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lavellane · 6 years ago

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5 + 10 for emeraude, 14 + 18 for effie, 19 + 24 for arylene and 30 through 45 for imogen bc i love her so much ? 😏😏😏

fdjkfjkfdk thank u SO much maia i absolutely Treasure You !

EMERAUDE HAWKE - DA2

What does your OC normally wear? What would your OC wear on a special night?

emeraudes fashion sense is probably my favourite out of all my ocs, so uh if u havent looked at her pinterest board yet u should do that bc its Very cute hehehe

anyway for the most part she sticks to dark, practical clothing whenever she's out and about in kirkwall or doing merc work, etc. she picks clothes that convey strength and power, but she likes having a little bit of colour somewhere on the piece, just to keep things interesting. she's not much of an embroider, but was a good way to keep herself distracted during hard times, so she tends to add little patterns here and there whenever she gets the chance!

as for special occasions, for her this would actually just be. a quiet night at home or a relaxed gathering with her friends. bc its so rare for her to have that lmao. anyway for events like that she usually wears light colours and soft fabrics, simple but always decorated with flowers or colourful patterns.

What does your OC keep in a special drawer?

she has a collection of gifts ! that kids from lowtown would give her over the years she spent in kirkwall. she's a very community based person and wants to do right for her city, and shes very nurturing (in an ironical, Cool Big Sister way) so she likes making sure all the kids are safe and being looked after. she gets a lot of trinkets and strange gifts from some of the kids as a result, but she does treasure them (even if she laughs about it with her friends) and keeps them all !

EFFIE RYDER - MEA

Who is the mother and/or father figure in your OC’s life?

effie's maternal rolemodel has always been her late mother, ellen. nobody could really fill that role in her eyes, since they had such a close, positive relationship before she passed. her relationship with her dad was a lot more strained and it really impacted a lot of her relationships later on in life too ! she tends to.... see an older man who is Vaguely Nice to her, and then think “ oh, youre my dad now?” which isnt fair to anybody obviously but yeah she,,,, has a lot of unresolved issues regarding alec and tends to unintentionally project so. We stan !

How many times did your OC move as a child? Which area was his/her favorite?

oh constantly lol. With her dad being an n7 and her mother working so hard on her research, they tended to move around wherever her parents work required. she actually enjoyed it this way. she was never good at making long term friends, but she lived meeting new people, and obviously with the move she got to experience a lot of different cultures which really put the idea of adventuring and travelling in her head at a young age.

ARYLENE TORR - TES IV

What does your OC think of children- either in general or about having them?

she likes them ! she tends to keep her distance with most communities and groups of people in particular, but she does like enjoys having the odd conversation with the odd street urchin here and there, either sharing with them some strange, ridiculous life advice or – if shes feeling particularly chaotic – telling them the scariest stories she can think of. as for having them, arylene isnt AGAINST the idea, but she has far too much for the foreseeable future for that to ever be a good idea

Who are the people your OC dislikes/hates?

outwardly, arylene is an almost unbearably easy going person, so you would assume she doesnt hate anyone lol. but she does DEEEPLY dislike cults and groups of ignorant people who are arrogant enough to start messing with the balance of life, or making deals with gods, etc. she believes that people like that can do an unbelievable amount of damage, so she invests a lot of time and effort it sabotaging any group or plot she happens to find !

IMOGEN FOSTER - RDR2

Did your OC participate in extracurricular activities, and if so, what were they?

hmm idk if this even EXISTED in 19th century london lol, but she would have done some very tame version of girl scouts as a child! She barely remembers any of it, but she liked the classes on what plants did what, which were safe to eat, and the likes. its something that helps her a lot when on the run with the gang, and something shes always had a personal interest in, as a nurse !

other than that, she’s done a lot of independent study on history, classical literature, and she speaks fluent italian we stan !

What is your OC’s opinion of school? What kind of student was s/he?

imogen comes from a very wealthy aristocratic family, so she was very fortunate that her privilege afforded her the education she got at the time. she is VERY grateful to have attended the schools she did, and she made sure to make the most of it, paying attention in class and studying harder than most of her classmates. she's a smart girl with a very active mind, so knowledge is something she can't get enough of. she was actually petitioning the board of education to allow her to attend university before she left for america – already their had been women accepted into universities at that time, but obviously it was still a very scandalous thing lol, especially since imogen wanted to study medicine.

What subjects did your OC excel at?

imogen is a HUGE overachiever and did pretty well at basically everything from science, mathematics, language studies and later on, in her studies as a nurse. i can tell you what shes bad at though lmao

anything physical really dkdkdks she is TERRIBLE at horse-riding since she usually just went by carriage everywhere in the city. art and poetry and writing in general she was never great at, because she's a pretty logical person and was told she never put enough emotion in her work lol !!! sports...obviously was very limited anyway as growing up in like? the early 1870s lol. and as for the traditionally feminine lessons in like ?? sewing and cooking and stuff well ! she was very average at them which made her  feel worse than if she was actually bad bc she's so used to excelling and making a name for herself oof

What subjects interested your OC?

Imogen loves greek literature and mythology !! the iliad is her favourite book and she keeps her heavily annotated, dog eared copy – a gift from her late father – on her person almost constantly. needless to say its why dutch admires her as much as he does lol.

obviously, as a nurse-trying-to-be-a-doctor, she has a great love for medicine in all its forms. she's always been fascinated in natural remedies, and even moreso when she's running with the van der linde gang and is really relying on the land to survive.

What is your OC’s dream job and/or current profession?

hmm okay so. Technically she's a nurse – she worked in her father's hospital for almost 10 years prior to his death, and she was sort of his unofficial understudy, as in she knows a LOT more than her job description requires lol. but after her father past away, another, less progressive man took his place as chief of surgery and made a lot of changes to the way the hospital operated, and imogen was let go. she and her mother were fighting against it, however, under the ground of unfair dismissal, but obviously given the time period it didnt get them very far. so ! i mean technically she's unemployed rn. but she still has dreams of being a doctor, or at least continuing her career in medicine.

How is your OC working towards their dream job and/or achieved their current profession?

Oh VERY direct action up until she got disheartened and chose to take her sabbatical. she had been working in her role for nearly a decade, and was very obviously one of the most experienced nurses there. even younger doctors would sometimes ask her for her medical opinion dksksks anyway what i am saying is Brain Very Good. she had been fighting to gain admission into a university – any, she wasnt picky – to study medicine officially, but it didnt get very far and she put it on hold after her father got sick. after he died and she was laid off, she fought even harder against the city to reinstate her title, and continues to fight after she returns from america a year or so later.

What are your OC’s thoughts/opinions of his/her current profession?

helping people is her entire life, and she wouldn't know what to do without it. she loves being a nurse enough to fight to be a doctor, but also in BEING a nurse, she is hyperaware of all the things current medical standards seem to get wrong, and she has a lot of ideas about how else to go about things. her father, a shockingly progressive and worldly man for the time period, shared her sentiment, but he wasn't able to make the changes he wanted to before he passed, so imogen hopes she can be the change herself, and make her father proud

What is your OC’s biggest dream?

being a licenced doctor, babey ! preferably at her father's hospital, but at the point she will take what she can get.

How does your OC react to and handle stress?

imogen handles stress very well , which is partially why she makes such a good medic, and also how she managed to survive the first week of being with the van der linde gang lmao. she is very good at shutting out EVERY distraction when things get dicey, and her brain tends to move at a million miles an hour. all traces of english etiquette and politeness go out the window, though, so you'll usually catch her barking orders at people, and yelling at anyone who prevents her from doing the work she needs to do. it.....is a big wake up call for people like dutch and micah, and gets her into a LOT of trouble on multiple occasions.

How does your OC handle anger?

ooo......not great. she’s grown up with parents who maybe encouraged her to speak her mind a bit....TOO much given the historical circumstances lol. she really doesn’t stand for ignorance or prejudices in any capacity, and if she has a problem with someone and it gets in the way of her trying to do her work or help others - she will ABSOLUTELY be having words. she also overestimates her own strength quite a lot. she’s tried to throw hands with micah MANY times, often forgetting she’s this tiny 70kg englishwoman and he’s .... Him sdjkdcjkf. she has a big mouth too so she often says snide remarks without even meaning too, which tends to get her in trouble as well. on the bright side, it also helps her fit in with the gang quite well, because for the most part they all appreciate how wild she is lmao

How does your OC handle grief?

hmm i guess it depends on what you would class as “well”? she doesnt cry very often - being stoic and handling your emotions is important when your a nurse - but she does tend to shove her feelings down far longer than she should, and tries to pretend they don’t exist by simply focusing on other things. she also blames herself when a lot of things go wrong, because she’s a perfectionist and wants to FIX everything, so when she finds something - or someone - she can’t save, it feels like a personal failure. like she let them down :(

What is your OC’s greatest fear?

probably being trapped in an unhappy, unfulfilling marriage with someone who undervalues her. she’s not much of a homebody and doesn’t have too much of an interest in being married, but the idea of feeling FORCED to marry someone in order to have a decent quality of life makes her blood run cold oof

What makes your OC happy?

helping people ! meeting new folks ! learning about other cultures and ways of life! learning about NEW THINGS in general ! proving people wrong ! insulting micah !

as tough and high-and-mighty as she sometimes seems, she’s a pretty easy person to please, honestly. treat her with respect, give her space to do the things she wants to do, and don’t get in the way of her opportunities to learn new things, and she’s mostly very happy !

What kind of sense of humor does your OC have?

she has a fairly macabre and sardonic sense of humour, something she picked up from her mother. she says a lot of Shocking things for the time period, and she’s not shy of dirty jokes either. the first time sean heard her, a soft, well spoken english Lady, make some filthy, crude joke, he nearly had a stroke right there on the spot kjkjkfdjkf

What are some things that greatly upset your OC?

senseless violence, suffering or cruelty. she really hated the gang at first and hoped to escape the first chance she got, because all she could see was the crime and disregard for human life she assumed they all held. fortunately, as she got to know them, she realized this wasn’t exactly the case, but she still has a lot of anger in her heart for a few key members of the gang who seem to enjoy bloodshed more than anything. she also hates any form of social prejudice, and people who gatekeep knowledge and opportunities from others.

What are some things that annoy your OC?

i guess all of the above, but she also dislikes misplaced arrogance, and people who talk down to others. she tolerates dutch, but often gets frustrated with the way he speaks, using as many big words as he can to manipulate and confuse others. she believes that really intelligence doesn’t require obscure jargon and big, fancy words - she likes keeping things simple, so everybody can follow along.

#trvelyans #asks #ilysm for asking so many questions gal and sorry for the late reply !#oc: emeraude #oc: effie #oc: arylene #oc: imogen #imogen is my new rdr2 oc in case u couldnt tell djkdsjks #i need to update my ocs page with all my new Babies #also im so sorry for how long and probably messy these replies are #i did Not proofread this in the slightest so. godspeed !!#/ long post

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classicpenguin · 7 years ago

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We at Penguin would like to congratulate our very own Beena Kamlani on her thirtieth anniversary at Viking/Penguin! Beena, editor, teacher, mentor, and friend—only some of the titles she’s earned throughout her storied career—is a brilliant, inimitable force in the publishing industry, and we’re so proud to be celebrating this milestone with her!

Beena has edited authors such as Blanche Wiesen Cook, Terry McMillan, Diane Middlebrook, Sir Peter Medawar, Simone Beck, David Leavitt, Jiang Rong, Paul Beatty, Robert Kanigel, Reinaldo Arenas, Bob Shacochis, Alex Gilvarry, Kristopher Jansma, and Saul Bellow, and worked with Robert Fagles on his masterly translations of The Odyssey, The Iliad, and The Aeneid. She taught book editing at NYU for eighteen years, winning an award for teaching excellence during that time, and now teaches self-editing at Hunter College, CUNY. Read her anniversary speech about her publishing journey, her love of editing, and the importance of books below:

***

Thanks to Kathryn and Michael for hosting this evening and to all my colleagues, new and old, for making it. I’ll keep this brief. No amount of words can describe what these thirty years have meant to me—from the many interesting personalities who’ve crossed my path, to the books, the hundreds of books, that became part of my waking life. And it’s gone so fast. Blink, there’s ten years. Blink again, another ten, or twenty.

When my niece was five, she asked me why I read so many books. I said, because when I read a book, I live another life. It’s true also of being an editor. Through the books we edit, we inhabit our authors’ characters and stories, and their lives, their ups and downs, intersect with ours. That multiplicity of experience, compressed and lived so many times, is also why time tends to go by so fast. It is a job unlike any other, because it is rooted in the successful management of dialogue, of communication, of ensuring that what you and the author have to say to each other will end up revitalizing and not jeopardizing the work. It relies on sensitivity and diplomacy, humor and skill. It is always poised on the razor edge of friendship and professionalism. In the end the book must be served, and we are all in its service.

I came to Viking back in 1988; it was a small company then and housed all of us, and the mailroom, in two floors on 40 West 23rd Street, home to the Home Depot now. In the thirty years I’ve been here, the company has grown to become the largest book publisher in the world. It’s been quite an arc, and it’s been a privilege to be part of that growth, to see it go from strength to strength. The company has always been a magnet for talent and it has nurtured it well. A company is its people and if longevity is a marker of its ability to draw and sustain talent, here alone is evidence of it. As I look around this room, I see people with even longer histories here than mine. Kathryn, Leigh, Paul, Hal … It’s been such an honour to learn from all those who came before me, and a true pleasure to pass on what one’s learnt to those who have come after me.

For me personally, that arc began with the legendary Peter Mayer, who had just brought Bellow back to Viking the year I joined. It was a bright celebratory moment in Viking’s history. His booming voice filled our corridors and his energy was infectious. We began growing steadily as a company, becoming larger by the minute. I began working with Bellow from his first offering to us, A Theft, until his last novel, Ravelstein. Kathryn and I first worked together when Bob’s Iliad was delivered to the house in 1988. We continued working with him, completing his trifecta—the Iliad, the Odyssey, and Virgil’s Aeneid—and our collaboration with him led to a friendship that continued until his death in 2008. There have been so many others—team efforts with Andrea, Pam, Wendy, Carole-- each one a landmark on the way.

This fabulous journey would not have been what it has without all of you, my wonderful colleagues. Working with you has been a joy. We’ve all been on this road together, a team devoted to making the best books possible. I look forward to continuing the journey with all my newer colleagues—Brian, Elda, John, Patrick, all of you. I am as excited about what’s to come as I was thirty years ago when I first walked in through Viking’s doors. And to Kathryn, who has been a friend, a mentor, and an inspiration since I joined, I can only say thanks, and thanks, and ever thanks for being there from the beginning and for bringing us all together this evening.

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the-master-cylinder · 5 years ago

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SUMMARY Fifty years after a nuclear holocaust, mankind is decimated and the surviving nations—the western-influenced Market and the Russian-influenced Confederation—have agreed to outlaw traditional open war. In their place, disputes are settled with gladiator-style matches between giant robots operated by pilots called “robot jox” who are contracted to fight ten matches. The Confederation champion is Alexander (Paul Koslo), who has killed his last nine opponents thanks in part to a spy in the Market leaking information to the Confederation. The Market’s champion, Achilles (Gary Graham) has won nine fights and will fight his final match against Alexander for the territory of Alaska. Achilles is supported by robot designer “Doc” Matsumoto (Danny Kamekona) and strategist Tex Conway (Michael Alldredge), the only jox to win all ten of his contract fights.

As Achilles gets the upper hand in the match, Alexander launches a rocket fist at him. The projectile goes out of control and heads toward the bleachers. Achilles intercepts the projectile but his robot takes the full force of the impact and is knocked into the crowd, killing over 300 people. The referees declare the match a draw and order a rematch, but Achilles, shaken by what happened, declares this was his contractual tenth match and announces his retirement. He goes to live with his brother Philip and his family, and finds he is publicly branded a traitor and a coward. Meanwhile, a new jox is chosen to face Alexander, a genetically engineered “gen jox” named Athena (Anne-Marie Johnson), who is the first female jox. Worried for Athena and attracted to her, Achilles returns to the Market and agrees to fight Alexander again, infuriating Athena.

As Achilles’ robot is rebuilt, Matsumoto refuses to divulge any knowledge of its new weapons so it cannot be leaked by the spy, and Conway confides in Achilles he believes Matsumoto is the spy. Conway confronts Matsumoto in his office. Matsumoto reveals he has analyzed Conway’s final fight and deduced that the “lucky” laser hit Conway claims allowed him to defeat a clearly superior opponent was in fact deliberately aimed; Matsumoto accuses Conway of being a Confederation agent. Conway confesses and shoots Matsumoto, who secretly records the deed as part of the mission briefing. Conway informs the Market leadership that Matsumoto was the spy. On the day of the fight Athena drugs Achilles and steals his jox suit to commandeer the robot. Unable to stop the fight once she takes the field, the Market decides to support her. While watching Matsumoto’s briefing on the robot’s new weaponry, the footage of Conway killing Matsumoto is played and Conway jumps down the robot’s elevator shaft to his death.

Alexander takes the field against Athena. Athena takes the early advantage, but Alexander overpowers her and incapacitates the robot. The fight is declared in Alexander’s favor and referees order him to stand down. Achilles arrives on the field and takes over the robot from Athena while Alexander smashes the referee hovercraft; the two jox stand to continue the fight. Both robots take to the air and a short space battle ensues. Alexander critically damages Achilles’ robot, forcing him to crash land and flee for cover to the arm of Alexander’s robot Athena sliced off earlier in the fight. Achilles hotwires the arm to launch its fist at Alexander, destroying his robot. Alexander emerges from the wreckage and the two battle with poles before Achilles finally convinces Alexander a match does not have to end with the death of a jock. Alexander throws down his weapon, and they salute each other with the jox’s traditional “crash and burn” fist bump.

DEVELOPMENT Gordon conceived Robot Jox while making Dolls in Rome. “I’m a big fan of the Japanese Transformer toys,” he explained from his office, which overlooks Sunset Boulevard. “While there have been animated cartoons based on these giant robots, no one has ever attempted a live-action feature about them. It struck me that it was a natural fantasy for the big screen-and a terrific opportunity to take advantage of the special effects that are available today.”

Steve Burg’s 1986 concept art

Gordon approached science-fiction writer Joe Haldeman to write a screenplay based on Gordon’s original story itself based on the story of Achilles from Homer’s Iliad-having worked with him two years prior on an ambitious stage adaptation of Haldeman’s most celebrated book, The Forever War: Dennis Paoli (co-author of Gordon’s Re-Animator and From Beyond) put the final draft through various rewrites.

“Joe is part of an Air Force think tank to develop weaponry for the future,” explained Gordon, “so he was able to incorporate a lot of actual existing technology into the script and to hypothesize where it might all lead. Then we started storyboarding the film. The reaction to Dave’s footage was excellent, and Charlie was able to get the project rolling on a projected $10 million budget-a huge budget for an Empire film. I think Charlie saw it as Empire’s chance to move up into larger-budget films.”

“Haldeman did 11 drafts of the script,” the director recalls. “Joe’s experience in Vietnam was helpful here because the story’s about our future, 50 years after an atomic war. The world is basically broken down into two superpowers: The Market, which is like the Common Market except that Japan and the United States are part of it, and the Confederation, which is everybody else. Earth has vowed no war will ever take place again, so international disputes are settled by single combat between pilots of huge robots.” These pilots are called robot jockeys or robot jocks

The sequence, using robots designed by Kevin Altieri, was storyboarded by Altieri from the prologue to the script by science fiction writer Joe Haldeman, set in a snowscape where a heavy fog covers an apparent “elephants’ graveyard” of broken, battered robots, the fallen warriors of a robotic battlefield. Here and there among the shells, fires sputter near the latest casualties while a big, menacing robot stands over its victim.

“I thought it turned out very well,” said Allen of the test footage. “The style is quite different from anything else we did subsequently because it was all shot interior while everything else has been done exterior. It didn’t splice together perfectly because it depended upon live-action which hadn’t been shot.”

PRE-PRODUCTION Six months passed while Empire continued efforts to raise financing for the film while at the same time revising the effects complexities of the script to bring them in line with budget realities, mostly by simplifying the robot action. During these delays designer Altieri left the production to accept work as a full-time director at DIC Animation Studios.

Gordon said he brought Cobb into the project “to bring a real sense of believable technology to the robots, so they could be something an audience could accept as a reality as opposed to a cartoon show. Cobb designs things that could actually work,” said Gordon. “What we ended up with was a look that was different from the look of the Japanese toys. It’s very utilitarian and it looks big, like it has the power to do what it has to do.”

Cobb explained that when he was approached by Gordon to work on ROBOT JOX he was already committed to another project and could only work on weekends. “When I left, I told them they should make Steve Burg production designer or give him the clout of production designer because he was the only person that knew how the robots went together and was the only person that could police the construction,” said Cobb. “They just walked all over him. Eventually it was wrenched out of his hands. Everything went to pot when he left. The designs got really confused. The final shape and form of the film has obviously had problems, too.”

“I was most intrigued to design the cabs and how the interactive body motions were translated by waldos to the entire robot. I was trying to think of a reason for transformation. If it could translate into different modes of fighting, that might make sense. The idea really is silly, of course, but I wanted to keep it believable and then over and above it all, it’s humorous. It’s not a serious picture, and it isn’t meant to be.”

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Cobb was also asked to design robotic parts made of heavy-duty plastic (with metal armatures underneath) which special FX supervisor David Allen could reshape, using different models for different shots during the film’s major transformation sequences. Another Cobb-assisted movie is Stuart Gordon’s Robot Jox. “Again, that was in my conceptual design mode, so I basically opted to do all the key technology and moved on. Steve Burg was involved, and carried out many of my designs. We wanted a kind of non-Japanese version of a Transformer robot, which is very, very clever technologically speaking. We weren’t going to have them turn into semi-trucks or something, but we were going to have them break apart and operate in different functions and modes. I always liked the idea where the entire head became a little aircraft. I believe that has been changed-now the whole robot flies and changes.

According to Allen, Cobb came up with a new look for Achilles and Alexander, the main robojock pilots, their robots, and a few sets, including a gantry and silo. When the project encountered more delays, Cobb too, departed. “I suspect that payments to Ron started to flag,” said Allen. “There was sort of a painless transition. Ron left Steve Burg in charge to do the refinements and subsequent modifications.”

Steve Bury was brought in to assist Cobb with the robot detailing, since Cobb had a limited amount of time to devote to the project. “We were constantly referring to Ron’s drawings, and Steve continued to report back to Ron to show him what he was doing and to get Ron’s approval. As a matter of fact, Ron and Steve hit it off so well that they’ve worked together ever since.”

LIVE ACTION PHOTOGRAPHY Robot Jox began principal photography at Empire’s Rome facilities in January 1987, and wrapped in April. Gordon then turned over the post-production effects to Allen, who had selected El Mirage, a dry lake bed near the Mojave Desert, as the site for filming of the live-action robot skirmishes. (Some stop-motion work would be done at Allen’s Burbank studios; the live-action filming made use of the 5-foot, 50-pound cable-controlled models of Achilles and Alexander.)

“There wasn’t too much choice as far as shooting outdoors because Empire didn’t own a local stage we could work on,” Allen explained. “And even then it would have to have been huge; we would have had to hang and paint a cyclorama and then put tables out and light everything artificially. We would have been into a tremendous set rental situation over an extended period of time, which would have been a huge cash drain.”

El Mirage was chosen for its brilliant blue skies and unobstructed panorama, but the year of on-again, offagain shooting that transpired-Allen and his crew would make a total of three trips out to the desert location proved to be anything but smooth sailing. The weather was so temperamental Allen considered it a good day if he got two or three good shots in the can.

The heat wasn’t so bad, but as we were in a geothermally unstable area, we were at the mercy of the elements,” Allen said. “We had to contend daily with clouds, rain, dust storms and hellishly high winds-our outhouse got blown over constantly. Sometimes the dust was so bad you couldn’t see in front of you. When that happened, we’d go back to the motel or drive back to L.A. When it rained the lake bed would fill up and our cars were in danger of getting stuck.”

Numerous delays caused by the weather-and requests made by Gordon for additional effects-made location shooting more costly than Empire budgeted for. Still, Allen bristles at the suggestion that his unit work might have set the film back. The location shooting was probably more expensive than Empire expected, yeah. However the problem wasn’t that we were breaking the bank but that we weren’t getting money sent to us regularly enough. If by week four we didn’t have a check, we had to go back to L.A. Rain or shine I still had to put up 10 or 12 guys in a motel.”

David Allen

SPECIAL EFFECTS PHOTOGRAPHY With the designs set, the robots were finally transferred from the drawing table into three-dimensional models, constructed in two sizes: a stop motion size of about 20 inches tall and a larger cable-articulated miniature, closer to 50 inches high. Allen pointed out that the robot miniatures were particularly difficult to build because their joints had to be cosmetic as well as practical.“A robot doesn’t have implied’ joints like a foam rubber model,” said Allen. “It has actual working interstices: the hinges and swivels and all the hydraulics and the pistons have to be tracked. It isn’t like rubber that just mushes out of its own way. If you don’t design it right, the joints will all freeze up and lock. A robot can look good and be totally musclebound or joint bound.”

“The transformations sort of suffered due to the realities of the schedule and the budget,” said Burg. “The changes were generally not that extensive. The rocket mode, for example, had some wings pulled out and cockpits reoriented, but it was still recognizable as being the same thing, whereas with some of the TRANSFORMERS cartoons, it looks completely different. That would have been possible, but it would have taken an enormous amount of time to figure it out cleverly and would have taken a lot more resources to execute.”

Dennis Gordon, a long-time Allen associate, supervised the construction of the robot miniatures for Allen. Ron Thornton was brought in to head another construction team, and Mark Goldberg and Patrick Cox of the Local Motion Company were hired to build the cable-activated controls and armatures. Mark Rappaport built many of the robot’s weapons. Construction crews of up to twenty craftsmen worked for many months to complete the miniatures.

During this time, Allen was working full-time for ILM in San Rafael on BATTERIES NOT INCLUDED, a four month assignment he had accepted during one of the many production delays on ROBOT JOX. The ILM work stretched into a full year, keeping Allen away from his shop except for weekend visits to supervise the progress of building the ROBOT JOX miniatures. Allen compared overseeing the consortium of effects people at work to “managing D-Day.” During the weekend visits to his LA studio, Allen also completed stop-motion work for Gordon’s DOLLS.

Good actors are essential in selling special effects, making them seem believable, and Gordon said he felt that his cast was very good at “being able to create that sense of combat, one-on-one, which depends on the actors involved to be able to react with each other and play off of each other. The feeling that we were going for was something like ROCKY,” said Gordon. “There are real ups and downs in these battles and real emotional reactions to things that are going on. The robots are basically tools and weapons that are carrying out the war of these men.

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David Allen began post-production work on the carefully storyboarded robot battles, filming stop-motion at his studio and taking a crew out to a dry lake bed in El Mirage, near the Mojave desert, to film the large cable-activated robots live. Allen executed the stop-motion work with Paul Jessel, who animated the Achilles robot after Athena takes control.

Said Allen about working with Gordon, “Stuart is a person who showed himself to be quite decided about things, but he doesn’t dig in his heels. He accepts realities when .he’s satisfied that what he wants is impractical or not possible. I had a pretty free hand considering what I imagine Stuart is like on a set where he would usually be expecting to control his movies—that’s what any director expects to do. He was pretty good about letting us work in a loose kind of way. Of course, the [story]boards are very important. I don’t deviate from them too much unless I have to or I feel I can improve them or in some cases I just feel they are not very filmic. My changes have usually been appreciated rather than resented. I think we have a good relationship compared to the horror stories I often hear about with other directors.”

“Conceptually, filming there was a wonderful idea but, in reality, it turned into a huge ordeal for Dave’s crew because they were shooting out there for almost a year, completely at the mercy of the desert. When they came back, they all looked like Lawrence of Arabia.”

Additional robot weaponry includes cannons, machine guns and a Smart missile, on which is mounted a video camera for point of-view shots. For hand-to-hand combat, there are saws, drills and a magnesium flare which can suddenly blind an opponent.

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But, says Gordon, “the human story must be the center of it all. No matter how great your FX are, if the audience doesn’t care about the people, then there’s no movie. That’s why I was drawn to the story of Achilles, the warrior who doesn’t want to fight anymore but is forced back into it because of his lover’s death. That’s the center of ours as well, though we’ve put it into science-fiction terms.”

Along with some stop-motion FX added later, Allen and his crew shot on location in the Mojave Desert utilizing large models for these mechanical effects; others were used for pyrotechnic explosions, while some doubled as “stunt robots” for shots in which they couldn’t destroy their carefully detailed models.

“By shooting in Death Valley, David was able to do extensive foreground miniature work, as opposed to doing it optically in post-production,” explains the director. “So most of the effects work was done in the camera, which gives it a very realistic, seamless look, because you’re seeing real mountains, sky and sunlight behind these robots.” This technique also offered the filmmakers a tremendous depth of field, keeping both the foreground and background in focus.

The live location shooting of the big miniature robots at El Mirage proved to be the biggest headache for Allen. When the location work cost Empire more than expected, Allen’s crew had to pack up and leave until more funds became available. All in all, Allen and his crew made three extended trips out into the desert. “I think if you took all the periods and added them up, we were out there for at least six or seven months,” said Allen. “That’s a long time to have a second unit crew on location. We made a very large commitment to that decision. It was a decision dictated by my recommendation, but also by practicalities.” The alternative would have been to shoot in an enormous warehouse or hanger with cycloramas, which would have been an even more expensive proposition for Empire, according to Allen.

“It takes a certain daring to shoot outdoors,” said Allen about the decision. “That’s why movies were made indoors for thirty years, because of the pressures of the industry to force predictability and control on the product. There were a lot of problems in El Mirage. We underestimated those problems.”

According to Gordon, one of the reasons the effects are taking so long is that Allen is shooting in sunlight out in the desert to incorporate real mountains and skies as a backdrop. The vastness of the desert is being used to combine the miniature robots with vast cheering throngs of spectators by shooting the cable-controlled models up close with a stadium set far in the background.

Allen is also shooting background plates for stop-motion work to be completed at his own studio. “I think the effects are really going to blow people’s minds,” said Gordon. “Although this is Empire’s largest budget, anyone else attempting this picture would want to budget three times as much.”

Gordon also pegged the film’s delay to the time-consuming special effects techniques being used to bring the story’s giant, transforming, fighting robots to life. The work, supervised by Oscar nominee David Allen, is said to be spectacular by those who viewed a product reel of footage shown by Empire at the American Film Market earlier this year. To realize the film’s complex effects action inexpensively, Allen wedded today’s sophisticated puppet technology to the low-budget effects techniques used by Howard and Theodore Lydecker on the Republic serials of the ’40s, filming the robots live against real backdrops.

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“It’s an approach that I don’t think anyone would attempt unless they were looking at this as we were—from a very low budget,” said Gordon about reviving the Lydecker approach. “Rather than light a miniature on a stage, they would take the miniature outdoors and light it with sunlight, using real sky and real clouds. It gives the miniature work greater realism. The effect is seamless because it is done in the camera.”

Gordon thinks audiences will be able to notice the difference from the blue screen optical compositing techniques that have become commonplace in effects films. “I think audiences are starting to get wise to those techniques and are able to spot them and know exactly what you’re doing,” he said. “By going back to these older techniques, our effects have a freshness about them.”

Allen and his crew spent over a year in the desert shooting the film’s robot scenes using natural sunlight, painstakingly matching the variable lighting conditions for sequences filmed over a prolonged period of time. At the mercy of the elements, the crew endured wind, rain and sandstorms which often made the shooting a waiting game. Beside the weather, the financial climate at Empire resulted in its own delays. “At one point they had to shut down production and pull Allen and his crew out of the desert until the cash flow improved,” said Gordon.

Allen accomplished most of the scenes of robot warfare live, using cable-controlled models, although stop-motion is used for some scenes. He has a second set of robots that are in a smaller scale which he uses for stop-motion,” said Gordon. “When he’s not able to get the large ones to do it, he uses stop-motion. One of the things that I am amazed at is that he’s able to meld the two in terms of being able to go from a stop motion shot to a puppeted shot. I don’t think the audience will be able to tell the difference in most of the cases. It’s a wonderful blend.”

Allen was pleased with the realism provided by the natural lighting and backdrops, but using a natural sky meant that the sky was always changing, making it sometimes difficult to match shots. And the sky at El Mirage was like Mark Twain’s comment about the Hawaiian Islands: “If you don’t like the weather, wait a few minutes and it’ll change.” Noted Allen dryly, the weather almost always seemed to get worse on any given day rather than better.

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Allen’s right-hand man on the shoot was associate effects director Paul Gentry. Ray Goode served as effects crew foreman and pryotechnician Joe Viskocil handled the fire and explosions. Winds proved especially bedeviling for the numerous shots requiring pyro effects, blowing the fire and smoke hysterically, giving away the small scale of the miniatures. The wind also blew sand off the elevated tables that the miniatures were filmed on and into the faces of the cable operators and camera crew. The difficult shoot was exhausting to everyone on the crew. Seemingly simple sequences would take hours to get on film because the process by which the robots were manipulated had to be hidden and their movements painstakingly detailed and adjusted. But Allen is very pleased with the results that were achieved.

“A major studio could not have afforded to put up a second unit working in the conditions under which we produced these shots,” said Allen. “A lot of days we simply couldn’t do anything and had to sit it out. It would be ruinously expensive to work that way for a major studio. For them, it would have been cheaper to work indoors. But for Empire it would have been much more expensive because they were not committed to the union way of doing things. To put a second unit out under those conditions, you would have to have a lunch wagon and a guard and all the facilities and amenities. We had my old R.V. and we were like a bunch of ragtag Eagle Scouters practically.”

Looking back on the years of work on ROBOT JOX, Allen remembered with some irony his first conversation with Empire chief Charles Band about ROBOT JOX, indicating the naivete with which Empire entered into the complex effects project.

Joe Haldeman

Interview with screenwriter Joe Haldeman What kind of working relationship did you have with Stuart Gordon? Joe Haldeman: I enjoy working with Stuart because he’s one of the best administrators I’ve ever seen in the arts. He and I had many pretty good-natured arguments over what the movie was going to be about, and about what science fiction was supposed to do. He usually won, being the director. We identified the problem without actually solving it-I was trying to make an adult movie that children would enjoy, and he was trying to make a children’s movie that adults would enjoy. Those are two really different kinds of movies, and I guess we never did resolve them.

How did you get involved? Joe Haldeman: Stuart called me. He’d had two successes with From Beyond and ReAnimator, and the producer gave him more or less carte blanche. He wanted to do a hard SF movie, so he called me up and he said, “I don’t have much money, but how would you like to write a movie that actually gets made?”

And I said, “Yeah!” So, he said, “What I want to do is a science-fiction version of The Iliad.” I said, “Great,” and he said, “I’ll send you a couple-page outline.” So, I get this outline, it’s pretty much like The Iliad, except it has a love interest, and people walk around in great big robots. I worked up a proposal to pitch it to the producers. They sent us out to Los Angeles and I pitched it, and they bought it. I wrote it and rewrote it-all six drafts of it.

Did you meet with the actors? Joe Haldeman: Yeah, I loved the actors. That happened because I did six drafts, and then another draft written by somebody else came in the mail. It was just awful! I wrote Stuart a long letter detailing why he shouldn’t use that script. I didn’t hear from him for months, and I thought, “Well, that’s it.” Then, they called me in December and said, “We read your criticism, you’re completely right and we want you to write the final version. Can you be in Rome tomorrow?” You can imagine how weird that was. I said, “It’s nearly Christmas, I can’t come to Rome tomorrow. Don’t be ridiculous. I’ve got a family.” I said I would be in Rome by the first week of the New Year. They said, “OK.”

They put us up in a really grand hotel on the Via Veneto in Rome. I sat there with my little manual typewriter and rewrote the script word-for-word. It was a whole new script because I got to talk to the actors, the male and female leads. We hashed out the main characters together so that they were comfortable with them. I would get up about 2:00 a.m. and write until 7:00, when the actors were going out. I would go down and copy the pages for them, and they would get in the limo and go out to the studio to act ’em out. It was a really vibrant and exciting way to live. When you’re going through something like that, you realize, “God, this is changing my life forever!” I really loved working on that project, loved being a team player rather than being the only guy responsible for the whole product.

I’m eternally grateful to Stuart for choosing me for that. He could have chosen many people who are more tractable. I think he got a good movie out of it. You can’t tell until all the various elements come together. We got good actors, we got one hell of a good writer (Smiles), we got one of the best directors around.

And the special FX? Joe Haldeman: The special FX were great. They took us out to the studios at the largest soundstages in Europe. The story involved robots 500 feet high, and they had actually build one up to the knees inside of that huge soundstage. I don’t know what I had expected, but there were futuristic automobiles, and the interiors of futuristic homes, military training stuff. I walked into the wardrobe room, and there were 200 costumes that were made for people who before had only inhabited a universe in my mind. All of this stuff, millions of dollars and hundreds of people working thousands of hours, were all there to make solid the things that I just imagined the way I imagined a novel. That was a mind-blower! It should only happen to every science-fiction writer.

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Robot Jox (1989) Frédéric Talgorn Frédéric Talgorn, who had previously composed the music for the 1989 horror film Edge of Sanity, wrote the orchestral film score for Robot Jox, which was performed by the Paris Philharmonic Orchestra. Since Prometheus Records reissued the soundtrack in 1993, it has received generally high acclaim. An editorial review by Filmtracks.com stated that “Talgorn’s usual strong development of thematic ideas is well utilized in rather simplistic fashion in this film, perfect for the contrasting characters and their underdeveloped dimensions.”

CAST/CREW Directed Stuart Gordon

Produced Charles Band

Screenplay Joe Haldeman

Story Stuart Gordon

Music Frédéric Talgorn

Gary Graham – Achilles Anne-Marie Johnson – Athena Paul Koslo – Alexander Robert Sampson – Commissioner Jameson [sic] Danny Kamekona – Dr. “Doc” Matsumoto Hilary Mason – Professor Laplace Michael Alldredge – Tex Conway Jeffrey Combs – Spectator/Prole #1

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v17n01 Cinefantastique v18n04 Cinefantastique v19n01-02 Horrorfan#02 Starlog#145 Starlog#158

Robot Jox (1989) Retrospective SUMMARY Fifty years after a nuclear holocaust, mankind is decimated and the surviving nations—the western-influenced Market and the Russian-influenced Confederation—have agreed to outlaw traditional open war.

#80sFilms #BAND #EMPIRE

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anamsaorreads · 8 years ago

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Allow Me to Introduce Myself

Hi there. My name is Edel and I've decided to try my hand at writing a book blog. Who knows if anyone will read it, but perhaps it could be a place where I can find my voice. At any rate, I'm unlikely to find it if I don't start speaking. The following is a fairly longwinded account of my life's reading journey so far — feel free to skip it, I'll try to be more succinct in future posts.

My mother has always described me as a big reader, always with a book, always reading something. For the most part I agree with her, but I'm also a relatively slow reader (I think, I've never definitively tested my wpm reading speed), and I've had lulls, and great chasms of readinglessness, throughout my life. To be fair, many of the lulls or pauses or dragged out perusals have occurred whilst I've been studying, either in school or university, and although I read a lot for those courses, the reading involved was of the kind that was extra slow, and always, always, put me to sleep. Don't get me wrong, I enjoyed my courses — mostly — and although the assigned texts were interesting in their own ways, they were rarely something to get excited about (with a few exceptions). Actually, I must now confess that many of the books I was assigned were never finished, or even started, during the time frames of their respective courses. I have since read and enjoyed some, and others are on my current reading list (someday, I will finish The Iliad!).

As a child, I remember frequenting my local library quite a bit. Writing this has brought back a memory of using it to research a project on St. Brigid - Irish princess-goddess-saint — when I was 8 or 9. I vaguely recall a small, tattered, dark green, hard-covered book from which I copied the interesting facts and folklore (my research/essay-writing hasn't changed much since then...). A couple of years after joining, I began to notice a pattern of not finishing the books I checked out, and not remembering their titles after a few months (the latter frustrated me more I think, because I had an otherwise excellent memory for a 7 year old), so I tended to only check out Asterix and Obelix and Horrible Histories volumes, and read the novels and storybooks that I already had at home (a faded pink-covered illustrated Grimm's Fairy Tales springs to mind) or that I bought. The first book I ever fell in love with was a Don Conroy book about an owl. I can still see it gliding through the night air and grasping up an unsuspecting field-mouse in its talons. Fabulous imagery!

In my teens I got more into fantasy. I adored the Old Kingdom Trilogy (there were only three when I read it and I haven't read the others in the series so to me it's still a trilogy) by Garth Nix. I felt empowered by the strong female protagonists and escaped into the vivid descriptions of landscapes and monsters (the Dead), magic, and hot, naked, petrified men. I remember almost gagging as one of the books described the movements of the Dead, and feeling like I (me, personally) had to turn it into a movie. I haven't. Yet. I also read a few Eoin Colfer books — the code along the bottom of the pages of the Artemis Fowl books were always fun — and dabbled in Discworld. Later, I got into some slightly pretentious, wordy, philosophical books like The Picture of Dorian Grey, which I think I understood, and Catch-22, which I did not, even though I wrote a review of it for the school magazine.

I took English in my first year at university and we were assigned an array of wonderful classic novels to read when it finally came to studying prose fiction, many of which I'm still working on. After an entire semester studying Wordsworth's "Daffodils" for one course and learning how to study, research, and write about it for another, one would think one would be dying to get one's teeth to some variety. However, perhaps irrevocably bored with the course, discouraged by the difference in my first semester grades between English and my other subjects, or as a consequence of struggling to adapt to college life, I ended up reading the bare minimum: Pride and Prejudice and *some* of Joyce's Dubliners. While I immensely enjoyed reading, and even studying and writing about these books, I must say I enjoyed re-reading Dubliners last year, and re-watching the BBC and movie adaptations of Pride and Prejudice far more.

The course did introduce me to titles I probably wouldn't have picked up as soon but am glad I did — Jane Eyre and Wuthering Heights, among others I'm looking forward to — and it certainly encouraged my love of books. My other subjects did as well, of course. I picked up Fiche Blian ag Fás for my one of my Irish courses and still haven't put it down, largely because I'm taking an age to read it. One of my Bibstudz (Masters in Biblical Studies) lecturers assigned The Iliad as one of our *weekly* reading and I'm still working on that one, too (he did acknowledge that that was a slightly ridiculous expectation).

Since finishing my Masters, and subsequently deciding that maybe I should take a wee break from formal education for at least a few years I have been making more of a conscious effort to read more, both in terms of volume of books, and variety. I don't think I've ever read more than 4 or 5 books in a year until recently. In 2015, while on an internship with TG4 in the back arse of nowhere, I managed around 5 or 6. One was Baudolino by Umberto Eco, which although fantastical, interesting, and thought-provoking, took at least three months for me to get through. Another was The Road by Cormac McCarthy, which I read in two sittings, in roughly 7 hours. By way of a harrowing journey, through poetic prose, beautifully bleak and vivid imagery and description, panic and *a lot* of tears, it quickly became my (current) favourite book.

Now, when I say a lot of tears I mean A LOT. After beginning to weep about 50 pages in (if you've read it you'll know the point I'm referring to), and continuing to cry constantly for the rest of the Sunday afternoon I had chosen to start reading it, I hadn't quite finished it by the time I had to go to sleep. Since I had only roughly 50 pages left, had read the rest of it pretty quickly, and it wasn't very busy in the office that morning — and since I had decided that I absolutely could not wait 8 hours until I got home, or even the 4 hours until lunch — I decided that I could hide in the library and finish it before any pressing work came up. So I did. And I bawled my eyes out for those last 50 pages. I would have gotten away with it too if it weren't for that pesky colleague. He didn't say anything but he definitely saw me crying, with my puffy red eyes and my sniffling. I just hope he saw the book and didn't think I was in there crying because I was upset for a real-life reason (I'm sure he would have offered assistance if that were the case, he seemed like a nice guy).

Last year, I blew my personal reading record out of the water. I read 14 books, including another Eco tome, and I enjoyed most of them. Of course I had to read Brooklyn and Room (otherwise how was I ever going to be able to watch the films) and both were fantastic. I have to say though, I really struggled to get into Brooklyn at first, but for an unusual reason. I started reading it the December before around the time the film came out here, or just before that. I read the first 20 or 50 pages and while I liked it, it made me slightly uncomfortable. I felt like Eilis, the protagonist, was very much like me. Too much like me. Not in the sense that she possessed those traits which I admire in myself (we all like to identify with a protagonist by relating to those aspects of their personality which drive the story, or by seeing in them someone we would one day like to become, or be like), nor was it in the sense that I think a lot of people might identify with the not so desirable characteristics of someone like Holden Caulfield (he is a little gobshite, really), but know that we're probably not quite that bad. Rather it was that, in those aspects of her personality that drove the first part of the book mostly strongly — her reticence, her thinly veiled anxiety — I saw a mirror image that I didn't see changing any time soon. I think it may have irked me even more as she did begin to transform, that I was not changing in step with her.

A friend of mine, who hasn't read the book, but saw the film and did a review of it for his local radio station, mentioned to me that he had seen someone who reminded him of me in the cinema. I flirtatiously replied "Was she pretty?" Of course he clarified that it was more a personality reminiscence and that the girl was on the screen, not in the audience. I knew who he was talking about. I finished the book shortly after Christmas last year and eventually watched the film. To me, book-Eilis is more similar to me than film-Eilis, but it's interesting to see how I may seem to other people.

I'm not really sure why I've given you my entire reading history but I guess that brings me to roughly to beginning of 2016. I don't want to make this post any longer than it already is, so I'll fill you in on what I read during the rest of last year in a future post.

I'd like to use this blog as somewhere to talk about books I've read and want to read — I aim to read 24 books this year, which in comparison to other book-bloggers and -tubers is pretty modest — books I love and didn't, and somewhere to share my thoughts on some of my other bookish interests like languages, Irish history and mythology, movies and TV, photography, the Internet, adventures and more (I know, I'm really carving a niche here).

If you've read this far I'd love if you stay and explore more, say hi, and most importantly, give me your recommendations on books and blogs I should read, movies, TV shows, and YouTube channels I should watch, and anything else you think I should know about.

My plan for the time being is to produce one main post per week, so be sure to follow me and come back next week! (Keep an eye out for random bonus posts! — No promises there though ;) )

Thanks for reading

Edel

#booklr #reading #introduction #hello #mine #bookworm #bookblogger #book photography #books #booklover #bookblog #books and libraries #bookish #booknerd #book addict #lit #literature

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autodidact-adventures · 8 years ago

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Ballet History (Part 16): John Weaver’s Experiment

John Weaver was born in 1673 in Shrewsbury; his father was a local dancing-master who taught ballet to “aspiring gentlemen” at the Shrewsbury School. Weaver followed in his father's footsteps, becoming a dancer and a teacher; he would eventually run a respectable boarding school in town, and he taught social dancers to the nobility in London.

Weaver was known for his clowning and comic skills, and he had a taste for practical jokes. He often performed in light entertainments, usually inserted between the acts of plays. They had titles such as “that delightful Exercise of Vaulting on the Manag'd Hourse, according to the Italian manner.”

Weaver belonged to a small ground of like-minded ballet-masters who lived & taught in London. They included Queen Anne's dancing-master Isaac, and Thomas Caverley, who ran a well-regarded school in Queen's Square. This group (like dancing-masters everywhere) closely followed Parisian developments. In 1706, Weaver translated & published Feuillet's treatise on notation.

Several years later, he also published An Essay Towards an History of Dancing, In which the whole Art and its Various Excellencies are in some Measure Explain'd. The work was ambitious and freewheeling (and also plagiarized in parts). It was dedicated to Caverley, and published by Jacob Tonson, a Whig bookseller who also published Congreve, Dryden and Milton.

Later, Weaver would publish Anatomical and Mechanical Lectures of Dancing, The History of the Mimes and Pantomime, and various other writings.

In the early 1700's, London became a thriving metropolis, and the centre of English cultural life (displacing the court). In 1670, its population was 475,000; in 1750, it was 675,000. One person remarked that the city was a “mighty Rendezvous of Nobility, Gentry, Courtiers, Divines, Lawyers, Physicians. Merchants, Seamen, and all kinds of Excellent Artificers, of the most Refined Wits and the most Excellent Beauties.”

The theatrical season drew aristocrats from their country estates to the city. Art, entertainments, and leisure activities flourished. The Licensing Act lapsed in 1695, leading to a dramatic increase in publications, and the emergence of Grub Street (the world of impoverished “hack writers”). Commercial publishers rivalled each other to fill the demand for literature, news and gossip.

Coffee-houses and clubs brought together like-minded people to discuss current affairs and topics. One of them was the Kit Kat Club, which was founded in 1696 by a group of noble Whigs, including William Congreve and Jacob Tonson; also Horace Walpole, Joseph Addison and Richard Steele (the latter two writers).

The Kit Kat Club was influenced by men such as the third Earl of Shaftesbury, Anthony Ashley-Cooper, who had been educated by the philosopher John Locke. They developed an ethic of “politeness”, and hoped that it would become the foundation of a new, stable, English urban & civic culture. “All Politeness is owing to Liberty,” wrote Shaftesbury. “We polish one another, and rub off our Corners and rough Sides by a sort of amicable Collision.”

This politeness was not the same as the “Court-Politeness” of Louis XIV's court, which had corrupted Charles II's court as well. Shaftesbury believed that France was a modern-day Rome: decadent and declining. They needed a simpler style of social interaction, and an aesthetic that was “above the modern turn & species of Grace, above the Dancing-Master, above the Actor & the Stage, above the other Masters of Exercise.” A new kind of moral authority would take precedence, with its roots in urban life and the freedoms of Britain's parliamentary system.

Addison and Steele founded The Spectator in 1711 for this purpose. It soon became the most important journal of the time, and its essays were widely circulated and reprinted. An issue cost a penny, which was a reasonable price, and it appealed to men & women of both the elite and aspiring classes. “Mr. Spectator” was a gentleman of the time: he was born on a rural estate, lived in London, and spent his time debating standards of style and taste.

The Spectator (June 7th, 1711).

Weaver managed to convince Steele that ballet was a valuable civic tool. Its manners and graces weren't necessarily effete and Frenchified-frilly, but a form of politeness that could be used for their aims. In 1712, he published an open letter in The Spectator, with an introduction by Steele, arguing that dancing was not only a high art, but also an educational tool “of universal Benefit” (as he later put it) “to all Lovers of Elegance and Politeness.” Also in 1712, Tonson published Weaver's Essay Towards a History of Dancing.

From then on, Weaver devoted himself to reforming French ballet, and making it a cornerstone of English civic culture. Dancing could help men regulate their passions, and behave with civility. It could be a social glue – used to smooth over the differences between people, and the tensions that threatened to undermine civic life. Unlike French ballet, Weaver insisted, the point was not to support social hierarchies, but to quash them. Politeness wasn't a shallow, surface thing – it could make you more moral on the inside.

Giovanni Andrea Gallini was an Italian dancing-master who had spent his life in London. He added to Weaver's assertions, saying that dancing “ought to be recommended to all ranks of life...It is certainly not eligible for a nobleman to have the air and port of a mechanic; but it will not be a reproach to a mechanic to have the port and air of a nobleman.” Steele said, “The Appellation of a Gentleman is never to be affixed to a Man's Circumstances.”

Weaver pushed ballet further, not being content with just politeness. He wanted to make it a respected theatrical art, and to do this, he moved away from France and towards antiquity – towards the classical art of pantomime. The aristocracy studied Latin and Greek as part of their education, so this would help Weaver's goal of respectability. It also fitted in with the early-1700's surge of interest in the Ancients, which included new translations such as Dryden's version of The Iliad (1700), and Pope's (1715-20).

Weaver believed that English ballet-masters were the right choice to create a path between the decadent, immoral spectacles of the French, and the low tricks of the Italians. They would create a new and serious type of pantomime, modelling it on the Ancients. It would be tasteful and moral without being dull. Thus it would be an English form of ballet, and polite.

In 1717, he staged The Loves of Mars and Venus at the Drury Lane Theater, the first production of this new ballet genre. He described it as “A Dramatick Entertainment of Dancing Attempted in Imitation of the Pantomimes of the Ancient Greeks and Romans.”

The Drury Lane was actually Richard Steele's theatre. A while back, Jeremy Collier (critic & cleric) had started a strong debate over the morality of theatrical life in London. He lambasted both directors and playwrights for “Their Smuttiness of Expression; Their Swearing, Profainness, and Lews Application of Scripture; Their Abuse of the Clergy; Their Making their Top Characters Libertines, and giving them Success in their Debauchery.” Other calls for reform were made. In response to all of this, in 1714 George I appointed Steele to govern the Drury Lane Theater. One of Steele's colleagues, who agreed with the need for reform, was glad for this “happy Revolution”, which might create “a regular and clean Stage...on the side of virtue.” John Gay (playwright) remarked that Steele knew how to “make virtue fashionable.”

Steele had rather a large challenge ahead of him: he still had to sell tickets, and the competition was fierce (including from Italian opera). His main rival was the Lincoln's Inn Fields Theater, which was run by John Rich.

Rich was part of a theatrical family, and he'd grown up playing Italian pantomimes on the boards of London theatres. He knew what people wanted and how to give it to them, and he pitched his shows downmarket. One critic later rubbished his shows as “monstrous Loads of harmonious Rubbish" - but he certainly brought in the crowds.

John Rich as Harlequin (c. 1720).

And yet against all this, The Love of Mars and Venus was a hit. It was a pantomime play set to music by Henry Symonds, and a comic Cyclops was included in a concession to popularity. No singing, familiar tunes, or placards were used. Hester Santlow performed the role of Venus, dropping the usual seductive poses for “Delicacy”.

The story was told through “regulated gesture” and facial expressions (like masks), which were like the expressions laid out by physiognomists who mapped the physicality of character & emotions. Jealousy was shown as “a particular pointing the middle finger to the Eye”; anger was “the left Hand struck suddenly with the right; and sometimes against the Breast.”

John Rich struck back with a parody: a burlesque called Mars and Venus: Or, The Mouse Trap. The serious roles were performed in the lowest Italian acrobatic style.

The next year, Weaver & Steele staged Orpheus and Eurydice, with a 25-page programme full of references to Ovid and Virgil. But it was less successful than Mars and Venus, and it was only downhill from there. Steele was forced to make more and more concessions to popular taste, with lewd comic touches, and tricks and stunts. Weaver left the theatre in 1721, but by then their experiment had already died out. The Drury Lane was being taken over by the low pantomime entertainments they had tried to rise above.

In 1728, Weaver tried again to make people listen, with a bitter, self-important account of serious pantomime theater. But people were no longer interested. Steele died the next year, and Weaver retreated to Shrewsbury and private life. He ran his school, where he taught dance and rehearsed pantomimes from the old days. He died in 1760, and it was hardly noticed.

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him-e · 8 years ago

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You're the only one I know that have seen the oa, I liked the show but I was really confused about the finale so I would like to know your opinion on what happened, especially cause I love all your analysis of got and star wars

Thank you, you’re so kind!

Okay, about The OA (spoilers below):

Like you, I loved the show and was very puzzled by the ending, and tbh I’m not sure if I liked it or not. Wasn’t really disappointed, because I had been smelling an unsatisfying resolution or non-resolution since halfway through the season. Still, the school shooting felt completely random—which might have been the entire point, sure, but that’s not particularly clever, just infuriating. Who is this guy? Why didn’t we see him before in the show? Why the fuck should I care? It’s like those mediocre storytellers who don’t know how to create a climatic moment and write a random tragic accident completely unrelated and unsupported by the narrative, but that gives the viewer the cheap thrill of worrying for the characters for twelve seconds before the story ends. Also, the five all suddenly jumping up to perform the choreography was surreal and a bit unintentionally hilarious imo. It’s not clear what they were trying to accomplish, or if they did in fact accomplish anything beyond dumbfounding the shooter long enough for a worker to sneak up on him and disarm him, but the episode is titled “Invisible self” and maybe something invisibledid happen and the fact that we saw nothing was 100% intentional, idk.

I do wonder whether I’ve watched something incredibly clever or incredibly pretentious. However, I appreciate the ambiguity, because it allows the story to maintain its surreal/liminal quality, its evocative vagueness. The finale doesn’t offer clear answers—it does not “reveal” any angels with badly cgi-ed feathered wings or any actual miracle, nor it definitively confirms that it was all a fantasy Lost-style. The viewer is required to make a leap of faith and insist to believe it was true, or find a metaphorical meaning to the psychotic trip OA told us. The interpretation of the finale depends entirely on what you believe to be real (and on whether or not there will be a second season tbh).

SO, has Prairie made up the entire story— her father being killed by the Russian mafia, the dreams, the near-death experiences, the abduction, Hap, Homer and the others—has she made it all up in her mind? Is she mad? That’s certainly what the show wants you to believe when Alfonso finds the books in her room, suggesting that everything she told them is information gathered from her readings and re-elaborated. If that’s the case, then the five movements don’t really have a purpose or a meaning… until the four kids and the teacher perform them during the school shooting.

In that moment, the five movements—the product of a delusional mind who made up an elaborated fantasy of fallen angels conveniently modeled on her newly found friends, hunters and interdimensional portals to cope with a yet-to-be-explained horrific trauma?—become something: they help five people find the strength and the courage to deal with a very real life or death situation which in turns allows a school shooter to be stopped before he could commit a massacre. The five movements, in themselves, are nothing, but Alfonso, Jesse, Buck, Betty and Steve eventually made the choice to believe in them—rituals only have a meaning because we decide that they do—and in doing this, they stopped being five disparate people barely knowing each other and became a group. They instantly recognize that they are indeed similar and part of something bigger. They make the leap of faith.

And this happened thanks to a mentally ill survivor of unspeakable (literally: we have no idea what really happened) abuse, who, like a modern Scheherazade, each night tells these kids and this woman (each of them lost in their own singular way) a piece of her “story” and in doing this she makes them fall in love little by little with her, with each other, and with themselves (don’t they all start wondering “why did she choose me? Am I special, after all? Do I matter?” Don’t they start paying attention to their individual stories, too?)

This, in itself, is great and I’d be willing to accept that none of what we’ve seen in the flashbacks is real except it doesn’t matter because what really matters is that the story brought these people together and prepared them to subvert a tragedy.

But I’m not entirely convinced, because that doesn’t explain:

where has Prairie been in these seven years?

was she really from Russia? was that a lie?

how did she manage to calm an attack dog and turn it into a harmless puppy?

what caused her nosebleeds?

when exactly did she order those books from Amazon (also considering that right after she came back she didn’t have access to wifi)? And how could she read them all in such a short time and make up an elaborated story based on them? Or are they from before she disappeared? And if that’s the case, how come they’re all so conveniently gathered in the same amazon box instead than, idek, getting dusty on her shelves?

how did she get a correct premonition of the school shooting?

why does Steve hear the whooshing sound of the *departure* of a conscience while the ambulance leaves?

if Prairie based Homer’s character on “Homer” the writer of the Iliad, isn’t it a great coincidence that there’s actually a football player named Homer Roberts who had a NDE?

what was the FBI guy doing at night in Prairie’s house?

and most importantly,

how did Prairie get her eyesight back?

because she was blind, and then she wasn’t. And she did disappear for seven years. So something QUITE unusual—maybe not as unusual as finding your own inner fallen angel, but still—MUST have happened to her. So if the idea is that it all happened in her mind, well, then it’s frustrating, because the show doesn’t reveal what actually happened, and the results is that the final puzzle is still missing a lot of pieces. Which, again, is fine if there’s another season… if not, well, The OA will remain as an interesting, subversive, but flawed project.

Anyway, in support of the theory that the flashbacks are real, I’ve seen people theorize that Elias (the FBI agent) was the one who planted the books so the kids would no longer believe Prairie’s story, which is entirely possible (who the fuck knows what the FBI is up to, and interestingly, it’s not clear what Prairie told Elias). Other people noted that the movements must be real, because every time someone performs the fifth movement (the key of everything, in a sense), that person dies. Or, apparently in Prairie’s case, opens the portal and walks into another dimension.

Myself, I don’t know what to think. I like both interpretations but I think they both could have been better executed, whether it is “it was all a psychotic trip but it ended up influencing some real people” or “it’s all real but of course people won’t believe it because it’s too crazy”. But it’s such an unconventional show that it’s really hard to classify it, and tbh it did absolutely have excellent moments (especially in the first half, I was legitimately captivated).

#anon #asks #**#the oa #the oa spoilers #abuse tw #mental illness tw

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bern33chaser · 6 years ago

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15 Groovy, Awesome, Swell and Cool Words

What’s your favorite word of compliment or admiration? How do you express approval? These are important questions for each generation of young people, who want their vocabulary to distinguish them from previous generations. It’s not fool-proof: a slang expression of approval is often fashionable in one place or time but not another, and may even coming back into fashion later. A word that is fashionable in one school might be considered outdated in another.

Perhaps the longest reigning compliment is “Cool!” – after an unusual run of popularity among several generations of young people, it remains fashionable in 2019. But in the last century, dozens of similar words have come in and out of fashion.

ace – Meant “top quality,” as in the highest playing card in a standard deck. A “flying ace” in World War I meant a pilot who had shot down five or more planes in combat. A student who gets an A on a test can say, “I aced it!” But once upon a time, it was used as a positive exclamation: “Ace!” meant “Great!”

awesome – typical of GenX youth (those born roughly between 1961 and 1981), but also used by American preteens in 2019. Example: “This popcorn is awesome!” One of several contemporary uses of a stronger word in a weaker sense, awesome originally means “producing terror,” then “full of awe” or “awe-inspiring.” Example: “The volcano erupted in an awesome shower of fire.” More recently, it has been used for anything that’s moderately interesting (such as rocks, socks and clocks in the Lego Movie song “Everything is Awesome.”) Perhaps this usage expresses a hope for a life that’s more than moderately interesting, or else, youthful enthusiasm.

bad – An example of contrarianism in youth slang (bad means good), but still with the original connotation of “rough” or “evil.” That is, a girl would not say, “Oooh, that’s a bad bouquet of flowers! Thank you! I’ll put them in a vase right now.”

bully – One of the favorite adjectives of U.S. President Teddy Roosevelt, meaning “grand” or “excellent.” Used in this sense in Great Britain by 1680 and revived in popularity America around 1844 (“Bully for you!”). Its meaning changed from the Middle Dutch boele, meaning “lover” or “boyfriend,” later probably used similarly to “Ooh, your boele is really bad! I like him!” to the current sense of someone who is cruel to those weaker than himself. But when Roosevelt was President (1901 to 1909), it was probably as popular as cool is today, and meant approximately the same thing.

cool – This word has also kept its Old English meaning of “low temperature.” Someone with a cool head is not hot-headed or easily angered – he has control of his passions. But a dispassionate person might also lack compassion for others, an implication of cool in the 1957 musical West Side Story. In the 1940s, tenor saxophonist Lester Young popularized the word as an expression of calm approval and satisfaction. If you ask teens in the Teens if they need anything, maybe something to eat or drink, they may respond, “No, I’m cool” or “No, I’m good.” It has been spelled “kewl,” but that’s now dated or ironic.

crack – Used in the phrase “crack shot,” an accurate marksman, but it means good or skilled in general. Samuel Johnson’s dictionary definition involved “quickness or smartness.”

epic – Frequently used by young gamers but common among many young male Americans, meaning “very cool and exciting,” Originally used for important events or great objects worthy of long works of heroic poetry such as the Iliad, the Odyssey, the Aeneid, Beowulf, and Paradise Lost. Political campaigners like to refer to the “epic accomplishments” of their candidate, if any, the last time her or she was in office, if ever.

groovy – Popular in the 1960s among surfers and hippies. It even became the title of a Los Angeles television show in 1967, live from the beach in Santa Monica. But it originated in the Jazz Era of the 1920s, from the phrase “in the groove,” referring to the groove on vinyl records. If you were in the groove, you were part of the latest music scene.

gucci – From the high-quality clothing line, used by YouTuber Matt Smith to mean “high quality” or “good.” When a former enemy becomes your friend, you can say about your relationship, “It’s all gucci.” In a 1999 magazine interview in Harper’s Bazaar, singer Lenny Kravitz calls his bedroom “very Gucci.”

hep – According to the Merriam-Webster Dictionary, the word “hep” was first used in 1862 to mark the cadence of a march, like this: “HEP 2 – 3 – 4… HEP 2 – 3 – 4…” The words “Left… left… left-right-left” served the same purpose and also made it clear which foot you should put forward when. By 1900, it had already begun to mean “trendy.” decades before it was adopted by beatniks and hippies.

hip – Originally spelled “hep,” this word referred to the most current-conscious residents of the 1960s. Someone who was hip knew all the latest jargon, wore the latest fashions, and understood the latest ideas. To say “I’m hip with that” meant “I know what you’re talking about and I agree.” So a hippie at the time was someone who was very hip. Of course, being trendy is a moving target – the word was first used in this sense in 1904, and trends have changed substantially since then.

mod – Beginning about 1958, the mod youth culture was typified by young sharp-dressing, scooter-riding working class Londoners, but spread around the world. So in the early 1960s, if something was mod, it was trendy. Long after mod stopped being a common compliment, an American TV series called The Mod Squad debuted in 1968 and ran until 1973. Its young undercover detective stars were more hip than mod, using solid and groovy as their compliments. The word was revived effectively later – according to a middle-aged GenXer, “That word was so 80s.”

sick – Another example of contrarianism in youth slang. Being ill is disagreeable, but something that is sick is attractive. In other words, calling a skateboard sick is an expression of admiration. On Mark McCrindle’s list of the most annoying youth phrases in Australia, “fully sick” is number 2.

swell – By 1786, a swell was a dandy, a fashionable person with a swollen sense of self-importance. But it became an exclamation of admiration. In the musical The Music Man, set in 1912, Professor Harold Hill warns parents against sinister influences on their sons: “Are certain words… creeping into his conversation? Words like… like swell!” But it was too late: by 1930, expressions such as “That’s just swell!” had become common in the United States.

wild – The theme song of The Patty Duke Show (1963-1966) says about the two main characters (both played by Patty Duke) “What a wild duet!” Perhaps a 1960s reaction to the staid 1950s, where wild behavior was not acceptable.

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Original post: 15 Groovy, Awesome, Swell and Cool Words from Daily Writing Tips https://www.dailywritingtips.com/groovy-cool-words/

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kejserfrisk7-blog · 6 years ago

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