#me and my friends are doing a project on disney live actions/capitalism

[sweetnnaivete]

rewatching beauty and the beast for film studies #lifeisgood

[scotianostra]

Happy 76th Birthday the excellent Scottish actor David Hayman.

Hayman, one of Scotland’s most acclaimed actors of stage and screen was born in Bridgeton, Glasgow on February 9th 1948.

David Hayman grew up as one of three children in a working class family in Drumchapel, Glasgow. Leaving school without any academic qualifications he started work as a would-be engineer at 16. One day, wearing his grease stained boiler suit, he marched into the Royal Scottish Academy of Music and Drama and announced his intention to become an actor. He still has no idea where this came from, he is basically a shy person and there was no family history of acting. He took advice and joined an amateur dramatics group and a year later was accepted to study drama and has never been out of work since.

His film and television credits are, frankly, much too numerous to list but include his superb portrayal of hard man Jimmy Boyle in “Sense of Freedom” and, of course, he is recognisable everywhere as Detective Chief Superintendent Michael Walker in Linda La Plante’s long running Trial and Retribution series.He has also starred in the hit Scottish cop drama Shetland as well as Scottish comedy shows Scotch & Wry, Rab C Nesbitt and Still Game.

Hayman has also directed numerous films and TV shows as well as regularly treading the boards in the Theatres.

Away from acting, David established his Glasgow-based charity Spirit Aid in 2001. It has gone on to become one of Scotland’s most successful small scale humanitarian organisations. He started Spirit Aid because he wanted to do a Scottish Live Aid at Hampden, but his rock stars let him down. “They were all, ‘Oh, man, I’m burned out,’ and I was thinking, ‘You’re sitting on your fat arse on your sofa with £40 million in the bank. Go and sit in a refugee camp in Afghanistan and tell me you’re burned out’. But I thought, I believe in this, I’ve got to keep going.”

He spends several months every year visiting his charity’s relief projects where he employs indigenous workers wherever possible. His fundraising operations include Operation Loo Roll, a project selling toilet paper that raised £100,000 in 2007. The charity undertakes humanitarian relief projects from Kosovo to Guinea-Bissau, Afghanistan, Sri Lanka, Cambodia, Malawi and South Africa.

Hayman is a big campaigner for a Scottish film studio, which is looking like happening soon, he says “It takes the Americans to come in and build a shed where they shoot Outlander and that’s the nearest thing we have to a film studio, think of all the movies that we’ve lost, all the money that we’ve lost all the way back to Braveheart.”

David was recently in the fab comedy from Scottish director Michael Caton-Jones, Our Ladies, “set mainly in Edinburgh a group of Catholic school girls get an opportunity to go to the capital for a choir competition, but they’re more interested in drinking, partying and hooking up than winning the competition” it is an adaptation of Scottish author, Alan Warner, of Morvern Callar fame’s third novel Sopranos, I read the book in the late 90’s it is a laugh out loud book, and the film is also very good.

Hayman was in an interesting film, My Neighbor Adolf, last year, which I haven’t got round to watching yet, set in 1960;s Brazil he plays a “lonely and grumpy” Holocaust survivor convinces himself that his new neighbour is none other than Adolf Hitler. We also saw him in the sequel Fisherman's Friends: One and All, both films get ratings of 6.2, and 6.4 on IMDB . I have just started a binge watch of Chemistry of Death, a Brit crime thriller series which is on Paramount plus. Last year David played a Chieftain in the Disney Star Wars prequal series Andor.

David won a top theatre award for his portrayal of northern Irishman, Eric, in the acclaimed play Cyprus Avenue last year, he has a couple of projects lined up, Jailbroken, an action crime thriller described as "the day before a violent criminal is due to be released from prison he receives a threatening call. Armed only with a mobile phone he must somehow save his family - and himself."And at the other end of the spectrumis a fantasy called Assassins Guild, "After the Mermaid Wars, Iliad's city is attacked by dark forces. With the city full of rancor and corruption, Death herself forms an alliance and offers Atticus, an elite fighter, the chance to return to life. This gift comes at a price."

[thevalkyriesonline]

Nine Worlds; One Valkyries Trip To London’s Inclusive Fan Convention

Conventions appeal to different fans for different reasons, whether it be comic con, a game expo, YouTube/Blogger convention or whatever the medium but one common factor in all of these conventions is the possibility to meet other like-minded fans! As well as hopefully getting the chance to meet your idols! 

There is a Con though that really thrives on fans, it is called Nine Worlds (London’s Inclusive Fan Culture Convention). A Con with a difference – the difference being it is made by fans for fans to meet other fans and just enjoy and celebrate their fandom in all it’s crazy geekiness.

It has been going since 2013 when it was first set up but I only heard about it last summer (2017) when I discovered that one talk held there was titled “It’s research! Or Why it is ok to play over 100 hours of Dragon Age when you really should be writing.” This, as a huge Dragon Age fan since discovering Inquisition, spoke to me on a level that none of my immediate friends understood or appreciated. Unfortunately I was unable to attend Nine Worlds in 2017, but the fact that there was a time and place to have such a discussion on such a unique fan-based topic inspired me to endeavor to attend in 2018. So as soon as the Early Bird Tickets became available I put my money where my heart wanted me to and I began to plan and save for a big solo adventure to London for Nine Worlds 2018.

I also made another bold and brave and foolish decision to sign up as a Content Provider for Nine Worlds 2018!

Why? – because why not? I have been a mega reader, hoarder and fan of all fiction featuring, adapting or retelling Norse Mythology for years and Nine Worlds provided me with the ideal and probably only platform where I could take the chance to share my enthusiasm and passion for the genre of Norse Fantasy. The Nine Worlds Team accepted my proposal, so, on top of saving for the hotel room on-site and booking train travel I also had to plan a lecture/talk – I was both really nervous and really excited! The months, weeks and days soon dwindled down to departure day and then I was off down to London for what I hoped would be a fun and busy weekend.

Now on to the fun bit – the various sessions and events and panel discussions! These were the ones I attended but over 50 were held each day of the convention so this is just a small sample of what fandom and genres were covered.

Session One – LARP (Live Action Role Play). Speakers; Penny Jackson, Adam Dinwoodie, Mx RA Madgwick and Haplocke Spence

As I am attending my first ever LARP event, set in the world of Dragon Age in November this was a must for me! The panel was made up of experienced and new-ish LARP players and they gave a great insight into how LARP’ing works, the various types and systems involved, clothing and equipment, rules for both play and player protection and more.

Session Two – The Only Toilet in Thedas. Speakers; Sarah Gordon, Phil Dyson, Angela Cleland

Now who couldn’t resist that title? Especially when you are a Dragon age fan. This panel discussion was the most interesting because it covered not just the world of games but also of books, TV and Film. It made me realize how much in Fantasy the practical matters of hygiene from toilets to sewers to bathing are just not address yet in Sci-Fi it’s more visible. The panel discussed whether it was a taboo or simply a matter of too much detail on a very personal and private matter – for instance do you want to know how long the hero, heroine, villain or indeed any character takes on the toilet? If they wash their hands or not? – but then again social, religious and cultural practices exist even within the bathroom and so perhaps it should be represented more?

Session Three – Know Thy Enemy. Speakers; Adrian Tchaikovsky, Jeanette Ng, Ms Anna Stephens

This was a panel debate all about the nature and representation of Villains. I found it fascinating to discuss Villains and their nature, one panel member made the very good point on how it is wrong to see the Villain as the champion of Chaos and the Hero of Order for it is in fact the other way around. In many scenarios across all mediums it is the Villain that has established some type of order whether through politics, society, culturally or religious or just geographically or financially but it is the Hero who emerges to disrupt that form of order and thus bring about chaos. This made me instantly think of Katniss in the Hunger Games, she is rebelling against the ruling society and its cultural practice of the Games and thus brings war to the capital city and thus chaos. Another issue discussed was whether the viewer/reader must be sympathetic towards Villains. The panel debated hard on this topic and in the end agreed that sympathy isn’t necessary for a Villain to be a true villain or a good villain but what is necessary is that the viewer/reader gets a sense of the Villain’s journey to their villainy – they must see where, how and why the character has become the Villain, whether for good or bad, and so enjoy the Villain’s redemption or come-uppance by the hero.

Session Four – D&D (Dungeons and Dragons) for Young People. Speaker; Elizabeth Prais

In my day job as a college Librarian I had recently learned of a lunch-time Dungeons and Dragons group being set up by a teacher after some students expressed an interest. So, I was eager to learn more tips and tricks to either host such a group in the Library or pass on to my colleague. The lady who hosted this session hailed from America and was very open about how she ran her local residential D&D group for her daughter and some local children. She gave some great recommendations and advice on timing, kit, planning, preparation and how to adjust and adapt the large and complex set of rules for a younger more impatient audience.

Session Five – Philosophy and Mass Effect. Speaker; Michael Duxbury, Emily Marlow

Now this was the first session I wasn’t entirely clued up on as I myself am still stuck half way through playing Mass Effect 2 by Bioware so a lot of the moral/ethical dilemmas they talked about I hadn’t actually experienced yet, or I couldn’t remember what I chose in the ones I was familiar with. Yet it was interesting and food for thought on how the scenarios were portrayed, and the fixed set of options provided resulted in the moral and ethics becoming such a personal dilemma for players. It wasn’t always a case of choosing the lesser of two evils but how the player and indeed the character depending on their Renegade to Hero balance would pick. Some panel members and indeed people in the audience felt that more choices would improve and increase the dilemma levels instead of just A or B. The panel also discussed how often, at least amongst themselves, they would pick based on the benefit or not long term, not the short term and play with a view of working towards achieving success or a goal.

Session Six – Beyond Marvel and DC – What comics you should be reading. Speakers; Angie Wenham, Stephen Lacey, Kate Barton, Ram V

The panel mentioned a great many titles, artists, apps and webcomics that they recommended as alternatives to Marvel/DC and then invited the audience to contribute. I recommended Nimona* by Noelle Stevenson  and I Hate Fairy Land by Skottie Young.

* Interested in Nimona? Check out our review! 

I Hate FairyLand

Nimona

Session Seven – Disney Sing-A-Long

This was the true highlight for me as an eternal child thanks to the magic of Disney. I wasn’t the only adult in the room, it was a very popular event and there were children of all ages and their parents and even a few Disney cosplayers too. We were all able to sing-a-long via screen projecting the words, or handouts or follow a link online. A whole range of songs was sung and Frozen ‘Let It Go’ proved to be a major popular one with a member of Con Staff leading a friendly stage invasion and then everyone proudly showed off all the right moves to the lyrics. I honestly was in tears with joy as some of the most powerful songs were sung by young and old alike.

The final event I will review was the FABULOUS MMORPG SHOW. Speaker; Misha Anker, Paul Flannery

Which was a blend of audience power and D&D – we basically had the Game Master who set up a story, invited some members of the audience to join him on stage and fill in character sheets but they had to be as unconventional as possible and then he would invite the audience to provide character names, objects, powers etc. to the story narrative and the players would roll a giant D20 (20-sided dice) to determine the outcome. This was a whole lot of fun and silliness and the story involved a Bee with a Human Leg, a Swarm of Wasps and a Wizard whose greatest spell was making Jam, they had to find the Cheese Board for the Duck of Doom! You had to be there to believe the story and it was amazingly resolved within the 1 hour and a half session.

Norse Fantasy, My own presentation! 

Was scheduled bright and early on a Saturday morning the night after the first big disco (alas Becky did not go dancing due to a very painful wisdom tooth spoiling things) and yet the room quickly filled up much to my delight. Despite not having the colorful presentation I spent hours on, due to not having my own laptop to plug into the screen, I was still able to explain, explore and introduce so many of my favourite authors and titles to a new audience. Some of the audience also proved to be fellow fans of many of them and a good number took photographs of my favourite title list to go away with to look at later and thanked me for the session, which was an awesome feeling. I was even complimented on my choice of t-shirt for the session – my own Valkyrie t-shirt from Redbubble. It says, “Valkyrie of Odin – Midgard Original – Since 793”. If you are interested in my presentation, I am planning on doing a written version of it for the Valkyries Blog so stay tuned!

Last but not least was the fab mini Geek Market that was on all weekend and as it was also my birthday, I indulged myself in another t-shirt from Genki Gear, some D&D themed tea, tea strainer and mug, two new bookmarks, some funky acrylic necklaces featuring a book and a fox in a bin, some super cute little clay keyrings of Flynn Rider, Thor and Pizza and of course BOOKS! Each attendee got a surprise free book in their bag, but I got two based on libraries and books, The Invisible Library by Genevieve Cogman and Bookworm by Christopher Nuttall – expect a review on here once I have got around to enjoying them.

Now the managing team have recently stepped down to consult with attendees and invite new members, as they are reviewing their constitution to try and make it more inclusive and representative of those who attend. Although from what I witnessed their inclusive and equality practices were out of this world compared to other cons I’ve been too. I do hope the new organizers can continue what has already been established and continue to make improvements where they feel it is needed. I for one enjoyed it all – despite my wisdom tooth being a very literal pain throughout – for I definitely would attend again.

Did you attend Nine Worlds? What did you think? What was your favourite presentation?

  Purchasing through our amazon affiliate links earns us a small commission at no extra cost to yourself! Any commission earned goes to keeping the Valks in coffee!

A Valkyrie at Nineworlds! @london_geekfest #nineworlds Nine Worlds; One Valkyries Trip To London's Inclusive Fan Convention Conventions appeal to different fans for different reasons, whether it be comic con, a game expo, YouTube/Blogger convention or whatever the medium but one common factor in all of these conventions is the possibility to meet other like-minded fans!

[lolirockvevo]

There were a few things Doug could have been doing with his time, instead of sitting in this diner with Iris and two of the more popular youtubers this side of Sweden.

None of them were important. He couldn’t tell you why Iris had asked him to do this, but he was ready.

“So, ah, who starts?” He had his phone up, ready to hit play when he remembered to ask who begins this interview. Is it him? Iris? One of the twins??

Iris can’t help but snort, tucking a piece of hair behind her ear. “Well… you two did win the raffle. So…” She waved a hand for the twins to start.

Mephisto was bouncing in his seat, and he raised his hand immediately. “I’ll start, if that’s alright?”

Iris nodded to him and Praxina pulled out her own phone to begin texting and- if she were asked- take notes.

Iris flashed a smile. “Whenever you’re ready!”

Doug pressed record, and… Mephisto went from a goof to a charming goof. He smiled at the camera like he was born to be on film or something.

“Hello, -ah, I have no idea what you call your audience. I guess The Pack will be watching this, so… hi guys!”

Doug didn’t know how he implied capital letters with his voice, but he wanted to know now.

Iris couldn’t help but to be captivated too. “Well, I don’t know about the girls but I’m pretty partial to Lolirockers…” She offered a smile to the camera as well, not unused to it. “Hey there!”

“Right!” Mephisto laughed, and nudged his sister. 

“Praxina and I were invited out here for an interview with Iris, and I wouldn’t mind answering some questions too if you and Doug have them!”

Iris nodded with him, eyes gravitating back to him. “Of course, wouldn’t want it to get too one sided, right?” Mephisto nodded earnestly, smiling at the camera again and if Doug were a little less straight or a little more of a romantic he had a feeling his knees would be weak. Damn.

“So, Can you share any plans you have for the band? Like songs or genres or costume ideas?”

Iris leaned forward onto her elbows, beginning to fiddle with her fingers. “Well we have a lot in mind and a lot planned, and we currently have a project that we’ve actually been working on for the last year but, since it’s not finished yet, haven’t hyped yet. And it’s kind of under wraps but if you’re interested I can give you a little hint…” She flashes a grin, knowing that he’d be interested.

Anyone with eyes and working WiFi knew about his lolirock obsession. It was probably the main reason people over twenty were into them at all, and absolutely the only reason they’d gotten as big as they had. He was so honestly excited about them and their music… it was nice. He was nice. Mephisto was nodding along before she was even done talking.

“Oh, really? Well, I certainly can’t say no to a hint! What is it?”

Doug didn’t know people could be that eager and genuine. He was like a puppy. What the hell. Praxina leaned back in her chair to snap a picture of her brother for their instagram, too amused with this situation. Part of her wondered how he’d react if the girl knew of his crush… but at the same time, no chance she’d be that cruel.

“It’s going to be a 3 disk special album.” Iris held up three fingers, then put one down with each name she followed it with. “Auriana, Talia, Me.” Mephisto was almost literally vibrating with excitement. Doug didn’t think anyone could be that excited about Iris and her band, they were good enough singers, sure, but… jeez. Iris couldn’t help but giggle and lean back in her seat, pulling her smoothie up for a sip. “Sound fun? We have no when it’s going to be done. In all honesty… it’s mostly finished, but there’s one major hangup.” “What’s that?” Mephisto paused, after the question left his mouth. “Wait, no, you only said a hint, sorry.” He scratched the back of his neck, shaking his head. “No, no, it’s fine. Doesn’t give too much away to tell you what I’m missing… I think?” Iris glanced at the other two for help, and Praxina merely shrugged. “Anyways I’m kind of stuck. It’s fun to do an- full disclosure- experimental solo set of songs, but it’s also been pretty hard for me. Can’t find the perfect…” She bit her lip and waved her hand, looking for the word.

“Partner? Sound?” Praxina volunteered. Mephisto nodded immediately. 

“I get that, I have a few songs I haven’t uploaded because I can’t get the mixing to work, sometimes a fresh pair of eyes- or ears, I guess- really helps.” He shrugged.

“But what can you do but wait until everything clicks into place?” Iris laughed once, nodding. Of course he understood. “My big hangup, I guess, is that all the songs I wrote ended up being duets. And the whole point is not to sing them with Talia and Auriana, and it’s not like I had anyone in mind when I wrote them so… it’s been interesting. Talia is done recording hers, and Auriana is almost done.” “Do you have anyone you could do duets with? Did the other girls have some people you could also use?” Mephisto tilted his head, curious but trying to be helpful.

Doug was honestly surprised the guy didn’t offer himself. So Doug decided to do it, instead. He swiveled the camera to face Iris and spoke in his most Serious Question voice.

“Why don’t you get Python here to do it, Iris? I’ve heard he’s pretty good.”

Iris had been well aware of his singing abilities, and maybe she was kind of hoping to hear that answer, but she wasn’t going to wrestle it out of him. “I- um- I wouldn’t mind that. The girls sang with some friends, some other musicians, but nobody I really clicked with, I guess?” She laughed awkwardly.

If Praxina didn’t know better, she’d say that the girl was embarrassed. Flustered. She wasn’t quite sure which one, or both, but she did know that this conversation was straight out of one of her brother’s more dry dreams. Mephisto patted Praxina, partly because he could sense her making a terrible joke in her head and also be needed to know that this was really happening. Oh god.

“I well, um, if you think that’d work, I don’t see why I wouldn’t want to, I mean-” Iris nodded slowly, then faster. “Yeah, you know what, I think this would be super cool. As long as you’re okay with it, right?”

Praxina glanced at her brother. He was going to say yes, he’d better say yes. She’d say yes for him, actually, he always babbled too much. “He says he’d love to.” She nodded. Mephisto had to clamp down on the excited squeak that wanted to come out of his mouth, and he nodded vigorously as Praxina agreed for him. Best sister, good friend. Praxina rubbed between his shoulders and flashed a smile at the pop princess. “He’s in. Hey, why don’t you two swap numbers? And Doug, ask a question now.” Doug moves the camera to focus back on the twins, grinning a little.

“What’s next for you two, then? Aside from the whole song, thing. That’s been pretty well established.”

Mephisto wheezed, as Praxina pet him. He needed to remember to breathe, god. Okay. Uh. “Well, we’re keeping up with our Let’s Plays and trying out some new games- and more exciting, we got a sponsor! Right, Phi?” Mephisto sat up straighter. 

“Right, yes, there’s a couple of videos I’ve done that’ll be uploaded soon where our new sponsor is mentioned. I don’t… think we can say who? Can we? Do they care?” She shrugged. “Doesn’t matter if we do or don’t, I think.” “I should probably call LootCrate and ask…” Mephisto muttered, glancing at his phone and completely forgetting he was on camera.

Doug snorted. Iris’ eyes widened. “You got a sponsorship from LootCrate?” She couldn’t help but grin in excitement. Praxina on the other hand, rolled her eyes. Mephisto paused, glancing up. 

“Oh, uh.. Yeah.” He glanced at Doug’s camera.

“I… guess I’ll find out if I wasn’t supposed to say anything until the videos went live later. Oops.” “Good job bro.” Praxina nudged him with her elbow. “You’re great at-” Her phone burst out with noise and her jaw clacked shut as the ringtone went off… ‘I Won’t Say I’m In Love.“

"Oh crap.” Mephisto’s head snapped up.

“What? Who is that? Why is that your ringtone for them?” Praxina hastily hit 'reject’ on the call from 'Gatorade- Is It In You ;)’ and turned to her brother. “Listen, I can explain.” “That’s not reassuring! You don’t do sappy stuff, unless you’re- you have a boyfriend.” “What? No, no.” Praxina held up a finger. “I don’t have feelings, I didn’t catch feelings. Nothing is happening!” “Your ringtone is a Disney love song!” Mephisto poked her shoulder.

“And that was a dirty Gatorade joke as a contact! Oh my god.” “That’s- it’s not what it looks like! You know I like Disney songs, and I like making jokes. Besides, I would have told you if it was serious!” “No you wouldn’t! You would hide it until I was also dating somebody, because you’re scared of me being jealous, for some reason!” Iris turned to Doug and made a 'cut this off’ motion, eyes wide as the twins continued fighting. Doug had been catching the action, but at Iris’s frantic motion he scrambled to cut the video short. Oops. Those two probably didn’t need their fight broadcast all over the internet… ah well.

[dweemeister]

Pete’s Dragon (1977)

Combining live-action and animation in film has been around longer than you may think. Among those pioneers included Winsor McCay, who synchronized an on-stage performance with Gertie the Dinosaur’s (1914 short) on-screen performance; Max Fleischer’s Koko the Clown short films also experimented here, as did Walt Disney and Ub Iwerks for the Alice Comedies (1923-1927). Of those names, it is Disney’s that is most associated with live-action/animation hybrids – Song of the South (1946), Mary Poppins (1964), and the subject of this review, Pete’s Dragon, which is directed by Don Chaffey. The rights to Pete’s Dragon – based on the unpublished short story by Seton I. Miller (better known for hard-edged film noir and 1938′s The Adventures of Robin Hood) and S.S. Field – were purchased by Walt Disney in the 1950s, who hoped to use it for his anthology television series. The project languished for years, outliving Walt, and is one of the better live-action Disney movies released in a difficult decade for the studio.

The 1970s and early 1980s were marked by the studio’s shifting approaches to its movies by catering more exclusively to children. This is reflective of the Dark Age of Animation (historians and other writers will differ, but I label this as beginning after Walt Disney’s death to 1988), where the overlaps between films intended for children and those intended for adults almost disappeared. Pete’s Dragon is expressly for children, but contains just enough appeal to save itself from being all but permanently locked inside the Disney Vault.

It is the 1900s in coastal Maine. An orphan named Pete (Sean Marshall) is escaping his abusive, bedraggled caretakers, the Gogans (Shelley Winters as the matriarch, Lena). Unbeknownst to the Gogans, Pete has befriended a dragon named Elliott (incredibly, even official sources differ between one “t” or two in his name), who is determined to protect Pete from any danger and can alternate between visibility and invisibility at any time. Pete and Elliott escape to Passamaquoddy, where the local lighthouse operator Lampie (Mickey Rooney) and his daughter Nora (Helen Reddy) provide a place to stay. Elliott, being too large for the lighthouse, stays in a spacious cave nearby. Pete loves Elliott, and speaks of length about him – Nora, Lampie, and other townspeople think that the dragon is just an imaginary friend. In town, snake oil salesman and quack Dr. Terminus (Jim Dale) and assistant Hoagy (Red Buttons) arrive to turn things upside down; the Gogans, too, eventually arrive. As time passes, Pete finds a home and family with Nora and Lampie – but this is a Disney movie, so chaos must ensue first.

After the release of Mary Poppins, a formula of a magical person/creature saving the lives of a hero became the tonic of Disney’s live-action movies. Blackbeard’s Ghost (1968), Bedknobs and Broomsticks (1971; which is Mary Poppins lite), and Pete’s Dragon rigidly adhere to that structure. Pete’s Dragon offers nothing innovative or profound in terms of its storytelling, and anybody who goes into this movie with slightest expectation of any of that will come away frustrated. This is a safe comfort movie with its messages – depicted with more invention and grace in earlier decades – muted.

Even a young, talented animation team boasting names like Don Bluth (the American Tail series, 1988′s The Land Before Time); Glen Keane (who worked at Disney from 1977′s The Rescuers to 2012′s Paperman) as Elliot’s character animator; Ron Clements (who later directed eight Disney animated features, including 2016′s Moana); Ken Anderson (who worked at Disney from the 1930s-1970s); and Don Hahn (best known as a producer for various films in the Disney Renaissance) were unable to navigate around a breakneck production schedule. This leaves Pete’s Dragon with worse animated effects than even Mary Poppins and Song of the South as characters clip into the animated Elliott and the background-foreground composites are more distractingly artificial than they should be. Given the restrictions and the fact Pete’s Dragon is the first animated or partially-animated Disney movie without the input of the Nine Old Men, the animation’s efforts are valiant, but too limited given the technology of the era.

The screenplay, penned by Malcolm Marmorstein (primarily a television writer for the original Dark Shadows series), is filled with cockamamie characters and cringeworthy attempts at humor. As Pete and Elliot descend upon the unsuspecting population of Passamaquoddy, we are introduced to the mayor, trying to propose a new town motto:

Passamaquoddy... where the sun always rises and where the sun always sets!

Oh brother.

Too many of the supporting characters seem to have a single quirk that defines them throughout the film – a punchline with no modification or a person who adopts a behavioral tone and never alters it regardless of the situation. As Lampie, Rooney is a caricature of crassness (albeit appropriate within the bounds of Disney family movies) in public while almost inexplicably dropping that persona around Pete and Nora. Nora is pining for her beloved, lost at sea for a year, becomes a mother figure to Pete (this part is not a criticism and will be expanded upon shortly, because Nora’s nurturing results in the most genuine moments in Pete’s Dragon), and little else. The schoolteacher, Ms. Taylor (Jane Kean), is a frumpy, no-nonsense woman with little sympathy for misbehavior. And the Gogans? Good lord, the Gogans. Unhygienic backwoods hillbillies with tendencies towards kidnapping and post-Thirteenth Amendment child slavery are as easy to write about as villains can be.

But enter Nora and, to a lesser extent, Lampie. As justified as many of the criticisms directed towards the Walt Disney Studios’ there are, even the bitterest critics concede the studio’s films have long championed non-traditional, surrogate families. Without questions, judgment, they take in Pete as their own. And though their acceptance and early days of taking Pete in seem a little too easy, without conflict, Nora and Lampie (Reddy and Rooney give good performances) give the constancy and nurturing that Pete has been lacking from others. Well, that is if you exclude Elliott, who – at the end of the film – is revealed to be a benevolent soul who goes around helping frightened, vulnerable children. Elliott – imaginary friend to some, menace to others, but a steadfast guardian to Pete – might be the eponymous dragon in the film’s title, but this is still Pete’s story. Sean Marshall is serviceable and never grating as Pete, a character too passive for my liking, but makes up for in his kindness.

Composer Irwin Kostal centers his score around the songs penned by Al Kasha and Joel Hirschhorn. The Kasha-Hirschhorn musical numbers are as uneven as can be. Starting with insomnia-inducing jumpscares, “The Happiest Home in These Hills” opens the film by introducing the audience to the Gogans. Oh yes, the so-called Disney Villain song opens the movie! This is the most menacing the Gogans ever get (thankfully; their other song, “Bill of Sale” makes so little sense in every way imaginable). with threatening lyrics regarding Pete like:

Gonna snag him, gag him, drag him through town. Put his head in the river; let the pup drown. Trap him, strap him, wrap him in a sack, yeah, Tie him screaming to a railroad track.

It’s a juvenile, difficult way to start a movie, and that’s not even mentioning a lyric that has something to do with lynching Pete (which, as a Disney fan, gave me weird flashbacks to the Ku Klux Klan’s appearance in 1976′s Treasure of Matecumbe). Other weak entries include: “Boo Bop Bopbop Bop (I Love You, Too)” (in addition to its shoddy special effects) and “I Saw a Dragon” (Onna White’s choreography recalls her work for 1968′s Oliver!, but this is discount Oliver!). More creative are the likes “Brazzle Dazzle Day” (songs that capitalize on nonsense words are risky, but this one is okay) of “Every Little Piece” (because songs about con artists licking their chops about imminent fortune are usually hilarious).

But the two best songs in the film are the most lyrically modest in this score. “It’s Not Easy” is sung on Pete’s first night with Nora and Lampie, and where Pete talks about Elliott to Nora for the first time. Upon my first listening (as some may know, I get picky with music), I rejected the song because I found the rhyme scheme awkward: early in the song, Nora interjects between Pete’s first rhyme describing Elliott:

PETE He has the head of a camel, The neck of a crocodile...   NORA It sounds rather strange! PETE He’s both a fish and a mammal, And I hope he’ll never change.

Soon after, Nora completes one of Pete’s rhymes, throwing off my expectations of a constant rhyming scheme. But as the song progresses, they sing together (when Nora sings her aside about the one she loves, she changes key and breaks the consecutive rhyming scheme) and their rhymes come together as they begin to better understand each other. In a very subtle way, keeping rhymes close together in a duet can heighten emotion, develop a relationship.

But the film belongs to “Candle on the Water”, a torch song that is referenced throughout the film in Kostal’s score and that might not have been out of place in any musical movie decades earlier. The staging might be unimaginative and the gradual close-up a dreadful decision, but it is Reddy’s performance that defines this scene. “Candle on the Water” should be considered an essential entry in the esteemed Disney songbook, yet it does not appear to be in the canon (why is Mary Poppins the only Disney live-action film that receives that treatment?).

Pete’s Dragon would be the last live-action/traditional animation hybrid released by Disney until Who Framed Roger Rabbit (1988; released through the company’s Touchstone Pictures label). These techniques, now even more of a curiosity in times where movies featuring human actors interacting with CGI environments and characters are commonplace, were the culmination of decades of experimentation and punishing handiwork. For the film’s value to today’s audiences, its messages will be fine for children, if they can get past the first musical number featuring the Gogans (if I was younger and watching this for the first time, I would not have accepted those jumpscares if I did not know in advance that this was a Disney movie). Elliott is selfless and lovable to a fault; Pete displays an understandable mixture of courage, courtesy, and fear.

The version shown on Turner Classic Movies (TCM) on December 20/21, 2017 shows how much Disney cares for its older movies – the print was beautiful to look at, despite the questionable yellowscreen. But is the company interested in having their older live-action films not called Mary Poppins a chance to connect to younger viewers? That is something to ponder about as live-action remakes only do so much to raise awareness or interest for the original versions.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

[miggy-figgy]

Rossy De Palma Rossy de Palma, born in Palma de Mallorca, was originally a singer and dancer before being discovered by filmmaker Pedro Almodóvar in 1986. He cast her in roles based on her unique appearance which are best described as a Picasso come-to-life. In 1988, Rossy de Palma broke the rules of beauty when she starred in Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown and became a model and muse for designers like Jean-Paul Gaultier and Thierry Mugler. Her status as an iconic fashion face was further cemented with her role in Robert Altman’s 1994 satirical fashion film Prêt-à-Porter. Today, she is a theater actress, charity spokesperson for the Ghanian Charity, OrphanAid Africa, and the face of luxury fashion ad campaigns. Some of the roles you’ve played in Almodóvar films include talk show host, drug dealer, a daughter trapped in a small town living with a hysterical mother, a snobby woman from Madrid, and now, in Julieta you play a malicious housekeeper who doesn’t know much of the world outside her own. You’ve been one of the most consistent Chica Almodóvar in the director’s filmography. Why do you think he always comes back to you? Well, not always. Out of 20 movies, I’ve only been in seven. It’s a pleasure to work with him. I mold myself well, and he knows that with me, he can do whatever he wants. I’m devoted to him and that has its advantages because he knows that I’m effective. I’ll give him whatever he wants. Do you remember the first time you met Pedro Almodóvar? Of course. Legend has it that we met in a bar. But, we met during the years of the Movida Madrileña. I had just arrived to the capital from Mallorca with my music group, Peor Imposible and he used to come to our shows. By that time he was already an underground legend. He had just wrapped What Have I Done to Deserve This? and was beginning to work on Matador. He was casting for that film, but I couldn’t make it because I had a concert in Alicante that same day. He was starting to nag me and I decided to play hard to get. I was going to seduce him from afar. He used to come to a bar I was working at, the King Creole and offered me a small role in Law of Desire. He asked me “Would you like to?” and I responded “Yes, yes; I couldn’t make it to the Matador casting” and he replied, “Ok, well, let’s go.”He was very happy with me. He wanted to portray who I was in Law of Desire. I did my own hair and makeup; I didn’t allow wardrobe to touch my look. I wanted to immortalize who I was aesthetically at that time. I played a TV journalist; but since I was dressed as myself, I didn’t feel like an actress. But, then, when he wrote me the part of Antonio Banderas’ snobby girlfriend in Women on the Verge of a Nervous Breakdown it was much more fun because that was the first time I worked as an actual actress. Did you work in any other movies between Law of Desire and Women on the Verge of a Nervous Breakdown? No. In the beginning of my career I only worked with Pedro because I was also focused on my music project. Later on, I started working in more films, but in Italy. I haven’t really worked much in Spain until recently. In Spain I only worked with Pedro. Did you want to be an actress when you were a young girl? I’ve been an actress from an early age because I acted differently around each person. I noticed that you had to become a different person. I was conscious that you needed to have a different psychology for each person in order to unite each of your complexities. I was also aware of the simulacra of things. I’ve always felt more of an artist than an actress. I like to keep various creative channels open. I would say that poetry was my first love. The Dadaist poets opened up this whole new dimension of thinking that made me aware that there was another world out there waiting for me. I recently worked in a performance called Residencia de Amor that deals with that: how art helps you survive and how therapeutic it is. Think of it as being the ugly ducking and suddenly you leave, and in this new world you are a Disney character. Tapping into that place of my consciousness without knowing that there was another world waiting for me really cheered me up. Then, also, you need to have music, art and all sorts of things that lift you in order to live another kind of reality because real life is tough. Have you always been connected to your voice within? Yes. I’ve always been connected to that spirit that we all have inside. In fact, I’m very rational; but everything I do creatively I do it from my unconsciousness. I like to surprise myself and see things as if they were the first time I saw them. When I have to interpret a character, I don’t like to prepare and study for it. I like to come from stillness. I welcome and work with accidents and errors. It enriches your life. You can’t think that you can control everything. You can’t control anything. No, you can’t. I don’t believe in that vanity that some artists who think they are creators. No. I believe that everything comes from a collective unconsciousness and when we allow ourselves to be receptive we become vehicles for it but we are not the protagonists. We can’t think, “Oh, I’m going to sit down and write a song.” No. That song came to you from the thousands of influences you have. You are a vehicle for art. I don’t believe in painters who are so self-deprecating. I prefer the humility behind being receptors and we are vehicles for creativity. We’re all artists. Julieta is a great film. His female characters continue to be his strongest suit. Yes. Isn’t this music very 90s? (Forever Young plays in the background) My partner says that time does not exist. My daughter tells me, “Mom, you’re so lucky to have lived in the 80s!” Yes, she’s right. No one can take those memories from me; but especially to have survived that decade, because so many didn’t make it. If it wasn’t drugs, it was AIDS and also the road. In those days the roads in Spain were awful; many fellow musicians like Tino Casal died in tragic car accidents. OD’s, AIDS and the road. Madre mía. All pathways. (Both laugh) And how did you make it? I was very mature in the 80s. I was in my 20s. My adolescence was in my 30s. I was serious in my 20s. All of my friends were getting high and I was everyone’s mother. I protected my friends. I was “homeless” but I had a daily planner. Pedro was always mesmerized by this; “look at her, she’s so organized!” Maybe it’s because you’re a Virgo. Yes, I am. Perhaps it’s that. But I had also moved from Mallorca to Madrid. I left behind my teenage brother and he needed me. My mother was hustling through the market in order to save enough money to send me 3000 pesetas [about $20] in a money order each month. It was so little and it was all she could. With that in mind, I knew I wasn’t there to waste time. I had to pave my road and if not, I went back home. I couldn’t distract myself. I was very clear with my intention. I also didn’t like drugs. Only weed. I don’t like drugs that affect my mindset and take me to other realities because the reality that we live in is already rough enough and psychedelic itself to take me somewhere else. I mean, back in the day we tried everything but weed, the relaxing kind. Sativa’s great but I’m more of an Indica girl. I didn’t get hooked to anything because I wanted to work and build. Let’s be realistic there is no money when you are starting out in music; so even when I worked at bars, I was a bad cocktail waitress because I wanted my patrons to stop drinking. They drank, and drank, and drank. I would tell them, “listen buddy, you just had one…” and the bar owners would come and tell me “This is not Alcoholic Anonymous, you’re here to sell drinks. Be cool. Don’t be such a…”  Don’t be so conscious… “Don’t be such a good girl…” I love playing evil characters but in life I’m such a good person. I’m a softy and I’m very sentimental. You know what I mean? That’s my personality. In theatre I like to play the bad girl because I compensate for being so good in real life. How do you channel it? Your character in Julieta is so malicious. You can’t judge a character because if not, you wouldn’t be able to interpret them. In an interview with Almodóvar, they ask him how can he create such evil characters and he says that he humanizes them. He starts living with the characters; what they eat? What kind of music they like? Yes. Yes. You have to humanize. I already told you that I like playing with the subconscious. I am so at ease to work with Pedro. First of all, he re-enacts exactly what he wants. You have to be careful not to copy him nor imitate him too much because if not, then you look like you’re imitating Pedro. You have to take it to your turf. But, he will do what he wants you to do. Down to a T. He’s very precise. He knows what he wants. And then you’re at ease because he’s moving you around and if you slip he will say, “No, no I don’t want you standing there.” He’s also obsessed with the tone of voice. “This word is too low. Higher…; This one went too high, I want it lower…,”  “This one went too low, I want it higher.” Or “You’re dropping your voice.” Obsessed. He has an ear that works for him and it’s impressive what he can do with it. I let go. I surrender to him. Anyone would. You’d be surprised… Some can’t do it because they don’t have the consciousness to process that Almodóvar is directing them. The important thing is to flow. Absolutely flow. You have to be at ease. Almodóvar is directing you. He will be precise. Really, you just got to play… We played a lot with this character because the newcomers, Adriana Ugarte (who plays the younger version of Julieta) and Daniel Grao (who plays Xoan, Julieta’s partner) had never worked with him. Before each take, he’d tell me, “Now, don’t tell them anything but when I scream ACTION! You come in expelling and shouting random things like “You don’t have a bathing suit? Well, I have a pair of old bragas that you could use.” They didn’t know what to do. Dumbfounded, they’d ask, “Is this going in?” They didn’t know what was going on! We had so much fun. Even though there was a seriousness in the character, when we were filming we had a lot of fun.”

What’s the thing you like the most about New York? It’s that thing I was telling you. That the distance between you and yourself is the shortest one. It’s great to know yourself here. No one looks at you. Everybody minds his or her business. There is a connection between you and your inner self that’s very important to know in order to evolve as a person. To get to know yourself and who you are. I almost moved here before I had my kids, moved to Paris and destiny took me somewhere else. But I almost did it with my friend Dorothy who lives here. We almost bought a townhouse. Back then they were so cheap.

Back to Julieta, it is a movie that touches your core. It leaves an emotional well. It’s hard to swallow. Three or four days after seeing it you’re getting flashbacks. It’s the kind of movie that leaves a scar. Sort of an echo… don’t you think? A few days go by and boom, another flash. I left in a state of shock. I had to drive after seeing it and I was so worried to be on the road; because the film left me a bit loopy. I was distraught.

It makes you think. The silence. The secrets. All that is dragged down due to miscommunication. But, it’s a movie that you have to let it breathe. Like in the beginning when you see that red creature and you don’t know what it is just to find out that it’s her breathing through the red nightgown. Everything goes in… smoothly. There’s no need to time stamp “three years earlier” or “two days later”. Everything flows. Time just comes in by itself.

Through her hairstyles. Well, that towel seen is marvelous. Reading that scene in the script was already a gem. I’d think, “what a beautiful transition”. You were excited by reading it. And the ending, which I can’t talk about you’re like “oh my God” A bit shaken. The way he moves the camera. You need to let it breathe…

Everyone somehow, someway sympathizes with Julieta. We’ve all gone through those moments of silence, assuming situations and changing your life in order to carry on. Or people who never speak again. It’s what Pedro would tell us in order to understand where he was coming from. Try to investigate what makes two people stop loving themselves. They stop communicating. They can’t look at themselves in the same way. They begin to have secrets. A black hole comes between them.

They say that it’s because you didn’t give the other what he or she wanted. Who knows? Each relationship is unique. I think the root (of couples separating) is misunderstandings. It’s a chain of consequences of misunderstandings and people take it personally when some things shouldn’t be a certain way. And then each one starts to victimize themselves and they start a competition of who suffers the most. Right?

And they don’t sit down to think. “Wait a minute. My partner is suffering too.” Yep. And then you can’t get close. I am dealing with things in personal life where I cannot tolerate to have my arm twisted any longer. It’s now not a question of “I don’t want to be dominated because I was once a super softy that always ended up forgiving everyone and now I am at a moment in my life where I can’t have relationships that fail me. Know what I’m saying? Even if they are family and people who I’ve loved for years I cannot give them that power any longer. It’s like “enough is enough”. Not even God can fail me now. Anything that drives you forward, yes. Everything that, as the French would say”, baton dans la rue, clipping your wings… I don’t want that.

Even if I adore you; I can’t give you that power. Sometimes if you don’t get to that point it’s like you can’t ever go back but it’s not about that. You need to seal things. Let the other know that you need your space. It’s more of a male to female dominance, patriarchal thing. I’m in another moment of my life. I finally learned to love myself. Just recently, really. To really love myself.

Me too. And now I can’t lose any of this gained momentum. I don’t want anything that fails nor hurts me. And if you have to re-enforce yourself, you do. You put on an emotional corset, tighten that shell and “nobody gonna come in there. No more, darling.” No more. That’s it. It’s a way of loving yourself without stopping to love other people; of course.

Of course. You have to learn to love yourself. Of course. I think you really have to learn to love yourself before you can really experiment love from others and let yourself be loved. If you don’t love yourself the right way, no one will. I’m sorry. It’s the truth.

And especially in an industry like this one. I’ve always been an outsider in every industry. I’m free and willing; I’m everywhere but I’m not anchored anywhere. I like that thing of not belonging. I’m not compromised to any political party. I’m an individualist and an anarchist. I cut it. I eat it. I don’t know… a little bit of freedom… Just having to answer to one person; yourself.

I’m going through a very similar process. You see yourself through what I’ve been going through. How old are you?

Thirty-three. You’re so young, that’s good! Well, look… it’s better to go through it now than when you’re my age. I’ve taken longer. But the important thing is to make it. I may be 52 but I feel like a young girl.

You need to keep your spirit young. Absolutely! Curiosity is fresh and although we’ve all suffered and everything; my innocence is still very fresh.

It’s in your eyes… …of a child. Yes, yes. I can’t stop being a little girl. When we’re children, that’s when we’re more authentic, when we really get to be our genuine selves. You can’t ever lose that. Ok?

It’s so challenging to live in a world that doesn’t want us to be our true selves. They want us like cattle; all the same. That’s why you always have to rebel.

How did you start? I mean, let’s start with my nose… Would you like some? How about a nose and a half! Although, it did help me hide that part of me that was more complex, no one could really see me and they just focused on my aesthetic.

I meant to ask you about that. Talking about my nose is cliché, but we can talk about it if you like. Beauty is so relative. What is really beautiful is nature; flowers… How can there be evil in the world when we have flowers? A thing as beautiful as flowers.  ‡ Published in the February 2017 issue of Iris Covet Book.  Photography by Sophy Holland | Styling by René Garza | Art Direction by Louis Liu 

[placetobenation]

Lovecraft Country Ends with a Bang!

The season finale has found an audience — a very loyal audience. With creative, action-packed storytelling and a fantastic cast, how could it not? The socially-minded sci-fi horror fantasy netted a series high of 1.5 million viewers on Sunday night.

The season finale of the freshman series hit viewership highs on both linear and digital with 881,000 viewers tuning into the 9pm telecast which was 16% up from the series debut. On the digital side, there was almost a 90% increase from the season premiere.

On HBO Max, more subscribers viewed the finale of Lovecraft Country in its first day of availability than any other new episode of an original series on the streaming platform to date. On top of all that, Lovecraft Country has taken the #1 spot on HBO Max when it comes to original series. The first episode is currently approaching a staggering 10 million viewers.

Netflix Falls Short

Netflix fell short of its own guidance for earnings per share and subscriber growth in the third quarter,

Global subscribers totaled 195.15 million by September 30, up from 192.95 million as of June 30. The company had predicted it would add 2.5 million new subscribers, so the growth of 2.2 million was well short and the smallest of any quarter in years after a spectacular surge earlier this year amid COVID-19.

Competition, of course, has ramped up significantly in subscription  streaming with Apple, Disney, WarnerMedia and NBCUniversal having joined the fray over the past year.  Netflix said it was “thrilled” to be competing with so many rivals and noted Disney’s recent corporate reorg as a sign of how central streaming will be in the years to come. Of course, comparisons are very inexact given that Netflix is a pure-play streamer and its rivals have other businesses to look after, including legacy ones that throw off cash but are in decline.

Is it the competition, is it the quality of content, is it the ending of isolation and Covid quarantining? is Netflix headed for a dive now that all networks and stations have caught up with them? What is going to keep them on the monthly billfold? What are they going to do to make their $9.99 or $12.99 monthly charge worth it?  Netflix has been cancelling series left and right maybe trying to lighten the load. Maybe their boat is too heavy – or maybe they are saving up capital for a bigger bolder move to help them compete with Disney+ and Peacock and HBO MAX.  

One thing is for sure – these streaming platforms are a here to stay – and once this pandemic is over – who is going to earn the people’s trust, respect and money? It is great to see what you want, when you want it – and I don’t think in this digital age that streaming services are going to die out at all – but I do know that one service will try and become king and wipe out the rest. 

Question is – who?

Disney is Dealt a Blow

On Monday, California Gov. Gavin Newsom teased the release of reopening rules for theme parks in the state, saying cryptically, “We are going to break up the theme parks…Not just one or two brands, it is many different parts of the theme park industry.”

California’s director of Health and Human Services Dr. Mark Ghaly said Tuesday that smaller theme parks can resume operations in the state’s Orange Tier. Capacity will be limited to 25% or 500 visitors, whichever is fewer. Only outdoor attractions may reopen and only to guests who are residents of the same county.

All theme parks — which includes Disneyland in Anaheim and Universal Studios Hollywood — may resume operations in Tier 4, Yellow, which is much further down the road. At that point, the guest limit is 25% across the board and indoor dining establishments can only operate at 25% capacity.

The announcement drew a swift, negative reaction from executives at Disneyland, Universal Studios Hollywood, Legoland and others.

Masks must be worn in all parks at all times, except when visitors are eating or drinking. Reservations will be required for all parks, with temperature checks at the gate.

Orange County, where Disneyland and Knott’s Berry Farm are, is currently in the Red Tier. Los Angeles, home to Universal Studios, is in the most restrictive tier, Purple.

Under the Red tier: movie theaters and cultural ceremonies can open to 25% capacity or 100 people, whichever is fewer; gyms can open indoors to 10% capacity; childcare, drive-in theaters, family entertainment centers and hotels can open with modifications. Concert venues and live theater and festivals are still prohibited to operate.

Under the Orange tier: movie theaters and restaurants can open to 50% capacity or 200 people, whichever is fewer; bars, nail salons, childcare facilities, church services, day camps, doctors, family entertainment centers, gyms can open with modifications. Concert venues and live theater and festivals are still prohibited to operate.

Covid Stops Aretha

Three weeks after resuming production, filming on National Geographic’s Genius: Aretha came to a halt today after a background actor tested positive for COVID-19, sources said. I hear production was suspended for the day. It is unclear at the moment how long the shutdown will last; such decisions are often made day by day. Genius studio Touchstone Television declined comment.

Genius: Aretha, about the legendary singer Aretha Franklin, had filmed 5 1/2 episodes of its eight-episode order when production shut down mid-March amid the escalating coronavirus outbreak. Two weeks later, Nat Geo delayed the premiere of the limited series, originally slated for May 25, for “later this year.” An early 2021 debut is now considered a possibility.

Everyone can’t wait to see a project on Aretha – a feature film is set to come out, this mini series is about to come out – granted the woman was a legendary singer who covered all genres, even operas, with ease, but was her life that interesting? I know I’d love to see it, just to see the changes in the world and in music throughout her legendary career. Much like Ray. 

Everybody Loves Raymond Reunion

The cast of the classic CBS sitcom Everybody Loves Raymond will reunite for the first time since the show ended in 2005 to honor their late costar Peter Boyle and raise money to battle the disease that ended his life.

Ray Romano, Patricia Heaton, Brad Garrett, Monica Horan and Raymond creator and Executive Producer Phil Rosenthal will participate in a 90-minute event that will include table readings of popular scenes from the series. (Costar Doris Roberts died in 2016.) Set for this Friday, October 23, at 9 p.m. ET/6 p.m. PT., the event will benefit the Peter Boyle Research Fund of The International Myeloma Foundation.

No Peter Boyle, no Doris Roberts, this show might not be as joyous as we think. Doing it for a great cause, but without the two parents who basically were the whole show – these table readings could be flat as a pancake. 

Jeff Bridges Has Lymphoma

The sweet and beloved Jeff Bridges has been diagnosed with lymphoma. The Dude himself confirmed his illness on Twitter on Monday afternoon.

“As the Dude would say.. New S**T has come to light. I have been diagnosed with Lymphoma. Although it is a serious disease, I feel fortunate that I have a great team of doctors and the prognosis is good,” he shared. “I’m starting treatment and will keep you posted on my recovery.

Bridges, 70, wrote in a follow-up tweet that he’s received support from friends and family. The Big Lebowski star also urged his social media followers to vote in the upcoming election.

Lymphoma is a cancer of the lymphatic system. An estimated 8,480 people are diagnosed annually.

A big week to be sure, kids. You can catch me here every Thursday on PlaceToBeNation.com. Thanks for reading!

[junker-town]

The NFL opened up a football theme park in the middle of Times Square

And it’s one more way the league wants to hook you.

MANHATTAN — The brand new NFL Experience in Times Square is not a football museum. I make the mistake of calling it that while talking to Danny Boockvar, the president of the whole endeavor, who’s walking me through the fourth floor of the 40,000 square-foot space.

“It’s purposely not meant to be a deep exhibit and museum,” he says, shaking his head. “I like to think of it as Disney meets-the Hall of Fame-meets Dave and Buster’s, with a liquor license in Times Square.”

Broockvar is an enthusiastic guy wearing a quilted vest, a wool blazer, and reminds me of a prep school headmaster who’s just closed a particularly lucrative capital campaign. He’s on the board of New York City’s tourism department, and when he heard about this project in June of 2016, he left his job as the CEO of New York Cruise Lines to head it up. The NFL and Cirque du Soleil had been planning the project for about a year and a half at that point.

As we walk through the room, Broockvar tells me that while I have entered as a fan, I will soon become a player, and then I will leave as a champion. I will do all of this by watching a movie in a next-level IMAX-ish theater, participating in a mock combine/practice hybrid, and looking at the Lombardi trophy in a room where the carpet is designed to resemble a football field littered with confetti.

Broockvar and I pass a case containing a cheerleading uniform, one of a few displays of actual memorabilia. Most of the action on this floor takes place on screens inlaid on tables set up throughout the space. I hit a button on one to tell it I’m a Patriots fan. Highlights from recent years pop up, and I hit play on the video of Malcolm Butler’s game-winning interception from the 2015 Super Bowl. I feel a degree of the same excitement and incredulity that I did when I saw it live in 2015.

“This is for both the avid fan, casual fan, domestic fan, and international visitors,” Broockvar says, gesturing at a family speaking what I think is Dutch nearby. The place is pretty empty because it’s not officially open yet — there’s been a soft opening, but the big kick-off event is two days away.

This non-museum is like the NFL itself: Brightly colored, loud, stimulating, and a surprising mix of gaudy and beautiful. The project has been in the works for three years, but as the storm of PR crises rage on — pick your poison: CTE, Jerry Jones v. Roger Goodell, backlash against players protesting social justice — the timing of the opening seems like a shiny new toy the league is hoping will serve as a distraction. That, and a way to keep consumers engaged and spending money in the off-season at locations away from stadiums. They want to hook anyone they can get.

Charlotte Wilder

“I mean, look,” Broockvar continues, “Whether they’ve ever watched a football game before or not, this is like the thriller version of the hall of fame. It’s entertaining, fun, engaging, and digestible.”

The 4D movie that Broockvar promises will “knock my socks off” is about to start, so he leads me into the theater. I ask what 4D is. It’s … well, Broockvar doesn’t want to ruin it for me, so he won’t go into details. But he does say that it’s more like a ride than a movie: There are screens on three out of the four walls, the seats in the theater move, and there will be wind. He tells me to turn my seat up to the “max” setting. I sit down and oblige.

The movie begins with a series of warnings that could also, I suppose, be applied to an actual NFL game — you might experience motion sickness, you could have a seizure, it will be very loud, and pregnant women should probably sit this one out.

My seat starts to shake and my body tenses up as the Packers run out of the tunnel to take the field. NFL Films is a partner in this whole thing, so there’s lots of “never-before-seen” footage from the point of view of players. My chair buzzes, slowly at first, as Aaron Rodgers looks for an open receiver. The vibrations ramp up as he pulls his arm back to throw, then suddenly the whole seat shifts, tilting me forward. Rodgers releases the ball and my seat whips me to the side, slamming me into the armrest as the quarterback get tackled by a defender who’s charged at him out-of-the-blue on the front screen. Video of the stands on the side screens show fans screaming and cheering.

Montage after montage of hits and sacks and throws and touchdowns take us through the regular season as I’m yanked around in time to the action. When I told a friend a few days ago that I was coming here, he’d said, “The NFL Experience? What, do they just slam your head against a wall for a few hours?” He was joking, clearly, but it kind of feels like that’s what’s happening right now.

“This is probably the first thing [off the field] I’ve been a part of that gave me goosebumps,” the Giants wide receiver Brandon Marshall will say when I talk to him at the end of the visit. The NFL Experience wanted a player to do some interviews, and since Marshall is injured and has some free time, he’s the guy they got.

“The anticipation, that anxiety that you feel in the theater, like ‘What’s happening next?’ That’s real. Once in my career I was in a scramble and literally it felt like all 22 guys on the field were on top of me. I freaked out. It can be the longest 30 seconds of your life.”

The film takes us onto the playoffs. The Star Spangled Banner plays through the speakers and my seat quakes as fighter jets fly overhead. Music that sounds like a mashup of the Games of Thrones opening credits and the NFL on FOX gets louder. The patriotic display is overt and overwhelming — I feel like I’m watching the football equivalent of a propaganda film from World War II, or an ad for the Marines that runs during games.

The film ends before anyone makes it to the Super Bowl, but it’s done its job: According to Boockvar, I have officially become a player, and it’s time to move on to the mock equipment room and practice facility a floor below.

There’s a vertical jump in here, as well as dummy blocking, an interactive play-calling situation with Jon Gruden (that was filmed especially for this!), a build-your-own-trading-card station, and a place where you can throw a football at a screen to a virtual wide receiver. Despite the fact that I think I’ve blown out my knee as I jump in boots, and that I’ve only made the practice squad with my weak showing against the dummy, I’m having a blast. Playing football is fun. I delight in throwing spirals to a pixilated Gronk, who catches two and misses one, and isn’t to blame for the latter.

Cohn & Wolfe

I have not performed exceptionally well, but as I walk down the stairs and to the final floor, I have won the Super Bowl nonetheless. The confetti hanging from the ceiling is the Patriots’ colors, but it will change each year according to which team is the current champion. There’s a display of Super Bowl rings from year to year, which have gotten increasingly ostentatious, as well as copies of tickets. A few decades ago, a seat went for $12. Last year, the one displayed on the wall cost $1500.

I am officially a champion. I walk through “the media tunnel” and enter the bar and restaurant area that overlooks Times Square. It will serve rotating offerings of specific dishes from stadiums, and will be — the league hopes — a place you can watch the game on Thursday nights.

While the informational aspect felt a bit too thin for actual fans, the drills were enjoyable no matter how much or how little you know about the game. I can see where if you’re a football-obsessed kid, or a family that won’t be going to a game anytime soon, this would be a cool, behind-the-scenes look. Or if you’re on vacation with time to kill in midtown. Here, the NFL is saying to foreign tourists, is America.

I just can’t shake the fact that the theme-park portion isn’t a simulation of a ride, it’s a simulation of the hits player’s bodies endure (and evidence of the 100% injury rate). Dawn Hudson, the NFL’s chief marketing officer, will tell me on the phone a day later that it’s more than that— it’s about running, juking, throwing. She says that as someone who didn’t play football, getting to experience a big person coming at you in real time was eye-opening.

It was. On television and even in the stands, watching football isn’t so visceral. Here, however, getting thrown around in the seats, it was impossible to ignore and honestly a little alarming. The NFL and Cirque du Soleil know what buttons to push to elicit reaction and emotion. They knew to show me the Butler interception, to kick up the music there, release some fake snow here. I’m just not sure they intended it all to worry me more than pump me up.

[early-gc]

Animator’s Interview (Jio Manuel Consuelo)

Carreon, Earl Gerard H.

BFA-3B

 (Disclaimer: Because of the hectic schedule of the animator, we are only able to interview him through Messenger Chat, for proof, we can show you the actual conversation with the Artist through Facebook/Messenger, Weren’t also able to take a video chat with him because of their Work/Company Policies)

 Questions :

1. What type of animation are you specialized in?

 2. What software do you use more often?

 3. What inspires you when making animations?

 4. As a fan of animation, what are your

favorite things to do when not working in the field?

 5.If you were working on a project and suddenly

the deadline changed, how would you handle it?

 6. How do you keep track of work so that it gets done on time?

 7. How do you stay focused while working long hours?

 8. As an Animator, what do you believe is your best asset?

 9. Why did you chose a career as an animator?

 10. What steps are you currently taking to

improve your knowledge and skill as an animator?

 11. As an animator, what advises can you give to beginners

and your fellow animators?

  Animator’s Answers :

1. Flash/Cutout Animation

  2. Adobe Flash Cs6/CC

  3. Money, Bills, Hobbies. There's the still the drive to pursue the artistry naman, may passion parin for the craft.  Pero syempre nandun narin yung real world problems e, kailangan lang talaga i-balance.

 I'm inspired with what I see. Satoshi Kon,  Hideo Anno, Studio 4C, Madhouse, Ghibli, Disney, mga ganyan. Yan yung kumbaga #goals sa industry. Di Nawawala yan. Pero syempre, kailangan enough parin ang kitain para sa sarili.

  4. I usually go out in the weekends, either with friends or workmates. Be it hiking up mountains or drinking out. I also collect toys and books, actually most of my income goes there.

  5. For me I just assess my remaining scenes and see if I still have time to do it all. I I can't,  I ask my colleagues if they can help out, and I reassign my scenes to them. It's all about having a clear head really, try not to let your emotions cloud your judgement, especially when there are possible solutions to think about

  6. I do my scenes in by order,   I don't usually do the easy ones first and leave the hardest for last. I have a daily quota of scenes to be finished,  but it depends on the difficulty level too. Sometimes I do 5 scenes in a day, or I do one scene for 3 days. I try to finish it all at least a week and a half before the deadline, so I still have time for revisions.

 7. I keep a notebook for sketches nearby, and a brush and bottle of ink. I also have some toys that I pose around if I feel like I need a break. Or I look at cute dog memes to pass the time. Music helps too, I find that I work faster and better when there's some fast paced noise going on in the back ground.

  8. Kaya kong lumamon sa gabi pero sa umaga walang ebidensya,  payat parin.

 Kaya kong ubusin yung sinahod nung Friday tapos pagdating ng Monday gapang ulit.

 Kaya ko buhayin yung character sa computer pero diko kaya buhayin yung bank account ko.

 Kaya kong mag OT kahit hindi bayad.

 Actually mas ok ako sa mga fast, action scenes. Sa mga acting, kaya naman sakto lang. Mas nag eenjoy and nag eexcel sa ganun kesa sa simpleng scene lang.

  9. I really like drawing,  ever since I was a kid I was already sketching. Supposed to be I was gonna take up MMA, but I found out that I needed a lot of capital for that. Cameras, computers, which at the time we couldn't afford. Then I saw there was an animation course offering at CSB, so I went with that. And I stayed. I really enjoy the work, regardless of the time lost and money gained, I enjoy it. I don't really feel like I'm working, I just go to the studio to draw and animate. The only stress there is is with other people and deadlines. But the job itself is great.

10. I don't watch cartoons as often as I'd like, but that's not really a requirement. It's more like, you have to know what you're looking at. Don't just see, but observe. It really is a study about life, how things move and feel. I do some life drawing, read graphic novels, copy the files of the scenes that have really nice movement in them. I always try and see how other animators do a certain move, ano yung diskarte nila sa isang eksena. Thats where you learn really.

  11. Don't strive for "just ok" scenes. Hindi pwede yung "pwede na" na gawa. If you're gonna do something, give it your all. If you did the work,  but didn't get the money,  it doesn't matter. You still have the work. It's always about self improvement, don't get blinded by the salaries of other veteran animators,  kahit 40k a week pa yun. Quantity darating ka rin naman dyan e, quality ang kailangan unahin. Mas gusto rin ng director yun. Wala kang ibang kompetisyon kundi sarili mo.  In everything in life,  be it good or bad, don't forget to make good art. Yang Law, Medicine, Engineering, lahat yan kailangan to sustain life. But Art makes life worth living.

 Also protip: kung may binigay na sayong trabaho, wag mo unahin yung mga madadali tapos pagdating ng deadline saka mo ire reassign yung mahirap. Madali makahanap ng ka away pag ganun, walang magkaka gusto sayo at tatanda kang virgin.

 Animator’s Scenes & Work web references:

https://www.youtube.com/watch?v=Kq4XTNX0vdQ

https://www.youtube.com/watch?v=_IHKP0MO9U

https://www.youtube.com/watch?v=AMYVvG4Kbgw

https://www.youtube.com/watch?v=kAFVQqJi3g8

 (Samples of his scenes & work are also shown at the end of the interview slide ; soft copy)

[grinning-tiger]

Interview with Azra Alkan (VFX Compositor)

Let's do an interview!

Here we have a great person, great artist, and a friend of mine who I met back when I was a student at Academy of Art University and who I have the pleasure working with currently at Ingenuity Studios.

I hope you enjoy and if you'd like to see more, her demo reel is down belong along with being able to find her on IMDB and her personal website www.azralkan.com

-Tell me a little bit about yourself. My name is Azra Alkan, I’m a 26 year old compositor working on films, TV shows, and commercials.  I grew up in the capital of Turkey, Ankara. I graduated from Academy of Art University in December 2014 with a Bachelor's Degree in Animation and Visual Effects, majoring in compositing.  I’ve been working in the VFX industry for the last 5 years in Los Angeles, and San Francisco.

-You mentioned that you are from Turkey. What is VFX like back home? When I left Turkey, there was no visual effects houses back then. All of the VFX were being outsourced to different countries. To be quite honest there was no market for it either. It’s only blooming over the past few years with the newly founded VFX studios. They mostly work on commercials because film industry still has a hard time trusting local shops.

-Tell me of your journey that got you to where you are today. I was always infatuated with arts, particularly with storytelling, so I tried to learn that ever since I was a kid. At the same time I was very good at sciences and I was drawn to both sides. I started programming at a very early age as well as painting and writing stories. I got accepted to a visual programming major back at home and I was loving it. However I felt that the visual side of me wanted more freedom, so I applied to a school in U.S.A, convinced my parents with the scholarship they offered me, packed my stuff and moved across the world for the best art education I could get. Visual Effects was a rare industry that kept both my artistic skills and my scientific background in check. I fell in love with it ever since.

-What brought you to VFX? When I was studying cinematography I felt the need to have more creative freedom. I wanted to capture the stuff that a regular camera cannot see. Live action art was not enough to convey my insane imagination. I wanted to create worlds that only I knew how they looked. I was fascinated by the movie Avatar at the time. Seeing Avatar, I said “this is it, this is what I have got to do!”

-What inspires you? Humans, psychics, outer space, our existence, how big the universe is and nature itself are the topics I think about constantly. I really wonder about our place in the entire universe and it drives me to create futuristic effects, worlds, cities, planets in my work.

-What are some of the things that you have worked on? I was lucky enough to work on many amazing TV shows, movies and commercials for my age. I got to work on my favorite TV shows such as Gotham, Agents of Shield, Stranger Things (oh I am obsessed with that show!), Westworld, Last Man On Earth. The latest blockbuster movie I worked on was Disney's Pirates of Caribbean: Dead Men Tell No Tales.

-What is something that you love about your job? I love the problem solving aspect of it. It is quite like a puzzle. As a compositor, I am at the end of the post production pipeline. I am given all the elements such as FX, CGI, image, etc., and I have to figure out a way to fit them all together to make them belong and look real. At the end of each scene I work on I still get surprised on how real it looks. I almost fool myself into thinking this is a real live action footage.

-What are some of the challenges that you have experienced? Art is very subjective and sometimes what you think is great might not be what the client wants. Unless you are working solely on your own projects (which is why I love collaborating on indie movies) you have to keep your crazy imagination in check with what the clients think will bring in more viewers. Get ready for some very personal criticism on your art work!

-What are some notable experiences that you have gained? When I was working at Studio 400A, which is a non-profit indie studio made of talented artists and their mentors, I got to lead Advantageous, which has been nominated in Sundance and many other film festivals. When I got hired to work at CoSA VFX, I got to work on Emmy nominated shows by Disney, Marvel, and Fox. Now at my current studio, Ingenuity Studios, I work as a senior artist leading a team of other talented artist for the show Fresh Off The Boat. It’s great because it is a show about immigrants and who is better than I to supervise it :)

-What do you see as the future of the VFX industry? I believe the film industry started to realize how important visual effects artists really are to the whole process. I know there are many people out there that constantly point out that we get the worst treatment out of everyone in Hollywood, and to some degree I can understand that. However, we need to trust our talent and not let negativity or speculations affect our decisions. We are the backbones of this industry and we will continue to rise with the upcoming technology.

How do you want to contribute to this future of VFX? I would like to continue working hard and continue having many irons in the fire to shine a light upon every fellow artist who are good at what they do and needs a platform/leadership to show their artwork to the world.

-What are your dreams and aspirations? I eventually want to open up my own studio, where talented fellow artist are treated right, compensated the way they deserve, and where our only limitation would be our imagination.

-The VFX industry has a history of being a “boy’s club”. What has your experience been like? Is it still an issue and has it changed? How do you think you can be a positive influence? For the most part, I was lucky enough to be surrounded by people who respected me for the skills I bring on the table, but yes, there have been situations. Some people have referred to me as the “best woman compositor” they have met or, in the past, clients have told me "Why are you behind the camera because the way you look, you should be in front of the camera”. I have been shamed for the way I dress up in studio by other women. I have been shamed for thinking about asking for the raise I sure deserve, because according to most women I should have been happy that I even have a job. Some clients chose to speak directly to the men in the room as if the women in there were just the help. It’s a sore subject for many women in the industry. Not too long ago women weren’t even allowed to become animators, we could just be corrective artists, not creative. The tradition is surely still there but people are more sneaky about it. Or sometimes they don’t even know they are engaging in sexism. How I deal with it is by setting up an example to all fellow women and men that it can be done differently. That if you are good, you should ask for your worth. You call it out as it is and do not let the opportunities get away because people think you should just be happy you are even allowed in the industry. Women can and will be in the creative, critical parts of the industry and not just in an office aiding the production.

-Time for a lighter question. Here's a favorite back from TeaTime Animation (shout out woop woop!) What’s the worst and/or funniest mistake you have made when starting out? I think the funniest thing we all think as artists when we start out is that we know everything. That we are so so good. Oh boy, was I wrong about knowing anything! It’s insane how much the industry progresses each and everyday. Now I know you are a senior artist, a veteran, if you accept you know nearly nothing and there is so much to learn still!

-What are some words of wisdom that you can share for all those young blossoming artists? Please don’t disregard the connections you make at school. I am talking about the guy who sits next to you that you never thought you would be friends with. They end up being your coworkers, the people who decide to hire you, fire you, recommend you. Also get yourself into many collaborative projects. Don’t worry about the money. Worry about making it look great. Don’t let your projects look good enough for your homework. Make it good enough to be in a feature film.