, The Shining (Gaffer), Barry Lyndon (Chief Electrician) Douglas Milsome: Full Metal Jacket, The Shining (additional Photographer) , Barry Lyndon (focus puller) Set Design Ken Adam: Dr Strangelove, Barry Lyndon Music Wendy (formerly Walter) Carlos and Rachel Elkind: A Clockwork Orange, The Shining Editing Ray Lovejoy: Dr Strangelove (assistant editor) 2001, The Shining Special Effects Wally Veevers: Dr Strangelove, 2001 Executive Producer Jan Harlan: Eyes Wide Shut, Full Metal Jacket, The Shining, Barry Lyndon RM, ME Note: Kubrick the Master Filmmaker also has information on this topic. 28/ Did Kubrick ever take drugs? In photographs, especially ones taken in the 60s Kubrick is hardly ever seen without a cigarette, although he never experimented with harder drugs and, according to his family, (1) he only drank in moderation. When 2001 came out, its psychedelic imagery, prompted many an interviewer to put the durgs question to him. Here is an excerpt from a interview by Charlie Kohler, the East Village Eyes (1968). CK - Let's go back to the end of 2001. A lot of people are calling it "psychedelic." Was it an expressly designed psychedelic.... SK - Well, like "underground" films. "psychedelic" is becoming a catchphrase. It's just a convenient word. CK - But you didn't do any in-depth hallucinogenic research? SK - No. CK - Well, what about that whole drug scene? SK - I think that, as man frees himself from the workaday responsibilities of the modern world, as computers begin to take a more decisive role and everything becomes automated, there'll be more time for people to go into perception-enhancing experiences. There's no doubt that mind-enhancing drugs are going to be part of man's future. The brain is constructed the way it is today in order to filter out experience which doesn't have survival value in order to produce man the worker. As soon as man the worker loses some of his responsibilities, which he's rapidly doing in an automated society, the evolutionary development of the brain will not longer be particularly relevant. So I think that what may seem today like irresponsible action, at some point will seem completely valid and perhaps socially useful. I certainly don't think that drugs, which make everything seem more interesting that they might otherwise be, are a useful thing to the artist, because they minimise his powers of self criticism, or of trying to decide what's interesting. If everything becomes interesting to you and your mind begins to echo and resonate by looking at a piece of cellophane, it becomes awfully difficult to make any valid, artistic decisions. I think that drugs will be more useful for the artist's audience than for the artist. I'm talking particularly now, about the kind of phenomena one gets from acid. I haven't taken it, but from talking to friends who have, what I'm particularly struck by is their sense of everything being interesting and everything being beautiful, which does not seem and ideal state of mind for the artist. RM 30/ What documentaries are there about Kubrick? Making The Shining - Vivian Kubrick (1) UK BBC2, 1980 (show as part of the "Arena" series of arts programmes) Available in the US with the DVD release of The Shining Inevitably a subjective account of the director at work by his 18 year old daughter, who in true Kubrick fashion, operated all the camera and the sound equipment herself and filmed some 60 hours of material for a 25 minute programme. Making The Shining is a kind of miracle, in that it is an intimate, almost fly-on-the-wall portrait of the famously 'publicity shy' director at work, certainly more revealing than most portraits of directors at work this reviewer has seen. On first viewing, it seems slight and even quite slap-dash; the lack of any guiding narration, for instance, contributes to a sense of disorientation, giving the impression that what we are watching is nothing more than a series of unconnected incidents. It is only on subsequent viewings that Vivian's non-didactic approach to documentary making starts to bear fruit, the informality of her approach preserving truths about the film making process that a more structured documentary would have discarded. Vivian's free-roving, hand-held camera captures some candid moments in the filming, and these are combined with some equally revealing interviews of the cast and crew members, conducted in a more traditional and formal set-up by Leon Vitali and Ian Johnstone (although unfortunately Stanley Kubrick is not interviewed). All these factors elevate Making The Shining far above the crop of bland studio-made electronic press releases that accompany the opening of the majority of contemporary films. It's no Hearts of Darkness, but Making The Shining is one of the better documentaries about the film making process you are likely to see. Also well worth checking out is Vivan's charming director's commentary on the DVD of the Shining. RM The Invisible Man - Paul Joyce UK Channel 4, 1997 Running Time 49 mins approx Not available in the US This is, in parts, an informative and well-made portrait of Stanley Kubrick. Notable especially for its excellent picture research - (it even has a clip from Fear and Desire) and first-hand interviews with Ken Adam, Garrett Brown, Michael Herr and Malcolm McDowell. Where The Invisible Man falls down on occasions is its tendency to name-check all the clichés about Kubrick's perfectionism and his misanthropy, evidenced by the negative impressions of disgruntled ex-colleagues. The programme isn't always honest editorially in the way it manipulates the footage to fit in with its agenda, for instance it quotes part of the Shelley Duvall interview in Making The Shining when she talks about how she often resented Kubrick, but cuts off her concluding remarks that she learned more on this film than on all her other productions, and ended up respecting and liking him. Joyce recently said of his film: "I'm sure parts of it were upsetting and, in retrospect overstepped the mark." . (1) The sole analytical voice is provided by film critic David Thompson, who's commentary - apart from one nice observation where he compares Jack's physical appearance in the Shining with Kubrick's - is haughty in tone and less that inspiring in content, especially when he speculates somewhat condescendingly upon the character of Kubrick the man - who he obviously does not know. Consequently Paul Joyce's film loses focus towards the end, becoming a succession of talking heads talking up the Kubrick myth of difficult tyrant and proffering mostly disparaging remarks about the man himself. This does not make for an objective let alone insightful study of the director and his work. In its introduction, The Invisible Man trumpets Kubrick as one of the most important artist of the 20th Century, but by its conclusion the programme's sympathies seem to have allied themselves with those who say that the end did not justify the means, thus creating a yawning paradox which Joyce's film sadly does not address. The Last Movie: Stanley Kubrick & Eyes wide Shut - Paul Joyce UK Channel 4, September 5 1999 Running Time 49 mins approx Not available in the US The Last Movie: Stanley Kubrick and Eyes Wide Shut compliments and greatly enhances Paul Joyce's previous documentary about Kubrick (discussed above). In this film however there is not so much time devoted to Kubrick's films with the exception of Eyes Wide Shut, for it is a documentary about Stanley Kubrick the person. It almost goes without saying that "The Last Movie" is a vastly superior effort to its predecessor - it is probably the best documentary ever made about Stanley Kubrick. The is due to largely to the unprecedented access Joyce and his filmcrew negotiated with the Kubrick family. Viewers could see inside Childwick Bury for the first time (the driveway, the entrance, the garden, some corridors, a projection room and the family kitchen). There are candid interviews with Kubrick's wife Christaine and two of their three daughters, Katharina and Anya. (Vivian was absent, as she lives in the US). There are also interviews with a number of SK's collaborators, notably Brian Aldiss, Ian Watson, Tom Cruise, Nicole Kidman Sidney Pollack, Sara Maitland, Candia McWilliam Terry Semel and Jan Harlan . All the interviewees were revealing in their own way and many talked movingly about their memories of Stanley and their reaction to his death. Many rumours that have dogged Kubrick fans for years were cleared up. (2)A minor quibble was that Joyce used visual and audio gimmicks to illustrate his some of the points made, for instance the sound of a helicopter came over the soundtrack when Cruise talked about arriving by helicopter to meet Kubrick. On the whole these additions were unnecessary and distracting. Undoubtedly Joyce's real coup was gaining the co-operation and trust of the Kubrick family to participate in the film but the sensitively he employs in both conducting and editing the interviews must be commended also. The last shot was of Kubrick's grave in his favourite spot in the garden of his home. A simple grave, with no headstone, a pile of pebbled stones in the shade of some trees. RM, ME, FQ Notes (1) Paul Joyce quoted in Time Out Magazine (back) (2) See questions: 12 Why was Clockwork Orange banned, and queston 15: AI true and false rumours. (back) (3) There was an interesting debate on amk as to whether the released film was Vivian's or Stanley's cut. This came about because of remarks its commissioning editor, Alan Yentob, made to introduce a recent showing on BBC2. vajman (vajman) wrote: > At the beginning of the showing last Saturday, Alan Yentob, told us that > there were in fact two different versions of "Making The Shining". One that > Stanley had edited and one edited by his daughter. I was the assistant editor who worked with Vivian on this. What Alan Yentob meant was that we showed him two possible versions, one of which was the way Stanley wanted it. Stanley was not involved in the actual editing of the documentary at all: only to tell Vivian which scenes he didn't like, and thus [what] he'd like her to take out. He also wanted us to put in at least one extra clip of the Shining. Vivian was furious, and the idea of showing Alan the two versions (there weren't two separate versions: we simply said 'or do you prefer it this way?' and took out the 'offending' scenes.) Alan did indeed prefer Vivian's version (there was one scene that showed Stanley directing which I thought showed him in a very good light), but I'm afraid his memory is wrong. He and Vivian did NOT win the argument and it was Stanley's version that went out! > The reason for this was that Stanley felt that his daughter had > included too much material of Stanley in her version. No: the exact reverse of the truth. He had us remove quite a lot of himself at work. He let us keep only those scenes that showed him at his fiercest! > Alan Yentob was shown the two versions of the film and asked to choose > which one to broadcast on Arena. He was not told whose cut was whose. > He chose Vivian's. What happened to the other cut is not known. Are > there in fact two versions of this film being shown around the world? No. As I say, there was only one documentary, though it is just possible that the deleted scenes still exist in a film can somewhere, and that will almost certainly be the Kubrick family home, and thus totally inaccessible. And the same will apply to all the out-takes. About 40 hours worth if I remember rightly! GS (back) 31/ - What directors did Kubrick try to support, and what advice did he offer to young filmmakers? He tried to set Peter Weir (Picknick at Hanging Rock, Witness, The Truman Show) up with an adaptation of The Thorn Birds, and he was hoping that he would direct the film version of Arthur C. Clarke's 2010: Odyssey Two. When Mike Hodges ( Get Carter, A Prayer for the Dying, Black Rainbow) was having trouble with Warner Brothers executives over one of his films in the seventies he mysteriously found his path cleared one day. He managed to trace this back to a call which Kubrick had personally made to Warners after hearing of Mike's problems. Kubrick seemed to have power over Warners top brass that was largely based on sheer force of personality. Kubrick was he was known to donate film stock to the National and London International Film School.. Andrew Mollo and Kevin Brownlow Kubrick gave them assistance on the film It Happened Here *** In 1966 Hollis Albert, (1) remarked of Kubrick's approach to filmmaking: "He thinks it is possible to learn more from film that "deals with other things, like documentaries, a few moments in crazy avant-garde movies, and TV commercials, even if they're things that only happen to work for five seconds." Kubrick gave advice to novice filmmakers in an interview with Joseph Gemelis in 1969. JG If you were nineteen and starting out again, would you go to film school? SK The best education in film is to make one. I would advise any neophyte director to try to make a film by himself. A three-minute short will teach him a lot. I know that all the things I did at the beginning were, in microcosm, the things I'm doing now as a director and producer. There are a lot of non-creative aspects to filmmaking which have to be overcome, and you will experience them all when you make even the simplest film: business, organization, taxes, etc., etc. It is rare to be able to have an uncluttered, artistic environment when you make a film, and being able to accept this is essential. The point to stress is that anyone seriously interested in making a film should find as much money as he can as quickly as he can and go out and do it. And this is no longer as difficult as it once was. When I began making movies as an independent in the early 1950s I received a fair amount of publicity because I was something of a freak in an industry dominated by a handful of huge studios. Everyone was amazed that it could be done at all. But anyone can make a movie who has a little knowledge of cameras and tape recorders, a lot of ambition and -- hopefully -- talent. It's gotten down to the pencil and paper level. We're really on the threshold of a revolutionary new era in film. FQ, RM, ME Note: Quotations taken from Hollis Albert's article in the New York Times, "'2001': Offbeat Director In Outer Space," available online at New York Times' Kubrick archive (back) 32/ - What was Kubrick's screenwriting style? "The screenplay is the most uncommunicative form of writing ever devised." Stanley Kubrick - quoted in Jerome Agel's Making of 2001 ***** Here a few remarks Kubrick made about writing a screenplay: "[it] is a very different thing than writing a novel or an original story. A good story is a kind of a miracle, [...] When you can write a book like that, you've really done something. On the other hand, writing the screenplay of the book is much more of a logical process -- something between writing and breaking a code. It does not require the inspiration or the invention of the novelist. I'm not saying it's easy to write a good screenplay. It certainly isn't, and a lot of fine novels have been ruined in the process. " "Thinking of the visual conception of a scene at the script stage can be a trap that straitjackets the scene. I find it more profitable to just try to get the most interesting and truthful business going to support the scene and then see if there's a way to make it interesting photographically. There's nothing worse than arbitrarily setting up some sort of visual thing that really doesn't belong as part of the scene" "Writers tend to approach the creation of a drama too mush in terms of words, failing to realize the greatest force they have is the mood and feeling they can produce in the audience through the actor." "However serious your intentions may be, and however important you think are the ideas of the story, the enormous cost of a movie makes it necessary to reach the largest potential audience for that story, in order to give your backers their best chance to get their money back and hopefully make a profit. No one will disagree that a good story is an essential starting point for accomplishing this. But another thing, too, the stronger the story, the more chances you can take with everything else. I think Dr. Strangelove is a good example of this. It was based on a very good suspense novel, Red Alert, written by Peter George, a former RAF navigator. The ideas of the story and all its suspense were still there even when it was completely changed into black comedy." "I enjoy working with someone I find stimulating. One of the most fruitful and enjoyable collaborations I have had was with Arthur C. Clarke in writing the story of 2001: A Space Odyssey. One of the paradoxes of movie writing is that, with a few notable exceptions, writers who can really write are not interested in working on film scripts. They quite correctly regard their important work as being done for publication. I wrote the screenplay for Barry Lyndon alone. The first draft took three or four months but, as with all my films, the subsequent writing process never really stopped. What you have written and is yet unfilmed is inevitably affected by what has been filmed. New problems of content or dramatic weight reveal themselves. Rehearsing a scene can also cause script changes. However carefully you think about a scene, and however clearly you believe you have visualized it, it's never the same when you finally see it played. Sometimes a totally new idea comes up out of the blue, during a rehearsal, or even during actual shooting, which is simply too good to ignore. This can necessitate the new scene being worked out with the actors right then and there. As long as the actors know the objectives of the scene, and understand their characters, this is less difficult and much quicker to do than you might imagine." Kirk Douglas, obviously piqued at Kubrick's very public dismissals of Spartacus pithily remarked: "Stanley is not a writer. He has always functioned better if he got a good writer and worked with him as an editor. He was great a developing a concept. [...] but that's not the same as writing a script. I have a copy of the terrible script of Paths of Glory that he wrote to make it more commercial. If we had shot that script Stanley might still be living in an apartment in Brooklyn instead of a castle in England." Sources Kubrick quotes in an interview with Michel Ciment's available to read online at The Kubrick Site. Kirk Douglas quote from his autobiography "The Ragman's Son" 33/ - What was Kubrick's dispute with Punch magazine about? The following letter appeared in the Tuesday edition of The Times Of London: [...] The story begins in August 1998 when Punch published an article about Kubrick in its "Lowdown" column. In the main, the article did not differ from many others published over the years by journalists who felt at liberty to take pot-shots, in print, at a man they knew was unlikely to reply. But this alleged that he was clinically insane. The words used were "we're hearing stories that suggest Kubrick is even more insane than psychiatrists have led us to believe..." Unfortunately for Punch, English law is designed to protect people from such unfunny and blatantly defamatory statements. With Stanley, we consulted Keith Schilling, a libel specialist; Stanley decided to sue Punch Ltd for libel. It in turn decided to defend the claim. As any barrack-room lawyer knows, there are limited defences to a libel action. One is "truth", but Punch could not begin to prove that Stanley was clinically insane, so instead filed a defence claiming that he was autocratic, eccentric and difficult to work with. It based this defence on a hundred or so stories from a variety of newspaper articles and poorly researched books which fell a long way short of a proper defence. Punch and its Editor at no time showed any remorse. On the contrary, the magazine took to reproducing Stanley's solicitor's letters and seemed to be hell-bent on fighting the case in the full glare of publicity. James Steen, the Editor of Punch, was quoted as saying that the article was a "silly gossip story and if Kubrick wants to push his way through a mob of photographers every day on his way to court, we'll see him there". None of the above would have been particularly worthy of comment but for the fact that on March 4 this year Stanley applied at a High Court hearing for Punch's defence to be struck out. This was on the basis that it was without legal foundation. The hearing was held in private, so little from it is likely to be made public. The gist of Stanley's argument was that Punch had published a defamatory article which meant what it said: namely, that he was clinically insane, and that the magazine's defence was hopeless and irrelevant. Mr Justice Popplewell, after a brief hearing, left the publishers and Editor of Punch in no doubt about his views, even though the hearing was a procedural one, not the actual trial on the merits. In short, Punch's defences of justification and fair comment were struck out. Costs were awarded against Punch and Steen and an order made that they would have 21 days to reconsider their position and to file an alternative defence. In practice, Punch had no alternative defence: the game was up and Kubrick had won his case. Punch and its solicitors seemed to have thought that Stanley's distaste for personal publicity would have convinced him to drop the action once they had set up a wafer-thin defence. In this they were wrong. Under English law, the death of a plaintiff in a libel action brings an end to his case. Given that one cannot libel the dead, Stanley's lawsuit is now at an end. In our last conversation with Stanley, a colleague and I told him that Punch's defence had been shot down and that it was only a question of time before the defendants caved in. He was delighted, mentioning it to friends and family. All he had really wanted from Punch was reasonable: an apology and payment of his costs. Any damages would have gone to charity. To this day, the journalists at Punch have treated the whole affair as a trifling matter driven by lawyers, but never once apologised for grossly offensive remarks. On the contrary, in the first issue of Punch after Stanley's death, it misleadingly suggested that it had a defence which would have been heard later this year, failing to mention that its defence had been struck out. This action was brought on behalf of those who feel that privacy and reputation are valuable. Stanley explained it beautifully: "Rick, I have grandchildren." To them I say: whatever Punch may have written (and no doubt may write again), this is what happened. In the matter of Stanley Kubrick v James Steen and Punch Ltd, Stanley Kubrick won and Punch lost. End of third section, Go to FAQ Part 4 Or see the contents section (below) for more answers. index Looking for the answer to a specific question? Try here first. The Kubrick FAQ Go back to the start of this document. information on Stanley Kubrick brief biography filmography awards The Shining Section of FAQ dealing specifically with The Shining contributors and credits All the people who contributed to the FAQs - THE FOLLOWING IS UNDER CONSTRUCTION - the films Questions relating to Kubrick's films can be found in individual sections under the film's title
205	dbpedia	1	67	https://www.pcrm.org/good-nutrition/nutrition-information/a-natural-approach-to-menopause	en	A Natural Approach to Menopause	https://www.pcrm.org/sit…/happy-women.jpg	https://www.pcrm.org/sit…/happy-women.jpg	[ "https://p.alocdn.com/c/ype6nguo/a/etarget/p.gif?label=physcomrespmed", "https://www.pcrm.org/sites/default/files/2019-10/happy-women.jpg", "https://www.pcrm.org/sites/default/files/styles/teaser_400x225/public/2023-03/woman-hot-flashes.jpg?h=d1cb525d&itok=CY0rlBuq", "https://www.pcrm.org/sites/default/files/styles/teaser_400x225/public/baby-vegetables.jpg?itok=Fwq1Hd75", "https://www.pcrm.org/sites/default/files/styles/teaser_400x225/public/2023-07/menopause-hormone-replacement-therapy.jpg?h=d1cb525d&itok=HdX-XiWC", "https://www.pcrm.org/sites/default/files/2024-06/charity-nav-gator-4-stars.png", "https://www.pcrm.org/sites/default/files/2022-04/Animal_Charities_America.png", "https://www.pcrm.org/sites/default/files/2022-04/BBB.png", "https://www.pcrm.org/sites/default/files/2022-04/BIA_Seal.png", "https://www.pcrm.org/sites/default/files/2024-03/2024%20Candid%20Platinum%20Seal%20Small.jpg", "https://www.pcrm.org/sites/default/files/2022-05/charity-watch.png" ]	[]	[]	[ "" ]	null	[]	null		en	/themes/custom/pcrm/images/meta/favicon.ico	Physicians Committee for Responsible Medicine	https://www.pcrm.org/good-nutrition/nutrition-information/a-natural-approach-to-menopause	Some have suggested that menopause was much easier for Asian women than for Westerners—at least while women followed traditional, mostly plant-based diets. Hot flashes have been reported by only about 10 percent of women in China,1 17.6 percent of women in Singapore,2 and 22.1 percent of women in Japan.3 In contrast, it is estimated that hot flashes are experienced by 75 percent of women over the age of 50 in the United States.4 Whether these differences might be partly due to reluctance in reporting symptoms among Asians is not entirely clear. And as Asia’s diets gradually westernize, these differences are likely to disappear anyway. But we do know that, throughout their lives, Western women consume much more meat, and about four times as much fat, as women on traditional Asian rice-based diets, and only one-quarter to one-half the fiber. For reasons that have never been completely clear, a high-fat, low-fiber diet causes a rise in estrogen levels. Women on higher-fat diets have measurably more estrogen activity than do those on low-fat diets. At menopause, the ovaries’ production of estrogen comes to a halt. Those women who have been on high-fat diets then have a dramatic drop in estrogen levels. The drop appears to be less dramatic for Asian women who have lower levels of estrogen both before and after menopause. The resulting symptoms are much milder or even nonexistent. More evidence of the diet link comes from a fascinating study by a medical anthropologist from the University of California who interviewed Greek and Mayan women about their experiences of menopause.5 The Greek women were subsistence farmers. Menopause occurred at an average age of 47, compared with an average age of more than 50 in the United States. About three-quarters of the Greek women had hot flashes, but they were considered normal events and did not cause the women to seek medical treatment. The Mayan women lived in the southeastern part of Yucatan, Mexico. Menopause occurred earlier than in Greece or North America, at an average age of 42. Unlike the experience of Greeks and Americans, hot flashes were totally unknown among Mayans, and, like the Japanese, they have no word for them. Midwives, medical personnel, and the women themselves reported that hot flashes simply do not occur, nor are they mentioned in books on Mayan botanical medicine. The difference between Americans and Greeks and other Europeans on the one hand, for whom hot flashes are common, and the Mayans and Japanese on the other, for whom hot flashes are rare or unknown, appears to be diet. The Mayan diet consists of corn and corn tortillas, beans, tomatoes, squash, sweet potatoes, radishes, and other vegetables, with very little meat and no dairy products. Like the traditional Japanese diet, it is extremely low in animal products and low in fat in general. The Greek diet, while rich in vegetables and legumes, also contains meat, fish, cheese, and milk, as does the cuisine of other countries in Europe and North America. Animal-based meals affect hormone levels rapidly and strongly, and undoubtedly contribute to the menopausal problems that are common in Western countries. In addition to a low-fat, vegetarian diet which is strongly recommended for women who are experiencing hot flashes, regular aerobic exercise helps.6 A vigorous walk every day or so, or any equivalent physical activity, seems to ease hot flashes. A number of herbal and dietary supplements claim to alleviate menopausal symptoms. Some studies have shown that black cohosh6,7,8 and soy6,7 to a lesser extent, may help. Trials of vitamin E, dong quai, and other such treatments have shown little evidence that they alleviate symptoms, however, this topic still needs much research.9 Dietary supplements are not regulated by the Food and Drug Administration, and it is important to talk to your doctor before taking any kind of supplement. For those women who are considering hormone supplements, some preparations may be safer than others. Estrogens commonly prescribed by physicians contain significant amounts of estradiol, which is one of the forms of estrogen that has scientists and many postmenopausal women concerned about cancer risk. A different estrogen, estriol, appears to be safer. The best evidence indicates that estriol does not increase cancer risk.10,11,12,13 Plant-derived transdermal creams containing estriol and smaller amounts of other estrogens are available without a prescription. The estrogens pass through the skin and enter the blood stream, reducing menopausal symptoms. Creams containing pure estriol must be ordered by doctors, not because they are more dangerous (they are not), but because the process of concentrating them qualifies them as drugs, rather than natural preparations. If these creams are used, they should be accompanied by progesterone to reduce the risk of uterine cancer and use should be monitored by a physician. Regrettably, less research has been done on the use of estriol than estradiol. Hormone shifts can affect moods. It can be disturbing to find yourself feeling uncharacteristically nervous or depressed or having memory lapses. Sometimes these feelings can even strain your relationships with others. It helps to know that the psychological effects of menopause are temporary. In all likelihood, you’ll soon get back on an even keel. Here are the most common psychological accompaniments of menopause. Anxiety. Women who have never had a problem with anxiety before may become more self-conscious and worried about minor events. In some cases, panic attacks occur. Mental health professionals have a variety of effective treatments. Many people feel much better just knowing what the condition is. The most important piece of advice is not to let anxiety restrict your activities. When anxiety or panic disorders cause people to avoid stressful situations, the result can be an ever-tightening leash that keeps them from enjoying life. Anxiety can lead to avoidance of many aspects of normal life. Prompt treatment prevents this. Depression and Irritability. Depression can be a problem for menopausal women.14,15 Irritability is also common.16 When considering treatment for depression, irritability, or anxiety, it is important to explore the full range of available options. The first step is to get your diet in order and to get regular exercise to help stabilize hormone shifts and reduce physical symptoms that can aggravate mood problems. Psychotherapy can be very useful, and new short-term techniques have demonstrated their effectiveness at considerably less investment than is demanded by traditional therapies. New antidepressants and antianxiety drugs have fewer side effects than older medications. Poor Memory and Concentration. Some women find that menopause brings occasional memory lapses, often related to reduced ability to concentrate. This can be upsetting and annoying, but fortunately it seems to go away on its own with time. When you eliminate these calcium-wasters, you need less calcium in your diet. However, you will always need some calcium. The World Health Organization recommends 800 mg per day for postmenopausal women on a diet low in animal protein.28 Although many people try to get their calcium from milk, only about 30 percent of calcium in dairy products is absorbed.29 The remaining 70 percent never makes it past the intestinal wall and is simply excreted with the feces. Milk products also contain lactose sugar, animal proteins, and frequent traces of antibiotics and other contaminants. The most healthful calcium sources are greens and beans. Green leafy vegetables are loaded with calcium. One cup of collard greens has 226 milligrams of calcium. What’s more, the calcium in most green leafy vegetables is more absorbable than the calcium in milk. An exception is spinach, which tends to keep its calcium to itself. Beans, lentils, and other legumes are also loaded with calcium. If you make green vegetables and beans regular parts of your diet, you’ll get two excellent sources of calcium. Calcium-fortified orange juice contains more calcium than milk, and it is in the form of calcium citrate, which is much more readily absorbed than that in milk or in calcium carbonate supplements. You don’t need to eat six cups of greens or huge servings of beans to get enough calcium. A varied menu of vegetables and legumes can easily give you all you need, and the amount your body needs is far less when you steer clear of meats and the other calcium depleters. Healthful Calcium Sources Black turtle beans (1 cup, boiled): 102 milligrams Broccoli (1 cup, boiled from frozen): 94 Brussels sprouts (1 cup, boiled): 56 Butternut squash (1 cup, boiled): 84 Celery (1 cup, boiled): 63 Chickpeas (1 cup, canned): 80 Collards (1 cup, boiled): 226 Figs, dried (10 medium): 270 Great northern beans (1 cup, boiled): 120 Green beans (1 cup, boiled): 58 Kale (1 cup, boiled): 94 Kidney beans (1 cup, boiled): 50 Lentils (1 cup, boiled): 38 Lima beans (1 cup, boiled): 54 Mustard greens (1 cup, boiled): 104 Navel orange (1 medium): 56 Navy beans (1 cup, boiled): 127 Nondairy milk (1 cup, fortified soy or rice): 300 Oatmeal (1 cup, prepared instant): 215 Onions (1 cup, boiled): 46 Orange juice, calcium-fortified (1 cup): 350 Pinto beans (1 cup, boiled): 82 Raisins (1/2 cup): 40 Soybeans (1 cup, boiled): 175 Sweet potato (1 cup, boiled): 69 Tofu (1/2 cup): 204 Turnip greens (1 cup, boiled): 148 Vegetarian baked beans (1 cup): 127 White beans (1 cup, boiled): 161 Source: Pennington JA, Douglas JS. Bowes and Church’s food values of portions commonly used. 18th ed. Baltimore, MD: Lippincott Williams & Wilkins; 2005.
205	dbpedia	1	88	https://www.nature.com/articles/s41467-020-20050-1	en	Estrogen-sensitive medial preoptic area neurons coordinate torpor in mice	https://media.springerna…50_Fig1_HTML.png	https://media.springerna…50_Fig1_HTML.png	[ "https://pubads.g.doubleclick.net/gampad/ad?iu=/285/nature_communications/article&sz=728x90&c=1492905074&t=pos%3Dtop%26type%3Darticle%26artid%3Ds41467-020-20050-1%26doi%3D10.1038/s41467-020-20050-1%26techmeta%3D25,26,42,44,49,60,64,9,91%26subjmeta%3D319,378,3920,443,631%26kwrd%3DMetabolism,Neural+circuits", "https://media.springernature.com/full/nature-cms/uploads/product/ncomms/header-7001f06bc3fe2437048388e9f2f44215.svg", "https://media.springernature.com/w215h120/springer-static/image/art%3A10.1038%2Fs42255-020-0189-6/MediaObjects/42255_2020_189_Fig1_HTML.png", "https://media.springernature.com/w215h120/springer-static/image/art%3A10.1038%2Fs41586-021-04010-3/MediaObjects/41586_2021_4010_Fig1_HTML.png", "https://media.springernature.com/w215h120/springer-static/image/art%3A10.1038%2Fs41598-022-22320-y/MediaObjects/41598_2022_22320_Fig1_HTML.png", "https://media.springernature.com/lw685/springer-static/image/art%3A10.1038%2Fs41467-020-20050-1/MediaObjects/41467_2020_20050_Fig1_HTML.png", "https://media.springernature.com/lw685/springer-static/image/art%3A10.1038%2Fs41467-020-20050-1/MediaObjects/41467_2020_20050_Fig2_HTML.png", "https://media.springernature.com/lw685/springer-static/image/art%3A10.1038%2Fs41467-020-20050-1/MediaObjects/41467_2020_20050_Fig3_HTML.png", "https://media.springernature.com/lw685/springer-static/image/art%3A10.1038%2Fs41467-020-20050-1/MediaObjects/41467_2020_20050_Fig4_HTML.png", "https://media.springernature.com/lw685/springer-static/image/art%3A10.1038%2Fs41467-020-20050-1/MediaObjects/41467_2020_20050_Fig5_HTML.png", "https://pubads.g.doubleclick.net/gampad/ad?iu=/285/nature_communications/article&sz=300x250&c=-2074441906&t=pos%3Dright%26type%3Darticle%26artid%3Ds41467-020-20050-1%26doi%3D10.1038/s41467-020-20050-1%26techmeta%3D25,26,42,44,49,60,64,9,91%26subjmeta%3D319,378,3920,443,631%26kwrd%3DMetabolism,Neural+circuits", "https://www.nature.com/static/images/logos/sn-logo-white-ea63208b81.svg", "https://www.nature.com/static/images/logos/nature-briefing-logo-n150-white-d81c9da3ec.svg", "https://verify.nature.com/verify/nature.png", "https://www.nature.com/4123qj4v/article/s41467-020-20050-1" ]	[]	[]	[ "" ]	null	[ "Fernando M. C. V", "Jae W", "Johnathon R", "van Veen", "J. Edward", "Maesta-Pereira", "Megan G", "Olujimi A", "Stephanie M" ]	2020-12-11T00:00:00	Homeotherms maintain a stable internal body temperature despite changing environments. During energy deficiency, some species can cease to defend their body temperature and enter a hypothermic and hypometabolic state known as torpor. Recent advances have revealed the medial preoptic area (MPA) as a key site for the regulation of torpor in mice. The MPA is estrogen-sensitive and estrogens also have potent effects on both temperature and metabolism. Here, we demonstrate that estrogen-sensitive neurons in the MPA can coordinate hypothermia and hypometabolism in mice. Selectively activating estrogen-sensitive MPA neurons was sufficient to drive a coordinated depression of metabolic rate and body temperature similar to torpor, as measured by body temperature, physical activity, indirect calorimetry, heart rate, and brain activity. Inducing torpor with a prolonged fast revealed larger and more variable calcium transients from estrogen-sensitive MPA neurons during bouts of hypothermia. Finally, whereas selective ablation of estrogen-sensitive MPA neurons demonstrated that these neurons are required for the full expression of fasting-induced torpor in both female and male mice, their effects on thermoregulation and torpor bout initiation exhibit differences across sex. Together, these findings suggest a role for estrogen-sensitive MPA neurons in directing the thermoregulatory and metabolic responses to energy deficiency. Torpor is a state of reduced metabolism and body temperature that conserves energy when food is scarce. Here the authors show that estrogen-sensitive neurons in the hypothalamus regulate torpor in mice, maintaining torpor in both sexes but initiating torpor and regulating core temperature differentially across sex.	en	/static/images/favicons/nature/apple-touch-icon-f39cb19454.png	Nature	https://www.nature.com/articles/s41467-020-20050-1	ERα+ neurons in the MPA drive a rapid decrease in core body temperature To visualize the anatomical distribution of ERα neurons in the MPA, we evaluated ERα immunoreactivity in brain sections ranging from anterior POA (Bregma 0.6 mm) to posterior POA (Bregma −0.4 mm) according to the mouse brain atlas35 in both male and female mice. We found enrichment of ERα+ cells within the anatomical boundaries of the MPA, particularly within the medial preoptic nucleus (MPN) and rostral sections of the MPA (Fig. 1a). Overall, ERα immunoreactivity in the MPA was higher in females than in males (Fig. 1a and Supplementary Fig. 1a, b). These patterns of expression are consistent with previous findings showing ERα immunoreactivity13 or Esr1 transcripts14 in the mouse MPA and sexually dimorphic ERα expression in this and associated hypothalamic regions36,37. Additionally, Esr1 is co-expressed with transcripts that mark warm-responsive14,38 or torpor-regulating neurons39,40 in the MPA. To test the role of ERα+ MPA neurons in torpor, we investigated the effect of selectively activating ERα+ MPA neurons using chemogenetic Designer Receptors Exclusively Activated by Designer Drugs (DREADDs), a powerful tool for modulating neuronal activity41. An adeno-associated virus (AAV) construct encoding the Cre-dependent, excitatory, Gq-coupled hM3Dq receptor and an mCherry reporter was stereotaxically injected into the MPA of mice that express Cre in Esr1-expressing cells (Esr1Cre) and wild-type littermates (Fig. 1b). mCherry was detected in the MPA of female and male Esr1Cre mice (Fig. 1c and Supplementary Fig. 1c) but not in wild-type controls that received the same AAV. Upon intraperitoneal administration of the exogenous ligand for the hM3Dq receptor, clozapine-N-oxide (CNO, 0.3 mg/kg), male and female Esr1Cre mice exhibited a rapid reduction in core body temperature (Fig. 1d, e and Supplementary Fig. 1d, e). Core temperature dipped below 30 °C within 1 h of CNO injection (Fig. 1e and Supplementary Fig. 1e) but was not altered in the same mice following saline injection on a different day (Fig. 1d, e and Supplementary Fig. 1d, e). The effect on body temperature cannot be attributed to CNO alone or its conversion to clozapine, as CNO did not alter body temperature in wild-type mice that received AAV (Supplementary Fig. 1f). In addition, administration of an alternative DREADD ligand, Compound 21 (1 mg/kg)42, elicited a reduction in body temperature similar to CNO (Supplementary Fig. 1g). Thermal homeostasis is maintained by the balance of heat production and heat dissipation. In rodents, the brown adipose tissue (BAT) is critical in adaptive thermogenesis43,44, whereas a modulation of blood flow to the tail skin plays an active role in heat dissipation45,46. To further understand how ERα+ MPA neuronal activity affects this equilibrium, we monitored the temperature of the body core, BAT, and tail skin. Thermal probes were implanted intraperitoneally to measure core temperature, and thermal imaging of the interscapular region was used to monitor BAT thermogenesis. A temperature logger attached near the ventral vein of the tail, together with thermal imaging of the tail, were used to measure heat dissipation (Supplementary Fig. 1h). Infrared thermal images indicated a profound increase in tail skin temperature 20 min after CNO injection, whereas saline treatment was associated with a transient decrease in tail skin temperature, perhaps due to handling stress47 (Fig. 1f, g). Consistent with regulated hypothermia, the rapid drop in core temperature (Fig. 1d) was not accompanied by an increase in heat generation, as indicated by both infrared imaging at multiple time points and gene expression in BAT measured 90 min following saline or CNO treatment (Fig. 1f, g and Supplementary Fig. 1i). Using thermo-loggers attached to the tail (Supplementary Fig. 1h), we observed similar changes in tail skin temperature and used these to estimate heat dissipation by calculating the heat loss index (HLI): HLI = (Tskin − Tambient)/(Tcore − Tambient)48. HLI largely corrects for the effect of overall body cooling on tail skin temperature by comparing the temperature of the skin and core to the ambient temperature. Analysis of HLI revealed that CNO injection elicited a profound increase in heat loss that was coincident with the initial decrease in core temperature (Supplementary Fig. 1j, k). Consistent with previous studies showing that the POA mediates responses to warmth, including cutaneous vasomotor control10,49, these results indicate that activating ERα+ MPA neurons initiates a rapid heat loss and suppresses heat production to induce hypothermia. Chemogenetic activation of ERα+ MPA neurons depresses temperature and metabolism Analysis of the changes in body temperature revealed that a single CNO injection could induce a state of prolonged hypothermia. Of the 42 Esr1Cre females expressing hM3Dq and treated with CNO, 31 mice (74%) exhibited a core body temperature below 31 °C and 12 mice (29% of all subjects) maintained this level of hypothermia for over 20 h (Supplementary Fig. 2a, b). Indeed, core temperature returned to baseline (36.5 °C) up to 4 days after a single CNO injection (Fig. 2a). The reduction in core temperature also was accompanied by diminished physical activity (Fig. 2b). The expression of torpor has been previously associated with body weight50,51,52. We also find that body weight was significantly correlated with the minimum core temperature reached and with duration of the hypothermia following CNO administration (Supplementary Fig. 2b). Even in warmer conditions (ambient temperature of 30 °C) that might diminish thermogenesis45,53,54, activating ERα+ MPA neurons resulted in a rapid decrease in core temperature (Supplementary Fig. 2c), suggesting that reduced metabolic rate may also contribute to the reduction in body temperature. Indeed, indirect calorimetry revealed a reduction in metabolic rate and energy expenditure, as measured by oxygen consumption and calculated heat production, respectively. Both measures were reduced by >50% in Esr1Cre mice following CNO injection, compared to the effects of saline injection in the same mice and to baseline levels before injection (Fig. 2c–e and Supplementary Fig. 2d). We did not detect an effect of CNO on respiratory exchange ratio (RER), a measure of fuel preference, within 3 h of injection. However, RER seems to decline in both groups, consistent with measurement during a daytime fast (Supplementary Fig. 2e). As further indication of an overall reduction in metabolic rate, electrocardiogram recordings revealed a significant reduction in heart rate as early as 15 min after CNO injection, dropping from 776 ± 3.2 (mean ± SEM) bpm at baseline to 401 ± 18.8 bpm 4 h after CNO injection. Control saline injection did not affect heart rate (Fig. 2f, g and Supplementary Fig. 2g). The CNO-induced reduction in heart rate was frequently accompanied by pronounced sinus arrhythmia (Fig. 2f and Supplementary Fig. 2g), a known effect of enhanced cardiac vagal tone55 that was never observed after saline treatment. These results suggest that the cardiac autonomic nervous system may be involved in this coordinated response. Finally, electroencephalography (EEG) was used to measure overall brain activity during hypothermia and hypometabolism. CNO induced reductions of relative alpha and theta power in the EEG signal (Fig. 2h). Comparisons of relative delta power following saline or CNO injection revealed significant differences from non-rapid eye movement (NREM) or wake states (Extended Fig. 2h). Reductions such as these are common in experimental models of hibernation and torpor (see ref. 56 for review). The induction of this phenotype was repeatable, and mice seemed to recover without adverse impacts on their health (Supplementary Fig. 2i, j). Taken together, these findings indicate that activation of ERα+ MPA neurons induces a torpor-like hypothermic and hypometabolic state in mice. ERα+ neuronal activity increases during fasting-induced torpor The state triggered by activating ERα+ neurons suggests the hypothesis that ERα+ neuron activity is modulated during natural hypothermic and hypometabolic states. Prolonged food deprivation has been shown to induce torpor in mice57. Here, a 48 h fast resulted in consistent torpor bouts (Supplementary Fig. 3a). To record neural activity from ERα+ MPA neurons in live animals during fasting-induced torpor, we targeted the high-sensitivity sixth-generation, slow-kinetic calcium reporter GCaMP6s58 to ERα+ neurons by delivering Cre-dependent AAV9-FLEX-Syn-GCaMP6s to the MPA of Esr1Cre mice (Fig. 3a). Following a 3-week recovery, mice were fasted for 48 h and fluorescence from ERα+ MPA neurons was measured during the last 8 h of fasting. Calcium transients were measured over eight 10-minute periods, 4 h before and 4 h after lights on, when torpor bouts are more likely to occur (Fig. 3b). Fasting-induced bouts of reduced core body temperature were consistent with fasting-induced torpor (Fig. 3c and Supplementary Fig. 3a). We detected larger and more variable calcium transients during bouts of hypothermia (core temperature < 33 °C) compared to times of normothermia (core temperature > 36 °C) following a fast (Fig. 3d, e). The decrease in baseline activity during hypothermia is in line with recently reported neuronal activity changes in torpor neurons39. Despite the reduced baseline, which may suggest a repression of tonic firing, the large peaks during hypothermia are consistent with an increase in synchronized burst firing. These results suggest a relationship between the natural activity of ERα+ MPA neurons and bouts of fasting-induced torpor. Recent studies have identified neurons and molecular markers in the POA that are responsive to changes in temperature and involved in thermoregulation38,59,60,61,62. To exclude the alternative hypothesis that ERα+ MPA neurons are responsive to warmth, primarily involved in driving cooling responses, and that the drop in metabolism is secondary to hypothermia, we measured temperature responsiveness using calcium imaging and electrophysiology. We did not detect changes in calcium transients in freely behaving mice exposed to warmth (40 °C) or cold (15 °C), suggesting that changes in ambient temperature do not alter the neural activity of the ERα+ MPA neuron population (Supplementary Fig. 3b–e). Although we were unable to detect a response to temperature at the population level, it is possible that temperature alters neural activity at the level of individual ERα+ MPA neurons. Thus, we recorded neural activity in brain slices from ERα-ZsGreen mice, in which ERα+ cells are identified by green fluorescence63 (Fig. 3f). Whole-cell current clamp recordings revealed heterogeneity in the temperature responsiveness of ERα+ neurons (Fig. 3g, h and Supplementary Fig. 3f, g). Using a 41.4% change in firing rate over a 5 °C temperature increase (Q10 > 2)64,65 as a cutoff for temperature responsiveness, approximately half (56.5%) of the 108 ZsGreen+ MPA neurons were considered temperature responsive. The ERα+ MPA neurons tested include ZsGreen+ neurons in the medial preoptic nucleus (MPN, 56.2% of 73 neurons) and rostral aspects of the MPA (57.1% of 35 neurons) (Fig. 3h and Supplementary Fig. 3g). In contrast, ZsGreen+ neurons in adjacent nuclei such as the VLPO and VMPO contained only 13.9% and 28.6% temperature-responsive ZsGreen+ neurons, respectively, suggesting heterogeneity of ERα+ neurons with respect to temperature responsiveness (Supplementary Fig. 3g). Consistent with temperature responsiveness within some ERα+ MPA neurons, RNA sequencing analysis of cellular contents following electrophysiological recordings revealed higher expression of warmth-induced genes66 in temperature-responsive compared to non-responsive neurons (Fig. 3i). Global expression analysis of ERα+ neurons in the MPN after electrophysiology recordings revealed a strong separation of transcriptional signatures between temperature-responsive and non-responsive neurons (Supplementary Fig. 3h), indicating that these two ERα+ populations are transcriptionally distinguishable, possibly due to either their function in temperature responsiveness or changes induced by exposure to 30 °C. Whereas ERα+ cells in the MPA include glutamatergic and GABAergic populations14, temperature-responsive ERα+ neurons show enriched expression of GABAergic transcripts and reduced expression of glutamatergic transcripts when compared to non-responsive ERα+ neurons (Supplementary Fig. 3i). Additionally, temperature-responsive ERα neurons show enriched expression of the monoamine transporter Slc18a2, which is differentially expressed in a subpopulation of ERα neurons identified by high-resolution spatial RNA profiling14 (Supplementary Fig. 3i). Thus, temperature responsiveness was not detected in vivo and only detected in a GABAergic Slc18a2+ subpopulation of ERα+ neurons ex vivo. However, both temperature-responsive and non-responsive ERα+ neuron populations in the MPN express markers of neurons that are activated during torpor in mice39 (Supplementary Fig. 3i). ERα+ MPA neurons are required for thermoregulatory homeostasis and the full expression of torpor To determine if ERα+ MPA neurons are required for temperature homeostasis or fasting-induced torpor, we selectively ablated ERα+ neurons in adult mice using AAV that expresses a genetically modified caspase 3 (Fig. 4a). This approach has been shown to effectively delete cells in vivo by triggering cell-autonomous apoptosis67. AAV2-FLEX-Caspase3 was delivered to the MPA of Esr1Cre mice. Controls included wild-type mice receiving AAV encoding the Cre-dependent caspase 3 or Esr1Cre mice receiving AAV encoding a Cre-dependent GFP. Four weeks after AAV delivery, Esr1Cre mice showed a >40% reduction in ERα immunoreactivity in the MPA compared to controls (Fig. 4b, c). Ablating ERα+ cells in the MPA led to a significant increase in core temperature in female but not in male mice (Fig. 4d, e). In contrast, neuron ablation did not affect physical activity in either female or male mice, suggesting that the temperature increase was selective and not a consequence of changes in movement (Supplementary Fig. 4a–d). The effect on core temperature indicates that ERα+ MPA neurons are critical for maintaining normal thermal homeostasis in female but not in male mice. We next investigated if ERα+ MPA neurons are required for fasting-induced torpor. Food deprivation induced bouts of hypothermia (Tcore < 31 °C) in mice with intact ERα+ MPA neurons (Fig. 4f). Ablating ERα+ neurons in mice of similar body weights (Extended Fig. 4e) greatly diminished the torpor response, affecting the changes in average core temperature, core temperature variability, total time with a core temperature below 31 °C, duration of the longest bout, and lowest core temperature reached in fasted mice (overall effect of treatment, Fig. 4g and Supplementary Fig. 4e). We did not detect a significant effect of neuron ablation on the number of bouts initiated, suggesting that ERα+ MPA neurons are required for maintaining rather than initiating torpor bouts. Comparisons by sex suggest that ERα+ MPA neurons may regulate torpor differently in females and males. We detected a significant effect of sex on core temperature variability, duration of the longest bout, and the lowest core temperature reached following a fast (Fig. 4g and Supplementary Fig. 4e). In pairwise comparisons within a sex, core temperature variability was significantly lower in females with neuron ablation but not in males (Fig. 4g). Additionally, the effect of neuron ablation on the number of bouts initiated varied by sex (interaction effect, Fig. 4g). While it appeared that neuronal ablation lead to more bouts initiated in females and fewer bouts initiated in males, pairwise comparisons did not reach statistical significance (Fig. 4g). Together, these findings suggest that ERα+ MPA neurons are necessary for the full expression of fasting-induced torpor. Specifically, ERα+ MPA neurons are critical for maintaining the duration of torpor in all sexes but may also have sex-dependent roles in the variability of body temperature during torpor and the initiation of torpor bouts. ERα+ MPA neurons drive hypothermia through projections to the ARC and DMH To visualize the downstream projections of ERα+ neurons from the MPA, we performed anterograde tracing using a Cre-dependent AAV expressing GFP (Supplementary Fig. 5a). We detected dense GFP+ fibers in several hypothalamic nuclei involved in thermoregulation, including the dorsomedial nucleus of the hypothalamus (DMH), ventromedial nucleus of the hypothalamus (VMH), and the arcuate nucleus of the hypothalamus (ARC) (Supplementary Fig. 5b, c). The DMH receives direct preoptic inputs38,62 and modulates the sympathetic outputs to BAT in response to cold and warm ambient temperature44. The VMH has been implicated in estrogenic regulation of BAT thermogenesis31 and many estrogenic effects on energy metabolism33,37. The ARC contains neurons implicated in the hormonal modulation of vasodilatation during hot flashes through projections to the POA68. To test the contribution of projections from ERα+ MPA neurons to these regions, we repeated the chemogenetic hM3Dq activation experiments but delivered the CNO locally to the DMH, VMH, or the ARC (Fig. 5a). This method exploits trafficking of hM3Dq to axon terminals to alter presynaptic activity and is effective both ex vivo and in vivo69,70. In line with the results of the anterograde tracing (Supplementary Fig. 5b, c) and previous studies69, we observed numerous mCherry positive fibers in the downstream target sites within the hypothalamus (Fig. 5b). We first confirmed that systemic administration of CNO by IP injection reduced core body temperature as in Fig. 2. When CNO was delivered to the DMH, core temperature was significantly reduced compared to delivery of vehicle but did not recapitulate the effects of systemic CNO administration (Fig. 5c–e). CNO delivery to the VMH had no effect on body temperature and was similar to vehicle injection (Fig. 5f, g). In contrast, local delivery of CNO to the ARC led to a reduction in body temperature that was indistinguishable from the effect of systemic CNO injection in the same mice (Fig. 5h, i). The effects of delivering CNO to distinct projection targets of ERα+ MPA neurons suggest that projections to the ARC, and to some extent DMH, could mediate the effects of ERα+ MPA neurons. Torpor has been investigated in numerous species, yet the neuronal mechanisms allowing endotherms to actively depress body temperature and metabolism in response to nutrient scarcity are only fragmentally understood1,3. Here we exploit the viral and genetic tools available in mice to show that selective activation of ERα+ MPA neurons induces a coordinated depression of metabolic rate, body temperature, physical activity, heart rate, respiratory rate, and brain activity. In the majority of cases, the induced torpid state lasted from 20 h to multiple days, far outlasting the pharmacokinetic duration of CNO (1–3 h71, although the duration could be longer if torpor also reduces CNO metabolism). The state induced by activating ERα+ MPA neurons resembles entry into torpor in several ways. As observed in several rodent species during entry into daily torpor72,73,74, we observe that the drop in metabolic rate declines faster than core temperature. We also observe a rapid drop in heart rate and characteristic skipped heart beats, as observed in multiple small mammalian species75,76, along with reduced theta power brain activity, as observed in ground squirrels entering torpor77. Additionally, we observe variation in the minimum core temperature, variation in the duration of hypothermia, and an association between the minimum body temperature and body weight, which have been reported in spontaneous torpor50. Indeed, individual variation in torpor expression has been well documented50,57,74 and associated with birth weight51 or body weight at the time of fast52 in mice. Overall, the state induced by activating ERα+ MPA neurons recapitulates several key facets of torpor, including hypometabolism, hypothermia, reduced physical activity, and reduced brain activity in fed mice. The relationship between body weight and the hypothermic response to activating ERα+ MPA neurons suggests that nutritional experience or metabolic signals may alter the neural circuits that regulate torpor. In line with a proposed effect of nutritional signals, activating POA neurons that express the receptor for leptin, a signal of fat stores, also induces hypothermia61 and modulating leptin receptor signaling in the POA alters energy expenditure78. In addition, several molecules have been employed to induce torpor-like hypothermia, including nucleotides (adenosine, cyclohexyladenosine, AMP, and ADP), anesthetics, and 3-Iodothyronamine (T1AM)76,79,80,81,82. Central activation of the A1 adenosine receptor also produces a torpor-like state in rats82 but ablation of the adenosine A1 receptor does not affect entrance into torpor83. Although a detailed mechanism is unknown, the duration of DREADD-induced torpor suggests that ERα neurons may act as a “switch” to turn on torpor by triggering a neural circuit that mediates an inverted thermoregulatory state84. Beyond the sufficiency of ERα+ MPA neurons to induce torpor, we examined the natural activity and the necessity of ERα+ MPA neurons in an endogenously regulated torpid state induced by fasting in mice57. Calcium imaging and neuron ablation studies suggest that ERα+ MPA neurons are activated during bouts of fasting-induced torpor and are important for the full expression of torpor in response to fasting. Our results suggest that ERα+ MPA neurons are involved in maintaining torpor in both female and male mice, and may also have a role in initiating torpor bouts that varies across the sexes. Ablating ERα+ MPA neurons appeared to increase the number of torpor bouts in females and decrease the number of torpor bouts in males. Although this effect was not significant in pairwise comparisons within a sex, there was a significant interaction between sex and neuron ablation. The trend in females could be explained by compensation, such that female mice with shorter torpor bouts might initiate more bouts to conserve energy. The trend in males is surprising, because they did not appear to initiate more bouts to compensate for shorter bout durations. This sex difference is consistent with evidence that torpor is regulated differently in males and females, and that females are generally more “thrifty” with their energy reserves than males85. Indeed, in several rodent species, females initiate hibernation earlier, have more or longer torpor bouts, spend more time in torpor, and terminate hibernation later than males86,87,88,89,90. Ablating ERα+ MPA neurons also led to a female-specific effect on basal body temperature. This result is consistent with previous studies showing effects of estrogen-sensitive neurons on body temperature in female mice91 and with evidence that temperature-responsive neurons in nearby regions of the POA regulate blood flow to the skin7,92,93 and BAT activity12,38,62. Indeed, a GABAergic subset of ERα+ neurons in the MPN appear to be temperature responsive with respect to firing and gene expression changes. Although this responsiveness to temperature may not be strong enough to drive a response that is detected by calcium imaging from the whole population in vivo, it is consistent with previous findings of warm-responsive GABAergic neurons in the POA38,62 but different from warm-responsive glutamatergic POA neurons that decrease body temperature when activated in mice60,61,91,94. In total, about ~30% of neurons in the POA are temperature responsive64,95. Interestingly, approximately half of the warm-responsive neurons in the POA are responsive to estradiol, compared to only one-third of temperature-unresponsive neurons96. However, we do not have any evidence to implicate or exclude a role for ERα signaling in torpor. Future studies will determine if torpor neurons are modulated by changes in estrogen levels or estrogen receptor manipulations. We also find that temperature-responsive ERα+ neurons differentially express Slc18a2, suggesting that an inhibitory cluster of ERα+ Slc18a2+ neurons in the MPN14 may be responsive to warmth and perhaps drive changes in body temperature. However, it is unclear if this neuron population mediates the effects on basal body temperature or the torpor response. Indeed, activating ERα+ MPA neurons induced rapid changes in tail skin vasodilation and inhibition of BAT thermogenesis. Because mice are highly dependent on somatic activity for thermoregulation, it is possible that the reduction in physical activity, inhibition of BAT thermogenesis, stimulation of heat dissipation at the tail, and bradycardia may together contribute to the rapid decrease in core body temperature observed in torpor. These effects may be mediated by modulation of multiple neural targets of the MPA or hormonal mediators such as thyroid hormone97. However, evidence that the drop in metabolic rate precedes hypothermia suggests that the multifaceted changes induced by activating ERα+ MPA neurons are not secondary to thermal changes (Q10)74. Because ERα+ neurons in the MPN appear to include temperature-responsive and non-responsive neurons as well as GABAergic and glutamatergic neurons, it will be important to dissect the contributions of the different subpopulations (i.e., ERα+ Slc18a2+ and ERα+Slc18a2− neurons) to thermoregulation and torpor. Pioneering studies have identified hypothalamic nuclei and circuits that are critically involved in regulation of body temperature and metabolism9,12,98. Our tracing studies reveal projections from ERα+ neurons to several of these hypothalamic nuclei, including the DMH, VMH, and ARC. Local activation of ERα+ neurons that project to the DMH led to a partial decrease in core body temperature, whereas local activation of ERα+ neurons that project to the ARC recapitulated the effect of systemic CNO delivery on core body temperature. These findings are consistent with evidence that projections from the POA to the DMH regulate thermogenesis, heart rate, and energy expenditure38,62 and an increase in cFOS immunoreactivity within the DMH during fasting-induced torpor98. Similarly, the ARC is implicated in the regulation of heat dissipation68,99, thermogenesis100,101, and fasting-induced torpor98,102. It is possible that locally delivered CNO may diffuse to adjacent hypothalamic regions. For example, the partial effect of delivering CNO to the DMH could also be due to some diffusion to the ARC or elsewhere. However, CNO delivery to the VMH did not affect body temperature, excluding a role for the VMH in this circuit and suggesting that diffusion of CNO to adjacent regions may have been limited in these experiments. Additionally, CNO-induced activity may cause retrograde conduction and activate collateral projections. Although differential effects were observed when delivering CNO to the ARC, DMH, and VMH, we cannot exclude the possibility that ERα+ MPA neurons project to multiple regions and induce torpor via collateral projections. Considering the autonomic changes (cardiac function, BAT inhibition, and tail vasodilation) observed here, it is possible that ERα neurons also project to the raphe pallidus40,92,103 for the autonomic coordination of torpor. Although more selective circuit mapping and manipulations are required to fully understand the circuits that control torpor, these studies provide additional evidence of a potent role for ERα+ MPA neurons in the regulation of torpor. In summary, these studies identify a neuron population that is critical for an adaptive response that minimizes energy costs and increases survival during food shortages in mice74. These findings are consistent with very recent studies showing that a hypothermic and hypometabolic state can be induced by activating POA neurons, specifically glutamatergic neurons that express pyroglutamylated RFamide peptide (Qrfp)40 or neurons expressing adenylate cyclase activating polypeptide 1 (Adcyap1)39. Correspondingly, we find expression of Adcyap1 and other gene markers of torpor neurons in ERα+ MPA neurons and general overlap in projection target regions. A major role for the ARC but not the VMH in the regulation of torpor is consistent with evidence that torpor neurons in the POA strongly innervate the ARC but not the VMH39. However, QRFP neurons appear to exert their effects primarily through projections to the DMH40, whereas our preliminary data suggest that ERα+ MPA neurons may exert their effects through projections to the ARC and partially through the DMH. Nonetheless, it is possible that the intersection of these three gene markers may define the neurons required for torpor or that multiple populations in this region together coordinate the torpor response. Animals Mice harboring the Esr1Cre knock in allele (Tm1.1(Cre)And)36 were maintained on a C57BL/6J genetic background and bred in approved facilities at University of California Los Angeles (UCLA). For all experiments using Esr1Cre mice, controls included Cre-negative (wild-type) littermates that received the same AAV as the experimental group and/or Esr1Cre mice receiving a control AAV, as described for each experiment. The ERα-ZsGreen transgenic mice63 used for electrophysiology were maintained on a C57BL/6J genetic background and bred in approved facilities at Baylor College of Medicine. All mice were maintained under a 12:12 h L/D schedule at room temperature (~22 °C), maintained at 30–70% relative humidity, and provided with food and water ad libitum unless otherwise indicated. Mice were at 8–10 weeks at the start of all the experiments. Mouse procedures All studies were carried out in accordance with the recommendations in the Guide for the Care and Use of Laboratory Animals of the National Institutes of Health. UCLA is AAALAC accredited and the UCLA Institutional Animal Care and Use Committee (IACUC) approved all animal procedures. Mice were anaesthetized with isoflurane and received combinatorial analgesics (buprenorphine and carprofen) pre- and post any surgeries. Stereotactic surgery The pAAV-flex-taCasp3-TEVp was a gift from Nirao Shah & Jim Wells (Addgene plasmid # 45580). The pAAV-Syn-FLEX-Mac-GFP was a gift from Edward Boyden (Addgene plasmid # 58852). The pAAV-hSyn-DIO-hM3D(Gq)-mCherry and pAAV-hSyn-DIO-mCherry were gifts from Bryan Roth (Addgene plasmid # 44361 and # 65417)104. The pAAV9-Syn-FLEX-GCaMP6s-WPRE-SV40 was a gift from Douglas Kim & GENIE Project (Addgene viral prep # 100843-AAV9; http://n2t.net/addgene:100843; RRID:Addgene_100843). AAVs (300 nl for GFP antegrade tracing, 150 nl for Caspase 3, Gq-coupled DREADDs and GCaMP6s) were injected bilaterally (or unilaterally for GCaMP6s) under stereotaxis to the MPA (coordinates: AP 0.2, ML ± 0.35, DV −5.3 from the surface of skull) of adult Esr1Cre or wild-type mice. Unilateral photometry fiber was implanted using the same coordinates for virus injections. For cannulation, bilateral stainless-steel guide cannulas 26 G (Plastics One) were implanted bilaterally targeted 2 mm above the DMH (AP −1.80, ML ± 0.45, DV −3.6), VMH (AP −1.5, ML ± 0.65, DV −3.9) or 3 mm above the ARC (AP −1.9, ML ± 0.25, DV −3.3). The guide cannulas or photometry fiber were mounted on top of the head using dental cement anchored with 2 screws fixed on skull. For the electroencephalogram (EEG) experiment, two anterior electrodes (frontal and ground, AP + 1.5, ML 1.5) and two posterior electrodes (parietal and common reference, AP −2.5, ML 1.5) were connected with a head mount (integrated 2 × 3 pin grid array) and secured to the skull with dental acrylic. Temperature recording A G2 eMitter (Starr Life Sciences) was implanted in the abdominal cavity and attached to the inside of the body wall. Mice were singly housed in cages placed on top of ER4000 Energizer/Receivers. Nesting material was held constant to normalize behavioral temperature regulation. Gross movement and core body temperature were measured every 5 min using VitalView software (version 5, Starr Life Sciences). Tail skin temperature was monitored every 5 min using a Nano-T temperature logger and analyzed with Mercury Software (version 5.7, Star-Oddi). The logger was attached to the ventral surface and 1 cm from the base of the tail in a 3D-printed polylactic acid collar modified from Krajewski-Hall et al27. Chemogenetics In DREADDs experiments, mice received i.p. injections of CNO (0.3 mg/kg, Sigma-Aldrich) or vehicle (saline, 0.15% DMSO) 3 h after the onset of the light phase. Saline and CNO were administered in the same mice in a randomized balanced design. Core and tail skin temperature were monitored continuously throughout the experiment. As a control, the DREADD ligand Compound 21 (1 mg/kg, Cayman Chemical Company) or vehicle (saline, 1% DMSO) was administered i.p. following the same experimental procedure as CNO injection. For intrahypothalamic injection, CNO was prepared at 2 mM in aCSF. Before injection, the mice were connected to a 33 G Stainless-Steel internal cannular (Plastic One) that was attached to 1 ul Hamilton Syringes through 40 cm non-compressive silicone tubing. The internal cannulae were cut 2 mm (for DMH and VMH) or 3 mm (for ARC) below the guide cannula. CNO or vehicle (aCSF 3.4% of DMSO) was injected at 50 nl/side in 1 min. The mice were able to move freely during injection. Infrared thermal images were captured using an Industrial camera VarioCAM® HD head 800 (InfraTec infrared LLC) before (t0) CNO or vehicle injection, then 10, 20, 30, 50, 120, and 240 min after injection. The infrared images were analyzed using software IRBIS 3.1 (InfraTec infrared LLC). BAT skin temperature was the average temperature of a circular region above interscapular BAT and tail skin temperature was the average temperature of a 1 cm line along the tail starting at 1 cm from the base of the tail. Electrocardiogram (ECG) was recorded using ECGenie system (Mouse Specifics Inc.). Heart rate and other cardiological parameters were analyzed using EzCG Signal Analysis Software (version 7.0, Mouse Specifics Inc.). Indirect calorimetry was performed in Oxymax metabolic chambers and acquired by Oxymax software (version 3.3, Columbus Instruments). Body composition was determined using nuclear magnetic resonance (NMR) (Mouse Minispec, Brüker Corporation). EEG acquisition was performed by polysomnographic software (Sirenia Acquisition version 2.1, Pinnacle Technologies, Lawrence, KS). Signals were amplified (10x) and high-pass filtered (0.5 s−1) via a preamplifier. EEG signals were then further amplified, low-pass filtered with a 30 s−1 cutoff and collected continuously at a sampling rate of 200 s−1. For relative banded power, data were normalized to the total power and averaged as 5 min bins. For sleep definition, EEG/EMG waveforms were classified in 10-sec epochs as: (1) wake (low-voltage, high-frequency EEG; high-amplitude EMG); (2) NREM sleep (high-voltage, mixed-frequency EEG; low- amplitude EMG); or rapid-eye movement (REM) sleep (low-voltage EEG with a predominance of theta activity [6–10 s−1]; very low amplitude EMG) by a trained observer. EEG epochs determined to have artifact (interference caused by scratching, movement, eating, or drinking) were excluded from the analysis. Artifact comprised less than five percent of all recordings used for analysis. When mice were injected with CNO, their unscored band frequencies were compared to the band frequencies of wake and NREM of when the same mice were injected with saline. Fast Fourier Transform was completed on all recordings to determine the power analysis of each waveform. Fasting-induced torpor Mice were individually housed and core body temperature was monitored continuously as described above. Following baseline measurements (food and water ad libitum), mice were placed in new cages and food was removed from the cages at 10 am. After 48 h of fasting, the mice received their food back or were euthanized for perfusion. Mice are closely observed for symptoms of dehydration, sickness, and immobility during fasting. For torpor induction during ERα ablation experiment, torpor bouts were defined when the core body temperature was equal to or below 31 °C105. For photometry experiments, fasting-induced hypothermia was defined when core body temperature was below 33 °C. Fiber photometry Three weeks after AAV injection and temperature probe implantation, the mice were food deprived for 34 h and habituated 4 h before the start of recording. To record during periods of hypothermia and normothermia for each mouse, fluorescence was recorded for 10 min, hourly for the 4 h before and 4 h after lights on (Fig. 3b). Photometry was performed as described previously106. Briefly, we used a 405 nm LED and a 470 nm LED (Thorlabs, M405F1 and M470F1) for the Ca2+-dependent and Ca2+-independent isosbestic control measurements. The two LEDs were bandpass filtered (Thorlabs, FB410-10 and FB470-10) and then combined with a 425-nm longpass dichroic mirror (Thorlabs, DMLP425R) and coupled into the microscope using a 495-nm longpass dichroic mirror (Semrock, FF495-Di02-25 × 36). Mice were connected with a branched patchcord (400 μm, Doric Lenses, Quebec, Canada) using a zirconia sleeve to the optical system. The signal was captured at 20 s−1 (alternating 405 nm LED and 470 nm LED). To correct for signal artifacts of nonbiological origin (i.e., photobleaching and movement artifacts), custom Matlab (V9.5 R2008a) scripts leveraged the reference signal (405 nm), unaffected by calcium saturation, to isolate and remove these effects from the calcium signal (470 nm). To test the effect of ambient temperature on ERα neuronal activity, the temperature of the mouse cage was manipulated using an iron plate and either a heat pad or ice block. Real-time temperature in the cage was monitored by digital thermometer with the extended sensor attached on the bottom of the cage. Changes in ambient temperature were recorded and depicted in Supplementary Fig. 3b. Photometry recordings were analyzed only after the ambient temperature reached 40 °C or 15 °C, not during the transitions. Calcium signal was evaluated over 10 min recording traces for both normothermia (when Tcore > = 33 °C) or hypothermia (Tcore < 33 °C). A custom Matlab script was made to analyze the area under the curve (AUC), standard deviation of the ΔF/F (Variance of ΔF/F), average base width of the peaks (peak width), amplitude of the peaks measured from baseline (peak amplitude), and total peak area. A 1 min sliding window was applied to calculate the local baseline (10th percentile value) and standard deviation of the ΔF/F values39. Electrophysiology We used the ERα-ZsGreen reporter to identify ERα-expressing neurons in slice. This mouse line has been used to study electrophysiological properties of ERα+ neurons in multiple brain regions and shows higher ZsGreen reporter expression in the MPA of females than in males29,63. To identify ERα cells more broadly and provide a fuller picture of their responsiveness to temperature, we used only female ERα-ZsGreen mice. Mice (10–14 weeks old) were deeply anesthetized with isoflurane and transcardially perfused with a modified ice-cold sucrose-based cutting solution (pH 7.3) containing 10 mM NaCl, 25 mM NaHCO3, 195 mM sucrose, 5 mM glucose, 2.5 mM KCl, 1.25 mM NaH2PO4, 2 mM Na-Pyruvate, 0.5 mM CaCl2, and 7 mM MgCl2, bubbled continuously with 95% O2 and 5% CO2. Mice were decapitated and the entire brain was removed and immediately submerged in the cutting solution. Slices (250 µm) were cut with a Microm HM 650 V vibratome (Thermo Scientific). The brain slices containing the MPA region were obtained for each animal. The slices were recovered for 1 h at 34 °C and then maintained at room temperature (25 °C) in artificial cerebrospinal fluid (aCSF, pH 7.3) containing 126 mM NaCl, 2.5 mM KCl, 2.4 mM CaCl2, 1.2 mM NaH2PO4, 1.2 mM MgCl2, 5.0 mM glucose, and 21.4 mM NaHCO3, saturated with 95% O2 and 5% CO2 before recording. Slices were transferred to a recording chamber and allowed to equilibrate for at least 10 min before recording. ZsGreen-labeled neurons in the MPA were visualized using epifluorescence and IR-DIC imaging on an upright microscope (Eclipse FN-1, Nikon) equipped with a movable stage (MP-285, Sutter Instrument). Patch pipettes with resistances of 3–5 MΩ were filled with intracellular solution (pH 7.3) containing 128 mM K-Gluconate, 10 mM KCl, 10 mM HEPES, 0.1 mM EGTA, 2 mM MgCl2, 0.05 mM Na-GTP, and 0.05 mM Mg-ATP. Recordings were made using a MultiClamp 700B amplifier (Axon Instrument), sampled using Digidata 1440A, and analyzed offline with pClamp 10.3 software (Axon Instruments). Series resistance was monitored during the recording, and the values were generally <10 MΩ and were not compensated. The liquid junction potential was +12.5 mV, and was corrected after the experiment. Data were excluded if the series resistance increased dramatically during the experiment or without overshoot for action potential. Currents were amplified, filtered at 1000 s−1, and digitized at 10,000 s−1. Current clamp was engaged to test neural firing frequency and resting membrane potential at room temperature as reported107,108. For the temperature treatment, bath solution was heated by the in-line solution heater and maintained at 30 °C by the heating chamber (Warner). Temperature changes from 25 °C to 30 °C are sufficient to activate warm sensing neurons109,110. The values for firing frequency were averaged within 2-min bin at 25 °C or 30 °C. A neuron was considered warm responsive when there was a more than 50% increase in firing rate over a 5 °C temperature increase (Q10 > 2)64,65. Patch-seq After recording, the cellular component of each neuron was captured into the electrode pipet by delivering a gentle negative pressure, and then transferred into a PCR tube as in ref. 29. Two neurons from each cell type were pooled as one sample. RNA extraction was performed using SMART-seq V4 ultra-low input kit (Takara) and cDNA Library was built using Nextera XT DNA library preparation kit (Illumina). Samples were pooled and sequenced in a single lane of Illumina HiSeq 3000 (185 million reads over 7 samples for an average of 26.43 million reads per sample). Demultiplexed reads were aligned to the mouse genome (version mm10) using RNA STAR (Galaxy version 2.6.0b-1). PCR duplicates were removed using RmDup (Galaxy version 2.0.1). Gene level counts were determined from BAM files using htseq-count (Galaxy version 0.9.1). Sample distances and differentially expressed genes were determined using DESeq2 (Galaxy version 2.11.40.6). Highlighted volcano plots were created using a custom R function (Volcano_Plot_GS) available at https://github.com/jevanveen/zhang. Immunohistochemistry Mice were perfused transcardially with ice-cold DEPC treated PBS (pH = 7.4) followed by 4% paraformaldehyde (PFA). Brains were embedded in OCT and frozen in −80 °C after one overnight post fixation in 4% PFA and another overnight dehydration in 30% sucrose. Coronal sections were cut using a cryostat (Vibratome) into 8 equal series at 25 μm for the GFP tracing experiment and 18 μm for the rest of the experiments. GFP, mCherry and GCaMP6s Sections were washed 1× for 5 min in PBS and incubated with DAPI (1:1000, Thermo Fisher Scientific) for 5 min. Slides were then coverslipped with Fluoromount-G (Thermo Fisher Scientific) after a 5-min PBS wash. ERα Sections were first incubated for 40 min at 95 °C in 25 mM Tris–HCl (pH 8.5), 1 mM EDTA, and 0.05% SDS (Tris-EDTA-SDS) buffer for antigen retrieval and then blocked for 1 h in 10% BSA and 2% normal goat serum (NGS). Next, the sections were incubated overnight at 4 °C with primary antibody (ERα, 1:250, sc-8002, Santa Cruz). Following 3× 10 min washing in PBS, sections were incubated with Alexa fluor 488 conjugated goat anti-mouse secondary antibody (1:500, Thermo Fisher Scientific) for 2 h at room temperature. After 2× 10 min washing in PBS, sections were incubated with DAPI, washed, and coverslipped with Fluoromount-G. The images were taken by DM1000 LED fluorescent microscope (Leica) or LSM780 confocal microscope (Zeiss). Confocal images that contain tiles and z-stacks were stitched and merged by maximum intensity projections using Zen Black (version 2.3, Zeiss). Cyan/magenta/yellow pseudo-colors were applied to all fluorescent images for accessibility. Image processing was performed using the Leica Application Suite (version 4.10, Leica), Zen Black, and ImageJ (version 2.0, NIH). Quantification was performed using CellProfiler software (version 3.1.8, Broad Institute). RNA isolation and real-time PCR (qPCR) Interscapular BAT was dissected 90 min after CNO or saline injections. BAT tissue was then snap frozen in liquid nitrogen and stored at −80 °C until analysis. Total RNA from BAT was isolated using the Zymo RNA isolation kit (ZYMO Research) and RNA yield was determined using the NanoDrop D1000 (Thermo Fisher Scientific). cDNA synthesis was performed with equal RNA input using the Transcriptor First Strand cDNA synthesis kit (Roche Molecular Biochemicals). Quantitative PCR was performed using C1000 Touch Thermal Cycler (BioRad) and SYBR mix (Bioline, GmbH, Germany). The primers used are listed in Supplementary Table 1. Statistics Data are represented as mean ± standard error of the mean (SEM). Data with normal distribution and similar variance were analyzed for statistical significance using two-tailed, unpaired Student’s t-tests. Paired data, such as within-subject comparisons, were analyzed by paired t-tests or ratio paired t-test. Comparisons for more than two groups were analyzed by one-way ANOVA followed by post-hoc Tukey’s analysis. Time course data and sex difference data were analyzed by two-way ANOVA or repeated measures two-way ANOVA for paired data or mixed model followed by Sidak’s multiple comparisons. Significance was defined at a level of P < 0.05. Plots were generated and statistical analyses were performed using GraphPad Prism version 8 or RStudio (using tidyverse version 1.3.0, nlme version 3.0, and R version 4.0).