DOCSLIB.ORG

P38-39 Layout 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
P38-39 Layout 1 lifestyle WEDNESDAY, JANUARY 7, 2015 Music & Movies Bradley Cooper on ‘American Sniper,’ packing on 40 pounds and turning 40 ven if “American Sniper” missed out on Golden Globe nominations, of my favorite films, dealing with the psychology of that character. Jason Midnight Meat Train,” with Ryuhei Kitamura, and was very collaborative in it still emerged as one of the big winners of the holiday season. Hall came with me with this story. I saw it right away as a war movie but the editing room with him. Todd Phillips was like that too with “The EClint Eastwood’s drama about Navy SEAL Chris Kyle has grossed a told as a Western. But everything changed when Chris died and Steven Hangover.” By the time we got to “Limitless,” Ryan Kavanaugh at Relativity stellar $2.2 million since it opened in only four theaters on Christmas, and Spielberg came in and said, “We need to make this movie now.” That’s encouraged me to be part of it in the post-production process, and I the Warner Bros release expands on Jan 16. The Oscar lead actor race is when I fell in love with the guy. It was an incredible experience-the inves- became an executive producer. If a director is open to me helping him or especially overcrowded this year, but as ballots are due on Thursday, vot- tigative process of trying to get inside a human being’s mind and emo- her tell the story, I’ll be there as much as they want. I’m lucky that David ers should take a look-if they haven’t already-at Bradley Cooper’s career- tions. O. Russell enveloped me with both arms and made me his partner. And best performance. It’s a transformation that had Kyle’s widow, Taya, in Clint was the same way. tears the first time she saw the film, and she’s been talking about how Q: Did you and Clint Eastwood talk about framing it as a Western? Cooper captured her husband’s essence. In the last few weeks, many Cooper: Oh yeah. I constantly talked about “Unforgiven.” When Chris actors, including Ben Affleck, Jane Fonda, Julia Roberts and Jonah Hill, says to his son, “It’s a heck of a thing to stop a beating heart,” it was really have also been singing Cooper’s praises. right out of “Unforgiven,” when Will Munny says, “It’s a hell of a thing, To play Kyle, Cooper spent six months working out 4.5 hours a day, killing a man.” At the end of “Unforgiven,” when he goes down to get his but the role went beyond the physical. He practiced a Texas drawl with a friend Ned, there’s this storm outside. In terms of Chris’ last tour, we did dialect coach, learned how to shoot three military sniper rifles and spent this desert storm. He’s almost Will Munny 20 years prior to “Unforgiven.” time with Kyle’s family and friends, who gave him access to his emails and home videos. Cooper, who turns 40 on Monday, had a strong 2014. Q: How much time do you spend in the gym preparing for the He picked up a second consecutive Oscar nomination for “American role? Hustle,” performed the voice of Rocket Raccoon in “The Guardians of the Cooper: In the actual gym? Probably 4 hours a day. Galaxy” and is now on Broadway in “The Elephant Man.” He spoke to Variety over the weekend. Q: Was it similar to your workout for “The A-Team”? Cooper: That was totally different. That was cardiovascular and high Q: “American Sniper” is doing really well in only four theaters. Are reps for bodybuilding. This was weightlifting. There was no cardio. There you surprised by the film’s success? was no toning of muscles. It was just get strong. Bradley Cooper: I’m always surprised when things do well, because you can never bank on that. We were just hoping that awareness was Q: And when you see yourself onscreen? going to be enough for people to see it on Christmas. It was such a com- Cooper : My main thing, after each take, the only thing I would ask petitive market that day-with “Into the Woods,” “Unbroken” and “The anybody, “Hey man, am I too big?” When I watched the first cut of the Hobbit.” We were happy that people came out in droves for “American film, I was so monstrous, I thought any more pounds, it would have been Sniper.” And then the A-plus Cinemascore. I didn’t even know they had farcical. that. Q: Did you feel like you got it right as you were shooting? Q: Actors have been reaching out to you. Cooper: I knew it was working. I felt him. I felt like I had successfully Cooper: I’ve got to say that’s been the most amazing thing. I just entered the world of his, so I would be able to tell the story. If you do all heard from Ed Helms and Jonah Hill. I don’t know Ashton Kutcher that the research, you let yourself be open. I had hours and hours of home well, but he made the effort to contact me to say how he felt about the videos, and all of their email exchanges, and even his workout playlist. I Q: How did your career change after your first Oscar nomination Bradley Cooper work and the movie. I’ve never experienced anything like that. It really basically had a dossier on this man’s life. And I had his children, his par- for “Silver Linings Playbook”? does make me feel like we’re a community and we’re all invested in each ents, his wife and the people who knew him. It was a huge amount of Cooper: You could probably tell me more than I could. I can’t tell you other’s work. information to be digested. Once that all happened, and then I got to the how many times people came up to me after “Sniper,” and said, “Hey man, size, and I felt comfortable in his voice, or my voice as him, and I got com- I didn’t know you could act.” I can’t concern myself with that, or I’ll go Q: You recently screened “American Sniper” at Fort Hamilton mili- fortable with the three sniper rifles that he used, then it was like, “OK, let’s crazy. tary base. What was that like? tell the story.” Cooper: We showed it to veterans. A few years ago, I had the opportu- Q: You’re now starring in “Elephant Man” on Broadway. How do nity to take “Silver Linings Playbook” to Walter Reed (National Military Q: What did you learn from the emails? you feel about your career as you’re about to turn 40? Medical Center). Without us even realizing it, Pat Solatano was a charac- Cooper: Just how fiery their relationship was-how much love there Cooper: I’m the most fulfilled I’ve ever been artistically. Nathan Lane ter that many young males and women could relate to coming back from was, how much lust there was. And how much their relationship is relat- has got it all figured it out. This lifestyle of doing it, being able to show up war. It was a really impactful film at Walter Reed. That was probably the able. How I could relate to it, and I think anybody who could read them and tell a story to 740 strangers every day and sometimes twice a day, best experience I’d ever had showing that movie. could relate to it. It just humanized him in a huge way. and you have the rest of your day free. It’s ideal, and in New York, it’s And so, when we were making “Sniper,” I thought if I could make a absolute heaven. movie that people could relate to in this field, I imagined showing it at Q: Your first producing credit was on 2011’s “Limitless.” Why did Walter Reed, which we’re going to do on Jan 13. We are also going to take you decide to go down that path? Q: Will you do another Broadway play? it to San Antonio, a hospital there, with Chris’ father and brother. That’s Cooper: I started way before. It was when I was doing “Alias.” I used to Cooper: I have to finish this one first. And then I think we’re going to when you really get to experience storytelling and the impact that it get everybody’s dailies. They were video cassettes. I would get back to take it to London for three months this summer. I’ll spend half the year could have. my little apartment that I was renting, a bottom floor of this woman’s doing theater. house in West Hollywood, and I would watch them all day long, and then Q: There have been a handful of movies about the Iraq War, I would go into the editing room. I would only work three days a week, Q: Are you going to do a “Guardians of the Galaxy” sequel? including “The Hurt Locker.” Why did you sign on to produce Chris’ and I was from the East Coast, and I was going to shoot myself living in Cooper: Hell yeah, if they’ll have me. — Reuters story? LA I was just so fascinated by the process of making this show. I did that Cooper: I love the character study. Growing up, “Unforgiven” was one for a year, basically.
Load more

Recommended publications
  • First-Run Smoking Presentations in U.S. Movies 1999-2006
    First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
    [Show full text]
  • Issue 004 Real Steel
    ISSUE 004 REAL STEEL - NOISY BOY IN THIS SPECIAL DOUBLE-SIZED FOURTH ISSUE OF LOOKBOOK 3A, we take an extensive look at the fourth figure in our 1/6th scale Real Steel series - NOISY BOY. With each successive Real Steel release, 3A has pushed the boundaries for detail, articulation, paint application, electronics and engineering. NOISY BOY is the culmination of everything we’ve achieved with the previous Real Steel figure releases and embodies our most intricate and innovative features to date. NOISY BOY is a Japanese robot who fought Rubicon for the WRB belt in 2016. He had a WRB record of 15-1 (plus one loss to MIDAS as an illegal circuit fighter). His only WRB loss was to Rubicon in 2016 which was a close match up until the third round where Rubicon got lucky with an uppercut that knocked out NOISY BOY. His last fight was lost to MIDAS, at Crash Palace where Noisy lost his right arm and head. Noisy’s head was welded on the exit of Crash Palace. He has fought in Japan, London, and Brazil, and was created by Tak Mashido, the same bot designer who made ZEUS. REAL STEEL NOISY BOY PRE-SALE EVENT November 1st, 2013 9:00am Hong Kong Time bambalandstore.com REAL STEEL - NOISY BOY 1/6th Scale Collectible Figure - Includes Free International Shipping - Fully Articulated, Noisy Boy Stands Over 17 Inches (43.5cm) Tall - Incredibly Detailed and Articulated Endo Skeleton and Armor - Over 500 LED Lights Throughout The Figure (Eyes, Chest, Abdomen, Back, Arms, Thighs and Lower Legs) - Randomized Animated LED Sequence on Forearms Displaying Five Different Symbols - Realistic Rubberized Tread on Bottom of Feet - Metallic Style Paint Application on Outer Armor - Bambaland Exclusive Edition Includes Headset and Bot Controller 380USD *Design and colour may change on final shipping version BAMBALAND EXCLUSIVE 1/6th SCALE HEADSET AND BOT CONTROLLER 3A is an entertainment, publishing and toy company founded in 2008, by renowned toy designer Kim Fung Wong and internationally-acclaimed artist Ashley Wood.
    [Show full text]
  • Theaters 3 & 4 the Grand Lodge on Peak 7
    The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall
    [Show full text]
  • Dissecting the Sundance Curse: Exploring Discrepancies Between Film Reviews by Professional and Amateur Critics
    Dissecting the Sundance Curse by Lucas Buck — 27 Dissecting the Sundance Curse: Exploring Discrepancies Between Film Reviews by Professional and Amateur Critics Lucas Buck Cinema and Television Arts Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract There has been a growing discrepancy between professional-critic film reviews and audience-originating film reviews. In fact, these occurrences have become so routine, industry writers often reference a “Sundance Curse” – when a buzzy festival-circuit film bombs with the general public, commercially or critically. This study examines this inconsistency to determine which aspects of a film tend to draw the most attention from each respective type of critic. A qualitative content analysis of 20 individual reviews was conducted to determine which elements present in a film garnered the most attention from the reviewers, and whether that attention was positive, negative or neutral. This study indicates that audience film reviewers overwhelmingly focused on the “emotional response” gleaned from their movie-going experience above all other aspects of the film, whereas professional critics focused attention to more tangible – above-the-line contributions, such as direction, performances, and writing. I. Introduction As one of the most talked-about films of the 2018 Sundance Film Festival, theA24-released Hereditary became the breakout horror film of the year, opening in nearly 3,000 theaters and raking in $79 million while produced on just a $10 million production budget (Cusumano, 2018). Despite the obvious box office success, Hereditary’s word-of-mouth power seemed to have mostly been driven by glowing critical reviews, rather than by the opinion of audiences who paid to see the film.
    [Show full text]
  • Prohibiting Product Placement and the Use of Characters in Marketing to Children by Professor Angela J. Campbell Georgetown Univ
    PROHIBITING PRODUCT PLACEMENT AND THE USE OF CHARACTERS IN MARKETING TO CHILDREN BY PROFESSOR ANGELA J. CAMPBELL1 GEORGETOWN UNIVERSITY LAW CENTER (DRAFT September 7, 2005) 1 Professor Campbell thanks Natalie Smith for her excellent research assistance, Russell Sullivan for pointing out examples of product placements, and David Vladeck, Dale Kunkel, Jennifer Prime, and Marvin Ammori for their helpful suggestions. Introduction..................................................................................................................................... 3 I. Product Placements............................................................................................................. 4 A. The Practice of Product Placement......................................................................... 4 B. The Regulation of Product Placements................................................................. 11 II. Character Marketing......................................................................................................... 16 A. The Practice of Celebrity Spokes-Character Marketing ....................................... 17 B. The Regulation of Spokes-Character Marketing .................................................. 20 1. FCC Regulation of Host-Selling............................................................... 21 2. CARU Guidelines..................................................................................... 22 3. Federal Trade Commission....................................................................... 24
    [Show full text]
  • Conference Program
    Special ThankS for Your SupporT: Conference Chairs Scholarship Committee Treasurer Susan Leidy, Deputy Director, Currier Maria Cabrera, MA Scott Stevens, Executive Director Museum of Art Trudie Lamb Richmond, CT Museums of Old York Wendy Lull, President, Seacoast Science Secretary Center Conference Sponsors Pieter Roos, Executive Director Michelle Stahl, Executive Director, Directors and Trustees Dinner Newport Restoration Foundation Peterborough Historical Society Museum Search & Reference Opening Lunch Dessert Sponsor PAG Representatives Conference Program Selection Tru Vue, Inc Elaine Clements, Director Andover Historical Society Committee Newcomers Reception Kay Simpson, MA, Chair Tufts University Museum Studies Program Emmie Donadio, Chief Curator Maureen Ahern, NH Middlebury College Museum of Art Jennifer Dubé-Works, ME Welcome and Wake-up Coffee Sponsor Julie Edwards, VT Opportunity Resources, Inc. Ron Potvin, Assistant Director and Curator Emily Robertson, MA Supporting Sponsors John Nicholas Brown Center Douglas Stark, RI Andrew Penziner Productions LLC Kay Simpson, Director of Education and Anne von Stuelpnagel, CT Cherry Valley Group Institutional Advancement CultureCount Springfield Museums Local Committee Scholarship Sponsors At-large Representatives David Blackburn Gaylord Bros., Inc. Neil Gordon, CEO Gina Bowler John Nicholas Brown Center The Discovery Museums, MA Mal Cameron Laura B. Roberts Linda Carpenter University Products Diane Kopec, Independent Museum Professional James Coleman Connie Colom NEMA Staff Michelle Stahl, Executive Director Peterborough Historical Society Lisa Couturier Jane Coughlin Michael Creasey BJ Larson State Representatives Aurore Eaton Heather A. Riggs Connecticut Margaret Garneau Katheryn P. Viens Trudie Lamb Richmond, Director of Public Jeanne Gerulskis Programs A special thank you to Beverly Joyce, President Tom Haynes Mashantucket Pequot Museum Douglas Heuser of Design Solutions for her design of this year’s Beth McCarthy conference logo.
    [Show full text]
  • John Oliver, Burkean Frames, and the Performance of Public Intellect Gabriel Francis Nott Bates College, [email protected]
    Bates College SCARAB Honors Theses Capstone Projects 5-2017 Not a Laughing Matter: John Oliver, Burkean Frames, and the Performance of Public Intellect Gabriel Francis Nott Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Nott, Gabriel Francis, "Not a Laughing Matter: John Oliver, Burkean Frames, and the Performance of Public Intellect" (2017). Honors Theses. 198. http://scarab.bates.edu/honorstheses/198 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Nott 1 Not a Laughing Matter: John Oliver, Burkean Frames, and the Performance of Public Intellect An Honors Thesis Presented to The Faculty of the Department of Rhetoric Bates College In partial fulfilment of the requirements for the Degree of Bachelor of Arts By Gabriel Nott Lewiston, Maine March 24, 2017 Nott 2 Table of Contents Acknowledgements 3 “Our Main Story Tonight Is…”: Introducing John Oliver 4 The Men Behind the Desk: A History of the Political Comedy News Host 10 Watching the Watchers: A Review of Existing Literature 33 Burkean Frames: A Theoretical Foundation 43 Laughing and Learning: John Oliver’s Comic Performance of Public Intellect 63 John Oliver and the Performance of Public Intellect 65 John Oliver, the Comic Comic 70 Oliver vs. the Walking, Talking Brush Fire 78 Oliver’s Barrier 84 John Oliver and the News Media 86 “That’s Our Show”: John Oliver and the Future of Civic Discourse 89 Works Cited 92 Nott 3 Acknowledgements Though mine is the only name appearing on the cover page of this thesis, it would be folly on my part not to acknowledge that this work is the product of the efforts of many people other than myself, a fact for which I am endlessly grateful.
    [Show full text]
  • Nothing but the Truthiness: a History of Television News Parody and Its Entry Into the Journalistic Field Curt W
    Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication Summer 8-13-2013 Nothing But the Truthiness: A History of Television News Parody and its Entry into the Journalistic Field Curt W. Hersey Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Hersey, Curt W., "Nothing But the Truthiness: A History of Television News Parody and its Entry into the Journalistic Field." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_diss/46 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NOTHING BUT THE TRUTHINESS: A HISTORY OF TELEVISION NEWS PARODY AND ITS ENTRY INTO THE JOURNALISTIC FIELD by CURT HERSEY Under the Direction of Ted Friedman ABSTRACT The relationship between humor and politics has been a frequently discussed issue for communication researchers in the new millennium. The rise and success of shows like The Daily Show and The Colbert Report force a reevaluation of the relationship between journalism and politics. Through archival research of scripts, programs, and surrounding discourses this dissertation looks to the past and historicizes news parody as a distinct genre on American television. Since the 1960s several programs on network and cable parodied mainstream newscasts and newsmakers. More recent eXamples of this genre circulate within the same discursive field as traditional television news, thereby functioning both as news in their own right and as a corrective to traditional journalism grounded in practices of objectivity.
    [Show full text]
  • NEWS RELEASE Contact: Shawn Farley at 413-545-4159 Or at [email protected]
    NEWS RELEASE Contact: Shawn Farley at 413-545-4159 or at [email protected] FOR IMMEDIATE RELEASE: February 13, 2013 WHAT: UPRIGHT CITIZENS BRIGADE TOURING COMPANY RESCHEDULED WHEN: Friday, March 8 at 8 p.m. and 10 p.m. (rescheduled from Friday, February 8 that was postponed due to snow storm) WHERE: Bowker Auditorium University of Massachusetts Amherst TICKETS: General Admission: $20; Five College, GCC, STCC students and youth 17 and under are $10. Call 1-800-999-UMAS or 545-2511 for tickets or go online to http://www.fineartscenter.com/ IMAGES: To download images relating to this press release please go online to IMAGES: To download images relating to this press release please go online to https://fac.umass.edu/Online/PressRoom UPRIGHT CITIZENS BRIGADE BRINGS COMEDY IMPROV TO UMASS “Upright Citizens Brigade -- The CBGB of alternative comedy.” New York Magazine Let’s try this again. The Upright Citizens Brigade Touring Company that was originally scheduled to appear on Friday, February 8 th but had to be postponed due to the snow storm has been rescheduled for Friday March 8th for two shows at 8 p.m. and 10 p.m. Opening the 8 p.m. show will be UMass’ own Vocal Suspects, the premiere co- ed a cappella group. Opening the 10 p.m. show will be UMass’ Mission: Improvable. The Upright Citizens Brigade (UCB) Touring Company cast is hand-picked from the best improv comedians in the country -- a veritable "next wave" of comedy superstars from the theatre that produced Amy Poehler, Horatio Sanz, Ed Helms, UMass alum Rob Corddry, Rob Riggle, Paul Scheer & Rob Huebel and countless others.
    [Show full text]
  • REAL STEEL (PG-13) Ebert: Users: You: Rate This Movie Right Now
    movie reviews Reviews Great Movies Answer Man People Commentary Festivals Oscars Glossary One-Minute Reviews Letters Roger Ebert's Journal Scanners Store News Sports Business Entertainment Classifieds Columnists search REAL STEEL (PG-13) Ebert: Users: You: Rate this movie right now GO Search powered by YAHOO! register You are not logged in. Log in » Subscribe to weekly newsletter » times & tickets in theaters Fandango Search movie more current releases » showtimes and buy Real Steel tickets. one-minute movie reviews BY ROGER EBERT / October 5, 2011 about us "Real Steel" imagines a still playing near future when human cast & credits About the site » boxers have been replaced Dolphin Tale by robots. Well, why not? Amigo Site FAQs » Matches between small Charlie Kenton Hugh Jackman Bellflower fighting robot machines are Max Dakota Goyo The Big Year Contact us » popular enough to be on Bailey Evangeline Lilly Blackthorn Brighton Rock television, but in "Real Finn Anthony Mackie Email the Movie Steel," these robots are The Change-Up Ricky Kevin Durand Chasing Madoff Answer Man » towering, computer- Deborah Hope Davis Circumstance controlled machines with Marvin James Rebhorn Conan the Barbarian nimble footwork and Contagion on sale now instinctive balance. (In the DreamWorks presents a film The Debt real world, 'bots can be directed by Shawn Levy. Written by Detective Dee and the Mystery of the Phantom Flame rendered helpless on their The Devil's Double John Gatins, based in part on the backs, like turtles.) It also Don't Be Afraid of the Dark must be said that in color short story “Steel” by Richard Drive and design, the robots of Matheson.
    [Show full text]
  • Hartford Public Library DVD Title List
    Hartford Public Library DVD Title List # 20 Wild Westerns: Marshals & Gunman 2 Days in the Valley (2 Discs) 2 Family Movies: Family Time: Adventures 24 Season 1 (7 Discs) of Gallant Bess & The Pied Piper of 24 Season 2 (7 Discs) Hamelin 24 Season 3 (7 Discs) 3:10 to Yuma 24 Season 4 (7 Discs) 30 Minutes or Less 24 Season 5 (7 Discs) 300 24 Season 6 (7 Discs) 3-Way 24 Season 7 (6 Discs) 4 Cult Horror Movies (2 Discs) 24 Season 8 (6 Discs) 4 Film Favorites: The Matrix Collection- 24: Redemption 2 Discs (4 Discs) 27 Dresses 4 Movies With Soul 40 Year Old Virgin, The 400 Years of the Telescope 50 Icons of Comedy 5 Action Movies 150 Cartoon Classics (4 Discs) 5 Great Movies Rated G 1917 5th Wave, The 1961 U.S. Figure Skating Championships 6 Family Movies (2 Discs) 8 Family Movies (2 Discs) A 8 Mile A.I. Artificial Intelligence (2 Discs) 10 Bible Stories for the Whole Family A.R.C.H.I.E. 10 Minute Solution: Pilates Abandon 10 Movie Adventure Pack (2 Discs) Abduction 10,000 BC About Schmidt 102 Minutes That Changed America Abraham Lincoln Vampire Hunter 10th Kingdom, The (3 Discs) Absolute Power 11:14 Accountant, The 12 Angry Men Act of Valor 12 Years a Slave Action Films (2 Discs) 13 Ghosts of Scooby-Doo, The: The Action Pack Volume 6 complete series (2 Discs) Addams Family, The 13 Hours Adventure of Sherlock Holmes’ Smarter 13 Towns of Huron County, The: A 150 Year Brother, The Heritage Adventures in Babysitting 16 Blocks Adventures in Zambezia 17th Annual Lane Automotive Car Show Adventures of Dally & Spanky 2005 Adventures of Elmo in Grouchland, The 20 Movie Star Films Adventures of Huck Finn, The Hartford Public Library DVD Title List Adventures of Ichabod and Mr.
    [Show full text]
  • Factualwritingfinal.Pdf
    Introduction to Disney There is a long history behind Disney and many surprising facts that not many people know. Over the years Disney has evolved as a company and their films evolved with them, there are many reasons for this. So why and how has Disney changed? I have researched into Disney from the beginning to see how the company started and how they got their ideas. This all lead up to what happened in the company including the involvement of pixar, and how the Disney films changed in regards to the content and the reception. Now with the relevant facts you can make up your own mind about when Disney was at their best. Walt Disney Studios was founded in 1923 by brothers Walt Disney and Roy O. Disney. Originally Disney was called ‘Disney Brothers cartoon studio’ that produced a series of short animated films called the Alice Comedies. The first Alice Comedy was a ten minute reel called Alice’s Wonderland. In 1926 the company name was changed to the Walt Disney Studio. Disney then developed a cartoon series with the character Oswald the Lucky Rabbit this was distributed by Winkler Pictures, therefore Disney didn’t make a lot of money. Winkler’s Husband took over the company in 1928 and Disney ended up losing the contract of Oswald. He was unsuccessful in trying to take over Disney so instead started his own animation studio called Snappy Comedies, and hired away four of Disney’s primary animators to do this. Disney planned to get back on track by coming up with the idea of a mouse character which he originally named Mortimer but when Lillian (Disney’s wife) disliked the name, the mouse was renamed Mickey Mouse.
    [Show full text]