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Pompeo unloads on 'shameful, twice-lying' NPR reporter, then punctuates with stinging gut shot
Pompeo unloads on 'shameful, twice-lying' NPR reporter, then punctuates with stinging gut shot
January 25, 2020 | Vivek Saxena | Print Article
Secretary of State Mike Pompeo has personally fired back at the NPR reporter, Mary Louise Kelly, who claimed he'd verbally accosted and tried to humiliate her during a discussion the two shared after she interviewed him Friday afternoon.
According to Pompeo, she'd promised that their discussion would be off the record. Yet she later leaked the discussion to the public in what, if proven true, would amount to a gross violation of basic journalistic standards. He claimed further that she'd also lied by promising that their interview would be about Iran. Yet instead the interview turned out to be mostly about Ukraine.
"NPR reporter Mary Louise Kelly lied to me, twice," he said in a statement Saturday afternoon. "First, last month, in setting up our interview and, then again yesterday, in agreeing to have our post-interview conversation off the record. It is shameful that this reporter chose to violate the basic rules of journalism and decency."
"This is another example of how unhinged the media has become in its quest to hurt President Trump and this Administration. It is no wonder that the American people distrust many in the media when they so consistently demonstrate their agenda and their absence of integrity."
In what may be one of the most scathing verbal uppercuts released in recent times, he added, "It is worth noting that Bangladesh is NOT Ukraine."
(Source: State Department)
During the interview Friday morning, Kelly began hassling the secretary of state about Ukraine, prompting Pompeo to remind her that he'd "agreed to come on your show today to talk about Iran."
This appears to be her first lie.
"You know, I agreed to come on your show today to talk about Iran," he said. "That's what I intend to do. I know what our Ukraine policy has been now for the three years of this administration. I'm proud of the work we've done."
"This administration delivered the capability for the Ukrainians to defend themselves. President Obama showed up with MREs [meals ready to eat]. We showed up with Javelin missiles. The previous administration did nothing to take down corruption in Ukraine. We're working hard on that. We're going to continue to do it."
The host ignored his remark and continued plastering him with more questions about Ukraine. After answering some of them, Pompeo then abruptly terminated the interview.
Listen to the relevant portion of the interview below (disable your adblocker if the video doesn't appear):
After the interview concluded, Kelly claimed to her NPR colleagues on live air that Pompeo had grown angry, prematurely ended the interview and then asked to speak with her off the record.
"[A]n aide stopped the interview and said, 'We're done, thank you,' and you heard me thank the secretary. He did not reply. He leaned in, glared at me, and then turned and with his aides left the room," she said.
"Moments later, the same staffer who had stopped the interview reappeared, asked me to come with her — just me, no recorder — though she did not say we were off the record, nor would I have agreed. I was taken to the secretary's private living room where he was reading and where he shouted at me for about the same amount of time as the interview itself had lasted."
An analysis of the interview's full transcript suggests it lasted roughly 13 to 17 minutes.
"He was not happy to have been questioned about Ukraine," the NPR host continued. "He asked, 'Do you think Americans care about Ukraine?' He used the F-word in that sentence, and many others."
According to Kelly, the secretary then asked her if she "could find Ukraine on a map" and made her prove that she could indeed.
"He asked if I could find Ukraine on a map. I said yes," she explained. "He called out to his aides to bring him a map of the world with no writing, no countries marked. I pointed to Ukraine. He put the map away. He said, 'People will hear about this,' and then he turned and said he had things to do, and I thanked him again for his time and left."
A State Department spokesperson initially responded to the allegations late Friday by issuing a statement to Fox News disputing her claim that she'd been able to correctly pinpoint Ukraine on a map.
In Pompeo's own caustic statement issued the next day, he added that she'd incorrectly pointed to Bangladesh, not Ukraine. What he didn't do was dispute the rest of her account. Nor did the State Department. It appears therefore that they've admitted that he did terminate the interview prematurely and then yell at Kelly off the record.
Whether or not it was appropriate for him to yell at her, the fact remains that it's an ethical breach of the highest record to agree to have a discussion off the record but then turn around and publish the contents of that discussion:
Every government official should take note of the reporters who defend those that break off the record agreements. Reporters defending @NPRKelly will also burn you.
— Arthur Schwartz (@ArthurSchwartz) January 25, 2020
In what universe is complaining about a reporter breaking an off the record agreement an "assault on press freedom?"
If @NPRKelly did indeed break an off the record agreement, she should be fired & her colleagues should be condemning her, not holding her up as a resistance hero https://t.co/f9fC0pW5rm
— Andrew Surabian (@Surabees) January 25, 2020
However, it hasn't been established without a doubt that Kelly did actually agree to an off-the-record discussion. Pompeo claims she did, while she claims she didn't.
Much like the recent feud between Democrat presidential candidates Sen. Bernie Sanders and Sen. Elizabeth Warren, this latest fiasco appears to be turning into a he-said, she-said situation, though you can already guess which side the media have taken.


Chew, J. C. November 14, 1872.
This newspaper is part of the collection entitled: Texas Digital Newspaper Program and two others and was provided by The Dolph Briscoe Center for American History to The Portal to Texas History, a digital repository hosted by the UNT Libraries. It has been viewed 192 times , with 5 in the last month . More information about this issue can be viewed below.
Chew, J. C. The Houston Telegraph (Houston, Tex.), Vol. 38, No. 30, Ed. 1 Thursday, November 14, 1872, newspaper, November 14, 1872; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth235017/: accessed April 20, 2019), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting The Dolph Briscoe Center for American History.


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So there's this place up by the Hilltop main office that says "Motorcycle Parking Only" and it's up on the sidewalk, behind a bunch of spots requiring an A/B permit. This would, at the very least, imply that you need an A/B permit to park there - something that obviously wasn't the case to begin with. Instead, according to the brilliant people associated with Parking Services and Purdue Police, you need a residence hall permit to park there. It just doesn't make any sense to me, or anyone else that I explain it to. However, even after an appeal they held up the decision. The best part was when I asked if you also needed an A/B permit in addition to the residence hall permit to park there. One of the highly intelligent members of the appeal committee immediately answered "yes," while another superseded him saying "we aren't commenting on that matter." As if it was a separate issue. Ugh. All I have to say is that all previous references to intelligence or brilliance should be taken in a "bitterly sarcastic" context.


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7 Reasons Lemon Breeland's Personal Growth On 'Hart Of Dixie' Should Inspire Us All
By Alanna Bennett
If there was something I did not expect when I started watching Hart Of Dixie four seasons ago, it was to come out the other end completely devoted to Lemon Breeland. She quickly won me over in the second season: Jaime King's undeniable charm and some deft character writing guided her into becoming one of the best characters The CW's ever had in its roster. Hart Of Dixie is coming to an end, but Lemon Breeland will live on as one very solid example of what it means to actually allow characters room to grow. Jaime King's Lemon has surprised us time and time again, in big and small ways.
Hart Of Dixie is no stranger to the idiosyncrasies of small town TV life; in fact, it's often set itself up as being set in a modern, southern Gilmore Girls' town of Stars Hollow, with the townspeople built to reflect that, but with much more of a bent toward love triangles. Lemon was initially positioned mostly to be the romantic rival to Rachel Bilson's Dr. Zoe Hart, with Lemon acting as the very traditional Southern Belle who wanted nothing more than to drive Zoe out of town and live her idyllic 1950s-patterned life. But when her engagement fell apart, everything changed for Lemon — and it was one of the best things to ever happen to the show. Allowing King the range to show us what Lemon had inside her paid off, and the show was treated to one of the best examples of growth at its heart (the other being Wilson Bethel's Wade Kinsella).
Here are 7 reasons Lemon's journey is one we should look up to.
1. She Goes From A Woman Whose Life Revolves Tradition To One Blazing Her Own Path
Season 1 Lemon was obsessed with her life playing out exactly like she pictured. This involved being housewife to the town's resident lawyer and serving as the head of the Bluebell Belles, with not much room for trial and error. And the choice to be a housewife is fine if that's what you're into, but this Lemon was so specific with her vision of the future that she had no backup plans, and no other dreams to speak of — and that vision was entirely dependent on a man and often left casualties (usually emotional) in its wake.
So when that vision did not come to fruition, it was a literally life-changing blow. In its wake, she set about doing what needed to be done: Figuring out who she was and what she wanted out of life, and going after that.
2. She Learns How To Wear Pants & Branch Out In Her Tastes
There is absolutely nothing wrong with preferring to wear dresses and skirts (the legs want what the legs want) — but Lemon's wardrobe in the first season was almost startlingly '50s, to the point where it seemed like a big deal once she started branching out to other decades for her sartorial choices. And is it any wonder King looked amazing in all of them? This may seem like a side note, but watch this series and witness how Lemon's style choices broaden and grow as the rest of her does.
3. She Was Able To Fall Apart And Pick Herself Back Up
Did I mention that major blow when her engagement fell apart? Yeah, Lemon's been through a few of those. Her path's altered multiple times. But she's always rebounded, ready to take life's swerves and find the best next path for herself. There's a lot of resilience in this one.
Just take on of her best quotes:
I don't need anyone to take care of me. I am Lemon Breeland, strong Southern Belle and I will rise again. Without help. On my own.
4. She Shed Some Of Her Old Ideas Of What Womanhood Looks Like
She's always going to be a sharp woman who doesn't hold back her judgment, but watching Lemon become independent was one of the greatest joys of this show. Watching Lemon find love again has been great, but it could only happen after a very important step: Seeing her realize that she doesn't need a romantic partner or out-dated ideals of womanhood to be her whole, awesome self. And that there is room to mess up and play around in the path to finding that self.
5. She Opened Herself Up To Being Friends With Unexpected People
Speaking of unexpected life paths, one of those led Lemon to a great friendship with someone who in many ways is her personality opposite: Bartender/Bar owner Wade Kinsella, with whom she co-owned a restaurant for a time. Seeing them shed their animosity towards each other and actually achieve emotional intimacy without adding to the baggage of love triangles this show's always loved?
That's been great, as has seeing her shed her animosity towards Zoe as both realize there's really no reason to see each other as competition.
6. She's Always Tried Her Hardest At Everything Worth Fighting For
Her relationship with George didn't work out in the end, but they really had to see it out to that final end, and Lemon fought hard for George's forgiveness in order to get there. Even more wonderfully (and definitely more longterm than a romance with George), she fought tooth and nail for her restaurant businesses once she figured out what she actually wanted to do with her life. She's fought for friendships, she's fought for love, and she's fought for her dreams. This series' major subplot has been about Lemon sorting out her priorities, and it's been a pretty cool ride.
7. She Let Life Surprise Her
I would bet you anything that Season 1 Lemon would be appalled by a description of what her future self goes through; it's simply not what she was picturing for herself. But that path was wholly necessary, and it led to the betterment not just of Lemon but of the show that's been her home. Lemon Breeland is a resilient, spunky woman, and in the long run she's taken every curveball thrown at her with aplomb. I have faith that in her life post-Dixie in the TV ether she'll continue to do the same.
Images: The CW; tawdrysquid/Tumblr, caryl/Tumblr, zoeswade/Tumblr, moonlightsdream/Tumblr

redpajama_set_name: RedPajamaCommonCrawl


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Bakaran Batu (Lubuk Pakam), een plaats in Indonesië
Bakaran Batu (Sei Bamban), een plaats in Indonesië
Bakaran Batu (Batang Kuis), een plaats in Indonesië
Bakaran Batu (Rantau Selatan), een plaats in Indonesië

redpajama_set_name: RedPajamaWikipedia


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It: Fear Itself
October 19, 2017 Mark Dillon
AC visits the Toronto set, where director of photography Chung Chung-hoon and director Andrés Muschietti mine the horror of Stephen King's classic tale.
Unit photography by Brooke Palmer, courtesy of Warner Bros. Pictures
Coulrophobes beware: Pennywise is back to terrify a new generation of moviegoers in the horror feature It. Introduced in Stephen King's 1986 novel of the same name, and first appearing onscreen in a 1990 miniseries, the ancient shape-shifting spirit that often assumes the form of a clown has re-emerged — as he does every three decades — to murder children in the town of Derry, Maine.
Whereas the book divides timelines between the late '50s and mid-'80s, the movie transpires entirely in 1989, when Pennywise (Bill Skarsgård) rears his scary head in a storm drain, where 7-year-old Georgie Denbrough (Jackson Robert Scott) has come to retrieve his paper boat. Georgie subsequently goes missing, and the number of disappearances starts to add up.
As the evil returns to overtake Derry, Georgie's older brother Billy (Jaeden Lieberher) finds strength in numbers with his offbeat friends, who together comprise the "Losers' Club," including Ben (Jeremy Ray Taylor), Beverly (Sophia Lillis), Richie (Finn Wolfhard), Eddie (Jack Dylan Grazer), Stan (Wyatt Oleff) and Mike (Chosen Jacobs) — each an outcast in a different way.
The Losers must ward off bullies led by Henry Bowers (Nicholas Hamilton), and head into Derry's dark sewers to confront Pennywise. They begin to realize that the spirit — which they refer to as "It," and whose presence is signified by a red balloon — feeds on their fears, so overcoming their own anxieties may be the key to defeating the monster.
Director Andrés Muschietti (wearing white t-shirt) and cinematographer Chung Chung-hoon (right) check the frame with an on-board monitor.
Helmed by Argentinean director Andrés Muschietti — and written by Chase Palmer, Cary Fukunaga and Gary Dauberman — the feature contains scenes reminiscent of the 1990 ABC miniseries, which was directed by Tommy Lee Wallace, shot by Richard Leiterman, and featured Tim Curry as Pennywise. But here the filmmakers have made a darker, R-rated version more in keeping with modern horror aesthetics. As currently plotted, It will serve as the first half of King's story, with a planned sequel to follow up with the Losers 30 years later to fight the evil anew.
Muschietti turned to South Korean cinematographer Chung Chung-hoon to help realize his vision of King's tale. The director was an admirer of Chung's work dating back to 2003's operatic actioner Oldboy — the cameraman's first collaboration with director Park Chan-wook, as well as a Cannes Film Festival Grand Prix winner.
Covered by two Arri Alexas, the "Losers' Club" bands together to find the evil Pennywise (Bill Skarsgård) in his muddy underground lair.
"Chung is an artist who goes for a surrealistic element, which is something I wanted to bring to the equation," Muschietti tells AC, while en route to San Diego to promote It at Comic-Con. "He is very brave in terms of storytelling, and has a wide range of ideas on story and theme. His versatility intrigued me. He doesn't always go for the same aesthetic. Each movie has a style that is very particular and interesting."
Chung refined his storytelling sensibilities while studying directing and acting at South Korea's Dongguk University. As he talks with AC in a trailer on the set of It at Pinewood Toronto Studios in September 2016, Chung further notes that he can relate to the film's young cast, as he was a child actor himself.
"I've been acting since I was 5," he says. "Instead of going to kindergarten, I went to acting school. I got my foot in the door through my dad's television-producer friends. They were looking to make a show, and cast me as the lead character. It got made and it was a huge hit in South Korea." The series — whose title translates to Naughty Cheol Ee — aired daily for three years, and Chung's acting career lasted for 15.
Chung (at eyepiece) frames up a shot.
At university, he directed several shorts that did the festival rounds and won him awards. Desiring to maintain visual control, Chung functioned as cinematographer on his projects as well, and soon other student directors were asking him to shoot their films. At 25, he was approached by director Yang Yun-ho to shoot the 1996 feature Yuri, and he's remained on the cinematographer path ever since.
Chung's experience shooting Deus Ex Machina, a sci-fi epic that ceased production halfway through, changed the course of his career. An editor on the film recommended Chung to director Park Chan-wook, who was searching for a director of photography for Oldboy. The resulting partnership has yielded several features, including their 2013 Hollywood breakthrough thriller Stoker and the South Korean period piece The Handmaiden, the latter of which premiered across town at the Toronto International Film Festival two days after this interview.
Chung, who now resides in Los Angeles, also counts director Alfonso Gomez-Rejon's 2015 teen comedy-drama Me and Earl and the Dying Girl among his Hollywood projects. "I wanted to meet more directors and crew, and broaden my spectrum," the cinematographer says. "In South Korea, filmmakers usually retire young. A 50-year-old cinematographer working there is rare. Most directors are very young and want to use young cinematographers."
The crew readies a shot in the scene in which Georgie Denbrough (Jackson Robert Scott) innocently floats his paper boat in the rainwater alongside the curb.
The ill-fated Georgie encounters Pennywise in a storm drain while chasing after his boat.
Muschietti is one young director who is thrilled to be working with Chung, who had received a ringing endorsement from their mutual friend Natasha Braier, ADF, the Argentinean cinematographer known for The Neon Demon (AC July '16).
"Whatever [Chung] contributed would make what I had better," Muschietti recalls. "Our discussions were about temperature. I wanted a hot summer with everyone sweating all the time. I love characters with shine on their faces. We also discussed the balance of making something realistic, but with that element of intrigue — that something is not right."
From left: Stanley Uris (Wyatt Oleff), Richie Tozier (Finn Wolfhard), Mike Hanlon (Chosen Jacobs), Bill Denbrough (Jaeden Lieberher), Beverly Marsh (Sophia Lillis) and Ben Hanscom (Jeremy Ray Taylor) comprise six of the Losers' Club's seven members.
Chung mulled over the notion of a period look, but ultimately the 1980s feel is conveyed chiefly through production designer Claude Paré's sets and the work of costume designer Janie Bryant. "Trying to make a movie set in the 1980s look like the 1980s can be dangerous," the cinematographer says. "At first, I thought about shooting with 1980s lighting rules and gear. But we didn't, and in the end it didn't matter. We're just trying to capture a natural look."
Finding mainstream 1980s lighting too artificial, Muschietti preferred to light through windows and bounce off the floor. "I wanted to convey intimacy with the characters," he says. "I love backlights and soft lights that are unsettling."
That jibed well with Chung, who notes that his experience with Stoker taught him how to light quickly using one source. "I feel lucky," he says, "because some directors will always say, 'Can you make more light?' But this movie is very naturalistic. My responsibility is to the audience and to tell the story, and if you want this movie to scare people, a natural look is best."
Another period-accurate possibility would have been to capture on motion-picture stock, a format Chung still loves but hasn't employed for a feature since Stoker. "The changeover to digital is happening too fast," he opines. "When I'm shooting on film, there's that intensity where I'm always doubting myself — 'Did I really get this?' I like that about film, and the look is good. Of course, digital is good, too." The It crew shoots primarily with two Arri Alexa XT Plus cameras, paired with a mix of anamorphic and spherical lenses, with Angelo Colavecchia on A camera and Michael Carella on B. The production occasionally pulls out an Alexa Mini for Steadicam shots, which are operated by Colavecchia. Both XT Plus and Mini capture in ArriRaw format in Open Gate mode with no compression.
Digital-imaging technician Rany Ly reports that with the anamorphic lenses the camera captured a resolution of 2880x2160 and a framed image of 2578x2160. With the spherical lenses, the camera captured 3414x2198, and 3074x1730 within the frame lines with a 10-percent punch-in because of a vignetting 18mm lens. The movie's final aspect ratio was 2.39:1. The crew records the Alexa XT Plus footage on 512GB Codex XR Capture Drives, and the Arri Mini material on CFast memory cards.
Muschietti (center) stages scene with his young cast.
"Mama was so much about the creature, which is skinny and tall," Muschietti explains, referring to his 2013 horror feature, which was shot by Antonio Riestra, ASC, ACK, AMC, and framed for the 1.85:1 aspect ratio. "But this story is bigger in scope. It's not only about Pennywise. It's also about the spirit of a town, and we have seven child characters who are often together — so I needed a wider format. I remember listening to commentary from the director of the miniseries, and he talked about how difficult it was getting all the characters in a TV frame."
The director prefers spherical lenses, in part because he's familiar with them from his background in directing commercials. "Shooting spherical also gives you a chance in postproduction to reframe or apply effects like shakes," Muschietti says, "which anamorphic doesn't because it doesn't have that extra information on the top and bottom."
Chung, meanwhile, likes to combine anamorphic and spherical, as he did on Me and Earl and the Dying Girl. "Optics are so sharp with today's lenses and digital cameras," the cinematographer says. "The Alexa XT Plus is great — I think it's the best camera body in the world — but I need some balance, so I go with lenses that give a more natural look that's not too sharp. That's why I like Panavision lenses."
He reports that the production uses Panavision G Series Anamorphic Prime lenses, and switches to Primo Primes "when Andy wants to use a wider lens or needs more frame space for visual effects. The look [of the] lenses is nearly the same. I mix them a lot and it works well."
The production's zooms include Panavision's ATZ 70-200mm (T3.5) and AWZ2 40-80mm (T2.8), and an Angenieux Optimo 24-290mm spherical (T2.8), which were particularly helpful for convenient reframing on B camera. Chung notes that he's usually "not a filter person" and uses only NDs on the project.
Muschietti prefers the wide end of the focal-length spectrum. "I like the feeling, even for close-ups," he explains. "I want to be close to the characters and feel the volume of their faces. It brings me closer to their circumstance, their spirit and soul. But sometimes if a 21mm close-up looked funny, we might go up to a [35mm]."
AC is on set for the 51st day of shooting, and we are observing the action in Pinewood Toronto's cavernous 15,000 square-foot Stage 2. This sequence is set in a sewer called the Cistern, which Paré has transformed into a hellish vision of filth and decay. The former reservoir is now Pennywise's lair, where he will appear and engage the kids in battle. Around the room are various sewer mouths — some with water pouring down and backlit with a variety of small, hidden Kino Flos.
After Pennywise is spotted at the spooky Neibolt house, the Loser's Club returns to the site to confront the malevolent spirit.
"We used [the Kino Flos] to provide a backlight to the trickles of water," gaffer Michael Galbraith says. "We started off using 2-foot doubles with daylight bulbs and used only one bulb set to low output, but we started to be very selective with which sewer pipes would have the trickle of water running, so if there was no water we would turn the fixtures off."
The Cistern floor is muddy and full of puddles — most of the crew wear rubber boots — and in the center, atop an old circus wagon, stands a towering pile of old children's toys and clothes from Pennywise's victims, spanning at least a century. A hole in the ceiling ostensibly extends, funnel-like, to the surface above. Greenscreen is in place along the set for digital extension.
Pennywise moves in on the Losers' Club.
In the scene, the Losers emerge from a tunnel into the Cistern. Their flashlight reveals Beverly suspended high off the ground, in the grip of Pennywise's supernatural powers — and as such, Lillis is held up by cables that will be removed in post. The Losers pull down the catatonic girl, as the crew captures a wide low-angle shot and various close-ups. With each new take, water starts flowing again and Lillis is hoisted back up.
Though the crew usually runs two cameras — as Muschietti likes coverage of his ensemble cast — today they bring in a third for a while as well. The setup has the A camera on a Technocrane 50 for an angle on the floating Beverly, while two other cameras on dollies cover the action on the ground.
Though generally not a fan of Steadicam movement, Chung's use of it on this project has included a chase scene through the curving tunnel system, as well as a shot through the hallway at the protagonists' school, shot in Ancaster, an hour south of Toronto.
Ideally, the cinematographer prefers shooting with a single camera. "The lighting is faster and more intense," he explains. "If I want to keep a lighting setup for one camera, I'll tell Andy and we'll use one camera. But it's usually not a problem making a little sacrifice and having the second camera, because directing the actors is also very important. I don't want a movie that's just technically great. I want a good balance and I'm happy to compromise."
The multiple-camera setup was the impetus behind the placement of permanent lights on the sewer set's ceiling. Galbraith's team has clamped 17 Kino Flo Image 85s with daylight tubes to a pipe rigged to the ceiling around the set's top hole — motivated by daylight coming through — along with tungsten Vari-Lite VL1000s to provide backlight from any angle, and to slightly illuminate the walls and toy tower. Atmospheric smoke gives shape to the light. Sometimes as few as three of the eight tubes in each Image 85 are turned on, in order to keep the ambience down. Andrew Read programs the lights through a GrandMA console. "We would turn on a handful at a time depending on the direction of the shot," Chung later notes.
At a stopping point, Chung and Galbraith discuss the level of intensity of Kino Flo Celeb LED DMX lights used to scrape the walls. "They allow us to control the color temperature and density pretty quickly," Galbraith later explains. "And we're using egg crates with most of them so the light doesn't spill. We want it dark, but we also want a touch of detail on the walls — 'movie black,' if you will."
The sewer scene is further lit by a flashlight held by one of the Losers. Chung wanted the kind of flashlights used 30 years ago, but the technology has changed and the props department couldn't find a manufacturer still making them. As Galbraith explains, "Our props people retrofitted some modern LED-based flashlights into the old-school housing. We then diffused the front glass as needed, and added a gel to get the color temperature we wanted." The bright glare of the flashlight in the Cistern produces periodic lens flares that the cinematographer is happy to keep.
Chung sits with Galbraith and Ly on the opposite side of the soundstage, watching takes on Ly's Flanders Scientific CM250 monitor. He operates a single-channel wireless Preston iris control for each camera. Throughout the production, he keeps his aperture between T2.8 and T4; in this case he is at T3.8, obtaining a darker look in camera than on the set.
Ly has a Rec 709 curve in the LUT box for the Alexa's Log C-originated footage, and she uses Pomfort's LiveGrade Pro for additional custom grading. The DIT copies CDL values into Blackmagic Design DaVinci Resolve for dailies, which are processed at Deluxe Toronto. The cinematographer wants less contrast for this scene, and notes that his main focus is "making the original source beautiful."
Muschietti, meanwhile, is in the middle of the action, and speaks mostly to Colavecchia regarding camera. Though Chung usually operates on the projects he shoots, the director had such a positive production experience on Mama in the same studio, that he wanted to reassemble many of the same crew, including both camera operators, Galbraith and key grip Richard "Rico" Emerson.
On this morning, Muschietti consults Chung only once, seeking technical advice on shooting at 48 fps. "That means Andy likes what I'm doing," Chung says. "I know what he wants and have been giving him that. There are many movies where the director and cinematographer don't ever talk, either because they get along well or they hate each other. We get along very well, so we don't talk much."
The director concurs. "That's the level of trust and confidence we've reached," he says.
Skarsgård, who will appear later in the day, is kept apart from the young actors before his scenes, as Muschietti aims to keep him exclusively as Pennywise in their minds. Chung will jump into the fray when it comes time to light the malevolent jester.
"I want to always have a shine in the lower part of Pennywise's eyeball, which makes him creepier," Muschietti explains. "But it's not easy, especially when the character is active and jumping around. We [have been] doing that with a flashlight, and many times Chung would come out of nowhere and do it, covering part of the flashlight with his finger. It's so much fun to watch him work."
Pennywise's look was taken further in the grade, owing to the work of veteran colorist Stephen Nakamura of Company 3. "Pennywise's white face is fantastic because we could crush the shadows and pull up the eyes, making him more contrasty and even creepier," Nakamura says from Los Angeles. "We had eye mattes for nearly every shot of him."
At this point in production, location shooting is now complete, including a week in the quaint town of Port Hope — 70 miles east of Toronto — which provided Derry's exteriors. Muschietti had scouted King's hometown of Bangor, Maine, which had inspired Derry, but shooting there was deemed prohibitive and Port Hope a worthy substitute.
Chung sees special significance in a Port Hope alley, which served as a spot where the Losers hang out. He believes the look there established a visual template for the entire movie. "This small town seems perfect, but the movie focuses on the people there who are not happy," the cinematographer explains. "From the alley, we look outside and see a beautiful theater, and beautiful cars and trucks. But in the alley the saturation is down — there's little sun coming in. And that's what a 'Loser' is. Pennywise exists because he feeds on that feeling."
He employed 12'x12' solids to keep out the sun, and at the end of the alley he bounced an HMI off a gold checkerboard reflector that gave off a small, warm glow for the sense "that when all the Losers are together, they feel a sort of coziness, that they all belong," Chung relates.
For the remainder of the exteriors, Chung refrained from blocking the sun — and from waiting for any particular sky conditions — instead dealing with natural light via his iris controls. When possible, the production employed diffusion frames for actors' close-ups. Galbraith notes, "We would fill with 18K HMIs through diffusion if the contrast was too extreme, or use large grip bounces for the same purpose."
This minimal approach was intended to cut down on actor wait times — though with more takes than expected, the shoot faced a corresponding number of differing sky conditions. Nonetheless, Chung feels the shots match well, thanks in no small part to Nakamura, who performed the grade at EFilm in Hollywood over the course of a couple of months.
"They shot a lot in daylight, so we're dealing with high-key bright sun and skies," Nakamura says. The director's instinct was to make those exteriors darker, which, the colorist says, requires "doing a lot with chroma and luminance keys, and trying to manipulate the images a lot harder, yet keeping it organic so that it doesn't look like CG skies and backgrounds."
Nakamura notes that Chung nudged them away from too much manipulation. "He explained, 'It's most creepy if it's realistic and the audience doesn't expect anything,'" Nakamura says. "And we realized that totally works."
The colorist came on board for the first trailer — which attracted a record-setting 197 million views in its first 24 hours of release — and then set looks for the film as a whole. He color-corrected DPX files on DaVinci Resolve with a P3 LUT. Chung would sit with him for a preview session and provide feedback, but would otherwise be tied up with shooting responsibilities on the thriller Hotel Artemis, directed by Drew Pearce and starring Jodie Foster. Prior to Hotel Artemis, Chung wrapped his work on the U.K.-based production The Current War, a drama depicting Thomas Edison versus George Westinghouse (Benedict Cumberbatch and Michael Shannon, respectively), for Gomez-Rejon.
For the final days of the It shoot, Chung enlisted Galbraith — who is also a cinematographer — for photography duties. "Michael is very good," Chung attests. "He understands what I'm doing and he knows everything technical. I trust him."
Galbraith continued shooting in the Cistern with the Losers and Pennywise — and "also finished the sewer sequence where Pennywise meets Georgie," Galbraith relates to AC after production wrapped. "It was really important to me to keep up the look that Chung and Andy had conceived for the film."
Galbraith was also tasked with three days of additional photography, which included editorial pickups on other sets, as well as a couple of new scenes, including a 19th-century flashback cabin sequence, and a sequence dubbed "the clown funeral."
Chung acknowledges that King's saga will be completely new to a younger audience, and that there will also be moviegoers with fond memories of Tim Curry's take on Pennywise. He counts himself as a fan as well, but feels this new interpretation offers "something a bit deeper," he says. "A funny but scarier performance by Bill that's more on the dark side. This movie is about kids, but it is a very adult drama with violence that is more psychological and symbolic. Hopefully, the audience will feel it."
Stock Digital Capture
Cameras Arri Alexa XT Plus
Lenses Panavision G Series Anamorphic Primes
Primo Prime, Anamorphic Zoom
Angenieux Optimo
For more on Pennywise and company, check out our coverage on It: Chapter Two.
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Tagged: It, Chung Chung-hoon , Andrés Muschietti, Stephen King, Stephen Nakamura, popular
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interior; and in the dates thus indicated there is a touch of Georgian.
honour by reason of an intrinsic beauty never previously attained to.
little as though it were a favour_.
JULIA. How the days are drawing out, Hannah.
HANNAH. Yes, Ma'am; nicely, aren't they?
JULIA. What time is it?
clock which records eternally the time of the great Exhibition_).
Almost a quarter to six, Ma'am.
JULIA. So late? She ought to have been here long ago.
HANNAH. Who, Ma'am, did you say, Ma'am?
JULIA. My sister, Mrs. James. You remember?
HANNAH. What, Miss Martha, Ma'am? Well!
HANNAH (_with a world of meaning, well under control_). No, Ma'am.
JULIA (_archly surprised_). What? Then you knew someone was coming?
Why did you pretend, Hannah?
HANNAH. Well, Ma'am, you see, you hadn't _told_ me before.
expecting her over four days.
JULIA. Very quietly, I'm told. No pain.
JULIA. I don't think I'll wait any longer. If you'll bring in tea now.
JULIA. Yes, I suppose I would rather it had been Martha. Poor Laura!
JULIA (_with soft effusiveness_). Well, Laura!
LAURA. Whoever thought of finding you?
allowed to choose. I suppose you were?
LAURA (_her character showing_.) I didn't ask anyone's leave to come.
JULIA. And how are you?
LAURA. I don't know; I want my tea.
JULIA. Hannah is just bringing it.
LAURA. What? Come back, has she?
LAURA (_with a sort of grim jocosity_). How d'ye do, Hannah?
HANNAH. Nicely, thank you, Ma'am. How are you, Ma'am?
JULIA. You've come a long way.
JULIA. It's all right, Laura. You don't understand.
LAURA. What don't I understand?
JULIA. Here one always uses the best. Nothing wears out or gets broken.
JULIA. It is a little puzzling at first. You must be patient.
LAURA. I'm not a child, Julia.
JULIA (_beautifully ignoring_). A little more coal, please, Hannah.
with it in an east wind and that finished me.
LAURA. Yes, you know I take milk.
JULIA. Did Martha send me any message?
LAURA. How could she? She didn't know I was coming.
JULIA. Was it so sudden?
LAURA. I sent for her and she didn't come. Think of that!
JULIA. Oh! She would be sorry. Tea-cake?
LAURA (_taking the tea-cake that is offered her_). I'm not so sure.
didn't count. (_Nosing suspiciously_.) Is this China tea?
LAURA. His wife's more trying than ever. Julia, what a fool that woman is!
JULIA. Well, let's hope he doesn't know it.
JULIA. I suppose she thought it was the correct thing.
LAURA. And I doubt if it cost more than ten shillings. Now Mrs.
LAURA. Well, you did die, didn't you?
LAURA. That reminds me. Where is our Mother?
LAURA. Why isn't she here always?
LAURA. Really, Julia, I shall be afraid to open my mouth presently!
JULIA (_long-suffering still_). When you see her you will understand.
I told her you were coming, so I daresay she will look in.
Just a little on, please, Hannah--only a little.
LAURA. This isn't China tea: it's Indian, three and sixpenny.
JULIA. Mine is ten shilling China.
LAURA. Lor', Julia! How are you able to afford it?
tasted it. So now I can always taste it.
LAURA. Well! I wish I'd known.
JULIA. A lost opportunity. Life is full of them.
LAURA. Lor', Julia, how paltry!
LAURA (_starting up_). Why, Mother dear, when did you come in?
touch her, or she goes.
her voice defiantly._) Can't you, Mother?
difficult to manage, so different from Martha--and the rest.
sitting in front of you. Don't you know me?
and came back with them just as if they were her own.
odious little thing, that Dorothy--always so whiney-piney.
LAURA. Mother! Where are you living now?
MRS. R. I'm living, my dear.
JULIA. We live where it suits us, Laura.
you living?... Why, _where_ has she gone to?
touch of superiority so exasperating to a near relative_). Now you see!
_green_ tea, Julia ... or have had it yourself.
when she finds me alone.
JULIA. She took you for poor Aunt Jane, I fancy.
LAURA (_infuriated at being taken for anyone 'poor'_).
Why should she do that, pray?
LAURA (_crushingly_). Does 'poor Aunt Jane' wear widow's weeds?
JULIA. Better not, as it didn't occur to you before.
LAURA. Am I not to see my own husband, pray?
JULIA. He didn't ever live _here_, you know.
LAURA. He can come, I suppose. He has got legs like the rest of us.
remember that--before he married you--he had other ties.
LAURA. He was married to me longer than he was to Isabel.
how am I to see him?
JULIA. What sort of things?
LAURA. Well,... have you seen Moses and the Prophets?
LAURA. That's you all over! You never would go o the celebrated preachers.
JULIA (_smiling_). Oh, just the same.
out. You can choose your church. As I tell you, I always go to hear Mr.
Moore; you can go and hear Canon Farrar.
LAURA. Dean Farrar, I _suppose_ you mean.
JULIA. He was not Dean in my day.
don't see Moses and the Prophets.
JULIA. Dispensation has its own ways, Laura; and we have ours.
than Dean Farrar_). Julia, I shall start washing the old china again.
JULIA. As you like; nothing ever gets soiled here.
LAURA. Then why can't we have our Mother, like other things?
JULIA. Ah, with persons it is different. We all belong to ourselves now.
That one has to accept.
LAURA (_stubbornly_). Does William belong to _him_self?
LAURA. Julia, don't be blasphemous!
JULIA. To consult William's wishes, I meant.
me, he ought not to have married me.
JULIA. People make mistakes sometimes.
JULIA (_resignedly_). You and he must arrange that between you.
LAURA (_making a dash for it_). William! William, I say! William!
LAURA (_as one who will be obeyed_). William!
LAURA. William, is that you?
WILLIAM (_nervously_). Yes, my dear; it's me.
LAURA. Can't you be more distinct than that?
WILLIAM. Why do you want me?
LAURA. Have you forgotten I'm your wife?
WILLIAM. I thought you were my widow, my dear.
LAURA. William, don't prevaricate. I am your wife, and you know it.
relation: no wonder I look indistinct.
LAURA. How did I know whether I was going to find you here?
LAURA. William, who are you living with?
WILLIAM. With myself, my dear.
WILLIAM. Off and on I have friends staying.
LAURA. Are you living with Isabel?
WILLIAM. She comes in occasionally to see how I'm getting on.
LAURA. And how are you 'getting on'--without me?
LAURA. Are you living a proper life, William?
WILLIAM. Well, I'm _here_, my dear; what more do you want to know?
shut the door, instead of standing out there in the passage.
JULIA. The door _is_ shut, Laura.
LAURA. Then I don't call it a door.
door? When it's a parent.
you left a lot of debts I didn't know about?
LAURA. Yes, it would! I gave you a very expensive funeral.
WILLIAM. That was to please yourself, my dear; it didn't concern me.
WILLIAM. Have you, my dear? Rather trying, wasn't that?
WILLIAM. Go and haunt them for it!
WILLIAM. That reflected on me, my dear, not on you.
LAURA. It reflected on me for ever having married you.
WILLIAM. I've often heard you blame yourself. Well, now you're free.
WILLIAM. You can be if you like. Hadn't you better?
LAURA. Why must you go?
WILLIAM. They are expecting me--to dinner.
LAURA. William, I wish you to come and live here with me.
LAURA. Hannah, you _are_ an ugly woman.
JULIA (_faint with horror_). Laura!
HANNAH (_imperturbably)._ Well, Ma'am, I'm as God made me.
LAURA. Julia, where is the silver tea-pot?
LAURA. Why, that beautiful one of our Mother's.
temper. But once she told me she left it here with _you_.
LAURA (_insistent)._ Yes; in a box.
JULIA. In a box? Oh, she may have left anything in a box.
LAURA. It was that box she always travelled about with and never opened.
Well, I looked in it once (never mind how), and the tea-pot wasn't there.
her boxes, and never settling anywhere. What did she want with them?
JULIA. I can't say, Laura.
never had anyone to tea with her in her life--except in lodgings.
JULIA. We all like to live in our own way. Martha liked going about.
JULIA (_a little jocosely_). Not in the box, apparently.
LAURA (_returning to her accusation_). I thought you had it.
JULIA. You were mistaken. Had I had it here, you would have found it.
LAURA. Did Martha never tell _you_ what she did with it?
JULIA. I never asked, Laura.
LAURA. Julia, if you say that again I shall scream.
JULIA. Won't you take your things off?
charge_) But most of our Mother's things are here.
JULIA. Your share and mine.
LAURA. How did you get mine here?
did. Then I knew you were on your way.
LAURA (_impressed)._ Lor'! So that's how things happen?
Julia! Here is your Dresden that was broken--without a crack in it!
JULIA. No, Laura, it was yours that was broken.
LAURA. Very well, then: as you wish. It isn't broken now, and it's mine.
JULIA. That's satisfactory. I get my own back again. It's the better one.
HANNAH (_in a low voice of mystery_). A telegram, Ma'am.
JULIA. Laura, Martha is coming!
LAURA. Here? Well, I wonder how she has managed that!
'Accident. Quite safe. Arriving by the 6.30.' Why, it's after that now!
LAURA. Yes, I suppose we shall.
JULIA. It will be quite like old days.
had a very good temper, as you know: and it's grown on her.
herself_) Julia, _am_ I difficult to get on with?
JULIA. Oh well, we all have our little ways, Laura.
anyone comes, she just runs away.
LAURA (_snubbingly_). I can't say I do.
as pretty and young-looking as ever.
JULIA. A few called on me: nobody I didn't wish to see.
who played on the 'cello--here still?
JULIA. Mr. Harper? I see him occasionally. I don't find him odious.
JULIA. I didn't ask, Laura.
JULIA (_ecstatically)._ Here she is!
JULIA (_pleasantly palpitating_). Does it matter? Does it matter?
LAURA. Oh, so you've come at last. Quite time, too!
MARTHA. Yes, here I am.
MARTHA. I'm cold. Well, Laura.
LAURA. How did you come?
fingers in my ears, and ran away.
LAURA. Why do you think it was a railway accident?
MARTHA. Because I was in a railway carriage. I was coming to your funeral.
all I know about it.
LAURA. Lor', Martha! I suppose they'll have an inquest on you.
JULIA. Laura! Here we don't talk about such things. They don't concern us.
Would you like tea, Martha, or will you wait for supper?
preference for supper_). You know how I've always dreaded death.
JULIA. Oh, don't, my dear Martha! It's past.
JULIA. Presently you will be more used to it.
saw nothing more. I didn't feel anything: only a sort of a jar here.
JULIA. Why talk about it?
MARTHA. I will presently, when I've got warm.
LAURA. If you'd come when I asked you, you could have seen to it.
MARTHA. You didn't tell me you were dying.
_know_. I told you I wasn't well.
left it to the two of you--you and Edwin?
MARTHA. We were going to give it to Bella, to set up house with.
and live there. Why couldn't you?
MARTHA (_with growing annoyance_). Well, _that's_ settled now!
should Arabella have my furniture?
doomsday! Edwin doesn't want it; he's got enough of his own.
So you've been with Edwin, and his family?
MARTHA. Yes. I'm never well there; but I wanted the change.
JULIA. You mean, you had been staying with Laura?
supposed to. But this year--well, I couldn't manage with it.
JULIA. Is she so much more difficult than she used to be?
MARTHA. Of course, I don't know what she's like here.
JULIA. Oh, she has been very much herself--_poor_ Laura!
JULIA. Oh yes, He's here, Martha.
MARTHA. She'll rout him out, depend on it.
JULIA. She has routed him out.
MARTHA. Who will live with her, then? She's bound to get hold of somebody.
JULIA. Apparently she means to live here.
lived here before, it used to be poor Mamma.
her take possession of _me_.
MARTHA. She seems never to want to. I don't know how you manage it.
MARTHA. What do you mean?
MARTHA. How do you do it?
JULIA. You just wish yourself elsewhere; and you come back when you like.
MARTHA. Have _you_ ever done it?
JULIA (_with a world of meaning_). Not yet.
MARTHA. Do you remember the silver tea-pot?
JULIA. I've been reminded of it.
MARTHA. It was mine, wasn't it?
JULIA. I had a little idea that was it.
shouldn't have it. And she didn't have it!
JULIA. Who did have it?
that tea-pot, I believe! So now it's at the bottom of the sea!
LAURA. Julia I've been looking at your room in there.
JULIA (_coldly)._ Have you, Laura?
LAURA. It used to be our Mother's room.
JULIA. I don't need to be reminded of that: it is why I chose it.
let our Mother come back and live with us?
JULIA. She has never expressed the wish.
LAURA. Of course not, with you in it.
JULIA. She was not in it when I came.
LAURA. How could you expect it, in a house all by herself?
JULIA. I gave her the chance: I began by occupying my own room.
you, I suppose? You seem to forget you weren't the only one.
JULIA. Kind of you to remind me.
JULIA. Martha, will you excuse me?
LAURA (_rushing round the intervening table to investigate_). Julia!
MARTHA. Well! Did you ever?
proper way to behave to _me?_ Julia!
occupies_). You can go and sit in it if you wish, Laura.
man who used to live next door, who played the 'cello on Sundays?
each other. His wife doesn't live with him any longer.
enemy_). Martha, what do you think of Julia?
MARTHA. Oh, she's--What do you want me to think?
long she thinks the whole place is hers.
LAURA. Of course, I have my old one. Where do you want to go?
MARTHA. The green room will suit me.
MARTHA. Have you seen her?
thank you for the wreath, Martha. Where did you get it?
LAURA. That fool! Then she made her own too, I suppose?
MARTHA. Yes. That went the day before, so you got it in time.
fern would have made a world of difference.
course, one has to do it.
MARTHA. What's the good of that? I can't give it back to Emily, now!
LAURA (_with quiet grief_). I don't wish to be a cause of waste.
Julia_.) Why, Julia, you nearly knocked me down!
same door. Hannah has lighted a fire in your room.
LAURA. That's sensible at any rate.
JULIA. Well? And how do you find Laura?
MARTHA. Julia, I don't know whether I can stand her.
JULIA. She hasn't got quite--used to herself yet.
JULIA. Put it away! Why?
box_). Why did you bring it here, Martha?
sandwiches, too. (_She routs in a small hand-bag.)_ Yes, I have.
Well, I can have them for supper.... Emily made those too.
MARTHA (_woefully)._ I thought I _was_ going to have peace here.
JULIA. It will be all right, Martha--presently.
it--I do wish Laura had been cremated.
LAURA. Julia, have you ever seen Papa, since you came here?
JULIA (_frigidly)._ No, I have not.
LAURA. Has our Mother seen him?
JULIA. Nobody that I know of.
LAURA. Well, but he must be somewhere. Is there no way of finding him?
him; but I'm not sure--as he doesn't come to us.
is. Don't people ever ask?
JULIA. Never, I'm thankful to say.
JULIA. Perhaps _they_ know better.
LAURA (_after a pause_). I'm afraid he didn't lead a good life.
was concerned. We hated her.
JULIA (_luxuriating in her weariness_). I--have--_not_, Laura!
JULIA. I hope you will do nothing of the sort.
whether with mercy and pardon for his sins, or with reprobation.
JULIA. I don't think this is quite a nice subject for discussion.
provided as a consolation prize for anybody, so far as I know.
don't try to get out of it. We have got to find our Father.
JULIA. I think, before doing anything, we ought to consult Mamma.
LAURA. Very well; call her and consult her! You were against it just now.
JULIA. I am against it still. It's all so unnecessary.
MARTHA. Lor', there _is_ Mamma!
MRS. R. I've heard what you've been talking about. No, I haven't seen him.
my dear, how are you?
MARTHA. Oh, I'm--much as usual. And you, Mother?
MRS. R. Well, what about your Father? Who wants him?
LAURA. I want him, Mother.
want to ask him about his will.
MARTHA. _I_ don't. I don't care if he made a dozen.
called, didn't you? Oh no, that was William.
LAURA. Didn't you know I was married?
MRS. R. No. Did he die?
LAURA. Well, now, couldn't we call him?
MRS. R. I daresay. He won't like it.
LAURA. He must. He belongs to us.
MRS. R. Yes, I suppose--as I wouldn't divorce him, though he wanted me to.
I said marriages were made in Heaven.
A VOICE. Luckily, they don't last there.
MRS. R. (_placidly_). What, is that you, Thomas?
'th' for 's'_). How do you do, Susan?
LAURA. Are _you_ my Father?
THOMAS. I don't know. Who are _you_? Who are all of you?
this is Julia, and I'm Laura.
THOMAS. Is this true, Susan? Are these our progeny?
MRS. R. Yes--that is--yes, Thomas.
THOMAS. I should not have known it. They all look so much older.
LAURA. Than when you left us? Naturally!
THOMAS. Than _me_> I meant. But you all seem flourishing.
LAURA. Because we lived longer. Papa, when did you die?
THOMAS. I don't know, child.
LAURA. Don't know? How don't you know?
MRS. R. A lunatic asylum! Oh, Thomas, what brought you there?
THOMAS. A damned life, Susan--with you, and others.
JULIA. Oh, Laura, why did you do this?
MARTHA. If this goes on, I shall leave the room.
LAURA. Where are those _others_ now?
having you in the room with us. No wonder I went elsewhere.
years old I even began to like you. You were the exception.
LAURA. Haven't you any affection for your old home?
to come back and live with us.
THOMAS. Live with my grandmother! How could I live with any of you?
LAURA. Where _are_ you living?
THOMAS. Ask no questions, and you will be told no lies.
LAURA. The one you went away with.
thing or two. She did _me_.
LAURA. Then--you have repented, Papa?
THOMAS. God! why did I come here?
MRS. R. Yes; why did you come? It was weak of you.
THOMAS. Because I never could resist women.
LAURA. Were you really mad when you died, Papa?
LAURA. I am not aware that _I_ am mad.
THOMAS. Then you are a bad case. Not to know it, is the worst sign of all.
me again, I shan't come!
LAURA. Where are you going, Father?
THOMAS. To Hell, child! Your Hell, my Heaven!
JULIA. And now I hope you are satisfied, Laura?
JULIA. So you've driven her away, too. Well, that finishes it.
LAURA. Martha, where is the silver tea-pot?
MARTHA. I don't know, Laura.
LAURA. You said Julia had it.
had it; and I said--suppose she had! And I left it at that.
LAURA. Julia says she hasn't got it, so you _must_ have it.
LAURA. Then where is it?
MARTHA. I don't know any more than Julia knows.
Martha's: and I never saw it again.
LAURA. Martha, when did you last see it?
MARTHA. I have not seen it--for I don't know how long.
LAURA. That is no answer to my question.
MARTHA. Unless a shark has eaten it.
to have done with it_.) Now, I am going downstairs to talk to Hannah.
LAURA. You will do nothing of the kind, Martha.
MARTHA. I'm not going to be bullied--not by you or anyone.
LAURA. I must request you to wait and hear what I've got to say.
MARTHA. I don't want to hear it.
LAURA. Julia, are we not to discuss this matter, pray?
MARTHA. You and Julia can discuss it. I am going downstairs.
LAURA. And where are you going to be, Julia?
chimney, if that's what you mean.
LAURA. Now, Martha, if you please.
LAURA. Martha!... Am I to be defied in this way?
JULIA. You brought it on yourself, Laura.
LAURA. You told her to do it!
JULIA. She would have soon found out for herself.
I think, I will go to my room and wash my hands for supper.
JULIA. Oh, look, Laura! Martha's tea-pot has arrived.
LAURA. She told a lie, then.
LAURA. Then now I _have_ got it at last!
LAURA. What is this place we've come to?
LAURA. I think we are in Hell!
are all where we wish to be, Laura. (_A gong sounds_.) That's supper.
upon its moral judgment as well.
bludgeoning an Irish one, was a personal jibe which hit him hard.
_decree nisi_ being made absolute, Parnell married Katharine O'Shea.
On October 6th he died.
PARNELL. What are you doing?
KATHARINE. Those papers you just brought in.
PARNELL. And I told you not to.
KATHARINE (_smiling_). I was wilful and disobeyed.
KATHARINE. Isn't "wilful" a sufficient answer, my dear?
Why do you try to make me a coward? You aren't one yourself.
KATHARINE. Oh? Have you brought back any better news--from there?
PARNELL. Nothing special. The result of the election was out.
KATHARINE. You didn't wire it. How much were we to the bad?
priests who are winning now.
KATHARINE. With divided congregations as the result.
honest, at any rate. Poor fools!
KATHARINE. So it's the real country we are seeing now?
PARNELL. Yes. That's the material I've had to work with!
PARNELL. And now--now one gets to the root! But I always knew it.
KATHARINE. So you are not disappointed?
PARNELL. No; only defeated. Yet I did think once that I was going to win.
winning cause, and not know that.
KATHARINE. But you are not going to die yet, dearest.
up to it: let everything else go, and just rest! You _are_ tired out.
was I ... I ... need I go on?
KATHARINE. I--that have ruined you.
party-followers: that any of them have loved me?
PARNELL. He's gone now--with the rest.
PARNELL. Not as she is to-day--so narrow and jealous, so stupid, so blind!
again twenty years on, it wouldn't count. She'd know better.
KATHARINE. Twenty years! We shall be an old couple by then.
too, of the most mischievous kind--the betrayal of well-meaning fools.
false leaders. Then she'll begin to learn.
KATHARINE. Do you mean that everything _has_ failed now?
her senses again--and see! Then--this will have helped.
PARNELL. Why? Don't you believe that Ireland will be free some day?
KATHARINE. I did when she chose you for her leader.
KATHARINE. Without you it will take more.
to-day; but I shall still count. Think of all Ireland's failures!
O'Connell counts; her famines, her emigrations, her rebellions--all count.
silly statues in her streets mean more than statues can mean here.
grips, and drives men on.
KATHARINE. Did you need--hatred, to do that for you?
Ireland: but they didn't mean it much.
KATHARINE. I suppose that's true of some?
PARNELL. Quite true: and what is the most that it amounts to? Compromise.
_his_ having to back the conventions, eh?
world the proof that it needed of its own lie?
KATHARINE. We didn't give it, my dear.
for him to pretend not to know. It was also, it seems, good politics.
face--and make it look a little less like the defeat they know it to be!
KATHARINE. My dear, you are so tired. Do rest!


text:
Big chill arrives
Their smiles are growing wider as the outside temperatures fall.
Jan. 16, 2012 1:47 a.m.
Speed skater Brian McArthur takes to the Red Deer Oval Sunday afternoon to train for the Sylvan Lake Ice Marathon and North American Marathon Speed Skating Championship being held on Feb. 23
While some people dream of basking on sunny beaches, people taking part in the upcoming Sylvan Lake Ice Marathon have been dreaming of a significant bout of very cold weather so they can get their five-kilometre race course ready for competition.
For the first time this year, Sylvan Lake has been awarded with the North American Marathon Speed Skating Championships as part of its annual marathon, hosted by the Foothills Speed Skating Marathon and held on the last weekend in February.
So far, the ice has been too thin for the heavy graders that will be needed to smooth off the ice surface before the Zamboni comes in and puts on the final touches, association chair Mike Messing said on Friday.
Getting ready to practise at the Red Deer speed skating oval on Sunday, marathon skater Brian McArthur said the bone-chilling temperature of -20C that afternoon is a big relief after the balmy weather the region had been experiencing since Christmas.
McArthur, 40 started marathon racing about eight years ago, about the same time as Innisfail-area dairy farmer Rick Dijkstra, 38 become seriously involved.
Both practise at the Red Deer speed skating oval, located between 48 and 47 Avenues, immediately north of the Golden Circle.
As much as the cold weather is welcome in terms of preparing the ice surface, Dijkstra hopes this February will be considerably milder than last year, when it was so cold that some skaters didn't even start while others couldn't finish.
It was -25 on the first day of the race and while the second day wasn't as cold, there was a strong wind that produced blizzard conditions, said Dijkstra.
He is registed for the 25-km Championship as well as the 50 and 100 km races while McArthur plans to complete in the Championship and the 100-km race.
Dijkstra, McArthur and Messing would all like to see more people get involved in speed skating, which Dijkstra said is relatively easy to get into for people who already know how to skate.
McArthur said he first tackled the Red Deer oval on his hockey skates, unsure about what to expect.
He has since graduated to using the hinged clap skates (klapschaats), developed and perfected in the Netherlands to increase the skater's efficiency by extending the amount of time the blade surface keeps contact with the ice.
This year's marathon will attract competitors from across the country, including international students who have been studying at the University of Calgary and practising on the indoor oval built there for the 1988 Winter Olympics, said Messing.
But it's doubtful that the Sylvan Lake marathon will bring back the 200-km race that attracted a strong corps of professional speed skaters from the Netherlands a number of years ago, said both McArthur and Dijsktra.
Because it is so far to travel, Sylvan Lake has not been able to attract enough high-level competitors to make the extra work involved worthwhile, including construction of a 10-km track.
The Sylvan Lake Ice Marathon is part of Alberta International Speed Skating Week, which runs Feb. 18-25 and includes the Silver Skate Festival in Edmonton on Feb. 18 and 19.
Events at Sylvan Lake start at 11 a.m. on Thursday, Feb, 23, 1 p.m. on Friday, Feb. 24 and at 9 a.m. on Saturday, Feb. 25.
There is no charge for spectators and there will be plenty of food and beverages available for purchase, including one vendor who specializes in Dutch treats.
bkossowan@bprda.wpengine.com
Home front – Jan. 11


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(© freshidea - stock.adobe.com)
Brain Function, Neurodegeneration
Rare form of Alzheimer's disease found to impair language instead of memory
by Shyla Cadogan
New study reveals five different neurodegenerative conditions that specifically target language areas in the brain
As we learn and mature, our first language and its grammar become almost instinctual for us. Unfortunately for patients suffering from neurodegenerative disease, this could become limited. Now, scientists reveal that a rare type of Alzheimer's disease — the most common form of dementia — actually causes language struggles instead of the memory issues that most patients deal with.
A Northwestern Medicine study finds that there are, in fact, five different neurodegenerative diseases that attack language areas in the brain. In fact, the researchers found that each condition causes these impairments differently, these impairments are referred to as primary progressive aphasia (PPA). As such, different treatments are needed based on the specific circumstance.
"In some cases, the disease hits the area responsible for grammar, in others the area responsible for word comprehension. Each disease progresses at a different rate and has different implications for intervention," says lead author Dr. M. Marsel Mesulam, director of Northwestern's Mesulam Center for Cognitive Neurology and Alzheimer's Disease, in a statement.
In 60% of cases, the diseases causing PPA belong to a group of conditions called frontotemporal lobar degeneration (FTLD). Chances are that most people have never even heard of this. Even so, FTLD conditions are responsible for around half of dementia cases that occur before age 65.
In the remaining 40% of PPA cases, the underlying disease is an unusual form of Alzheimer's disease. It's quite unusual because it impairs language but not memory. It can also begin prior to age 65, which is generally not seen in Alzheimer's. "We've discovered each of these diseases hits a different part of the language network," Mesulam adds.
To conduct this study, Mesulam and team prospectively enrolled patients with PPA in a longitudinal study that included language testing and brain structure/function imaging. The main reason for doing these tests is to identify the underlying disease causing the PPA. Once this is diagnosed, the researchers focused on ways to improve diagnostic accuracy through new biomarkers and to find medical treatments that could be used for individualized intervention.
The researchers emphasize that these types of diseases are often misdiagnosed, or diagnosed too late. This leaves very little room for treatment options and leaves patients to suffer with later-stage impairments that could've possibly been halted. Further, for these rarer conditions that begin before the age of 65, it becomes increasingly difficult to screen for diagnosis since it's not expected for younger people to develop Alzheimer's or dementia.
Mesulam and team hope to set the stage for improved clinical frameworks that display a comprehensive understanding that neurodegenerative diseases can present themselves differently and require different approaches for treatment.
This study is published in the journal Brain.
Shyla Cadogan
Shyla Cadogan is a recent graduate from the University of Maryland, College Park with a Bachelor's of Science in Nutrition and Food Science. She is on her way to becoming a Registered Dietitian, with next steps being completion of a dietetic internship at the University of Maryland Medical Center. Shyla has extensive research experience in food composition analysis and food resource management.
View Shyla's article archive
Age-related macular degeneration linked to Alzheimer's diseaseDecember 19, 2022
This Tiny Gadget Is Equipped To Solve Secrets Of The BrainDecember 18, 2022
Alzheimer's Blood Test Could Detect Disease 6 Years Ahead Of SymptomsDecember 17, 2022


Students are academically challenged, and participate in engaging activities that provide a well-rounded and advanced educational experience. In every academic course, rigor and character development are fundamentals of the globally-focused education students receive at CIS."
The Middle School at Cayman International School encompasses grades 6, 7, and 8. In the middle school, teachers work collaboratively to create an environment that is supportive and responsive to student needs. During the middle years, students are developing intellectually, socially, emotionally, and physically. The staff understands the uniqueness of these changes and developed a program that is caring and nurturing. There is an emphasis placed on the use of higher order thinking skills, hands-on instructional strategies, the development of study skills, and participation in extracurricular activities. Teachers work collaboratively to provide a smooth transition from elementary to middle school and collaborate with colleagues to prepare students for success in high school.
CIS promotes an active homeroom/advisory program. Each student is part of a homeroom, and the homeroom teacher serves as the student's advisor. Homeroom teachers, in addition to the counselor, assist students with goal setting, study skills, service learning, team building, and general counseling needs. The homeroom teacher provides additional information and support related to specific middle school issues or about school events and activities. The homeroom teacher is also the key contact for parents and provides a means of communication between the home and the school.
In the middle school, CIS provides learning opportunities that extend beyond the classroom walls. Each year, grade 6 students participate in an overnight field trip that focuses on team building, character development, service, and Cayman culture. Grade 7 students go to the Central Caribbean Marine Institute (CCMI) in Little Cayman. This three day trip, provides students with a hands-on learning experience focused on marine life, the environment, and conservation. The educational initiatives at CCMI serve to bridge the gap between knowledge and action. In grade 8, students spend a week in Washington D.C. The educational focus of the trip is to develop a deeper understanding of history and government through a variety of museums, tours, and events. The trip also exposes students to a variety of cultural experiences and entertainment.


Self Study CME: This guideline for clinical care is endorsed by the University of Michigan Health System and updated periodically.
A certification program offered through the University of Michigan Clinical Simulation Center. A two-day new certification and a one-day recertification class is offered. The UMCSC hosts Pediatric Advanced Life Support (PALS) certification training using low, medium, and high fidelity simulators. Courses are open to all physicians, nurses, and allied health professionals both within and outside Michigan Medicine.


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Denipitiya Vithanage Sumana Amarasinghe (; 21 February 1948 – 5 June 2022) was an actress in Sri Lankan cinema and television. Highly versatile actress from drama to comedy, she is usually known as the Sweet girl in Sinhala cinema. Apart from acting, she also worked as an assistant director, production manager, costume designer as well as a producer. She was also the only actress to contribute to the production, singing, co-directing and co-editing of Sri Lankan cinema.

Personal life
Sumana was born on 21 February 1948 in Ranawana, Katugastota, Kandy, Sri Lanka, as the second child in a family with six siblings. Her father worked in the Inland Revenue Department. Since her family could not stay in Kandy, they came to Colombo and stayed in a rented house in Mt. Lavinia. She first went to the Mount Lavinia Buddhist Girls' College and later to Kalubowila Buddhaghosha Maha Vidyalaya. She has one sister and four brothers.

Amarasinghe was married to Roy de Silva, who was also a renowned actor and director. She met de Silva during the 1969 film Hathara Peraliya. The wedding was celebrated on 30 August 1975. The couple had two children. De Silva died on 30 June 2018 while treated for a heart attack at Sri Jayawardenepura General Hospital. His remains were buried on 2 July 2018 at Borella Cemetery.

In 2014, Amarasinghe was admitted to the hospital due to sudden illness. During her tour to India for a film, she is known to have had a drink which contained a poison. It has affected her liver as well as her heart. At one point her heart even stopped. This germ has not entered her brain and she recovered slowly. She worked at her own beauty shop, Salon Sumana.
As a livelihood, she ran 'Salon Sumana' beauty salons in all three cities, Moratuwa, Thalahena and Rajagiriya. Then all this had to be closed due to she could not stay in the salon and a lot of problems arose. All three salons closed during Roy's lifetime.

Amarasinghe died on 5 June 2022 at the age of 74 while receiving treatment at the Sri Jayewardenepura Hospital due to a sudden illness.

Acting career
She contested the beauty pageant "Lassana Muhuna", while she was in school times and won the title. Then she acted in the film Hathara Peraliya directed by L.M. Perera. Her maiden cinematic experience came through 1967 film Pipena Kumudu, directed by Ruby de Mel. Her father allowed Sumana to go only for that movie due to Ruby de Mel. However, she lied to her father and later played a lot of other movies such as Rena Giraw, Dahasak Sithuvili, Samanala Kumariyo and Hathara Peraliya.

In addition to acting, she was involved in the beauty industry, where she learned beauty courses in India, Singapore, Canada in 1980. Her first major breakthrough came through 1975 film Sukiri Kella, which earned her nickname "Sweet girl in Sinhala cinema".

She acted in a few films with her real husband, which made a cult in Sinhala cinema. Then she joined Tissa Wijesurendra in many popular films screened for more than 100 days which include Sudu Paraviyo and Sithaka Suwanda. In 1982, she acted in Kadawunu Poronduwa remake, where she acted the role previously acted by Rukmani Devi. Even though she started film career with dramatic roles, she turned to comedy roles in later stages particularly through films directed by her husband. Some of her popular films are Binaramalee, Sunethra, Jonsun and Gonsun and Re Daniel Dawal Migel trilogy.

After the July 1983 riots, many producers left the film industry, however Sumana contributed to the production of films such as Tom Pachayā, Thaṇa Giravi, Sudu Piruvaṭa and Jonsan hā Gonsan. In addition, she has been a Production Executive, Line Producer, Local Coordinator, Singer, Editor, Assistant, Hairstylist and Costume Designer. She excelled in her artistic career and was one of the pioneers in founding the corporation "Hela Nalu Nili Coalition" in 1969 and fought for the establishment of a state corporation for the film industry for the manifesto of Sirimavo Bandaranaike's policies in the 1970 general election.

Filmography

As actress

As producer

Awards

Sarasaviya Awards

|-
|| 1970 ||| Binaramalee || Merit Award ||
|}

Signis OCIC Awards

|-
|| 2018 ||| Contribution to the cinema || International Felicitation Award ||
|}

Sumathi Awards

|-
|| 2019 ||| Contribution to the cinema || U.W. Sumathipala Awards ||
|}

References

External links
 Sumana Amarasinghe on Sinhala Cinema Database
 රිදී තිරයේදී ගාමිණීට මගහැරුණු සුමනා

1948 births
2022 deaths
Sri Lankan film actresses
Actors from Kandy
20th-century Sri Lankan actresses
21st-century Sri Lankan actresses


Is it time to reverse the death spiral of your church? Explore ways to become the healthy, stable, spirited and robust community you hope to be. We'll cover the strategies Rev. Molly Baskette used in her church—their success is highly visible in the large percentage of children and young adults in the church, a sixfold increase in pledged giving in the last decade, and most importantly in the spirit of joy that pervades the community. The hints, tips, and learnings can work in any church, in any setting: regardless of denomination, demographics, or political landscape.
This course is designed for both lay people and clergy, as well as for individuals or congregational teams who are interested in revitalizing their church's ministry.
Molly Basket, Real Good Church: How Our Church Came Back From the Dead, and Yours Can, Too.
Together, we'll take a critical look at outreach and growth strategies, finances and giving, creative worship including the central place of personal testimony and corporate prayer practices, church conflict and change, anxiety and laughter, and much more--all treated with a healthy dose of humor and offering real, practical, immediate steps for getting started. By the end of the course, your anxiety will be lower, your courage greater, and you will have a clear sense of the next right thing to do so that God can get your community unstuck.


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Contact@raadinstitute.org
Mon - Sat: 08.00 am - 05:00
Staff & Fellows
Raad Peace Research Institute (RPRI) is a leading research institute founded in 2021 by a well-known experts with a unique and extensive experience and knowledge in the East and the Horn of Africa regions. It has its main office in Mogadishu, Somalia, and operates regionally in the East and the Horn of Africa regions. It conducts inter and multiciliary research that generates solid and actionable evidence to inform robust policy towards conflicts, peace, security, and development in both regions.
With a staff that has a collective experience of more than two decades of research and analysis, monitoring and evaluation, and project implementation, Raad provides a context-based and more nuanced research, analysis, and advisory supported by extensive subject, cultural, and country and region-specific competency to local and international institutions and organisations.
Raad researchers have implemented extensive peace-building and reconciliation initiatives and strategic projects across Somalia, assisting authorities and clients to overcome context-related issues, policy gaps, and challenges to peace-building and reconciliation. We are highly competent in peace building, and reconciliation and possess reputable, strong relations with local authorities, communities, and civil society in Somalia and the region.
Raad has shown its ability to develop innovative methodologies and strive for excellence in whatever it does. Our extensive presence throughout the region set us apart and ensures that we delivered with great satisfaction
Our Team Of Experts Are Here For You
Raad Peace Research Institute (RPRI) is a leading research institute founded in 2021 by a well-known experts with a unique and extensive experience and knowledge in the East and the Horn of Africa regions.
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Maka Mukarama Street K4,
Mogadishu, Somalia
Office +252684380355
Subscribe to the Raadinstitute.org Mailing List
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text:
Jack Harvey – attore e regista statunitense del cinema muto
 Jack Harvey – giocatore di pallacanestro statunitense
 Jack Harvey – pilota automobilistico britannico


text:
Ein Finanzkontrakt ist im Finanzwesen ein standardisierter Vertrag, der den Austausch von Zahlungsströmen zum Gegenstand hat.

Allgemeines
Gelegentlich wird der Begriff des Finanzkontrakts auf Terminbörsen eingeengt; er gilt jedoch weit darüber hinaus. Finanzkontrakte sind das Handelsobjekt auf allen Finanzmärkten. Zu den Finanzmärkten gehören neben den Börsen der Geld- und Kapitalmarkt, der Devisenmarkt, Tages- und Termingeldhandel sowie der internationale Kreditverkehr. Soll auf ihnen ein Handelsobjekt getauscht werden, ist zwischen Käufer und Verkäufer ein Vertrag zu schließen, der auf den Austausch von Zahlungsmitteln oder von Ansprüchen auf Zahlungsmittel abzielt. Er beinhaltet einen Anspruch auf gegenwärtige oder zukünftige Zahlungen oder Leistungen. Die eine Vertragspartei verpflichtet sich, Zahlungen zu leisten, um von der Gegenpartei als Gegenleistung einen Basiswert zu erhalten. Beim Aktienkauf (Wertpapierorder) zahlt beispielsweise der Aktionär den Kurswert durch Geld, die Aktiengesellschaft erhält – bei der Emission – im Gegenzug Eigenkapital und verspricht künftige Dividendenzahlungen und Stimmrechte. Soll der Finanzkontrakt auf bisher unbeteiligte Dritte übertragbar (Fungibilität) sein, ist seine Ausgestaltung als Wertpapier (Inhaberpapier oder Orderpapier) erforderlich, andernfalls ist eine Übertragbarkeit erschwert. Bei der Verbriefung werden Finanzkontrakte in die Form eines Wertpapiers gebracht, um ihre Handelbarkeit zu erleichtern.

Arten
Bei Finanzkontrakten unterscheidet man zwischen Beteiligungstiteln und Forderungstiteln. Zu den Beteiligungstiteln gehören Aktien, GmbH-Anteile, Genossenschaftsanteile oder sonstige Anteile, die durch Kassageschäft oder Termingeschäft erworben oder veräußert werden. Forderungstitel sind unter anderem Anleihen, Kredite oder Schuldscheindarlehen. Auch Versicherungsverträge werden als Finanzkontrakte interpretiert, weil gegen bestimmte Einzahlungen (Versicherungsprämien) unbestimmte (wahrscheinlichkeitsverteilte) Auszahlungen von Versicherungsleistungen versprochen werden. Auch Leasing- und Factoringvereinbarungen werden als Finanzkontrakte bezeichnet. Selbst wenn mit Finanzkontrakten außer Zahlungsansprüchen auch Informations-, Gestaltungs-, Stimm- oder Kontrollrechte verbunden sind, stehen bei ihnen die monetären Vereinbarungen im Vordergrund. Werden Ansprüche selbst zum Vertragsgegenstand, so handelt es sich um Derivate, da sie von den originären Finanzkontrakten abgeleitet sind ("Finanztitel"). Unter einem Derivat versteht man also einen Finanzkontrakt, dessen Zahlungen von den Preisen (Kursen) und/oder den Auszahlungen anderer Finanzkontrakte abhängen. Die Finanztitel der Derivate lassen sich wie folgt einteilen:
 Swaps:
 Zinsswaps
 Equity Swaps
 Währungsswaps
 Optionen:
 Aktienoptionen
 Zinsoptionen
 Caps
 Floors
 Collars
 Devisenoptionen
 Optionen auf Commodities
 Exotische Optionen:
 Digitale Optionen
 Barriere-Optionen
 Rainbow Optionen
 Swaptions
 Islamisches Bankwesen
 Murabaha
 Tawarruq
 Istisna
 Qard al-Hassan
 Ijara
 Mudaraba
 Musharaka
 Sukuk
 Arbun
 Islamisches Finanzwesen
 Takaful

Rechtsfragen
Der Rechtsbegriff Finanzkontrakt erhält in  Abs. 3 Nr. 21 SAG eine Legaldefinition. Danach sind Finanzkontrakte
 Wertpapierkontrakte: insbesondere Kontrakte über den Kauf, Verkauf oder die Wertpapierleihe einer Gruppe von Wertpapieren oder Anteilen an Indexfonds, Optionen auf ein Wertpapier, eine Gruppe von Wertpapieren oder einen Wertpapierindex, Pensions- oder umgekehrte Pensionsgeschäfte mit einem Wertpapier, einer Gruppe von Wertpapieren oder einem Wertpapierindex, sonstige vergleichbare Kontrakte, die das Institut mit Wertpapiersammelstellen, Abwicklungssystemen oder Zahlungsverkehrssystemen, zentralen Kontrahenten oder Auslagerungsunternehmen abschließt sowie Verträge, aus welchen dem Institut bail-in-fähige Verbindlichkeiten im Sinne des  Abs. 1 SAG erwachsen.
 Warenkontrakte: insbesondere Kontrakte über den Kauf, den Verkauf oder die Leihe einer Ware, einer Gruppe von Waren oder eines Warenindexes zwecks künftiger Lieferung, Optionen auf eine Ware, eine Gruppe von Waren oder einen Warenindex, Pensions- oder umgekehrte Pensionsgeschäfte mit einer Ware, einer Gruppe von Waren oder einem Warenindex.
 Terminkontrakte: insbesondere Kontrakte über den Kauf, den Verkauf oder die Übertragung einer Ware oder eines anderen Gutes, einer Dienstleistung, eines Rechts oder eines Anteils zu einem festgelegten Preis zu einem künftigen Zeitpunkt.
 Swap-Vereinbarungen: insbesondere Zinsswaps und Zinsoptionen, Kassa- oder sonstige Devisenvereinbarungen, Vereinbarungen über Währungen, einen Aktienindex oder eine Aktie, einen Schuldtitelindex oder einen Schuldtitel, Warenindizes oder Waren sowie Vereinbarungen bezogen auf das Wetter, Emissionen oder Inflation, Gesamtertrags-, Credit-Spread-Swaps oder Credit-Swaps.
 Kreditvereinbarungen zwischen Instituten mit einer Laufzeit von bis zu drei Monaten.
 Rahmenvereinbarungen für die bisher genannten Kontrakte und Vereinbarungen.
Bei der Verwendung des Wortes "insbesondere" weist der Gesetzgeber darauf hin, dass es sich nicht um eine abschließende Aufzählung handelt.

Risiko
Die zeitliche Diskrepanz von Leistung und Gegenleistung ist charakteristisch für Finanzkontrakte. Deshalb sind Finanzkontrakte für beide Vertragspartner mit mehr oder weniger großem Risiko verbunden. Die Finanzkontrakte können aus diesem Grunde so gestaltet werden, dass ihr Risikoprofil die Interessen der Vertragspartner erfüllt. So gibt es im Hinblick auf das Zinsänderungsrisiko variabel verzinste Anleihen mit Zinsuntergrenze (Floor), Zinsobergrenze (Cap) oder einer begrenzten Zinsbandbreite (Collar). Kredit- und Anleiherisiken können im Rahmen des Risikotransfers durch Kreditsicherheiten, Kreditversicherung oder Credit Default Swaps als Sicherungsnehmer eliminiert werden.

In der Bankbetriebslehre wird auch der Zusammenhang zwischen Finanzkontrakten und der symmetrischen oder asymmetrischen Information der Vertragspartner diskutiert. Bei letzterer verfügen die Vertragsparteien eines Finanzkontrakts nicht über dieselben Informationen. Wenn Leistung und Gegenleistung nicht gleichzeitig erfolgen, ist für einen Vertragspartner die Rückzahlung im Regelfall bereits bei symmetrischer Information mit Unsicherheit behaftet. Bei ungenauer Kenntnis des Gläubigers über die Kreditwürdigkeit des Kreditnehmers oder des Aktionärs über die Aktiengesellschaft vor Erwerb eines Finanzkontrakts können verdeckte Informationen (hidden information) oder verdeckte Eigenschaften (hidden characteristics) mit der Gefahr der adversen Selektion vorliegen. Aufgrund des Informationsgefälles während der Vertragsbeziehung ist eine verdeckte Absicht (hidden intention) oder verdeckte Handlung (hidden action) möglich, die zum moralischen Risiko führen kann.

Erfüllung und Bilanzierung
Die gegenseitige Erfüllung von Finanzkontrakten kann je nach Art des Finanzkontrakts am nächsten Tag nach Geschäftsabschluss (Tagesgeld), innerhalb von 2 Werktagen (Kassageschäft) oder nach einem Monat bis über mehrere Jahre hinausgeschoben sein (Termingeschäft, Kredite, Pfandbriefe). Den Vertragspartnern verbleibt hierbei ein Erfüllungsrisiko, weil am Erfüllungstag ungewiss ist, ob im Zeitpunkt der eigenen Leistung auch die Gegenleistung des Vertragspartners erfolgen wird. Dieses Erfüllungsrisiko kann lediglich eine Vertragspartei treffen (Termingeld) oder beide (bei Derivaten oder Kassa- oder Termingeschäften).

Finanzkontrakte heißen in den IFRS Finanzinstrumente (), die in der Bilanz entweder auf der Aktivseite als Vermögenswert () oder auf der Passivseite als Eigenkapital () oder Verbindlichkeit () verbucht werden. Demnach sind Finanzinstrumente ein "Vertrag, der gleichzeitig bei dem einen Unternehmen einen finanziellen Vermögenswert und bei dem anderen Unternehmen zu einer finanziellen Verbindlichkeit oder einem Eigenkapitalinstrument führt" (IAS 32.11). Deshalb kann der Begriff Finanzierungsinstrument für alle Arten von Finanz(ierungs)kontrakten verwendet werden. Fällt der Bilanzstichtag zwischen Geschäftsabschluss und Erfüllung, so erfolgt eine Bilanzierung als schwebendes Geschäft.

Abgrenzungen
Die Begriffe Finanzprodukt und Finanzkontrakt werden in der Fachliteratur manchmal synonym verwendet, Klaus Spremann spricht von Finanzkontrakten. Beim Finanzkontrakt steht eher die vertragliche Beziehung im Vordergrund, beim Finanzprodukt eher das Produkt selbst. Der Begriff des Finanzprodukts ist wiederum weiter gefasst als der des Finanzinstruments im Sinne des Wertpapierhandelsgesetzes und erfasst auch Versicherungen und Kreditverträge.

Einzelnachweise

Vertragstyp
Bankwesen
Versicherungswesen
Finanzwesen


I have an Astra 111B, which seems like a nice, good quality instrument. Of course, that is the only metal frame sextant I have any experience with.
As for the Practice Bubble Horizon you mentioned, I bought one of those too. The thing seems tricky to use, though perhaps the problem lies in/with the operator, yours truly.
The PBH is not illuminated, so it's useable only in daylight, fair enough. One thing I could not figure out is the BC, Bubble Correction Factor, again perhaps my fault.
Otherwise, I suppose that the thing works, within it's inherent limits, so it might be worth a try. I do believe that you will be satisfied with the 111B, if you buy one.


A consistent pass rusher that can covert speed to power. High-motor, high-energy guy off the edge. Very productive at Kansas State. A strong player that uses his hands effectively. Not an "eye-opening" prospect but is effective and gets the job done with his effort on the field.
Straight line pass rusher with limited bend and flexibility. Needs to be more creative as a pass rusher to be effective in the NFL. He has no counter moves. Lacks explosiveness off the edge.


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Cawarden & Derbyshire FA announce County Cups sponsorship
Cawarden is sponsoring the Derbyshire FA County Cups, which are returning for the 2022/23 season after a three-year hiatus.
Cawarden, a Derbyshire-based specialist contractor with over 35 years' experience in project delivery, and Derbyshire FA, the governing body for grassroots football in the county, announced a new sponsorship deal that will see each of the nine County Cups named after the new sponsors for the 2022/23 season.
We're excited to renew our links with the Derbyshire FA, particularly after the closure of the league due to the pandemic. It's wonderful to support an organisation that aligns with Cawarden's ethos to support local communities and give back. Football is an important part of the community and touches all levels, so we're really proud to be sponsoring the Derbyshire FA County Cups and continuing to back Derbyshire football. We look forward to an exciting season ahead!"
WILLIAM CROOKS
CAWARDEN
Cawarden is a family-owned and operated business with a rich history of delivering demolition, land remediation and earthworks projects across the UK. Their history is imprinted in Derbyshire football through the delivery of several iconic demolition projects in the county, including the Baseball Ground in 2003, the former home of Derby County FC, and the Saltergate Stadium, the former ground of Chesterfield FC.
Derbyshire FA are responsible for leading and supporting grassroots football across Derbyshire. The Derbyshire FA County Cups are a series of knock-out cup competitions that take place throughout the season. They play a big role in the rich history of football in the county, with the Senior Challenge Cup dating back to 1883/84. Due to the outbreak of COVID-19, the County Cups have not run for the last three seasons; The last being 2018/19. The chance to bring the County Cups back this season is exciting for everybody involved in football, and Cawarden is proud to be part of its return.
The first round draws are due to be announced later this week.