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Tag Archives: David Cronenberg
Mind At War: Nate's Top Ten Films on Mental Illness
September 30, 2019 natewatchescoolmovies	Leave a comment
The subject of mental illness is one that's close and important to me as I myself am one of the afflicted, and it's impossible to ignore that the treatment of it by Hollywood, particularly in formative years, hasn't been so apt. Don't get me wrong, I love stuff like Me, Myself & Irene or Split as entertainment but in terms of accurately representing the conditions that beset human beings, they haven't been so hot. There are those films and filmmakers out there that strive to educate and enlighten or even just to craft an effective thriller or comedy and still stay true to real life, doing important work for the collective awareness and making terrific art/entertainment in one shot. Here are my personal top ten favourites!
10. Geoffrey Sax's Frankie & Alice
Multiple personality disorders are popular in Hollywood but there's a tendency to mock, sensationalize or tell a 'real life' story that's later proved as fraud. This one showcases Halle Berry in a galvanizing dual performance as a go-go dancer afflicted by two very different internal identities and finding her life in splinters as a result. When a kind, compassionate psychiatrist (Stellan Skarsgard) makes it his mission to help her get back on track it becomes apparent just how challenging and horrific it must be to endure such a thing.
9. Dito Montiel's Man Down
I heard this one sold one single theatrical ticket in the UK and didn't fare much better here, getting squeaked into a quiet streaming release. It's too bad because it is one haunting drama about PTSD featuring an implosive, incredibly intense performance from Shia LaBeouf as an ex marine who can't psychologically reconcile his experience and is lost amongst his own trauma. Terrific work from Kate Mara as his wife and Gary Oldman as an army counsellor too.
8. James Mangold's Girl Interrupted
Likely the most accessible and mainstream story on this list, Mangold's look at a mental care facility for girls in the 60's gets a superficial rep in some circles but I find it to be every bit the rewarding drama, ensemble piece and explorative journey that those who champion it say. Winona Ryder plays a wayward girl whose self destructive behaviour lands her there but it's Angelina Jolie as a fellow patient diagnosed with borderline personality disorder that both anchors the film and provides it with a wildly unpredictable streak.
7. Martin Scorsese's Shutter Island
This is of course a big old elaborate mystery film with a gigantic cast, many red herrings, tons of subplots and all kinds of stylistic fanfare. But if you look past all that there's a harrowing and very realistic portrait of minds irreparably damaged, between Leo Dicaprio's PTSD afflicted ex soldier and Michelle Williams in a haunting turn as his deeply sick wife. The film overall is a tantalizing guessing game and broadly covers the thriller board but the final act brings it right down to earth for a grounded, grim finale showcasing the brutal honesty of these illnesses and the heart wrenching tragedy they beget.
6. Terry Gilliam's The Fisher King
Robin Williams gives one of his best performances as Parry, a once successful professor of medieval history who lost his mind following the death of his wife and now wanders the streets of NYC, homeless. Jeff Bridges is the radio DJ who befriends and tries to understand him and their relationship carries the film. So to does Gilliam's knack for surreal visual storytelling, letting these fantastical creations run wild and giving us a glimpse into Parry's damaged but fascinating mind.
5. Brad Anderson's The Machinist
Christian Bale's Trevor Reznik hasn't slept in a year. Guilt, extreme weight loss and delusions are just the start of his problems. This is billed as and feels like a thriller but I think that's deliberate on director Anderson's part to put us in the hot seat next to Trevor, to make us feel the same paranoia and delusions of persecution he does. The atmosphere here is almost suffocating, the score a muted tangle of busted nerves and Bale's performance something just this side of unearthly. When it all comes together and we see why he is the way he is it's deeply sad but makes a kind of terrible sense and gives the film a final stab of emotional weight.
4. Debra Granik's Leave No Trace
PTSD is only vaguely hinted at in this beautiful father daughter drama but it's there in every frame, in every mannerism of Ben Fosters masterful performance. Him and newcomer Thomasin Mackenzie achingly display a family dynamic that has been set off balance by his illness, and the wedge it has driven both between them and between him and ever living a normal life again. This is a restrained yet heartbreaking film that gently unpacks its themes with kindness and compassion, letting a devastating final scene bring the whole point home heavily but somehow lightly in the same note.
3. David Cronenberg's Spider
Ralph Fiennes give a focused, intense turn as the titular individual, a man released from a mental care facility and relegated to a London halfway house where all the scrambled and tumultuous memories of his past come tumbling down through the scattered web of his broken mind and into the present. Recollections of his parents (Gabriel Byrne and Miranda Richardson) are somehow shrouded from himself, by himself and as he tirelessly works to regain his sanity, he slips further away from it. Cronenberg uses shadows, dimly lit alleys and creaky, barren rooms to show how this character has been cast away from his own perception and wanders about like a lost soul.
2. Bill Pohlad's Love & Mercy
The life and times of Beach Boys pioneer Brian Wilson are explored here, namely at two important junctures in his life. Paul Dano plays him younger, at the height of fame and success but poised on the cusp of a psychotic breakdown after stress and an unhealthy relationship with his abusive father (Bill Camp) reach a fever pitch. Decades later John Cusack embodies a much older Wilson, stuck under the tyrannical yoke of an evil, manipulative psychiatrist (Paul Giamatti) until he meets the love of his life (Elizabeth Banks) and a chance at a fresh start along with her. The scene of Dano putting recording headphones over his ears and closing his eyes in horror as he hears voices is one of the most brutally honest and realistic depictions of auditory hallucinations you can find in film. Wilson had a rough life and the film makes that very clear but it's never ever sensationalist or exploitive and overall has a message about love, light and working endlessly to overcome any demons or struggles thrown into your path.
1. Kasi Lemmons' The Caveman's Valentine
Samuel L. Jackson gives a career best as schizophrenic former musician Romulus, a man afflicted by terrible hallucinations and delusions to the point that when he discovers a genuine murder conspiracy no one, including his police officer daughter (Aunjanue Ellis) believes him. This film is driven by a fascinating mystery narrative that takes Romulus from his cave in Central Park into the pretentious New York art world and beyond to find a killer. At heart though director Lemmons let's it m be a serious minded exploration of what it must be like to live like that, to be constantly sabotaged by your own mind. Jackson's brilliant performance and Lemmons effective use of surreal, mesmerizing imagery give us a compassionate, dynamic window into this man's mind and in turn a unique, thought provoking piece of cinema.
Thanks for reading and stay tuned for more content!
Angelina JolieanxietyBen Fosterborderline personality disorderBrian WilsonChristian BalecinemaDavid CronenbergdepressionElizabeth Banksfilmfilm reviewfilm reviewsfilmsfrankie & alicegirl interruptedhalle berryJohn Cusackkasi lemmonskate maraLeave No Tracelove and mercyman downmental healthmental illnessmoviemovie reviewmovie reviewsMoviesobsessive compulsive disorderPaul Danopersonality disorderpost traumatic stress disorderPTSDRalph FiennesRobin WilliamsSamuel L. Jacksonschizophreniashia lebeoufspiderstellan skarsgardTerry Gilliamthe caveman's valentinethe fisher kingthe machinistthomasin Mackenziewinona ryder
"I never touched a legend before." : Remembering Nightbreed with Nicholas Vince by Kent Hill
June 5, 2019 Kent Hill	Leave a comment
https://podcastingthemsoftly.files.wordpress.com/2019/06/vintro.mp3
Seems to me NIGHTBREED had been out for a while before I made a point of sitting down to watch it. I'd seen the trailer a bunch of times, been curious, but it wasn't until I read the illustrated screenplay that I admit to really becoming hell bent on checking it out.
It is at once a phantasmagoria, a dark fantasy, a love story – a rich, self-contained world that seemed on the verge. But, as I would discover, the powers that be didn't receive from Clive Barker what they were hoping for. He had produced for them two Hellraiser pictures, thus they made the mistake of assuming they were set to receive yet another study in fear. Especially with a title like, Nightbreed. Hence you have the reason for the fractured state of the movie and all the subsequent releases and restorations – the producers attempting to fashion the movie into something it was never meant to be.
What you ultimately take away from Barker's monster-piece is the feeling of wanting more – and not just a re-cut of the existing elements. I suppose that's why the idea of a Nightbreed series, I feel, would work better than another motion picture. There is so much to mine, so many characters – along with my favorite, Kinski (played by my guest Nicholas Vince), that I would love to see make a return.
So, kick back and enjoy our discussion on all things concerned with the tribes of the moon. "God's an Astronaut. Oz is Over the Rainbow, and Midian is where the monsters live."
BEFORE YOU GO, CHECK THIS OUT…
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anne bobbyBatmanClive BarkerCraig shefferDanny ElfmanDavid CronenbergDoug BradleyEd HarrishellraiserJack NicholsonJeff GoldblumJohnny DeppKim Basingermichael ironsideMichael KeatonNicholas VinceNightbreedoliver reedpinheadScannersthe broodThe FlyTim BurtonViggo Mortensen
Film Review, Santa Barbara International Film Festival
SBIFF: Viggo Mortensen on David Cronenberg, Green Book, and putting Coca-Cola in The Road.
February 4, 2019 Frank Mengarelli	Leave a comment
Vladimir Putin was an inspiration for his character in Easter Promises, he owned his two horses from the Lord of the Rings, and then T.J. from Hidalgo, and he thinks it is total bullshit that David Cronenberg has never been nominated for best director. Viggo Mortensen is an accidental movie star who is fluent in seven languages, has his own publishing house, and never tires of people walking up to him on the street to talk to him about Aragorn. The 34th Santa Barbara International Film Festival's American Riviera Award was presented to Mortensen by his two-time co-star and one-time director, Ed Harris, which was preceded by a delightful two-hour Q&A with Deadline's Peter Hammond.
Mortensen is currently making the rounds for his third Academy Award nomination for one of the year's best films, The Green Book, knowing full well that he's going to be three and out but continues to champion a film that he truly loves and believes in. He and Harris were about an hour late to the event, a serve storm prolonged their trip up from LA, diverting to take a private plane to a local airport and eventually hitting the red carpet and taking his time along the way promoting his latest feature.
"Coke doesn't do R rated films, and then I asked if I could call the guy," Mortensen continued, "I can't remember his name, but I called the rep from Coca Cola and asked him if he had read The Road. He had not but his wife or someone he knew had. I told him to read pages, I don't know, eighty-six through eighty-seven. And then to speak to his kids or his wife or whoever, and then in a few days he called back, and we could use Coke."
His first on-screen appearance was in Peter Weir's Witness, which came right off the heels of his scenes being cut from Woody Allen's The Purple Rose of Cairo. He was in his very early twenties when he decided to become an actor, there was not a specific film or an actor who inspired him, but the theatre experience was an emotional enlightenment that was woven with curiosity about how film could evoke reactions from laughter to tears.
The Lord of the Rings series is a part of his life that remains incredibly special to him. Not only did he love making the films, but he also speaks to what that afforded him to achieve not only professionally, but also personally. He started Percival Press, a publishing house that produces works of poets, musicians, and photographers as well as his own music, poetry, art, and photo books.
The Extended Cut of The Fellowship of the Ring is his favorite of the trilogy, reasoning that it was the film with the most human to human interaction. As the films went on, there was more CGI, more green screens, creating less and less interaction with other people. That was not a slight towards the other films, he warned because he has stated the same prior and he has been taken out of context.
Mortensen has a flip phone and has gotten better at emailing since he launched his website, but he's just not all that interested in modern technology and frankly doesn't find an interest in it. He is more interested in bringing stories to the screen that would not otherwise have a voice. He finds unique narratives and uses his movie star cache as a vehicle to shine a light on compelling characters and writer-directors whose visions would not be told.
Green Book is a special film to Mortensen, he loves it and the character of Tony Lip. He is very aware of the campaign against the film, especially how some are citing that the real Tony and Dr. Shirley were not friends and the film is a false representation of factual events. Firstly, Mortensen noted that Green Book is a movie, and only covers a span of two weeks and that Tony Lip went on to drive Dr. Shirley for another two years, and moderator Peter Hammond noted that Deadline has published audio tapes of Dr. Shirley speaking of his friendship with Tony and how the two remained friends for the rest of their lives.
He spoke very highly of the cast of Captain Fantastic and especially Mahershalla Ali, and how Ali was the greatest acting partner he's had. He made not of Ali's reactionary acting to him, and how so much of Ali's performance is store within his reactions and economy of movement. He also spoke of his fondness for Ed Harris, who was there to present Mortensen with the award.
Dressed in cowboy boots and a red vest that looks like something William Holden would have worn in a genre-pushing western, Harris gave a rather straight forward yet emotional tribute to Mortensen, conveying that their friendship was built on a foundation of loyalty. Mortensen thanked Harris, SBIFF, and executive director Roger Durling for an award that he was not just a nominee for, but the outright winner. Mortensen is the strong silent type who is fiercely intelligent, and a man made up for passion and raw talent that elevates every single project that he touches.
Cormac McCarthyDavid CronenbergEd HarrisHidalgolord of the ringsPercival PressPeter HammondSanta Barbara International Film FestivalSBIFFThe RoadViggo Mortensen
David Cronenberg's The Fly
October 15, 2018 natewatchescoolmovies	Leave a comment
It's taken me years to finally get around to David Cronenberg's The Fly, but I'm glad I did as it's a terrifically slimy gore-palooza boasting practical effects that are on par with classics like John Carpenter's The Thing and Sam Raimi's Evil Dead. Cronenberg is known as the prince of body horror, and has carved out a now legendary swath of schlock-tacular horror films (many of which I'm unfortunately not caught up on), but his nightmarish visions almost always have a brain in their heads or something to say about media, psychology, biology or the way things work. In The Fly he takes a look at the universal human fear of disease and decay, a collective primordial disgust that Jeff Goldblum and Geena Davis fuel their performances with. Goldblum is Seth Brundle, a brilliant but terminally awkward scientist who has developed a functioning teleportation device. Well almost, as he has trouble sending anything alive through it, and it has a habit of turning monkeys inside out. One night he drunkenly sends himself through, unaware that a tiny little stowaway has come for the ride. The computer gets confused, combines their DNA at a molecular level and, viola! Jeff Goldblum starts literally turning into a giant fly, and trust me when Cronenberg is at the helm of such a premise, no expense is spared on gallons of vile corrosive goo and repulsive glistening prosthetics, so don't order in Pizza Hut if you have this one on in the living room. Geena Davis is effective as the journalist that falls in love with him and has to bear witness to the grotesque transformation, but unfortunately the film isn't long enough to work as a romance, choosing instead to put the horror front and centre, which is where it's strongest aspect lies. Goldblum is great as the twitchy doctor, and uses his physicality brilliantly once the metamorphosis begins, giving his lanky frame a staccato, animalistic rhythm that suits the character well. The effects are dazzling, if retro gore is your thing, a whole party bag of slime, pus and deformity that stands as a showcase for the FX team. I like Cronenberg's horrors, or at least the ones I've seen, because no matter how schlocky they get, he never veers it totally into the sandbox and forgets his themes, he always seems in complete control of the nuttiness, following a specific recipe that doesn't derail anything and that probably why he has become such a pedigree name in the genre. The film could have been a tad longer and a bit more fleshed out in places, but still serves as a slick, well drawn shocker that has not surprisingly stood the test of time.
cinemacreepyDavid Cronenbergfilmfilm reviewfilm reviewsfilmsGeena DavisgoregoryhorrorJeff Goldblummoviemovie reviewmovie reviewsMoviesscarySci-FiScience FictionspookyThe Fly
"CHEESEBURGERS, NO BONES!" : An Interview with Mick Garris by Kent Hill
March 25, 2018 Kent Hill	Leave a comment
https://podcastingthemsoftly.files.wordpress.com/2018/03/mick-garris.mp3
It took a while to get a hold of Mighty Mick – but I'm glad I had the patience. See Mick Garris is one helluva talented man. His passage through the movies is a veritable plethora of Amazing Stories – apart from the show-of-the-same-name where he achieved career lift off.
Since those early days he has gone on to become a prolific writer, director, producer, author, podcaster – the list goes on. He made me laugh with Critters 2, he was the writer of The Fly 2, which was one of the only times a film has forced me bring up my lunch, and he has conducted wonderful and insightful interviews with fellow filmmakers – some, sadly, that are no longer with us.
Through it all Mick remains the soft-spoken gentleman with a passion for his work and cinema in total. He has had a long successful run of adapting the works of Stephen King for the screen. I have vivid memories of sitting through, night after night, his extraordinary adaption of The Stand. This he beautifully followed up with further adaptions of Bag of Bones and The Shining, in which King adapted his own book, and which Mick credits as one of the best screenplays he's ever read.
He was instrumental in bringing together the Masters of Horror as he was composing the elements which formed great movies either under his pen, or benefiting from his exquisite direction. Follow this link ( https://www.mickgarrisinterviews.com/ ) to Mick's site and check out the bona fide feast of delights for cineastes he has on offer. As I said to the man himself, "You have a lot of fingers in a lot of pies, and I can't wait to cut me a slice of whatever you serve up next."
So, without further ado, it is my privilege to present to you . . . the one, the only . . . Mick Garris.
cinemaClancy BrownCrittersDavid CronenbergEscape From New Yorkfilmfrank darabonthorrorHorror MovieitJack NicholsonJawsJoe DanteJohn CarpenterJohn LandisKurt RussellMichael Jacksonmick garrisMorgan FreemanMoviesRichard DonnerRon perlmanSean AstinStanley Kubrickstephen kingSteven SpielbergSupermanTelevisionTexas Chainsaw MassacreThe Flythe gooniesthe shawshank redemptionThe ShiningThe standThrillertim robbinsTobe Hoopertv
David Cronenberg's Spider
August 24, 2017 natewatchescoolmovies	Leave a comment
David Cronenberg's Spider is a prickly, unsettling plunge into the frays of mental illness with all the subtleties of a bad dream whose source is hard to pin down. As a disoriented, emotionally shellshocked Ralph Fiennes shambles into a residency at a halfway house in London, he's reminded of the past, and begins to brush away layers of cobwebs that hide more than a few nasty secrets from his upbringing. Raised by his wayward father (Gabriel Byrne) and haughty mother (Miranda Richardson, also showing up in a dual role), Spider, as she nicknamed him, began to lose his grip on reality at a very young age, resulting in an eerie tragedy. Or did it? That's the key to Cronenberg's vision here, the kind of blood chilling uncertainty that one sees a mentally ill person struggle through. Spider's grip on the past, and his own present coherency is as tenuous as the lingering webs that gild both his memory, as well as the shrouded nooks and crannies of the desolate borough of London he aimlessly shuffles through, the empty rooms and lived-in corridors of his childhood home practically mirroring those of his mind. Fiennes is scarily good in the role, abandoning any researched mimicry to full on effortlessly sink into the psyche of this poor disturbed man, organic and believable. Byrne is solemn and somber as ever, just as complicated as his progeny yet burdened with the also torturous yoke of sanity, while Richardson is electric in both her roles. Stage stalwart John Neville babbles his way through a turn as a fellow resident of the halfway house, while Lynn Redgrave plays it's stern matron. Dank, destitute and lost is the tone they've gone for here, with no Hollywood safety net to rescue both viewer and protagonist from the scintillating curves of a narrative that has no light at the end of it's tunnel, a brave choice by Cronenberg, and stunning work from everyone who brings the tale to life, such as it is. Be ready to put on a Disney flick after sitting through the nail biting gloom of this one.
cinemaDavid Cronenbergfilmfilm reviewfilm reviewsfilmsGabriel byrnejohn nevilleLynn RedgraveMiranda Richardsonmoviemovie reviewmovie reviewsMoviesRalph Fiennesspider
Fantastic Beasts and the Man who made them: An Interview with Chris Walas by Kent Hill
July 6, 2017 Kent Hill	Leave a comment
When I think of the work of Chris Walas, a few things pop into my head.
The first is how much I loved Dragonslayer when I saw it at the cinema as a kid. It like The Black Hole was a dark, different Disney movie. This was the era when Disney was trying to be more like a studio and not purely focused on the animation that had garnered it so much love. I remember waiting for the moment when the dragon would finally be revealed and I was not disappointed. I was becoming aware of how movies were made at that time, so the prospect of any giant creature on screen, knowing that it was actually there, that it had to be built was incredible.
The second is Enemy Mine. A movie for the longest time I had only seen the last twenty minutes of. During the heyday of video piracy, it was not uncommon to borrow a tape from friends or family and find the tail ends of stuff that had been taped over. Ironically I can't remember the film that was taped over it, but those final scenes from Enemy had me intrigued. I think it was one of my cousins who I borrowed the tape from, so I asked him about the clip at the end. "Oh I taped over that 'cause it was kinda boring. Some dude and an alien have a baby together." Yes folks, I have some really classy relatives, and that was how he pitched Enemy Mine to me. Still, undaunted, I sought it out and it is a whole lot more than that; indeed another great film from Wolfgang Petersen who had blown my mind prior with The Neverending Story.
Finally I reflect on The Fly 2. One of two films I have literally lost my lunch watching. And, let me be clear, up to that point, I had seen gruesome stuff before so it wasn't so much the imagery as it was the visceral qualities of the imagery. As the years go by, and because I haven't seen it in a long time, so it's sketchy at best, but one thing that I recall was Daphne Zuniga wiping away Eric Stoltz's slimy coating from this one scene and giving him a kiss. I remember that or something like that, like I said, it's been a long time between drinks, but that scene and a few others helped my lunch get its own sequel that day.
But enough about me, let's talk about Chris.
Chris Walas has worked on a handful of truly iconic films. You can see is work in Raiders of the Lost Ark, Return of the Jedi, Gremlins. He is an Academy Award winner – that Oscar being for The Fly and part of a terrific association with David Cronenberg who he would go on to work with on other films like Scanners and Naked Lunch.
He has sat in the director's chair on (of course) The Fly 2, The Vagrant and "Til Death", an episode of Tales from the Crypt. He was part of the Roger Corman stable; he worked on Airplane!, Galaxina, Caveman and Virtuosity – he is a very talented man who has had a hand in the truly grand cinematic experiences of my youth and it was an utter delight to interview him, and subsequently, to present said interview to you. Ladies and Gentlemen . . . I give you . . . Chris Walas
KH: Sir, it is truly an honour to make your acquaintance. You have the distinction of being the first Oscar winner I have interviewed for podcastingthemsoftly.com
CW: That's hard to believe with all the Oscar winners out there these days, but I'm happy to be here.
KH: Before we get into the meat of things, I was wondering if working in the picture business has be a lifelong pursuit, and if so, what were the films that lit the fire, so to speak?
CW: You know, it's interesting because so many interviewers ask "What was the film that made you want to do what you do?" I don't think it's a simple as that. It's like asking painter what painting made them want to be a painter. It's not about a single event; it's about an artform that creates the magic in the imagination. I was a movie fan as far back as I can remember. I loved all films. I loved what the medium could do. I didn't understand any of it, but I loved "Citizen Kane" as a little kid. It was riveting to me. I grew up on the old Universal Horror Classics and still love them. The Sci Fi films of the 50's hold a special place in my heart for sure. But I can definitively say that the single film that made me DECIDE that movies were where I wanted to be was Ray Harryhausen's , "Jason and the Argonauts". It was the first film I ever saw in a theatre and I was transfixed by the experience. I knew at that moment (even though I understood nothing about it) that that was what I needed to be a part of in my life.
KH: You have worked on some truly iconic movies, many of which are my personal favourites. But, how did you get into the business after your schooling ended?
CW: I wanted to get into films somehow. At that time I was on the East Coast and the film business was pretty dead just then. So I left for Hollywood with a couple hundred bucks in my wallet and a sublime ignorance of the realities of LA. I was lucky enough to get a job shipping film for Disney, which was magical for a naive kid from New Jersey. Discount tickets to Disneyland, and I could spend all my lunch hours on the back lot talking to the original animators of Snow White or the wire rigger for the Squid tentacles from 20,000 Leagues Under the Sea. They all brought their lunches and sat out in the backlot relaxing or practicing their watercolours. And they loved to talk. It was my introduction to the world of movies. Wonderful. I then took filmmaking classes for a year until my money ran out and I took a job at Don Post Studios, a company that made high quality Halloween masks and occasionally did some film and TV work. I was there a year and started out painting a gross of masks a day on the cheap line to being a member of the lab crew, developing new product and working on the occasional outside project. It was an education I would have paid for. I learned more in that year than in four years of college. But I was antsy and impatient, and one of the other Lab guys (Bob Short) and I left and started a little partnership doing odd projects. We both started to get good reputations, but each doing different things, so we split up and went our separate ways. And it just grew from there.
KH: Tell us, if you will, about working on some of your early credits like Island of the Fishmen (Screamers), Humanoids from the Deep and Piranha?
CW: Piranha was my first on set film experience. Jon Berg, who was in charge of the effects on the film, had been to Don Post to see about them running some of the rubber piranhas. That didn't work out, but the connection had been made and when the FX shoot needed more people, Bob Short got pulled on board and then through Bob, I got pulled in. That was my entry into the crazy world of Roger Corman films. It was wild and desperate filmmaking in those days; no money, no time. The only good part was that IF you could actually make something to get in front of the camera within the meagre time and budget, you were a hero. It was a process that very quickly filtered out those who could from those who couldn't. But it was exhilarating and magic at the same time. Isle of the Fishmen was a bit of a mess. The original Italian production had been purchased by some fly by night LA outfit and they wanted to "beef it up" for the American audience. We had almost nothing as far as a budget, but it was with some people that I felt comfortable with. Miller Drake and (unofficially) Joe Dante. It was a small and relatively close group in those days at New World Pictures. We shot out at the beach in the middle of the night in January and nearly froze to death soaking wet in the Fishman costume. Other inserts were shot in Joe's garage; it was that kind of filmmaking. But Humanoids was a different story. New World had asked me to do it, but I was busy on GALAXINA and a couple of other films at the time, so I suggested Rob Bottin. But the schedule was a tough one on that show and Rob asked me to come in and do a bunch of the sculpting and running on the Humanoid costumes. As well as those absurdly huge arm extensions! It was an extremely intense time for me as there was way too much work and not enough people in town to do it all.
KH: I know you probably get a lot of "Fly" questions and I think that if people really want a good insight into the making of that film they should watch the comprehensive Fear the Flesh. But, you worked on a few movies with Cronenberg (The Fly, Scanners and Naked Lunch). What was making pictures with David like?
CW: This is a great question, if for no other reason than it lets me applaud one of my very favourite directors I've had the honour to work with. David Cronenberg is an amazing filmmaker. He's not just a director. His films truly belong to him. They are his vision. He's an astonishing writer. When I was first approached for The FLY, I turned it down. I didn't want to do a remake, etc. Stuart Cornfeld, the producer, said, " I know, I agree. Just read the script". I read the script and it was superb. David had redone the original script and made it his own. I couldn't say no to that script. And David is an astonishing director because he really understands the process that everyone is going through. A lot of directors are absolutists; it has to be a certain way. David understands that production is about compromises and that a good director only makes compromises that don't hurt the film. He was demanding and understanding at the same time. Very unique qualities in a film director and I feel very fortunate to have worked with him.
KH: I have vivid memories of The Fly 2. I remember watching it on video with some cousins and felt my lunch coming back on me a couple of times during that flick. How was it to finally sit in the director's chair on Fly 2 and the other films you directed?
CW: Somehow, we hold the director's chair as some ethereal pinnacle in filmmaking. And in some ways it is. It is the ultimate decisive position, historically. But I had already been directing teams of dozens of artists at my company, coordinating large operations and such, so I don't think I was as intimidated as a lot of first time directors. I was quite comfortable directing, especially as I had such a wonderful crew of true talents on the FLY II. I never actually wanted to be an effects person. It was just the easiest way for me to get into the business. Besides, it's ALL filmmaking. All of it. From craft service to timing final prints. Directing is just the most focused, exhausting position. But I loved it.
KH: I interviewed William Sachs recently, director of Galaxina. Can you tell us about your work on that film?
CW: I've only lost money on two films. GALAXINA was the first one. At that time there were a lot of productions trying to cash in on the STAR WARS phenomenon. So there were a lot of over-ambitious, under-funded films being made. GALAXINA was right smack in the middle of those. Bill (Sachs) had his hands full on that film. He really did. And for me, it was a really, really tough show as there was a lot of stuff and very little money. We had to make a couple of the alien costumes overnight; the schedule kept changing wildly. I don't know how Bill dealt with it all, honestly. It was furious alien making, to be sure. We had Angelo Rossito as the little alien creature. Little Angie, as he had been known, was a dwarf who had worked on countless films. The schedule changed dramatically and the three weeks we had scheduled to make his suit turned into 18 hours. But he was a total pro. He showed up with some of his old clothes for us to use as the base for the suit! We built the suit right on him and he never had a word of complaint at all. Total pro. Everything we did for Galaxina was done scraping the bottom of the barrel because there was so much work.
KH: I have a great fondness for both Dragonslayer and Enemy Mine, they speak to my youth. Tell us about working on those pictures; especially Enemy Mine, it's one of my all-time favourites?
CW: Phil Tippet brought me up to ILM to work on the team for Dragonslayer. And that was a wonderful experience working with some of the absolute top talent in the field. Every day was an education for me. I was strictly on the in-house FX team and didn't go over to England for the shoot. I made most of the molds for the dragons and baby dragons as well as running most of the rubber pieces. I rigged the puppets for the baby dragons and built a few odds and ends pieces for individual shots; smaller scale grabbing legs, a bit of wing, etc. The biggest thing I was involved with was the close up Vermithrax puppet. It wasn't part of the original plan, but they just couldn't get the footage they wanted out of the full size head and neck that Disney had done, so I designed and built, and operated an animatronic puppet head. That was exhausting because the puppet had to be dripping water all the time, so the puppet became supersaturated and just kept getting heavier and heavier. But I think it worked in the end and helped the picture.
Enemy Mine was basically problem after problem. I started out working with the first director, Richard Loncraine, who I really liked and admired. We shot for six weeks on lava fields in Iceland before 20th Century Fox closed the picture down and hired Wolfgang Peterson to direct. We were supposed to be closed down for two weeks for the restart, but it was a full six months before we got going again. I think, for us, the production got bogged down in a lot of committee decision making, which slowed everything down. But in the end I was happy with the designs. We had an opportunity to do quite a lot of different effects for the film between the Dracs and all the odd creatures. The newborn Zammis puppet was one of my favourite rigs on that show.
KH: You worked with Joe Dante on Gremlins which was produced by Steve Spielberg whom you worked with on Raiders which was produced by George who brought us Return of the Jedi which you are also credited as having worked on. In retrospect, what was it like working on these milestones of cinema?
CW: Every once in a while you get lucky. Gremlins was a true milestone for me in both my life and my career. It was the first time I was in charge of running such a big crew on a studio picture. It was truly an insane experience for me as the picture just kept changing and growing, with new gags being developed for the Gremlins almost daily. I don't think I've ever been worn out so completely on any other film. But at the same time it was great fun, like a bunch of grown up kids playing. We had no idea we were working on a film that would be so successful and impacting.
Working on Raiders of the Lost Ark was great. Challenging. But it was at ILM, which was then the absolute pinnacle of FX houses in the entire world. I really wasn't used to being able to say, "I sure could use one of these…" and then having someone order it right up or just get it from another department. So I had options available to me that I hadn't really had up to that time. Richard Edlund was in charge of the FX on the show and he was great about making sure that I had what I needed for the melting head and the other shots. I didn't get to see the film until just before it opened and I was blown away. It's such an amazing film. I feel so lucky to have been a small part of it.
For Jedi, I really only did design maquettes for some of the alien races in the film. I set up the creature shop for ILM, but then I left to pursue other projects. It was very nice to be included in the credits on that one!
KH: You have a number of diverse entries among your credits like Deep Star Six, Arachnophobia, Hot Shots and Virtuosity. Were these genres you sought after or were the film's concepts interesting or was it simply the want to be constantly working that brought you to these projects?
CW: After Gremlins, I had set up a genuine facility with a great crew who knew what they were doing and so I had to take what projects I could to keep the shop going. But some of the projects were favours; Deep Star Six was for Jim Isaac, who was striking out on his own after being on my crew for a number of years. House II was for Ethan Wiley, who had also been a member of my crew on Gremlins and others. Some films were projects I really wanted to do; ANYTHING David Cronenberg was doing. Anything for Amblin, Spielberg's company. But in between those projects it was a matter of trying to choose what projects seemed like they might be good films as well as keeping the shop going as long as possible.
KH: You've been a writer, director and producer having a film you co-wrote come out in 2016. Did you ever want to make more of your own pictures and do you, like so many people in the industry, have dream projects that might have come close but never saw the flickering light of the silver screen?
CW: I would have loved to have done more directing. But it just wasn't in the cards. I have a number of projects I would love to see resurrected someday. One of my favourites is a project called "Dathulgon", which is a steampunk combination of characters and plot lines from Jules Verne and other early steampunk writers mixed with the cosmic horror of H.P. Lovecraft. That project was humming along nicely when the big market crash ruined a lot of financing for films. I have a whole list of projects I would still like to see happen!
KH: Well sir, as a long-time fan this has been a very large pleasure, and though we were not able to conduct this interview via recording I care not, for as I said I am honoured to have met you and am humbled that you have taken this time to be interviewed for podcastingthemsoftly?
CW: It's been a pleasure. It's fun to reminisce and I really appreciate knowing that there are people out there who look back fondly and remember the work kindly. Thanks!
So there you have it. Chris Walas folks. Applause is totally necessary for this talented man and his amazing career.
I'll just take a moment to let you know some other interviews I have coming up. I'll be bring you chats with Mike Marvin (director of The Wraith), Chris Olen Ray (Two & Three-Headed Shark Attack), The Outlaw film critic VERN, Scott Rosenberg (creator of Cowboys and Aliens). Prior to the release of SHARKNADO 5 (because that's the kind of nerd I am) I'll be presenting a double feature that week prior to August 6th of my interviews with Steve Alten (we discuss the long cinematic gestation of Meg) and the man himself Anthony C. Ferrante (director of the SHARKNADO series). So as ever, thank you for checking out podcastingthemsoftly.com, and watch this space…
Bill PaxtonDavid CronenbergDennis QuaidDisneyDragonslayerEnemy MineEric StoltzGalaxinaGremlinsHarrison FordJeff GoldblumJoe DantePeter WellerRaiders of the Lost ArkSteven SpielbergThe FlyThe Fly 2The VagrantWilliam Sachs


Thought I would get more into this but just not enough time. All prices are OBO but please note that these are all in new or like new condition. If you need shipping that can be negotiated. I can meet on the Eastside or NLV during the week.


Rice is a popular dish that is often served at meals throughout the world. Cooking rice fast does not require a lot of practice or experience, just a bit of "know how." Although there are traditional methods for cooking rice, some methods allow you to cook rice in less than 30 minutes on the stove and less than 10 minutes in the microwave. For additional flavor, add other ingredients to your rice such as meat, vegetables or spices.
Pour 4 cups of water into a 4 quart sauce pan and bring it to a boil over a medium heat setting.
Add 1/4 cups of margarine or butter and 2 teaspoons of salt to the boiling water.
Stir in 4 cups of rice and cover the pot. For every cup of rice you use, pour in 1 cup of water (4 cups rice = 4 cups water). Reduce the heat and cook the rice for 20 minutes or until it absorbs the water. Keep the lid on the sauce pan to prevent steam from escaping.
Combine 1 cup of water and 1/2 cup of rice in a 4-quart microwave safe dish.
Add 1/2 teaspoons of salt and 1/8 cups of margarine or butter to the rice and water.
Cover the dish and microwave for five minutes on high.
Wash the rice two or three times before cooking to remove some to the starch content.
Rice triples in volume, so use the proper size cookware for the amount of rice you are cooking.
Cooking rice in a pressure cooker can also increase cook time.
Use caution when removing the microwave dish to avoid injuries.


Kollywood actor Karthi's new movie Khakee theatrical trailer is released. Karthi, Rakul Preet & Rohith Patthak played the main lead roles. The film is a powerful cop action entertainer.
The film is being directed by H.Vinoth and produced by Umesh Gupta & Subhash Gupta Under The Banner Of Aditya Music India Pvt.Ltd. Ghibran scored music.
The movie will hit the big screens on November 17th, 2017!!


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Featuring a white crackle finish base, this paper Mache Venetian full face masquerade mask was handmade in Europe and also has a smiling face. There is silver detail edging as well as all over the mask. It comes complete with black ribbon ties.


The fees paid to take college courses on the internet are known as online college tuition. There are various means used to pay for online college tuition. And online college tuition like regular college costs will depend on the school where one chooses to enroll. The colleges on the internet that require online college tuition have assistance to guide students in obtaining the necessary funds. Determining the online college tuition costs is a major factor before one actually enrolls in such classes. It will normally be based on the same criteria as a regular college, dependent on how many courses taken.
Anyone who elects to earn their degree by internet will want all the information they can get regarding online college tuition. And they will also want to compare the online college tuition between different web sites. That is because the rate for online college tuition can vary so much from one school to another. Thus how much one pays for online college tuition will be a major factor when selecting the given school that offers the course one wants for the type of degree that is desired. Such is another aspect of using the internet education option that one must contemplate.
With online college tuition another consideration is to see it as an investment. Hence, the internet schooling allows people to go to attend classes at home. Therefore the online college tuition is something that can pay off later if it helps with career improvements. And to anyone that sees this alternative schooling as a benefit then online college tuition is worth the costs. They will want to explore all online college tuition options that make this more beneficial. Thus learning the most helpful option that will gain them a degree for the most affordable cost.
Those who have elected to pursue this form of academic assistance they will find plenty of information about such programs. Any of the school web sites will provide all the help one needs to be sure they can make an informed decision. And there will be the opportunity to make sure the proper and best choice is made.
The tuition fee of online college is comparatively low as compare to regular college where we are studying in campus. Thanks for writing such a wonderful post on that topic.
College institutions and the tuition centers do sometime used to bring about more of the changes to your career but you also do be able to find enough way to be with such kind of the programs.
Most of the students always feel that they need online tutor to complete assignments, projects, to write thesis and for many other needs. They can easily get help from online tutors.
The college tuition is also said to be the more easy now, with those of the ideas and the instructions this would be more easy to initiate more of the actions.
Every industry is growing very fast online and that's much convenient way. Online education is one of the easiest way to get education. That's not only easy but also very affordable.
Most teachers would agree there is a part of both affecting everything. Inherent motivation is required for learners of any age in any situation, however by and large self course capacities can be understood, that is specific practices can be penetrated and realized.
In online learning you can access instructors immediately through chat, discussion thread, or email, without having to wait for office hours.


This post was inspired by a thread at the Warrior Forum.
1. It takes you twenty mintues to explain to your family what you do for a living and they still don't quite "get it".
2. You wake up in the middle of the night and can't resist checking your email and your stats on the way to the bathroom.
3. When the first thing you do in the morning is check your stats – before you've had breakfast or brushed your teeth.
4. You eat all your meals at your computer.
5. You start having withdrawal symptoms when you're away from the computer for too long.
6. When you can't sleep because you're too excited about your next big project.
7. When working online has become more fun than work.


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Visit bangarra.com.au
Suggested pages...
Cultural Creation Lifecycle
Indigenous Cultural & Intellectual Property Policy
Peter England is an award-winning Set Designer. Peter has designed for numerous Bangarra Dance Theatre productions including Fire - A Retrospective, Mathinna, and Boomerang.
Peter England holds a Bachelor of Performing Arts in Design from the National Institute of Dramatic Art (NIDA) and a Bachelor of Landscape Architecture (Hons.) from the University of New South Wales.
For Bangarra Dance Theatre, Peter has created sets for Fire - A Retrospective (2009), Mathinna (2008), Boomerang (2005), Unaipon (2004), Bush (2003), Walkabout (2002), Skin (2000), and Fish (1997), and the sets for Amalgamate (2006) and Rites (1997), in collaboration with The Australian Ballet.
Peter has worked with dozens of performing arts companies globally including Opera Australia, Sydney Theatre Company, Victorian Opera, The Shakespeare Theatre Company, Sydney Dance Company, and Bell Shakespeare. He has also produced work for large-scale arena events including the Sydney 2000 Olympic Opening Ceremony, Rugby World Cup, and New Year's Eve celebrations on Sydney Harbour.
Best Design (Dance) 'Boomerang' - Green Room Awards
Best Scenic Design 'Unaipon' - Helpmann Awards
Best Scenic Design 'Awakening – Sydney 2000 Olympics Opening Ceremony' - Helpmann Awards
©Bangarra Dance Theatre Australia
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Protecting your rights is vital when facing complicated legal matters. Prosecutors may not be looking out for your interests when they want you to plea bargain. A spouse may claim that it is best to handle your divorce without the aid of attorneys.
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Never was the Firebird more powerful or more refined than in 1989, when the company unleashed its 20th Anniversary Trans Am. See more Pontiac Firebird pictures.
Attempting to thwart the thieves who'd virtually declared war on Firebirds (and Camaros), GM installed a "pass key" deterrent system in all '89 models, following the lead of the GTA. A resistor pellet imbedded in the key had to match coding in the ignition lock, or the starter would be temporarily disabled. But that was a tame new feature compared to most on the 1989 Pontiac Firebird 20th Anniversary Trans Am.
High-performance coupes halted with four-wheel disc brakes. Formula and Trans Am Firebirds gained standard air conditioning. GTA tires now were "Z" rated (good for over 149 mph) instead of "V" rated (130 mph); but size was unchanged, at 245/50R16. Once again, the GTA came in hatchback or notchback form, the latter actually a $700 option. A compact-disc player also became optional.
The Trans Am celebrated its 20th anniversary in 1989, and Pontiac responded with a special gift to fans: an anniversary edition with a turbocharged 3.8-liter V-6 beneath the hood. Last seen powering Buick's sizzling Grand National and GNX, the 250-horse-power turbo -- cranking out an imposing 340 pounds -- feet of torque-sliced 0-60 mph acceleration times to an astounding five seconds or less. Rollicking action was back in style, so long as a customer was willing to pay $10,000 more than GTA price for the privilege. Roughly 1,500 Trans Am devotees did exactly that.
One of the most potent Trans Ams ever built, the 20th Anniversary model came only with automatic shift. No crass racing stripes marred the pure white body, adorned by nothing more than subtle "20th Anniversary" cloisonne emblems and "Turbo Trans Am" badges. A stock Anniversary edition served as pace car for the 73rd running of the Indy 500.


Giannakopoulou, Maria (2002) Plato on soul and body. PhD thesis, University of Glasgow.
This thesis examines the development of Plato's thought on the subject of the soul-body relation. I will not attempt to cover everything that Plato says about the soul - for example I will discuss 'proofs' of immorality only in so far as they have a bearing on the interpretation of soul and body. In this life at least human beings have both a soul and a body; as a result, the soul by necessity interacts with the body. This interaction, though, is not simply an interrelation between two completely different and separate entities; rather the relation between soul and body is far more complicated.
The purpose of the introduction is to present a preliminary view of the soul, in that way we could better understand the background that Plato had to take under consideration. Within the introduction the Apology is used so as to show the importance of the idea of the soul in Socratic ethics, and to indicate that the Socratic idea that we should care for the soul rather than the body, becomes crucial within Plato's philosophy. The dialogues that follow, the Gorgias and the Meno, provide early indications of the complex relation required between soul and body, for Plato's moral, metaphysical and epistemological concerns. Thus, although Plato, in these dialogues, does not give us a clear definition of the soul's nature and its relation to the body, the perplexity and ambiguity concerning the soul's nature leads to the more detailed analysis of it in later dialogues.
The Phaedo appears to offer a view of the soul as a simple immaterial entity wholly distinct from the body. Even within this dialogue, though, there are signs that this simple view of the soul is not adequate for Plato's moral and metaphysical concerns, this becomes evident as well in the Symposium.


Leer America profunda es tomar contacto con el gran interrogante de nuestro destino. En las paginas que abren a la dimension no pensada de lo americano. AMÉRICA PROFUNDA Rodolfo Kusch Descargue el PDF: com/file/d/17w7LceiaHynRA4DI_OiOZwkpSzP3R8LP/view?usp=sharing Saludos. America Profunda-Kusch-. 2 likes. Book. America Profunda-Kusch-. Book. 2 people like this topic. Want to like this Page? Sign up for Facebook to get started.
Leer America america profunda kusch es tomar contacto con el gran interrogante de nuestro destino.
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Playing at an organized field like Splatterpark is in our opinion the best and safest way to play paintball. With our numerous staff members, you can be assured an environment in which fun, safe play is stressed. Unlike "back yard" fields, we make sure all players are following the rules all the time. Playing at Splatterpark also offers you multiple fields in and out of the woods that cannot be duplicated easily on your own land. We simply have the most to offer: variety, safety & peace of mind.


420 pages | 20 B/W Illus.
The short, thematic chapters are bolstered by the inclusion of relevant primary documents – many translated for the first time – including advertisements and posters, song lyrics, political speeches, government documents, and more. Each chapter also includes timelines highlighting important dates and suggestions for further reading. Richly informative and highly readable, Latin America since Independence provides compelling accounts of this region's past and present.
This second edition brings the story up to the present, with revised chapters, new primary documents and images, and a new 'At A Glance' feature that uses a selection of maps and tables to illuminate key issues like the economy, the environment, and demographics.
For additional information and classroom resources please visit the Latin America since Independence companion website at www.routledge.com/cw/dawson.
"Dawson writes with marvelous insight into Latin America's grand themes, capturing broad patterns concisely and challenging preconceived notions. This is a book that will deeply inform newcomers but also lead more advanced students to reconsider their understandings of the region. The well-chosen documents enrich the text and facilitate open debate."
"Latin America since Independence pursues a thematic approach to understanding modern Latin America that loosens chronological moorings without casting them aside. It is custom-built to facilitate discussion about the ways in which history is actively and interminably constructed over time. This revised edition has preserved the best features of the original while expanding an already robust collection of primary sources. New images, charts, and chapter inserts make Latin America since Independence a dynamic complement to lectures in the undergraduate classroom."
Alexander Dawson is Professor of Latin American History at Simon Fraser University, in British Columbia, Canada. He is the author of First World Dreams: Mexico since 1989 and Indian and Nation in Revolutionary Mexico.


Mallory Graham & Scott Tyler are The Rough & Tumble. This neo-folk duo, have been traveling around the country in their 16' camper, with two large dogs, since 2015, making tire tracks nationwide as a traveling folk-Americana duo. Sponsored by C. Bean Transport.
Wednesday, April 17, 2019 / 7 p.m.


text:
Tara Reid Asked For A Sharknado Raise
Story from Pop Culture
Tara Reid Made A Quarter Of Her Co-Star's Salary For Sharknado 5
Rebecca Farley
Photo: Robby Klein/Getty Images.
According to a new piece by The Hollywood Reporter, the franchise star Tara Reid made but a quarter of her co-star Ian Ziering's salary for the movie Sharknado 5. Ziering reportedly now makes $500,000 per film, which would put Reid's salary at about $125,000.
"I think Sharknado cares more about their 'extra of the day' than they do about their own cast," Reid told THR. Reportedly, when the 41-year-old actress asked for a raise for Sharknado 3, the request was denied. (THR connects these negotiations to a Twitter campaign called "#Aprillive or #Aprildie." Fans voted to keep April, Reid's character, around. However, the campaign was not related to Reid's request for a raise.)
The lack of salary parity, unfortunately, seems to be a trend. House of Cards star and Hollywood veteran Robin Wright was told she'd have a pay equal to that of her co-star Kevin Spacey's.
"I was told that I was getting equal pay and I believed them, and I found out recently that it's not true...so that's something to investigate," Wright told The Edit in May.
Similarly, Shameless star Emmy Rossum entered into a standoff with the network over salary parity with her co-star William H. Macy in December of 2016. After a week or so of negotiations, the network seemed to have met her demands — Rossum announced that she would return to the show this year.
Reid's role in Sharknado likely began as stunt casting — as per THR, she was considered a "big get" for the project.
"Tara had a profile," casting director Gerald Webb told the publication. "SyFy liked her."
The franchise quickly evolved into a halfway house for D-list actors looking to climb up the ladder via self-aware cameos. (The crux of The Hollywood Reporter's piece is how the franchise wooed President Donald Trump for Sharknado 3: Oh Hell No!) Reid has remained as the lead, a woman named April, but the studio seems to be more interested cameo "gets" than keeping their main actress around. Refinery29 reached out to Reid's representation for clarification on the salary parity issue. They did not immediately respond.
This article has been updated.
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text:
By Nicole Kraft | Photos by Jo McCulty
Art. We know it can nourish the mind, warm the heart and inspire the psyche. At Ohio State, many are experiencing its power to heal.
Critical thinking: Art analysis helps stimulate neural pathways, offering hope to patients who have lost cognitive function.
Art on the Brain participants visit Elisi Giauque's "Élément Spatial" exhibition at the Wexner Center for the Arts.
If not for her love of art, Tracie McCambridge might well have gone into medicine.
And while the pull of museum education was too strong, her desire to help others find health and healing never left. After joining the Wexner Center for the Arts as the educator for docent and teacher programs, McCambridge found a way to meld these loves.
The result was Art on the Brain, in which McCambridge connected survivors of brain ailment or injury with Wexner exhibits and used the analysis of art to stimulate neural pathways. McCambridge said it was her work guiding others through the step-by-step process of art interpretation that led her to ponder the impact of such critical thinking on those who had lost cognitive function due to traumatic brain injury, stroke, brain cancer or other ailments.
"I started thinking about how the critical-thinking process could move beyond one gallery experience and help people struggling with cognitive processes," she said. "I thought there could be a way to help them re-create those pathways and neuron links."
McCambridge took her idea to the neuro-oncologists and speech pathologists at the Wexner Medical Center, and in 2013 developed the Art on the Brain pilot with the support of the College of Medicine's Medicine and Art Board. Through word of mouth, they attracted 10 patients (and their caregivers and loved ones) with injuries ranging from stroke to brain cancer to severe concussion with memory issues.
Over the course of an hour, the group would delve into art examples, examine their elements and take part in a brain-stimulating activity. Examples included blind drawing — looking at an object and not at the paper to help with proprioception (the sense of one's limbs and their position in space) — and remembering and analyzing a dance following the performance.
"We only talked about maybe two pieces, but we really went in depth with each piece and had deep conversation," she said. "The pilot happened with 'Blues for Smoke,' which was a really powerful exhibition with a lot of emotion. One of the things we tried to do was get people to think about their identity, how it shifted from who they thought they were. When you have a significant injury, who you were and your place in the world can shift."
Tracie McCambridge of the Wexner Center for the Arts uses artworks in the center's exhibitions, such as Elisi Giauque's "Élément Spatial," as a platform for activities intended to promote recuperation among people with brain injuries.
Individuals involved in the program spend time with McCambridge, center, in Wexner Center galleries as well as in sessions involving mindfulness and yoga, Brazilian jiu jitsu and service learning.
The project continued in 2014 with 11 new participants. McCambridge said the small numbers helped build connections.
"It was a safe place to talk about issues through the art," she said. "Art held the edge of the conversation. It provided a forum to share experiences with others who could understand. It became a social support group for both the individuals with the primary injuries and the loved ones. I didn't design the program expecting it to turn into almost group therapy. That was a pleasant surprise."
That was certainly true for Nancy Snyder of Gahanna, who experienced a stroke in 2011.
When Snyder was released from her rehabilitation assignment after a year and a half, she lost the structure that kept her working toward improvement. Online puzzles and games helped, but Snyder felt she was losing ground. Then she heard about Art on the Brain.
"It got me back up thinking in ways I don't normally think and seeing in different ways," she said.
"And I did it with people like me. In rehab, everyone was together — somebody with a shoulder problem, an athlete with a knee injury. But this was all us; everybody there had a shared background. We were all different people there than we were before whatever got us there. It was huge not having to explain that."
As she moves forward, McCambridge is broadening her approach by connecting with faculty who study disciplines such as mindfulness, meditation, gentle yoga, service learning and even Brazilian jiu jitsu.
She has plenty of anecdotes to show her program is working, but she knows the next step is to explore that formally. To that end, she co-authored a research protocol with Maurice Stevens, associate professor of comparative studies, seeking to examine the program's results.
"One woman told me, 'The last time I had a headache like this, I was back in therapy,' but she kept coming every week, because it was working," McCambridge said. "Something is happening, and it's really special."
Setting the stage for connections: Ohio State's Department of Theatre and the Nisonger Center work to quantify the success of the Hunter Heartbeat Method, better known as Shakespeare and Autism..
Andrew Trimmer '14 and a child portray Ariel in "The Tempest-in-Action," adapted and directed by Kelly Hunter, during the Shakespeare and Education Festival in May.
At first, the little girl sat on the edge of the group, showing little interest in the interactions before her. While other kids danced or played, she stayed still. She was reserved, quiet, antisocial.
Fast forward a few weeks, and that same girl was in the center of the stage, engaged in a game, giggling so hard she could barely say her lines. She shared her excitement with those around her, her eyes meeting theirs, her laughter infectious.
That progression might be expected in the average after-school program. But this small thespian was firmly on the autism scale, and that meant her behavioral changes bordered on revolutionary.
Proving this achievement can be duplicated has been the goal of Ohio State's Department of Theatre and The Nisonger Center as they work to quantify the success of the Hunter Heartbeat Method, better known as Shakespeare and Autism.
Developed by Kelly Hunter of the Royal Shakespeare Company, the Hunter Heartbeat Method is a therapeutic intervention based around the rhythm of Shakespeare's text, characters and storytelling. Hunter frequently uses "The Tempest" and "A Midsummer Night's Dream" in her work, but she also has worked with "Macbeth" and "Twelfth Night."
Children on the autism spectrum move through the plays with games that encourage them to make eye contact, take turns, imitate emotion, improvise, communicate and use humor, according to Maggie Mehling, a doctoral student in the Intellectual and Developmental Disabilities Psychology Program.
Hunter began working with children on the spectrum in 2002 and brought the Hunter Heartbeat Method to the Department of Theatre in 2011. (The department had begun partnering with the Royal Shakespeare Company two years earlier.) Her goal: to have her method studied and scientifically quantified through the university's Nisonger Center, which creates programming for people with developmental disabilities.
A key component of the games is the "heartbeat hello," said Robin Post, '06 MFA, director of the campus Shakespeare and Autism program.
"The foundation of [Kelly's] work is the rhythm of the heartbeat found in Shakespeare's iambic pentameter," she said. "We tap it out on our hearts and say 'hello,' after which each person in the circle takes his or her turn to say hello while tapping out the rhythm. Following this, facial expressions are introduced — a happy hello, an angry hello."
With children alongside them, Assistant Professor of Theater Kevin McClatchy '12 MFA and Robin Post '06 MFA, first director of the university's Shakespeare and Autism project, perform in "The Tempest-in-Action."
Melonie Mazibuko '15 MFA and a child portray Stephano.
Two actors model a game, then two more repeat the game portraying the characters anew. The children see that different people play characters in different ways and that no one way is correct. Then the youngsters participate in the games, reciting lines and using body language to explore and communicate through their characters. Each hour long session ends with a "heartbeat goodbye."
A 10-week pilot evolved into a 42-week research study. The group included students from three schools and a learning center in the Columbus area.
"We collected data over one and a half academic years," Mehling explained. "The data from the first half of the study indicates children participating made significant gains in social and communication skills in some measures. We saw them improve in social skills when compared with other interventions they are receiving."
Post cited the example of one boy who was nonverbal when he joined, but started to speak some words as he grew familiar with the games.
"It was a total shock when things like that would happen," she said. "We watched astonishing connections between child and actor, more eye contact and trust. [The children] discontinued self-injurious behavior over time. They enjoyed sitting and playing the games and came to enjoy one another. They became experts in making happy, surprised, angry and other facial expressions."
Post said the rhythm of Shakespearean works makes them ideal for this type of interaction.
"The largess of Shakespeare's storytelling makes for a wide range of communicative expression" that would not be possible with many other plays, she said. "There is huge expression available when portraying the characters of 'Midsummer' or 'The Tempest,'" she said. "Expression is not subtle in Shakespeare's plays. Additionally, the rhythm of the poetry seems to really resonate with children on the spectrum."
Although the original research project is complete, Post followed it up with a Shakespeare and Autism service-learning course for undergraduate and professional students. The mission: to help them learn the approach and spread its outcomes further.
Meanwhile, Mehling is expanding the research to see why this innovative approach is able to connect so well with children on the autism spectrum and offer hope and support to families.
"But no matter what we find," she said, "it does not change its value."
Moving toward new abilities: For patients with motor skills diminished by injury or illness, movement is medicine.
Through the Embedded Arts Project, researcher Lise Worthen-Chaudhari and her team work hand-in-hand with physical therapists. A motion-capture sensor chronicles their patients' movement and relays it to a colorful trace on a computer screen. As the patients move, a beautiful piece of art emerges.
Lise Worthen-Chaudhari, a professional dancer-turned-scientist, is helping patients recognize the beauty in that movement, even when performed by a body facing new physical limitations.
A research assistant professor of physical medicine and rehabilitation in Ohio State's College of Medicine and alumna and affiliate faculty member in the Department of Dance, Worthen-Chaudhari, '11 MFA, has studied biomechanics as well as dance. She combined those passions to develop a revolutionary new therapy that inspires physical rehabilitation via movement that creates art.
Through the Embedded Arts Project, Worthen-Chaudhari and her team work hand-in-hand with physical therapists, who assign specific exercises, such as balancing on one leg while drawing circles in the air with the other. A motion-capture sensor chronicles the work of the moving leg and relays it to a colorful trace on a computer screen in front of the patient. As the patient moves, a beautiful piece of art emerges.
"For people with neurologic issues — stroke, spinal cord injury or Parkinson's disease, for example — movement is a potent form of medicine. But the thing they need to do to feel better has become frustrating," Worthen-Chaudhari said. "Giving people the ability to make interactive art designs while they perform movement therapy shows them beauty and power in their movement. That's motivating."
Performing exercises in physical therapy can get tedious, she added. "So far, Embedded Arts data show that people are performing more movement during their physical therapy sessions — a higher dose of movement — and they stick with hard exercises longer, maybe five minutes instead of a minute and a half. So they're building up endurance. People who have done the study say, 'Please, can I continue doing this? Because I want to get better, and this helps me do the work.'"
Tim Hickey creates art while practicing his balance during a therapy session with Embedded Arts Project creator Lise Worthen-Chaudhari.
In 2012, Tim Hickey of Columbus underwent chemotherapy that put lymphoma, liver cancer and bone cancer in remission. Down 78 pounds from his normal weight, he began to build his strength and stamina through conventional physical therapy before taking part in the Embedded Arts Project.
"For me, it was a tremendous help," Hickey said. "I believe it definitely accelerated the process of learning to walk and regain my balance. It helps the recovery process because you've got instant feedback. When you get done, you know you've worked harder than just doing regular physical therapy."
The medical field too often looks at art and dance as mood elevators in therapy and not enough as the therapy itself, said W. Jerry Mysiw, chair of the Department of Physical Medicine and one of Worthen-Chaudhari's collaborators.
"The lessons that therapy can learn from dance make sense," he said. "Our intent is to incorporate dance into the therapeutic process to facilitate rehabilitation and recovery. We believe that the arts can be used to help drive neuroplasticity."
That remodeling of the neural system allows the brain to compensate for injury or disease, Worthen-Chaudhari said, adding, "The best way that we know right now to get the neural system to remodel, to rebuild, is to have people get lots of practice in the movements they've lost."
The technology behind the Embedded Arts Project has been licensed to a Columbus-based startup company. The resulting product, Agile Arts, was in beta testing this spring and could be available commercially as early as this summer.
"We know that neurorehabilitation patients need to move to get better," she said. "But moving can be hard. This arts technology doesn't make the work go away, but it makes it more doable, more motivating. Interactive art designs are the spoonful of sugar."
Share The art of healing
Wexner Center for the Arts' Pages program elevates the writing of area high school students.


text:
Seeking Enterprise Mac Support?
CIOs regularly turn to the tight-knit Mac user community to solve their enterprise Mac problems and to stay abreast of everything Apple.
By Tom Kaneshige
Senior Writer, CIO	 Apr 1, 2009 8:00 am PDT
Let's face it, you're pretty much on your own when it comes to supporting Macs in the enterprise. Apple isn't going to give you much of a hand. Windows vendors offering Mac products aren't really geared up to support the Mac. And the number of Mac experts out there pales in comparison to those of Windows pros.
But don't lose faith. The good news is that Mac people help each other out, more so than the fragmented PC user community. "Typically, Mac people have their own network for support, tips and best practices," says Jon Oltsik, analyst at the Enterprise Strategy Group. "There is a lot of good advice on the Apple website, as well as others."
[ As Mac adoption grows, IT grumbles about managing Macs in the enterprise | CIOs debate the high cost of Macs for employees. ]
Which ones? We asked IT leaders of Mac-Windows shops where they go when they get stumped or are looking for the latest developments on the Apple platform. When it concerns specific software, of course, they go to that software's user community. But they also regularly visit a few websites, too. Here are some of their favorites:
Apple Support: While Apple enterprise support itself might be spotty, the user community on the Apple discussion boards is pretty helpful. "There are lots of very experienced Mac heads on there," says Brad Kugler, CEO of DVA, a distributor of video and audio equipment. DVA is currently undergoing a makeover from Windows to Mac.
Brian Hubbard, senior IT engineer at TMP Worldwide Advertising and Communications, also visits Apple support. But he's quick to point out Apple's shortcomings. "I haven't found Apple support from the standard Apple Care to be too helpful in enterprise situations," he says. "They have been great, though, on broken hardware and minor OS issues."
Mac Enterprise: This very technical, non-profit website helps Mac pros bring OS X clients and servers to a mixed environment. "The enterprise Mac website has a lot of bright people integrating Macs into their enterprise," says Alex Morken, IT manager of Chris King Precision Components, a manufacturer of bicycle parts, and an all-Mac shop. "They are very vocal, very helpful."
Version Tracker: This award-winning Cnet site was founded by a former Mac systems admin nearly a decade ago and quickly became one of the most popular Mac sites helping people stay current with Mac updates. The website has evolved over the years, of course, yet remains a powerful tool in the Mac enterprise toolbox.
Bombich Software: Michael Bombich, an engineer who works for Apple, provides some neat and useful tools and scripts on his site, TMP's Hubbard says. Bombich also has documented the process of integrating Apple's Open Directory with Windows Active Directory.
Mac Rumors and World of Apple: What's Apple without a wildly spinning rumor mill? Given the silent treatment from Cupertino, enterprise Mac users turn to rumor websites in hopes of gaining a glimpse of the future. After all, knowing what's coming can help CIOs plan better. Be sure to take rumors with a grain of salt. The Daily Show's Jon Stewart recently slammed Mad Money's Jim Cramer, who was caught on tape showing how to spread Apple rumors to game the stock.
Other enterprise Mac support sites receiving honorable mentions:
Mac OS X Hints
Make Mac Work
MacWindows.com
AFP548.com
While all of these sites can help companies manage their Mac environments, integrate with Windows and stay abreast of the latest Apple rumors, Tony Lin, manager of desktop services at TMP, says it's important to thoroughly test all community advice. In fact, Hubbard runs tests on a dedicated machine before rolling out anything to a production machine.
User communities shouldn't be the first place to look to solve Mac problems anyway, says Lin. "Our first actions, after performing our own troubleshooting steps, are still to contact the vendors and hope to get solutions from them," he says. "Taking advice or following instructions from the Internet forums is risky, as no one is accountable for what could happen."
Tom Kaneshige has been covering business and technology in Silicon Valley for two decades. As senior online writer at CIO.com, Tom covers Silicon Valley culture, BYOD and consumer tech in the enterprise.


GameXplain's Andre Segers joins Alex, Ben, and Colin this week for an episode dedicated entirely to Paper Mario: Color Splash. Andre and Colin's review copies are both in, so the four of us explore our experiences with the game and whether it's worth picking up when it comes out this Thursday. Andre thinks it's better than Sticker Star, whereas I think it's worse, so it's a great episode to check out if you're still on the fence about Color Splash. You can check out the episode below—or if you'd like to save it to listen later, you can check the latest episode out on iTunes, available now.
This week's outro music is a delightful arrangement of the Toad Town music from the original Paper Mario, performed by three wonderful YouTube musicians, Michelle Heafy, ThunderScott, and 8BitBrigadier.


text:
Astron (previously named Esmeralda and Bonnie) is a shipwreck located off the coast of Punta Cana in the Dominican Republic. She was a Russian-owned cargo ship built in France by Chantiers de l'Atlantique during 1957. She was  long, 27,990 gross tons, and was a motor ship.

Astron was delivering 60 tons of corn to Cuba on 7 April 1978, when she ran aground at Punta Cana during a storm. However, there is no hurricane or tropical storm listed during this date in the history of the Atlantic Hurricane season of 1978. This ship either hit a mine, was torpedoed, or intentionally scuttled, evidenced by the extensive ripped steel of the lower hull. She broke into two distinct sections with the bow above the water and the stern underwater, with 7,330 barrels of bunker fuel reported lost in the incident. The wreck is in water  deep, meaning it can be visited by scuba divers.

As of 2018 only a small portion remains above water.

References

External links
 Astron shipwreck

Cargo ships of Russia
1957 ships
Shipwrecks in the Atlantic Ocean
Transport disasters in the Dominican Republic
Ships built by Chantiers de l'Atlantique
Maritime incidents in 1978

redpajama_set_name: RedPajamaWikipedia