#Moshe Diamant

[anarchic-miscellany]

Watching Jean Claude Van Damme's wonderfully fun, campy movies yet again I made the mistake of tumbling into a rabbit hole of "frequent collaborators", and it's a fun, weird little web: He got his big break with "Bloodsport" (where the plot was recycled for "Kickboxer"), about a man entering an underground fighting tournament, written and directed by Sheldon Lettich, who then went on to write and direct the fun "AWOL" ("Lionheart" to Americans), which is also about an underground fighting tournament but this time featuring a man defecting from the French Foreign Legion. Lettich went on to write the screenplay for "Legionnaire" (about a man on the run, and joining the French Foreign Legion"); write and direct "Double Impact" (where a man raised on a military base reunites with his identical twin brother in Hong Kong); do script polish for JCVD's debut "The Quest" (about a man entering an underground fighting tournament, with story credit to Frank Dux, the basis for "Bloodsport"); and direct "The Order" (about... hmm, that one sucked) and "The Hard Corps" (also not great, but better than "The Order" and certainly a cut above the usual DVD junk).

Then Peter Hyams (father of the founder of "Indeed.com", fun fact!) directed the masterpiece "Timecop" (where he was also director of photography), did the same for the also great "Sudden Death" (RIP Powers Boothe); and then once again years later for the surprisingly fun DVD release "Enemies Closer" (featuring Orlando Jones in buddy cop adventures, and evil Van Damme dressed as a Mountie, because this guy understands art). He was also director of photography on his son's "Universal Soldier: Regeneration" (which, alongside its other sequel, fucking rules. Honestly, skip the original and go straight to this one and "Day of Reckoning").

All the while, super producer Moshe Diamant (who also produced a trio of Dolph Lundgren bangers, "Men of War", "Joshua Tree" and "I Come in Peace" which has the far shittier title of "Dark Angel" over here, but is a fantastic Dolph Lundgren Christmas movie) is behind the scenes: Executive Producer for "Double Impact" and "Hard Target", and producer for "Timecop", "The Quest", "Sudden Death", "Maximum Risk", "Double Team", "Knock Off" (a knock off of Hong Kong action movies, about a knock off dealer, directed by Ringo Lam, who is seen as a knock off John Woo, and is great, and who also directed "In Hell"), "Until Death", "Universal Soldier: Regeneration" and "Universal Soldier: Day of Reckoning".

What I'm trying to say is that Jean Claude Van Damme is the Martin Scorsese of action movie stars what with his crazy crew of collaborators.

[garfo-na-tomada]

Iniciante barata tonta aqui. Agradeço a resposta anterior, frater, a sua contextualização ajudou a dar clareza entre as diferenças entre esses sistemas, ajuda a tornar o solo mais sólido como alguém que não tem o conhecimento para fazer essa avaliação, rs. E não citei na pergunta anterior, mas estou também iniciando o estudo no Tarot (através da dica do livro da Rachel Pollack no blog, aliás). E, no fim, por curiosidade, qual é a questão com a cabala hermética?

Opa, fico feliz em ajudar, amizade! O livro da Rachel Pollack é ótimo, aí é bom que você já resolve uma das 3 tretas que os iniciantes precisam resolver.

Sobre a Cabala hermética... segura que a resposta é longa hahaha. E como essa é uma questão recorrente, vou sintetizar tudo aqui. Então, eu cheguei ao ocultismo tendo estudado um tanto de Cabala judaica antes (Scholem, Aryeh Kaplan, Moshe Hallamish). E fiquei meio perplexo, porque nada encaixa ahahaha. O que a GD fez no século XIX e os seus descendentes (Dion Fortune, Crowley, Lon Milo Duquette etc) continuaram foi pegar um modelo da Árvore da Vida, criar uma conexão com os 7 planetas clássicos (Yesod = Lua, Hod = Mercúrio, etc) e codificar tudo em termos de tabelões de Excel, tipo o 777. Por si só, isso não é um problema, embora não seja um entendimento nativo às tradições cabalísticas dentro do judaísmo. O principal problema pra mim é que eles criaram uma coisa rígida, engessada. Enquanto as tradições judaicas são ricas, múltiplas e fluidas (há mais de um modelo da Árvore da Vida e de arranjos da sefiroth, há mais de um sistema de correspondências das letras hebraicas), o que eles criaram foi um negócio duro, com pouquíssimo espaço para inovação e que não dá para alterar em nada, porque se mexer um a, você quebra tudo. E, pra piorar, com frequência o entendimento que eles têm das sefiroth é dependente de uma leitura astrológica (um rabbi cabalista consegue falar em Netzach e Hod em termos próprios, mas a GD só consegue pensar nessas sefiroth como se fossem sinônimos de Mercúrio e Vênus, vide o livro da Dion Fortune). Tem até umas tentativas de enfiar os planetas externos no meio (tipo nessa versão da Thelemapedia) e o resultado é uma grande maçaroca. E nem me fale do fiasco que é quando tentam enfiar coisas de outros sistemas e fazer correlações com I-ching, runas, deuses hindus (o Crowley tenta, e é ridículo).

Para a prática, até um certo ponto, essa simplificação da Cabala hermética é positiva, porque fica tudo organizado (se você pega um livro como o Chicken Qabbalah do Lon Milo Duquette, meio que está tudo lá e cabe num livro curtinho e simples). Agora, em termos de fornecer uma base mística, uma filosofia profunda e inspiradora para a comunhão com o Divino, é um desastre completo. Não tem profundidade nenhuma, mas os caras fingem que tem, porque, né, sabe como é ocultista. Eu sempre lembro do caso do pior livro de Cabala que eu já li que é o Qabbalah Workbook for Magicians, que a autora fala pra você arranjar um diamante (!) e âmbar-gris (UM NEGÓCIO QUE NEM É KOSHER!) para botar no seu altar para começar a contemplação da Árvore da Vida via Keter. Você nem começou o negócio e já tem que desembolsar sei lá quantos mil em apetrechos. Ah, tomar no cu, sabe? Os caras estão lendo O Pequeno Príncipe e achando que é Dostoiévski, aí dá nisso hahaha. Um abraço!

[ulkaralakbarova]

An affair between the second in line to Britain’s throne and the princess of the feuding Irish spells doom for the young lovers. Credits: TheMovieDb. Film Cast: Tristan: James Franco Isolde: Sophia Myles Marke: Rufus Sewell Donnchadh: David O’Hara Wictred: Mark Strong Melot: Henry Cavill Bragnae: Bronagh Gallagher Bodkin: Ronan Vibert Edyth: Lucy Russell Leon: JB Blanc Morholt: Graham Mullins Simon: Leo Gregory Orick: Dexter Fletcher Aragon: Richard Dillane Kurseval: Hans Martin Stier Kaye: Thomas Morris Anwick: Jamie Thomas King Rothgar: Wolfgang Müller Lady Serafine: Cheyenne Rushing Lady Marke: Barbora Kodetová Young Isolde: Isobel Moynihan Young Tristan: Thomas Brodie-Sangster Tournament Judge: Gordon Truefitt Young Melot: Myles Taylor Young Simon: Jack Montgomery Luther: Marek Vašut Irish Soldier: David Fisher Lady Aragon: Bronwen Davies Paddreggh: Philip O’Sullivan Tournament Crier: Nevan Finegan Coronation Priest: Jón Ólafsson Widseth: Todd Kramer Widseth’s Sister: Winter Ave Zoli Pict Guard: Miroslav Šimůnek Funeral Priest: Kevin Flood Film Crew: Director: Kevin Reynolds Music: Anne Dudley Editor: Peter Boyle Director of Photography: Artur Reinhart Executive Producer: Jim Lemley Casting: Kate Dowd Executive Producer: John Hardy Producer: Moshe Diamant Producer: Lisa Ellzey Producer: Giannina Facio Producer: Elie Samaha Executive Producer: Ridley Scott Executive Producer: Tony Scott Production Design: Mark Geraghty Set Decoration: Johnny Byrne Costume Design: Maurizio Millenotti Costume Supervisor: Hana Kučerová Writer: Dean Georgaris Executive Producer: Frank Hübner Executive Producer: Matthew Stillman Co-Producer: Anne Lai Co-Producer: Jan Fantl Co-Producer: Morgan O’Sullivan Co-Producer: James Flynn Stunt Coordinator: Nick Powell Unit Production Manager: John J. Kelly First Assistant Director: Robert Huberman Associate Producer: David Minkowski Associate Producer: Christian Frohn Associate Producer: Jennifer Leshnick Associate Editor: Pamela Power Associate Editor: Stephen Boucher Hairstylist: Stefano Ceccarelli Hairstylist: Jiří Farkaš Hairstylist: Alena Marečková Hairstylist: Mario Michisanti Hairstylist: Adéla Robová Hairstylist: Jaroslav Šámal Key Hair Stylist: Mirella Ginnoto Key Makeup Artist: Manlio Rocchetti Art Department Coordinator: Marketa Puzmanova Assistant Art Director: David Voborský Assistant Art Director: David Vondrasek 3D Animator: Ales Dlabac 3D Animator: Zbynek Travincky Visual Effects Supervisor: Jaroslav Polensky Title Designer: Anthony Wonsoff Visual Effects Coordinator: Jan Vseticek Visual Effects Producer: Vít Komrzý Visual Effects Supervisor: Marius Mohnssen Special Effects Supervisor: Pavel Sagner Special Effects Supervisor: Kevin Byrne Additional Still Photographer: Larry D. Horricks Camera Operator: Erwin Lanzensberger Camera Operator: Kacper Lisowski Second Unit Director of Photography: Miro Gábor Gaffer: Tony Devlin Key Grip: Helge Felgendreher Key Grip: Ivo Grešák Rigging Gaffer: Kriz David Still Photographer: Rico Torres Casting: Nancy Bishop Casting: Anja Dihrberg Casting: Kirsty Kinnear Assistant Costume Designer: Giovanni Casalnuovo Assistant Costume Designer: Mariano Tufano Costume Supervisor: Šárka Zázvorková Costume Supervisor: Sarka Zvolenska Key Costumer: Cathy Smith Seamstress: Larisa Šrámková Set Costumer: Rebecca Higginson Digital Intermediate: Mandy Rahn Assistant Editor: Geraint Huw Reynolds Music Editor: Sophie Cornet Music Editor: John Warhurst Script Supervisor: Catherine Allinson Script Supervisor: Peter J. Clark Choreographer: Lucie Samcova ADR Editor: Gareth Rhys Jones Boom Operator: Roman Rigo Foley: Jack Stew Foley Editor: Sefi Carmel Sound Designer: Samir Foco Sound Designer: Zeljko Lopicic-Lepierre Sound Effects Editor: Peter Crooks Sound Re-Recording Mixer: Howard Bargroff Sound Re-Recording Mixer: Graham Daniel Sound Re-Recording Mixer: Martin Schinz Sound Effects Editor: Srdjan Kurpjel Standby Art Director: Rory Bruen Movie Reviews:

[moviesandmania]

FEAR DOT COM (2002) Review and free to watch on Freevee, Plex and Tubi

‘Want to see a really killer website?’ Fear Dot Com is a 2002 horror film about mysterious deaths which occur 48 hours after users log onto the titular website. Stylized as feardotcom Directed by William Malone (Parasomnia; House on Haunted Hill; Creature; Scared to Death) from a screenplay written by Josephine Coyle, based on a storyline by Moshe Diamant, with contributions by Holly…

[memoriastoica]

Double Team (1997)

[90smovies]

Simon Sez

[justgroups]

Timecop journeys

#Timecop journeys full#

* In general release throughout Southern California. Set decorators Rose Marie McSherry, Ann Marie Corbett. Producers Moshe Diamant, Sam Raimi, Robert Taper. Largo Entertainment presents, in association with JVC Entertainment, a Signature/Renaissance/Dark Horse production, released by Universal Pictures. Times guidelines: characters kicked and beaten into submission and a snippet of exploitation-style nudity. * MPAA rating: R, for violence, sexuality and language. And yet, somehow not as ludicrous as the other Time Cop. All his soulful glances notwithstanding, “Timecop” still depends too much on violence to make it appealing to the uninitiated or the unwary. McComb has become an unruly presidential candidate desperate for money to finance a losing campaign, and Walker, his life marred by tragedy, is kept awfully busy going back to the past to corral larcenous types who think it would be nice to buy up Beverly Hills before the celebrities got there.īut even though this is supposed to be a kindlier Van Damme vehicle, his movies couldn’t exist without his trademark ability to deliver the kind of accurate, powerful kicks any World Cup team would envy.

#Timecop journeys full#

cop named Max Walker (Van Damme) with a loving wife (Mia Sara) is transferred to the Time Enforcement Commission to help police the new technology.īy 2004, things are different. Richard ( Richard Palethorpe - Todd ) ( 1919- ) Charlie's Angels : Full Throttle, The Rundown, Timecop : The Handsome Irish leading man who often made. An up-and-coming young senator named Aaron McComb (Ron Silver) is placed in charge of congressional oversight for the machine, and a D.C. One part of the film is set in 1994, the year in which a time travel device has just been invented. With side trips to the Civil War South and Wall Street during the great stock market crash, “Timecop” is serious about this travel business to the point of dividing moments spent in its Washington, D.C., setting between a pair of different decades. And if you happened to run into yourself back then, so much the worse. In “Timecop,” however, the spinning has a different cause: the dizzying premise behind the inevitable action.Īdapted, like so many recent movies seem to be, from a comic-book series, “Timecop” is based on a venerable science-fiction riff: going back in time, even if it were possible, would be terrifically risky, because anything you did in the past would have incalculable effects on the present. Users/banyan/.rbenv/versions/1.9.3-p0/lib/ruby/1.9.1/rubygems/dependency.rb:247:in `to_specs': Could not find bundler (>= 0) amongst (Gem::LoadError)įrom /Users/banyan/.rbenv/versions/1.9.3-p0/lib/ruby/1.9.1/rubygems/dependency.rb:256:in `to_spec'įrom /Users/banyan/.rbenv/versions/1.9.Heads are often spinning in Jean-Claude Van Damme’s movies, usually because the erstwhile Muscles From Brussels has sent them into orbit with one of his well-placed martial arts kicks. of our universe and journeys into the past, the rocket sled time car is nowhere to be found. Users/banyan/.rbenv/versions/1.9.3-p0/lib/ruby/1.9.1/rubygems/dependency.rb:247:in `to_specs': Could not find bundler (>= 0) amongst (Gem::LoadError) from /Users/banyan/.rbenv/versions/1.9.3-p0/lib/ruby/1.9.1/rubygems/dependency.rb:256:in `to_spec'įrom /Users/banyan/.rbenv/versions/1.9.3-p0/lib/ruby/1.9.1/rubygems.rb:1210:in `gem'įrom /Users/banyan/.rbenv/versions/1.9.3-p0/bin/bundle:18:in `' Are you ready to experience the totality that is Timecop.

[lisolo1973]

Afin d'éviter les poursuites judiciaires de la part de la RDC Dan Gertler propose un arrangement à l'amiable

Afin d’éviter les poursuites judiciaires de la part de la RDC Dan Gertler propose un arrangement à l’amiable

Daniel Gertler est né en décembre 1973 dans une prestigieuse famille juive d’Israël, puisqu’il n’est rien de moins que le petit-fils de Moshe Schnitzer, considéré comme l’un des pères fondateurs de l’industrie israélienne du diamant, dont la notoriété aujourd’hui dans le monde n’est plus à démontrer. En 2016, Forbes estime sa fortune à 1,26 milliard de dollars US et le classe 1476ᵉ milliardaire…

[mysangrelatina]

THE PROTÉGÉ IN THEATERS AUGUST 20

THE PROTÉGÉ IN THEATERS AUGUST 20

Reparto: Michael Keaton, Maggie Q y Samuel L. Jackson con Robert Patrick   Dirigida por:  Martin Campbell   Escrita por:  Richard Wenk   Producida por: Arthur Sarkissian, Rob Van Norden, Yariv Lerner, Chris Milburn, Moshe Diamant Productores Ejecutivos:  Avi Lerner, Trevor Short, Jeffrey Greenstein, Jonathan Yunger, Boaz Davidson, Christa Campbell, Lati Grobman, Luke Daniels, Kyle Stroud, Balan…

[ninadrowan]

Movies on ScreenRescued as a child by the legendary assassin Moody, Anna is the world's most skilled contract killer. However, when Moody is brutally killed, she vows revenge for the man who taught her everything she knows. As Anna becomes entangled with an enigmatic killer, their confrontation turns deadly, and the loose ends of a life spent killing weave themselves ever tighter. Release date: April 23, 2021 (USA) Director: Martin Campbell Produced by: Arthur M. Sarkissian; Moshe Diamant; Robert Van Norden; Yariv Lerner; Chris Milburn Distributed by: Lionsgate Production companies: Millennium Media; Fourteen Films; I Road Productions; Campbell Grobman Films; Ingenious Media Movies on Screen 2021 ------------------------------------------------------------------------------------------------------------------------ Contact us to promote your Brand, Product, or Business. Instagram Link is Here: https://ift.tt/2PSevti We have 42% percent of traffic from the United States of our total traffic. ------------------------------------------------------------------------------------------------------------------------------------- Follow Us On: YouTube: https://www.youtube.com/channel/UCDeuvRq3xgXFLZZxDz-JdAg?sub_confirmation=1 Facebook: https://ift.tt/30CAS8m Pinterest: https://ift.tt/2OUh2Td Instagram: https://ift.tt/2PSevti #film #hollywood #movies #MoviesOnScreen ----------------------------------------------------------------------------------------------------------------------

[ramascreen]

Poster And Trailer For THE PROTÉGÉ Starring Michael Keaton

Poster And Trailer For THE PROTÉGÉ Starring Michael Keaton

Lionsgate has released these official poster and trailer for THE PROTÉGÉ. Starring Michael Keaton, Maggie Q, and Samuel L. Jackson, with Robert Patrick Directed by: Martin Campbell Produced by: Arthur Sarkissian, Moshe Diamant, Rob Van Norden, Yariv Lerner, Chris Milburn   SYNOPSIS: Rescued as a child by the legendary assassin Moody (Samuel L. Jackson) and trained in the family business, Anna…

[moviesandmania]

THE CURSE (1987) Reviews and free to watch online

THE CURSE (1987) Reviews and free to watch online

The Curse is a 1987 science fiction horror film about a meteor that crashes down on a farm and infects the land and its inhabitants. Directed by actor/filmmaker David Keith from a screenplay written by David Chaskin loosely based [uncredited] on the H.P. Lovecraft story ‘The Colour Out of Space’. Produced by Ovidio G. Assonitis. Executive produced by Moshe Diamant. Lucio Fulci was an associate…

[the-master-cylinder]

SUMMARY Beautiful bookseller Virginia (Jenny Wright) fosters a growing interest in the works of reclusive novelist Malcolm Brand (Randall William Cook). After much fruitless searching, Virginia finally receives a package containing Brand’s recent book, “I, Madman,” about a deranged doctor spurned by a beautiful woman. But, as Virginia devours Brand’s latest offering, she begins to have chilling visions of characters from the book — and the line between fiction and reality grows terrifyingly thin.

DEVELOPMENT/PRODUCTION This is David Chaskin’s second horror film for distributor Trans World Entertainment; the first, The Curse, directed by actor David Keith. Moshe Diamant, head of Trans World, approached Chaskin with his concept for I, Madman (a.k.a. Hardcover) while The Curse was in postproduction. Chaskin wrote two drafts of the screenplay and Rafael Eisenman was brought in to produce. Takacs had been offered many projects in the wake of The Gate’s success, but chose I, Madman. “It was the most interesting script I read,” Takacs says. “I was really attracted by the idea of experiencing danger in a safe environment. There’s a cozy feeling you get when you sit down to read a good horror story. You say, ‘This is gonna be good,’ like watching an old Twilight Zone episode. There’s a certain feeling of familiarity, but then the story goes more and more into left field. It’s the power of imagination. Does it really matter that you’re frightened in your dreams? Is it real because it felt real to you?”

Both Chaskin and Eisenman have high praise for Takacs. “It was not a typical director-producer relationship,” marvels Eisenman. “It was almost like a student film-not in the level of the production, but in the spirit of the filmmaking.”

“There is no comparison for me between The Curse and I, Madman,” Chaskin remarks. “I, Madman was a delight. I was involved from the beginning right through postproduction. The project had a guiding intelligence behind it, from the director, the producers and the actors. They all shared the same creative sense about the film.”

Eisenman’s background includes directing commercials and music videos, so he is sympathetic to the director’s job. “I support the director as much as possible,” he reasons. “It’s a writer’s film first, but once it goes into the director’s hands, it’s the director’s film. I protect him from anything that interferes with the creative process.”

The nightmarish horror in I, Madman will inevitably prompt comparisons between Freddy Krueger and Malcolm Brand. “They’re both complex characters,” comments Chaskin. “They both have twisted agendas, although Malcolm is a far more complicated character than Freddy. I tend to view Malcolm as a more classical monster, more stylized, less like Freddy and Jason and more like the Phantom of the Opera. I like to think of him as a character that Lon Chaney would have relished playing, a classical character in a 1980s frame.”

Production began on I, Madman in November 1987 in Los Angeles, and principal photography wrapped the following January. “The main problem, production-wise,” confides Eisenman, “was taking the limited amount of money we had and getting the most value I could on the screen with the cinematography and the special effects. It was a very tricky thing to do, but we had some great people on the crew. The cameraman, Bryan England, studies the old masters like George Folsey, who shot Forbidden Planet and Animal Crackers. He hangs around with these guys, takes them out to lunch. He has a tendency to go into their classic style.’

“I know Trans World is pleased with it,” declares the producer. “We had the most incredible creative freedom on this film. There was no intervention from them. We ended up with the director’s cut, which is rare. I had input, but I never forced my ideas on Tibor. I’d argue until I’d either convinced him or not.”

Chaskin is happy with the picture. “I was at rehearsals, polishing and making dialogue changes to fit the actors, and even in postproduction we were looping new lines,” he marvels. “I was privy to the whole process. It was probably the best experience a writer could have, short of directing the film himself.”

Producer Eisenman, meanwhile, hopes to work with Takacs and Chaskin in the near future. “It was a very good team,” he testifies. “I’ve never had anything like that and I don’t know that I ever will. That’s why we’re talking about doing something together again with Tibor and David.”

SPECIAL EFFECTS Similarly, FX technician Randy Cook, who had worked on The Gate and designed the animated “dogs” in Ghostbusters, is influenced by model animation great Ray Harryhausen. Eisenman reports, “When Randy told Ray Harryhausen what he was going to do in I, Madman, Ray said, ‘It’s not possible.’ Randy proved his technique as he went along, and when he showed the film to Harryhausen, he was very impressed.”

Cook also delivers a bravura performance as the malevolent Malcolm. “It was something that Randy always wanted to do,” grins Takacs. “To entice him to work on this low-budget movie, I had to come up with something!”   It’s fitting that the interview should take place on Halloween, one of Cook’s favorite holidays. (“I’d go out trick-or treating tonight, if I thought I could get away with it,” he said.) Ever since the age of 12, How did he get the job as the titular character in I, MADMAN? Cook smiled knowingly. “I could give you any number of hyperbolic interpretations that I was the best man for the part, that they couldn’t have done it without me, and so on. But the fact is, I got the job through sheer extortion. I said to Tibor, If you want me to do the special effects, let me play a part in the movie.’ Tibor asked, ‘Which part do you want to play?”The villain, of course,’ I said. Simple as that.”

Genre fans will find I, MADMAN of particular interest due to the fact that Cook, the actor, is killed by a creature that Cook, the effects supervisor, designed. At the end of the film, Brand does battle with a stop-motion character referred to by Cook as the “Jackal Boy” (a pint-size character from “Much of Madness, Much of Sin”)—a “horrid, tormented character, made miserable by his misbegotten parentage,” Cook explained. (The doctor combines his sperm with the ovum of a jackal-thus the creature’s name.)

Cook eventually expanded the fight sequence-which takes place in the attic of the bookstore where Virginia works-when it was decided to make more prominent use of the Jackal Boy. “I wanted to make their fight somewhat less perfunctory, something more of a miniature set piece,” said Cook. “So I tried to orchestrate the scene the way one would do a live-action fight within certain limitations based on the fact that we were using one character that existed and one that didn’t. There’s a lot of biting, tussling and scratching between us–I even used a stop-motion puppet of myself in certain shots. We tried to construct a fight that people would talk about.”

Working on the film both as an actor and a special effects technician meant that it was often necessary for Cook to be on both sides of the camera. “It was a really busy shoot,” he said, his weary expression mirroring the exhaustion he experienced during his multiple 14 hour days on the set. “We not only had to shoot the live-action plates, but I had to be in the plates and check them on video playback to make sure I was in the right place in the frame-as well as tell the other actors what they were supposed to be reacting to. It was just me and Jenny and Clayton, and a bunch of air that would later be filled with a creature.”

Because he likes expressionistic compositions, Cook changed the setting of the scene to a bookstore warehouse with an open-beam ceiling. Originally the scene was to have the Jackal Boy on top of a bookcase. “Arguably, it would have been more metaphorical, but it wasn’t nearly as visually evocative as putting him up in the rafters,” said Cook. Elsewhere the Jackal Boy will be used in two very short scenes at the beginning of the film both done through suggestion, so as to save the actual look of the creature until the climax.

The effects were prepped and shot over “a grueling six week period” in November December of 1987 at Ruckus, by I, MADMAN’s director of photography, Brian England (who will also be shooting THE GATE II). Cook’s crew consisted of his chief assistant, Fumi Mashimi (who constructed most of the Brand miniature animation puppet. Cook did the sculpting), Bill Bryan (the Sta-Puft Marshmallow Man in GHOSTBUSTERS, helped sculpt the prosthetics for Cook’s makeup) and Gil Mosko, who ran foam for the shop. In addition to the 15 inch-tall articulated model of the Jackal Boy (a foam-rubber construction over a tooled metal armature), Cook designed and sculpted a cable-controlled closeup head with eye, brow, lip and tongue movement.

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Cook didn’t seem particularly interested in discussing the gruesome makeup he devised for his Dr. Brand character, so he whipped out a photo album-titled “Randy’s Hair Cut”—to do most of the talking for him. “I came up with the perfect way to do a bald cap,” he explained. “I shaved my head.” To be precise, makeup effects artist (and friend) Craig Reardon played barber for the shearing, and Cook took a razor to his scalp to obtain the final billiard ball look.

The degenerative makeup for Brand was done in five stages (which Cook humorously described as “a subtle augmentation of progressive male-pattern baldness and organ-rejection syndrome”). It was created using face casts, prosthetics and the like. “I’m not remotely interested in presenting a textbook version of decaying tissue, “Cook said. “I’m more interested in finding a way to dramatically illustrate the degeneration of the character in physical, concrete terms. The makeup needs to work metaphorically as well as theatrically.”

Cook and crew worked about a week longer than they had planned-which meant extra post-production shooting and more time spent by Cook in makeup. “As so often happens when you’re shooting in a locale unfit for human habitation, I got sick-I got the flu that was going around. Everyone else got very green and sickly looking; I got green and sickly looking under two inches of green and sickly looking makeup. I couldn’t get the pity that the other people were getting. The crew would come up to me and say, ‘The makeup looks real good tonight.”   Cook’s long hours under makeup-23 days, 12 of them consecutive-eventually took their toll. “I didn’t have any face left after the shooting was over,” he recalled. “The skin around my eyes was like jelly. And the bitch was, I couldn’t sue the makeup man.”

  CAST/CREW Directed by   Tibor Takács Produced by Rafael Eisenman Written by     David Chaskin Jenny Wright … Virginia Clayton Rohner … Richard Randall William Cook … Dr. Alan Kessler/ Malcolm Brand Stephanie Hodge … Mona

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v19 Fangoria#80

  I, Madman (1989) Retrospective SUMMARY Beautiful bookseller Virginia (Jenny Wright) fosters a growing interest in the works of reclusive novelist Malcolm Brand (Randall William Cook).

[pettzon67]

Thanks @eduardirimia What a great trip Romania again one of the best countries in Europe for sure @serbia is also one of the best countries in Europe Serbian flags all over the AirPort real Nationalists. the New River Development of Belgrade Will put the City on the map for sure. Big Thanks to Moshe Diamant What a movie 🎥 you Guys Are producing it cant be anything than a success With the 2 time Bond Director Campell on the set. Thanks Emerald Medical Centre for the great service. Thanks for the best stay in Romania Palatul Suter. The View, Food and Rooms from The Hotel is amazing Worth a Trip 100% Thanks again Serbia for the hospitality You Are unbeatable (på/i Suter Palace) https://www.instagram.com/p/B9ExyVDpAJW8hwzuci7Q8bB_b3dVMIfStFwqGI0/?igshid=spv30aql1gw5

[labellezadelatora]

VAYESHEV

bs'd Shalom. La idea de esta semana de mi libro 'Healing Anger' es: "Es ilógico pensar que todos deben hacer lo que solicitamos cada momento. Un método comprobado para reducir el enojo en esta área es minimizar nuestras demandas a los demás, especialmente las relacionadas con su comportamiento hacia nosotros. Si dejáramos de prestar atención a cómo actúan los demás hacia nosotros, casi nunca nos enojaríamos." El link para comprar mi libro es http://www.feldheim.com/healing-anger.html Si quieres comprarlo en Israel contactame. Mi revisión semanal llega a más de 5.000 personas en Inglés y Español en todo el mundo. Les ofrezco a todos la oportunidad de compartir la mitzvá de honrar a un ser querido, patrocinando mi Divre Tora, para shelema refua (curación), o shiduj, Atzlaja (éxito). Este artículo esta basado en las ensenanzas de R' Yisajar Frand. Siéntete libre de reenviar este Divre Tora a cualquier otro correligionario. Disfrutalo y Shabat Shalom. Vayeshev: ¿Cuál es el Secreto del Exito en la Vida? En esta parashá, Yaakov le dijo a Yosef que fuera a verificar el bienestar de sus hermanos y el de las ovejas y traer un informe. [1] Esta misión cambió la vida de Yosef de sus hermanos y de hecho, cambió toda la historia del pueblo judío. La Torá dice [2]: “Un hombre lo encontró [a Yosef] y estaba vagando por el campo y el hombre le preguntó qué estaba buscando (¿Ma Tevakesh?). Yosef respondió: "Estoy buscando a mis hermanos, dime por favor dónde están pastando". El hombre le dio indicaciones sobre sus hermanos y Yosef fue a buscarlos. El Rebe de Kotzker (Rav Menachem Mendel de Kotzk) da un "drush" [interpretación homilética]. El pasuk dice: "Un hombre lo encontró". El Midrash Tanjuma afirma que el "hombre" es el Ángel Gavriel, ya que vemos al Ángel Gavriel conocido como "el hombre" en el libro de Daniel [9:21]. A continuación, el pasuk dice: "Y estaba vagando por el campo". Esta es una metáfora del hombre y su vida en la tierra. Las personas a menudo no hacen nada más en sus vidas que deambular y buscar. Aparentemente están perdidos y no saben en qué dirección ir. Finalmente, el pasuk dice: "Y el hombre le preguntó qué estaba buscando". El ángel Gavriel le dijo a Yosef: "Escucha bien. Estás a punto de embarcarte en una de las mas grandes odiseas de la historia humana. Vas a ser arrojado a un pozo. Serás llevado a Egipto y vendido como esclavo. Serás acusado falsamente y pasarás tiempo en la cárcel. Entonces serás sacado del calabozo y te convertirás en el virrey de Egipto. En tu vida, experimentarás las mayores alturas y las mayores profundidades. ¿Cuál es la clave del éxito en esas circunstancias? Debes recordar una cosa: "Mah Tevakesh", siempre debes concentrarte y perseverar en lo que quieres lograr en la vida (¿qué es lo que buscas? "). Si una persona se enfoca y persevera en lo que quiere, no importa lo que le pase en su vida, ya sean los mayores problemas o el mayor éxito, nada lo estropeará o corromperá. Yosef hatzadik, a pesar de todo lo que le sucedió, se mantuvo concentrado y persevero. Nunca fue corrompido. Cuando las personas soportan problemas terribles y se preguntan "¿Por qué me está pasando esto a mí?" [Quizás el enfoque correcto es preguntar: "¿Por qué me está pasando esto PARA mí?], Muchas veces se sienten tentados a tirar la toalla. La inclinación natural de uno podría ser  abandonar todo, incluida su fe, en tales circunstancias. Una reacción común es: "Esto no es justo" y la sumirse en la desesperanza. Por otro lado, cuando las personas se encuentran con éxitos no soñados, también tienden a olvidar de dónde vienen. "Yosef", dijo el ángel, "Recuerda estas dos palabras: "Ma Tevakesh". Manténte enfocado en lo que buscas con consistencia. Si te aferras a ese objetivo, nada te corromperá nunca ”. [No hace falta decir que nuestros objetivos siempre deben coincidir con lo que Hashem quiere de nosotros, como está escrito en Pirkei Avot (2: 4)" .. Haz Su voluntad como si fue tu voluntad que Él hara tu voluntad como si fuera Su voluntad ". Debemos preguntarnos constantemente, ¿qué quiere Di-s de mí ahora?] Muchas veces, conocemos personas que tienen mucho éxito. Nos preguntamos qué los hizo tan exitosos. ¿Por qué algunas personas tienen éxito y otras no tanto? Tendemos a decir que la clave del éxito es el talento, cerebro, la buena fortuna o alguna combinación de ellos. La visión del Rebe Kotzker que nos está enseñando es que el ingrediente principal para el éxito en la vida es el ENFOQUE y la PERSEVERANCIA. Una persona generalmente tendrá éxito si tiene una meta y la mantiene y nunca la pierde de vista. El Maharal explica cuán importante es la consistencia y el enfoque: Ben Zoma dijo: Donde encontramos un pasuk que incluye toda la Torah, "Shema Israel, Hashem Elokenu, Hashem Ejad" (Devarim 6: 4). Ben Nanas dijo, "veAhavta leReeja kaMoja" (Vayikra 19:18). Ben Pazai dijo:  “Y las primeras ovejas que ofrecerás en la mañana. . . ", Refiriéndose al Korban Tamid (Bamidbar 28:4). El Maharal explica por qué el tercer pasuk, que describe el Korban Tamid, podría ser considerado por alguien más importante que el aspecto del judaísmo "Avodat Hashem" (la opinión de Ben Zoma) y el aspecto del "código moral" del judaísmo (opinión de Ben Nanas) . Él explica en el sefer Netivot Olam que la consistencia y el enfoque son los aspectos más esenciales tanto de la religión como de una vida plena. En el judaísmo, podemos ver claramente que el enfoque y la consistencia son el secreto del éxito en la vida. El rabino Yaakov Luban una vez ilustró esta idea haciendo referencia al fenómeno físico de los rayos láser. El láser ha revolucionado el mundo de la medicina, la tecnología y la defensa. El láser es básicamente un haz de luz enfocado en un alto grado que aumenta su potencia hasta el punto de que incluso puede cortar un diamante. El láser utiliza aproximadamente 15 vatios de electricidad. La distinción entre la luz láser y la luz ordinaria es que el láser se enfoca y la luz normal se difunde. Esta metáfora es aplicable también para el éxito en la vida, no solo para el éxito material y monetario; se aplica también al éxito espiritual. Si una persona sabe lo que quiere, está comprometida con esto y puede mantener el enfoque con conostancia para lograr lo que quiere, entonces puede someterse a las pruebas y tribulaciones como Yosef y puede salir adelante victorioso. Este fue el mensaje que el Ángel Gavriel le dio a Yosef. Todos nosotros deambulamos por este mundo. No sabemos a dónde ir y qué hacer. La solución a esta incertidumbre es concentrarse y perseverar en "Mah Tevakesh", lo que queremos lograr en la vida. _____________________________________ [1] [Bereshit 37:14 [2] Bereshit 37: 15-16 Le Iluy Nishmat  Eliahu ben Simja, Perla bat Simja,Yitzjak ben Perla, Shlomo Moshe ben Abraham, Elimelej David ben Jaya Bayla, Abraham Meir ben Lea, Gil ben Abraham. Zivug agun para Gila bat Mazal Tov, Elisheva bat Malka. Refua Shelema de Jana bat Ester Beyla, Mazaltov bat Guila, Zahav Reuben ben Keyla, Mattisyahu Yered ben Miriam, Naftali Dovid ben Naomi Tzipora, Yehuda ben Simja, Mazal Tov Rifka bat Yitzjak, Rajel Simja bat Yitzjak, Yitzjak ben Mazal Tov, Yaacob ben Miriam, Dvir ben Lea, Menajem Jaim ben Malka, Shlomo ben Sara Nejemia, Sender ben Sara y Dovid Yehoshua ben Leba Malka, Yitzjack ben Braja. Exito y parnasa tova de Daniel ben Mazal Tov, Debora Leah Bat Henshe Rajel, Shmuel ben Mazal Tov, Jaya Sara Bat Yitzjak, Yosef Matitiahu ben Yitzjak, Yehuda ben Mazal Sara y Yosef be Sara, Nejemia Efraim ben Beyla Mina.