Peter Cushing : a Life in Film Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Peter Cushing : a Life in Film Pdf, Epub, Ebook PETER CUSHING : A LIFE IN FILM PDF, EPUB, EBOOK David Miller | 200 pages | 19 Apr 2013 | Titan Books Ltd | 9781781162743 | English | London, United Kingdom Peter Cushing : A Life in Film PDF Book Cushing arrived in America in early , where his beautiful speaking voice and extravagantly high cheekbones got him small parts in "The Man in the Iron Mask" and Laurel and Hardy's "A Chump at Oxford. And some of it struck him as, well, a little silly. Why does he think and hope so? Acting, again, is the art of presence. How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? Alexi Sargeant is a theater director and culture critic who writes from New York. A mummy again endued with animation could not be so hideous as that wretch. News of the World Brian Tallerico. My own childhood memories of Cushing recall his intense and frighteningly morbid version of Dr. Still, although he was at the top of his form in the Hammer horrors — able to reel off pages of dialogue while busily moving about an overdressed Victorian set, all in a single take - the films typecast him more than most. A rush to protect the dignity of one beloved actress in the immediate aftermath of her death does little to suggest a general turn against digital resurrection. He feels that morality and ethics are the concerns of those without the wherewithal and brains to build secret laboratories to practice reanimating life in. Strikes me as the height of preciousness. She is a technologist, she explained. CGI masks collapse the original actor into the role, making their successors not actors but imitators. But the blockbuster introduced him to a new generation of fans. So his appearance ripped me out of the film as my brain ran down a path screaming of hows and wtf. Use the sections below to order. Outside the Wire Glenn Kenny. Peter Cushing brought his face, and with it his gentlemanly demeanor and his chops as a veteran of genre film. Henry had a different task, and one he seems to have found nerve-racking: mimicking the deceased Cushing as closely as humanly possible. Makers of film and television find ways to respond to the death of an actor, from recasting a role without comment like Dumbledore in the Harry Potter films to making the changeover of lead actors a central motif of a series the Doctor in Doctor Wh o. Naturally, they look to applications beyond entertainment, such as therapeutic post-mortem encounters. Is it responsible to perfect and popularize this technology? Today, cable's Horror Channel is running a birthday marathon; several of his films including a rare, uncensored "Horror of Dracula" are now on BluRay. In between, though, Cushing made sure to play the beloved Dr. He coldly presided over the construction of the Death Star, commanded an underwater army of Nazi zombies and scooped brains out of skulls like so many two-minute eggs. By continuing to use the site you are agreeing to our use of cookies. It was fun and colorful, yet never campy. Is it for the sake of actors like him, asked to put on cumbersome headpieces and burdensome personae? A few recent instances are hard to fault. Peter Cushing : A Life in Film Writer Greg rated it really liked it Nov 16, If we concede that the human body has some sort of dignity, such that it is not appropriate, even in death, to treat it like any other piece of meat, then that dignity does not reside only in the matter or only in the form. And there are no heroes or villains in this story. This book was so full of detail it was hard to read. Digital resurrection raises broader questions than simply whether this or that CGI revenant was respectful to the dead and artistically effective. Jeff rated it liked it Mar 25, I have been kind of fascinated by Peter Cushing for years though I was never into the Hammer films. Michael Fleming. There are no discussion topics on this book yet. Discover Ebooks Deals in Every Genre. Rest of the World Surface. Before nuances like this were accounted for, Mr. How will it affect audiences to know that the actor himself, the human face and body we identify with, is a piece of cinematic illusion? Donald Richie. Jul 09, Kristen rated it it was amazing Shelves: read-in Details if other :. Paul rated it it was amazing Oct 20, Librarian Note: There is more than one author in the GoodReads database with this name. There are less philosophical and more practical reasons to shun the normalization of CGI technology. Sign in to access subscriber-only content and to manage your account. Related Articles. The latter cannot consent. Author David Miller has written a definitive guide to the stage and screen career of a legendary star, drawing upon conversations with Cushing's friends and colleagues, archive material held by the BBC and Hammer Film Productions, and previously unpublished correspondence with Cushing himself. The ghost of Cushing we see summoned in Rogue One is missing that human element. Surface mail takes up to 6 weeks currently possibly longer but this cost has remained the same. In those cases, the ethics would involve the consent of the actor — and the art involves an element of expense that such modest films are unlikely to be able to incur. Fans of the Fast and the Furious franchise found the send-off for Walker touching. Bambi vs. Peter Cushing : A Life in Film Reviews But these signs are quite faint. There are less philosophical and more practical reasons to shun the normalization of CGI technology. Inspired by Your Browsing History. Grand Moff Tarkin appears throughout Rogue One , to outward appearances as if the Peter Cushing of had agreed to step through time for this film. Hickel said. David Thomson. Readers also enjoyed. In a world of serial storytelling, characters commonly outlive the actors who play them. Many people, in the midst of grief, wish for the closure of one last conversation with their departed loved one. A rush to protect the dignity of one beloved actress in the immediate aftermath of her death does little to suggest a general turn against digital resurrection. But Mr. This is a character that is very important to telling this kind of story. And remember: We will meet again when the time is right. So a real actor was on set, performing, and then they were overlayed with the original actors. Fake news purveyors are not the only ones being done a favor by this new development. There are some reasons for hope. The below video is a visit to ILM headquarters where the team behind the special effects explained exactly how they achieved the recreations of both Tarkin and a young Princess Leia. He simply gave performances you never forgot. Once again, Cushing put a new twist on the character, turning Van Helsing from an avuncular Dutch doctor into a bit of a swashbuckler. Guy Henry, the actor whose face was replaced by the digital Cushing mask, has expressed something akin to this unease. Details if other :. Dec 11, Dawn Livingston rated it it was amazing Shelves: worth-reading-but-not-owning. Looking for More Great Reads? Related Articles. Jul 20, Barry Hammond rated it really liked it. Join us as we celebrate his centenary with this unique pictorial book packed with Cushing memorabilia that showcases his private and professional life: Watercolor paintings Sketches Bird drawings Tudor Tea Room Profiles Costume designs Humorous cartoons drawn for his wife Painted scarf and jewelry designs Model theatre sets Letters Annotated script pages Notations for photographs written by Peter Cushing Candid photographs Material from the estate of Roy Ward Baker Film props Alternate script for Captain Clegg Rare material from two unfilmed Hammer projects to have starred Cushing; Kali — Devil Bride of Dracula and The Savage Jackboot. Brooke rated it liked it Feb 11, Knoll described was a scene with Cushing and Ms. I mean, people should work on that. He has fought the good fight and finished the race. Support our work. For casual fans like me I was jolly well overwhelmed by so many dry facts like when shooting for a film started and ended, how much Peter Cush Well, let's see -- on the one hand we have here a thorough look at the late, great Peter Cushing's career on stage as well as on screen. Here, I was me pretending to be Peter Cushing pretending to be Tarkin. Showing Thanks for telling us about the problem. After reading this book, my appreciation for Cushing as an actor has increased, and more than that I admire him as a person as well as an actor. But it should give us caution as we approach ethical edge cases. Join us as we celebrate his centenary with this unique pictorial book packed with Cushing memorabilia that showcases his private and professional life:. Peter Cushing : A Life in Film Read Online We are experiencing technical difficulties. We are backed not by any Bezos, Jobs, or media conglomerate, but directly by readers who have found an alternative in us. Guy Henry wore the mask of Grand Moff Tarkin; puppets and masks were used to give life to characters in the first three films. Makers of film and television find ways to respond to the death of an actor, from recasting a role without comment like Dumbledore in the Harry Potter films to making the changeover of lead actors a central motif of a series the Doctor in Doctor Wh o.
Recommended publications
  • CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
    CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
    [Show full text]
  • TPTV Schedule Dec 10Th - 16Th 2018
    TPTV Schedule Dec 10th - 16th 2018 DATE TIME PROGRAMME SYNOPSIS Mon 10 6:00 The Case of 1949. Drama. Made at Merton Park Studios, based on a true story, Dec 18 Charles Peace directed by Norman Lee. The film recounts the exploits through the trial of Charles Peace. Starring Michael Martin-Harvey. Mon 10 7:45 Stagecoach West A Place of Still Waters. Western with Wayne Rogers & Robert Bray, who Dec 18 run a stagecoach line in the Old West where they come across a wide variety of killers, robbers and ladies in distress. Mon 10 8:45 Glad Tidings 1953. Drama. Colonel's adult children object to him marrying an Dec 18 American widow. Starring Barbara Kelly and Raymond Huntley. Mon 10 10:05 Sleeping Car To 1948. Drama. Director: John Paddy Carstairs. Stars Jean Kent, Bonar Dec 18 Trieste Colleano, Albert Lieven & David Tomlinson. Agents break into an embassy in Paris to steal a diary filled with political secrets. Mon 10 11:55 Hell in the Pacific 1968. Adventure. Directed by John Boorman and starring Lee Marvin Dec 18 and Toshiro Mifune. During World War II, an American pilot and a Japanese navy captain are deserted on an island in the Pacific Ocean Mon 10 14:00 A Family At War 1971. Clash By Night. Created by John Finch. Stars John McKelvey & Dec 18 Keith Drinkel. A still-blind Phillip encounters an old enemy who once shot one of his comrades in the Spanish Civil War. (S2, E16) Mon 10 15:00 Windom's Way 1957. Drama. Directed by Ronald Neame.
    [Show full text]
  • 1 Ken Clarke
    KEN CLARKE - MY PROFESSIONAL AUTOBIOGRAPHY When I left junior school at the age of twelve my plastering career started at the well known building Arts & Craft Secondary School, ‘Christopher Wren’, and from this early age I was particularly interested in fibrous plastering. It was a known fact that, of a class of 16, two of the pupils, after four years of schooling, would start their training at a major film studio. I passed my GCE in Building Craft, Paintwork and Plasterwork (copy 1 attached) and was one of the lucky two to be chosen to start training at Shepperton Studios. This was my first achievement (copy 2 – letter of engagement, 9 June 1964, attached). I started Shepperton Studios in the plastering Dept on 22 June 1964 under conditions of a six-month probationary period and a further 4 and half years. During this five-year apprenticeship, I was to do through the block release system, eight weeks at work and two weeks at Art & Craft College ‘Lime Grove’. At the end of five years I was awarded my basic and final City and Guilds in plastering (basic June 1966 and final June 1968 – copies 3 and 4 attached). This was a big achievement for any young man – for me; it was the beginning of a big career. After my five years I was presented with one of the very last certificates of apprenticeship offered by the ‘Film Industry Training Apprenticeship Council’. Thus, my apprenticeship came to an end. (Letter of thanks and delivery of my deeds and certificate 1 June 1969.
    [Show full text]
  • New Bfi Filmography Reveals Complete Story of Uk Film
    NEW BFI FILMOGRAPHY REVEALS COMPLETE STORY OF UK FILM 1911 – 2017 filmography.bfi.org.uk | #BFIFilmography • New findings about women in UK feature film – percentage of women cast unchanged in over 100 years and less than 1% of films identified as having a majority female crew • Queen Victoria, Sherlock Holmes and James Bond most featured characters • Judi Dench is now the most prolific working female actor with the release of Victoria and Abdul this month • Michael Caine is the most prolific working actor • Kate Dickie revealed as the most credited female film actor of the current decade followed by Jodie Whittaker, the first female Doctor Who • Jim Broadbent is the most credited actor of the current decade • Brits make more films about war than sex, and more about Europe than Great Britain • MAN is the most common word in film titles • Gurinder Chadha and Sally Potter are the most prolific working female film directors and Ken Loach is the most prolific male London, Wednesday 20 September 2017 – Today the BFI launched the BFI Filmography, the world’s first complete and accurate living record of UK cinema that means everyone – from film fans and industry professionals to researchers and students – can now search and explore British film history, for free. A treasure trove of new information, the BFI Filmography is an ever-expanding record that draws on credits from over 10,000 films, from the first UK film released in cinemas in 1911 through to present day, and charts the 250,000 cast and crew behind them. There are 130 genres within the BFI Filmography, the largest of which is Drama with 3,710 films.
    [Show full text]
  • Bringing the Dead Back to Life: Preparing the Estate for a Post-Mortem Acting Role
    BRINGING THE DEAD BACK TO LIFE: PREPARING THE ESTATE FOR A POST-MORTEM ACTING ROLE by Ben Laney* I. INTRODUCTION ................................................................................... 350 II. HOW TO BRING THE DEAD BACK TO LIFE .......................................... 352 A. Proactive Recreation ................................................................... 352 B. Retroactive Recreation ................................................................. 354 C. Retroactive Recreation for Completely New Roles ...................... 355 1. Peter Cushing — Rogue One ................................................. 356 2. Tupac Shakur — Coachella 2012 .......................................... 357 3. Other Examples ..................................................................... 358 D. The Challenges of Bringing the Dead Back to Life ...................... 358 1. Legal Issues ........................................................................... 359 2. Artistic Issues ........................................................................ 359 III. A SYNERGY — DIGITAL IMMORTALITY COUPLED WITH LEGAL IMMORTALITY ..................................................................................... 360 A. The Right to Publicity .................................................................. 360 B. Character Versus Actor ............................................................... 362 C. The Commercial Use of a Likeness of a Dead Actor ................... 365 1. State-Based Post-mortem Rights to Publicity .......................
    [Show full text]
  • Laurence Olivier in Hamlet (1949)
    1 Laurence Olivier in Hamlet (1949) In the late 1930s and early 1940s, when Samuel Goldwyn, MGM, and David Selznick were wooing him, Laurence Olivier chose not to become a movie star “like dear Cary.” After playing Heathcliff in Wuthering Heights (1939), Darcy in Pride and Prejudice (1940), and Maxim Dewinter in Rebecca (1940), he appeared in Hollywood pictures sparingly and tried to avoid a fixed persona. He nevertheless became the symbol of what midcentury America thought of as a distinguished actor, and was the most successful English theatrical type in the movies. He wasn’t romantically flamboyant (Orson Welles was closer to that), he wasn’t a naturalist like the students of the Method, he wasn’t a Brechtian, and he wasn’t the sort of movie actor who plays variations on a single character. He belonged instead to a school of disciplined, tastefully romantic verisimilitude, and within that school was a master. He was also the best-known Shakespearian in films. Olivier often said that his favorite movie role was the working-class comedian Archie Rice in The Entertainer (1960), but his performances in the Shakespeare films that he directed are more representative of his skills and more significant in film history. Based on canonical texts with a long performance history, they foreground his stylistic choices 2 and make his influences relatively easy to identify. His version of Hamlet (1949), for example, seems to derive pretty equally from the English romantics, Sigmund Freud, and William Wyler. These sources are not so eclectic as they might appear. Romantic-realist ideas of narrative shaped nearly all feature films of the period; Wyler had been the director of Wuthering Heights and at one point was scheduled to direct Olivier’s production of Henry V; and Olivier’s conceptions of character and performance are similar to the ones that shaped Hollywood in the 1940s, when Freud was in vogue.
    [Show full text]
  • Lindsay Posner
    Lindsay Posner Agent Katie Haines ([email protected] Director: Theatre, Television, Radio and Opera Theatre COMMUNICATING DOORS (Menier Chocolate Factory) 2015 By Alan Ayckbourne HAYFEVER (Theatre Royal Bath/West End) 2015 By Noël Coward Starring Felicity Kendal & Simon Shepherd SPEED THE PLOW (Theatre Royal Bath, West End) By David Mamet Starring Lindsay Lohan OTHER DESERT CITIES (Old Vic Theatre) By Jon Robin Baitz THE WINSLOW BOY (Roundabout Theatre, New York; Old Vic Theatre) By Terrence Rattigan A LITTLE HOTEL ON THE SIDE (Theatre Royal Bath) By Georges Feydeau, adapted by John Mortimer THE TURN OF THE SCREW (ACT Productions & Hammer Theatre of Horror; Almeida Theatre) By Henry James, Adapted by Rebecca Lenkiewicz UNCLE VANYA (Vaudeville Theatre; Stanhope Productions) By Anton Chekov, a version by Christopher Hampton Starring Ken Stott, Anna Friel and Samuel West RELATIVELY SPEAKING (Bath Theatre Royal) By Alan Aykbourn With Felicity Kendall RICHARD III (The Old Globe Theatre, San Diego) By William Shakespeare ABIGAIL'S PARTY (Menier Chocolate Factory / Bath Theatre Royal & West End) By Mike Leigh NOISES OFF (The Old Vic Theatre & West End) By Michael Frayn With Celia Imrie & Janie Dee BUTLEY (The Duchess Theatre; Mark Rubinstein Ltd) By Simon Gray With Dominic West & Paul McGann AN IDEAL HUSBAND (The Vaudeville Theatre; Stanhope Productions Ltd) by Oscar Wilde HOUSE OF GAMES (Almeida Theatre) Adapted by Richard Bean from the screenplay by David Mamet A VIEW FROM THE BRIDGE (Duke of York’s Theatre) By Arthur Miller With Ken
    [Show full text]
  • Players of Shakespeare 
    POSA01 08/11/1998 10:09 AM Page i Players of Shakespeare This is the fourth volume of essays by actors with the Royal Shake- speare Company. Twelve actors describe the Shakespearian roles they played in productions between and . The contrib- utors are Christopher Luscombe, David Tennant, Michael Siberry, Richard McCabe, David Troughton, Susan Brown, Paul Jesson, Jane Lapotaire, Philip Voss, Julian Glover, John Nettles, and Derek Jacobi. The plays covered include The Merchant of Venice, Love’s Labour’s Lost, The Taming of the Shrew, The Winter’s Tale, Romeo and Juliet, and Macbeth, among others. The essays divide equally among comedies, histories and tragedies, with emphasis among the comed- ies on those notoriously difficult ‘clown’ roles. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages. POSA01 08/11/1998 10:09 AM Page ii POSA01 08/11/1998 10:09 AM Page iii Players of Shakespeare Further essays in Shakespearian performance by players with the Royal Shakespeare Company Edited by Robert Smallwood POSA01 08/11/1998 10:09 AM Page iv The Pitt Building, Trumpington Street, Cambridge , United Kingdom The Edinburgh Building, Cambridge , United Kingdom West th Street, New York, –, USA Stamford Road, Oakleigh, Melbourne , Australia © Cambridge University Press, This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeset in ./pt Plantin Regular A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Players of Shakespeare : further essays in Shakespearian performance /by players with the Royal Shakespeare Company; edited by Robert Smallwood.
    [Show full text]
  • For More Than Seventy Years the Horror Film Has
    WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.
    [Show full text]
  • Derek Johnston "... and the BBC Created Hammer"
    Derek Johnston "... And the BBC Created Hammer": Examining the Interdependence of Public Service Broadcaster and Exploitation Film-maker Paper Given at the ‘Keep Calm and Carry On’ Study Day, University of East Anglia, 17 February 2010 The connection between the BBC and the Hammer film company is not often commented on beyond the passing association with each of the films which Hammer adapted individually from BBC properties. Yet the number of such properties as a whole and the importance of their position within the development of Hammer as a company has received less attention. This paper will investigate the way that Hammer's films based on BBC radio properties helped the company to establish itself as a successful British exploitation film-maker, while the adaptations of the Quatermass television serials led to the establishment of the Hammer identity as a British horror film producer. The paper will also examine the BBC attitude towards Hammer, as revealed through files at the BBC Written Archives Centre, which expose some of the tensions of the differing corporate identities. However, I will argue that it was these very tensions which were at the heart of the success of these properties in both media, and that the differing approaches to the material taken by the BBC and Hammer are suggestive of differing aspects of British post-War cultural identity. The monopoly BBC Television Service has acquired something of an image of being a high-minded, socially-concerned body, governed by Reith's principle that the BBC should 'inform, educate and entertain', presumably in that order.
    [Show full text]
  • Pinewood Studios Freelancer
    Anthony Waye – Film credits Pinewood Studios Started in Mail room at Pinewood Studios 5th July 1954 - £38.3 per week Rank Organisation – 3rd assistant on Sink the Bismarc, Singer not the Song, North West Frontier. 1st assistant on Twice round the Daffodils, Dr at Sea, Carry on Jack, Wild and the Willing, Life for Ruth, On the Beat. Made redundant from Pinewood 27th March 1964 Freelancer Kings Story -9 July 1964 – Harry Booth – Oscar nominated I’ve Gotta Horse 26 Aug 64– Ken Hume – Billy Fury, Amanda Barry Be my Guest - 9 Nov 64 – Lance Comfort The Skull - 15 Dec 64– Freddie Francis – Peter Cushing, Jill Bennett. Dr Who & the Daleks - 8 Feb 1965 – Gordon Flemyng- Peter Cushing, Roy Castle. Early Bird - 26 Apr 65 – Bob Asher – Norman Wisdom *The Treasure of St Trinians - 29 Sept 65 The Deadly Bees - 17 Nov 65 – Freddie Francis Daleks Invade Earth – 24 Jan 1966 - Gordon Flemyng – Peter Cushing, Bernie Cribbens. Marat Sade - 22 Apr 1966 – Peter Brooks – Patrick Mcgee, Glenda Jackson The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade *Day of the Champion 26 May 66 Sumuru – Fu Man Chu - 2 Jul 66 – Jeremy Saunders – Christopher Lee, Douglas Wilmer Five Golden Dragons – 13 Jan 1967- J Saunders – Bob Cummings, Rupert Davies, Brian Donleavy, Dan Duryea, George Raft – A Peter Snell film Attack on the Iron Coast - 17 Mar 67 – Paul Wendkoss – Lloyd Bridges, Sue Lloyd Submarine X1 - William Graham – James Caan * Decline & Fall - 26 Oct Where Eagles Dare 8 Dec 67 – Yakima Canutt – Richard Burton, Clint Eastwood, Mary Ure Mosquito Squadron - 6 May 1968 – Boris Sagal – David Mc Callum Hell Boats -25 Jul 68 – Paul Wendkoss – James Franciscus The Wrong Mountain 28 Dec 68 The Last Grenade - 14 Mar1969 – Gordon Flemyng – Stanley Baker, Richard Attenborough, Honor Blackman.
    [Show full text]
  • H&D Changes Rule, Allows Backpacks
    *) the Rice Thresher Vol. XC1I, Issue No. 5 SINCE 1916 Friday, September 17, 2004 »> H&D changes rule, allows backpacks •> by Risa Gordon "We did n't even go to I H&D I with THRESHER EDITORIAL STAFF a formal complaint yet," Matthews, a Will Rice College senior, said. "I In a reversal of a recent policy think ... they realized it's just a big change, Housing and Dining will inconvenience that isn't even a real again allow backpacks in the serv- deterrent from stealing." r eries. Residential Dining Manager Another change beinginstituted is Angela Riggs said the change was that students who have lost or forgot- made in the interest of security. ten their ID cards will be able to eat if "We don't want anything to they present an alternate picture ID. happen to your backpacks, and we Each college coordinator will provide started thinking about laptops in your a list of the students on meal plans to backpacks and your books and your the college's servery, and students money," Riggs said. "We would prefer will be required to give their student you had them with you." ID numbers and show a picture II), The backpack prohibition was such as a driver license, in order to instituted this semester following eat. However, Riggs said this option a food purchasing budget shortfall is not meant to be a replacement for of $172,000 in 2003-'04. The rule ID cards. was part of an effort to discourage "This isn't something they're students fr<>m taking large quantities going to be able to do all the time," ') of food from the serveries.
    [Show full text]