Arts & Entertainment

Total Page:16

File Type:pdf, Size:1020Kb

Arts & Entertainment THE PIONEER Thursday, November 11, 2010 7 Arts & Entertainment Pixar’s Life and Legacy A painting of “Ratatouille” hangs in the Oakland Museum, which is displaying a large Pixar exhibit. ROBERT KONDO/ DISNEY / PIXAR By Carole Reynolds and been charmed by, a Pixar This significantly enhanced Metro Editor character would find this walk- presentation of the exhibition through tour of behind-the- came home to Oakland after a The destination was the Oak- scenes artistry disarming. It had world tour that began at New land Museum of California, the effect of looking through the York’s Museum of Modern Art in (OMCA) and of the myriad rea- childhood photo album of some- 2005, and includes an updated sons to visit, “Pixar: 25 Years of one you know well, but didn’t version of Pixar’s Artscape. Animation” was high on the list. know as a child, and getting to The Artscape, a widescreen There could be no more fit- see all their odd relatives for the tour of animation, immersed ting a place for this OMCA/Pix- first time. the audience into the animated ar partnership than here. Pixar Sulley, one of the characters world, and allowed them to trav- is headquartered a few miles from “Monsters, Inc.,” for ex- el into and through what had, away, in Emeryville. ample, was shown in paintings just seconds before, been a still Renowned for producing the identical to each other as far as drawing or painting of project- first-ever completely computer- ed Pixar art that seemed to be animated feature film, 1995’s hanging on the wall. “Toy Story,” Pixar and OMCA It was most fascinating to combined their efforts to re- see a wall full of eyes come mind, or perhaps inform the to life because one set of eyes Xtigone premieres this Friday. public that the pencil-to-pixel shifted a tiny bit. transition is not a simple one. “We’re thrilled to see this ALDRIN BULAYO / THE PIONEER “When I was reading about greatly enhanced version of CGI [computer generated imag- the exhibition come to the ing], I always figured someone newly reopened Oakland Mu- was cheating, but this has been seum of California, our home- an eye-opener for me,” said an town museum and practically unidentified visitor to his fe- a neighbor,” said Lasseter. male companion in the Pixar “Most people don’t realize display. that many Pixar artists work “Xtigone” A Modern “They have real ‘people-pro- in traditional media— draw- duced’ art here,” he added. ing, painting, pastels, and He, like many people, as- BUD LUCKEY / DISNEY / PIXAR sculpture—as well as in digi- Twist on A Classic Tragedy sumed that CGI meant tech- tal media,” he said. nology from start to finish. “One thing to keep front and This exhibition was designed center is the fact that this exhi- to celebrate the many artists bition is all about the art behind uuFrom Xtigone , Page 1 who worked in traditional me- expression and pose, but each the animation, which is why it is with the Shakespeare company dia, from pencils and pastels Sulley— displayed in different a museum show,” said Kelly A. over the next twelve months, to paint and sculpture to create colors and patterns—was like Koski, OMCA communication ever-present violence is a domi- hoping that “Xtigone” will be the characters that enchanted seeing his strange uncles on the manager. nating force, “Xtigone” shows seen by the masses. audiences the world over. golf course in funny clothes. “The Bay Area has emerged as how such struggles can dictate This moving, emotional story “This artwork plays a particu- Front and rear views also re- the global center for animation a life. The acting in “Xtigone” is an open expression of what larly important role in the pro- vealed that the artists toyed with today, making OMCA an ideal is passionate, emotional and violence does to a community. cess of concept design, story the idea of a hairless or perhaps venue for this comprehensive intense, which captures the in- “Xtigone” honors the friends, and character development,” scaly Sulley. exhibition of Pixar’s achieve- tended atmosphere perfectly. families and especially mothers said John Lasseter, Chief Cre- Unlike many museums, OMCA ments,” said Lori Fogarty, OMCA “Xtigone’s” journey doesn’t of those who have been lost to ative Officer at Pixar and Disney did not have “stuff” on display Executive Director. end at CSUEB, as it will resume the streets. “Xtigone” will run Animation Studios. against a white wall. The walls “This museum’s mission is in San Francisco next year. Jones Nov. 12-13 adn 19-20 at 8 p.m. “OMCA celebrates the breadth were in warm rich tones that to connect communities to the will continue to direct and work and Nov. 21 at 2 p.m. of California creativity trough pleased the eye, calmed the spir- natural and cultural heritage of its collections and it is wonder- it and gave a sense of welcome California, and we believe that ful to revisit the craftsmanship to the visitor. Pixar is, in many ways, a quint- of Pixar artists in this context,” Additionally, the information essential California enterprise,” he added. panels were directly on the wall Fogarty added. Anyone who has ever seen, in a matte finish, and not housed “Not only does Pixar carry in reflective rectangles of Plexi- on the extraordinary legacy of glas. They were easy to read, and animation in California—and were written in English, Spanish particularly the pioneering and Chinese. creativity of the Walt Disney Certainly one of the highlights Studios—but it represents the of the Pixar exhibit was the hyp- dynamic marriage of art and notic 3-D Toy Story zoetrope. technology that is a hallmark of This was incredible and very California innovation,” she said. difficult to describe. A series of figures, characters from the movie, were arranged WEDNESDAY NITE PUB TRIVIA (Sign Up at 7:15pm) in slightly varied poses on a Bring your Team large disc. When the disc be- gan to spin at a high rate of 1st Place: $20 Pub Credit speed, a strobe light came on, 2nd Place: $10 Pub Credit and the magic of animation 3rd Place: Go home and study! happened right in front of the delighted audience, with rows (510) 300- 3388 of identical figures endlessly www.Buddysbitesandbrews.com performing identical motions. 24297 Hesperian Blvd. Hayward, CA 94545 BOB PAULEY / DISNEY / PIXAR.
Recommended publications
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Rather Than Imposing Thematic Unity Or Predefining a Common Theoretical
    „No Story Comes from Nowhere‟, or, the Dentist from Finding Nemo: Ambivalent Originality in Four Contemporary Works Jens Fredslund, University of Aarhus Abstract This paper offers a perspective on a range of contemporary developments and articulations of the phenomenon of intertextuality in fiction and film. Using as backdrop a brief discussion of different intertextual motifs in Salman Rushdie‟s Haroun and the Sea of Stories (1990), Paul Auster‟s Travels in the Scriptorium (2006) and Pixar‟s animated short film Boundin’ (2004), it moves on to discuss the highly intertextual relation between the works of Swiss writer Robert Walser and the contemporary American experimentalist Alison Bundy. The paper thus problematizes and qualifies the line of demarcation supposedly existing between texts or works of art and aims to expand and exemplify the scope of reference, citation and paraphrase inherent in the overall concept of intertextuality. This paper springs from a baffled encounter with four postmodern works which all revolve around the theme of ambivalent originality. The four works portray origin and the original as regurgitation and as a result or an end point. And they describe the site of origin as both primary and secondary, and as disturbingly identical to what appears to repeat it. This undermining of the stability and integrity of the point of origin is presented as a thoroughly relational event. Origin is seen to lose its originality in the interaction with its surroundings, echoing Graham Allen speaking of the „relationality, interconnectedness and interdependence in modern cultural life‟ (5). In this paper I discuss four different expressions of this „interconnectedness‟—expressions which each in their own way portray or testify to patterns of intertextuality.
    [Show full text]
  • MONSTERS INC 3D Press Kit
    ©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor .
    [Show full text]
  • Boundin' Pixar Short Film Original
    Boundin' pixar short film original Continue Boundin'Poster for Boundin'Directed byBud LuckeyProduced ByOsnat ShurerWritten byBud LuckeyStarringBud LuckeyNarrated byBud LuckeyMusic byBud LuckeyCinematographyJesse HollanderEdited bySteveveproductioncompany Pixar StudiosDistributed byenaBu Vista 2003 (2003-12) 2004 (2004- 11-05) (with Incredibles) The Duration of 5 Minutes 'CountryUnited StatesLanguageEnglish Boundin' is a 2004 Pixar computer-animated short film that was shown in cinemas before the feature film Incredible. The short film is a musically told story about a dancing sheep who loses confidence after a haircut. The film was written, directed, narrated and featured by musical composition and performance by Pixar animator Bud Luckey. The film plot features a sheep that lives in the American West. His elegant dances are popular with other animals. Once come sheep and oatmeal haircuts for wool. Losing his coat, other animals laugh at the sheep, and he becomes shy and loses confidence in the dance. It's while in his bare state that a benevolent shakalop comes across a little lamb and teaches it the dignity of the boundary, not just dancing (that is, getting up whenever you fall). The sheep are converted and his joy in life has been restored. Sheep's wool eventually grows back in winter, only to be cut again, but its pride is now completely unwavering and it continues to be linked. The moral of the story is to never feel bad about yourself. The voice cast of Bud Lucky as the narrator, sheep and Jackalope produced by writer-director Bud Luckey designed and voiced all the characters, composed the music and wrote the story.
    [Show full text]
  • Press Release
    Press release CaixaForum Madrid From 21 March to 22 June 2014 Press release CaixaForum Madrid hosts the first presentation in Spain of a show devoted to the history of a studio that revolutionised the world of animated film “The art challenges the technology. Technology inspires the art.” That is how John Lasseter, Chief Creative Officer at Pixar Animation Studios, sums up the spirit of the US company that marked a turning-point in the film world with its innovations in computer animation. This is a medium that is at once extraordinarily liberating and extraordinarily challenging, since everything, down to the smallest detail, must be created from nothing. Pixar: 25 Years of Animation casts its spotlight on the challenges posed by computer animation, based on some of the most memorable films created by the studio. Taking three key elements in the creation of animated films –the characters, the stories and the worlds that are created– the exhibition reveals the entire production process, from initial idea to the creation of worlds full of sounds, textures, music and light. Pixar: 25 Years of Animation traces the company’s most outstanding technical and artistic achievements since its first shorts in the 1980s, whilst also enabling visitors to discover more about the production process behind the first 12 Pixar feature films through 402 pieces, including drawings, “colorscripts”, models, videos and installations. Pixar: 25 Years of Animation . Organised and produced by : Pixar Animation Studios in cooperation with ”la Caixa” Foundation. Curator : Elyse Klaidman, Director, Pixar University and Archive at Pixar Animation Studios. Place : CaixaForum Madrid (Paseo del Prado, 36).
    [Show full text]
  • Masculinity, Fatherhood, and the Hardest Bodies in Pixar
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ David S. Braught Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught Master of Arts Film Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Michele Schreiber Committee Member _________________________________________ Eddy Von Mueller Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught M.A., Emory University, 2010 B.A., Emory University, 2008 Advisor: Matthew Bernstein, PhD An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2010 Abstract In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S.
    [Show full text]
  • Pixar: 20 Years of Animation Illustrates Marriage of Traditional Artistry with Technical Advances in Animated Films
    PIXAR: 20 YEARS OF ANIMATION ILLUSTRATES MARRIAGE OF TRADITIONAL ARTISTRY WITH TECHNICAL ADVANCES IN ANIMATED FILMS Films and over 500 Works of Art Created by Pixar Artists Comprise Most Comprehensive Animation Exhibition Ever Presented at MoMA Pixar: 20 Years of Animation The Roy and Niuta Titus Theaters and theater lobby galleries; Museum lobby; first and second floors; Yoshiko and Akio Morita Media Gallery December 14, 2005–February 6, 2006 Media preview: December 13, 2005, 10:00 a.m.–1:00 p.m. Special advance screening of new short film One Man Band NEW YORK, December 12, 2005—The Museum of Modern Art presents Pixar: 20 Years of Animation, a major exhibition of work by the artists of Pixar Animation Studios that brings together all of Pixar’s feature films and shorts—including the North American premiere of its latest short, One Man Band (2005)—and the first public display of more than 500 sculptures and works on paper created in the development of Pixar films. On view from December 14, 2005, through February 6, 2006, Pixar: 20 Years of Animation also features 10 digital media installations and a zoetrope devised especially for this exhibition, as well as a program of lectures, talks, and workshops by Pixar artists. The exhibition is organized by Steven Higgins, Curator, and Ronald S. Magliozzi, Assistant Curator, with Jenny He, Celeste Bartos Research Assistant, Department of Film and Media, The Museum of Modern Art. Each of Pixar’s six feature-length films—Toy Story (1995), A Bug’s Life (1998), Toy Story 2 (1999), Monsters, Inc.
    [Show full text]
  • Celebrating 50 Years of Animation
    NEXT GEN ANIMATED EFFECTS IN AN ANIMATED FEATURE PRODUCTION So Ishigaki, Graham Wiebe VOICE ACTING IN AN ANIMATED FEATURE PRODUCTION Charlyne Yi CHARACTER DESIGN IN AN ANIMATED FEATURE PRODUCTION Marceline Tanguay HILDA BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR CHILDREN CHARACTER ANIMATION IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Scott Lewis WRITING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Stephanie Simpson TALES OF ARCADIA: TROLLHUNTERS BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR CHILDREN ANIMATED EFFECTS IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION David M.V. Jones, Vincent Chou, Clare Yang TALES OF ARCADIA: 3BELOW DIRECTING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Guillermo del Toro, Rodrigo Blaas EDITORIAL IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION John Laus, Graham Fisher BIG MOUTH BEST GENERAL AUDIENCE ANIMATED TELEVISION/BROADCAST PRODUCTION WRITING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Emily Altman BOJACK HORSEMAN BEST GENERAL AUDIENCE ANIMATED TELEVISION/ BROADCAST PRODUCTION VOICE ACTING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Will Arnett ASK THE STORYBOTS BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR PRESCHOOL CHILDREN DIRECTING IN AN ANIMATED TELEVISION/ BROADCAST PRODUCTION Evan Spiridellis DINOTRUX: SUPERCHARGED BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR PRESCHOOL CHILDREN WATERSHIP DOWN ANIMATED EFFECTS IN AN ANIMATED TELEVISION/ BROADCAST PRODUCTION Philip Child, Nilesh Sardesai F IS FOR FAMILY VOICE ACTING IN AN ANIMATED TELEVISION/ BROADCAST PRODUCTION
    [Show full text]
  • NO TEMPO DA ANIMAÇÃO Movie-Se NO TEMPO DA ANIMAÇÃO
    NO TEMPO DA ANIMAÇÃO MOVIE-SE NO TEMPO DA ANIMAÇÃO EDITADO POR GREG HILTY E ALONA PARDO 1a EDIÇÃO RIO DE JANEIRO CENTRO CULTURAL BANCO DO BRASIL 2013 PREFÁCIO 6 APARIÇÕES 42 PERSONAGENS 74 OBJETO, SONHO E IMAGEM NA ANIMAÇÃO 12 SUPER-HUMANOS 98 GREG HILTY FÁBU L AS 120 A CAIXA DE FERRAMENTAS DA FR AGMENTOS 150 TECNOLOGIA E DA TÉCNICA 20 A ANIMAÇÃO EM 100 OBJETOS ESTRUTURAS 168 PAUL WELLS VISÕES 186 FANTASMAS NA MÁQUINA 30 BIOGRAFIAS 194 VIVENCIANDO A ANIMAÇÃO ENGLISH VERSION 216 SUZANNE BUCHAN CRÉDITOS E AGRADECIMENTOS 260 PREFÁCIO Somos gratos, como sempre, aos artistas e cineastas que aceitaram Também gostaríamos de agradecer nossos parceiros no evento, generosamente participar dessa mostra ambiciosa, incluindo Francis Alÿs, notadamente a Assemble CIC. Seu projeto remoto em East London, Martin Arnold, Ralph Bakshi, Jirí Barta, Patrick Bokanowski, Christian Folly for a Flyover – apoiado pela Create 11 e inspirado pela Watch Me Boltanski, Robert Breer, Tim Burton, Cao Fei, Nathalie Djurberg, Harun Move – estende o compromisso da Barbican Art Gallery de trabalhar Farocki, Ari Folman, Terry Gilliam, igloo (Ruth Gibson e Bruno Martelli), além-muros. Nossa colaboração com a IdeasTap nos deu a oportunidade Animação é evocar a vida. William Kentridge, Caroline Leaf, Ruth Lingford, Frank e Caroline Mouris, de trabalhar com recém-graduados e animadores nascentes, e por isso Eadweard Muybridge Yuri Norstein, Julian Opie, os Irmãos Quay, Zbigniew Rybczynski, Bob somos gratos. Um muito obrigado ao Adam Mickiewicz Institute e ao Sabiston, Marjane Satrapi, Semiconductor, Jan Švankmajer, Jim Trainor, Polish Cultural Institute por seu apoio contínuo a nosso programa público Ryan Trecartin, Kara Walker, Tim Webb, Run Wrake e Zhou Xiaohu.
    [Show full text]
  • Wednesday Morning, Nov. 21
    WEDNESDAY MORNING, NOV. 21 FRO 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 COM 4:30 KATU News This Morning (N) Good Morning America (N) (cc) AM Northwest (cc) The View (cc) (TV14) Live! With Kelly and Michael Alec 2/KATU 2 2 (cc) (Cont’d) Baldwin; Nicki Minaj. (N) (TVPG) KOIN Local 6 at 6am (N) (cc) CBS This Morning (N) (cc) Let’s Make a Deal (N) (cc) (TVPG) The Price Is Right (N) (cc) (TVG) The Young and the Restless (N) (cc) 6/KOIN 6 6 (TV14) NewsChannel 8 at Sunrise at 6:00 Today Pitbull performs; John O’Hurley. (N) (cc) The Jeff Probst Show (cc) (TV14) 8/KGW 8 8 AM (N) (cc) EXHALE: Core Wild Kratts (cc) Curious George The Cat in the Hat Knows a Lot Dinosaur Train Sesame Street The Very End of X. Daniel Tiger’s Sid the Science WordWorld (TVY) Barney & Friends 10/KOPB 10 10 Fusion (TVG) (TVY) (TVY) About Christmas (TVY) (TVY) (N) (cc) (TVY) Neighborhood Kid (TVY) (TVY) Good Day Oregon-6 (N) Good Day Oregon (N) MORE Good Day Oregon The 700 Club (cc) (TVPG) Better (cc) (TVPG) 12/KPTV 12 12 Paid Tomorrow’s World Paid Paid Paid Paid Through the Bible Paid Paid Zula Patrol (cc) Pearlie (TVY7) 22/KPXG 5 5 (TVG) (TVY) Creflo Dollar (cc) John Hagee Joseph Prince This Is Your Day Believer’s Voice Alive With Kong Against All Odds Pro-Claim (cc) Behind the Joyce Meyer Life Today With Today With Mari- 24/KNMT 20 20 (TVG) Today (cc) (TVG) (cc) (TVG) (cc) (TVG) of Victory (cc) (cc) (TVG) Scenes (cc) James Robison lyn & Sarah Eye Opener (N) (cc) The Steve Wilkos Show (cc) (TV14) The Bill Cunningham Show Jealous Jerry Springer Guests face accu- The Steve Wilkos Show (cc) (TV14) 32/KRCW 3 3 of My Loved One.
    [Show full text]
  • Bulk Fuel Marines Keep Aircraft in Sky During TACP Destructive Weather
    Celebrating 100 Years of Marine Aviation Vol. 69, No. 34 www.cherrypoint.marines.mil August 25, 2011 Bulk Fuel Marines keep aircraft in sky during TACP Destructive weather LANCE CPL. GLEN E. SANTY MCAS CHERRY POINT Marines with Marine Wing Support Squadron 274’s Bulk Fuels kept Marine Corps aircraft in the air during Tactical Air Control Party at the Marine Corps Auxiliary Landing Field Bogue, Monday - Wednesday. The Marines conducted “hot” and “cold” refueling and reloading during the TACP missions. “This training gives our Marines a chance to fully use and understand our systems,” said Sgt. Wallace Renshaw, a Cherry Point Bulk Fuel specialist. “I’m hoping to see that the Marines have a basic understanding of what their job is. NASA Bulk Fuel is not a glamorous job, but it has its The fi rst hurricane of the season, Irene, was upgraded to a Category 3 storm and made landfall in San Juan Puerto purpose. Everybody in the Marines Corps needs Rico Tuesday. Irene reached the Bahamas today and is predicted to continue toward Florida by Friday and enter fuels for something.” eastern North Carolina Saturday. Stay tuned to local news for updates on Hurricane Irene. A system called the tactical airfi eld fuel dispensing system is used during hot refuels. Aircraft are taxied into the fuel pits, and with Preparing for approaching storm engines still running are refueled. “It’s dangerous but you just really have to pay SPECIAL TO THE WINDSOCK period, roughly fi ve hurricanes strike surface. attention to what’s going on around you,” said NOAA the US coastline, killing approximately 1 knot = 1 nautical mile per hour or Lance Cpl.
    [Show full text]
  • 1 Can I Help You Get an Agent? Can I Help You Sell a Script? Can I Help
    CERRITOS COLLEGE ENGLISH 241: SCREENWRITING FALL 2019 (SECTION 20692) IF I TAKE THIS SCREENWRITING CLASS, HOW CAN YOU HELP ME? Can I help you get an agent? Can I help you sell a script? Can I help you find financing for a film? No, no, and no – at least, not directly. So how can I help you? As someone who has studied screenwriting at both the undergraduate and graduate levels, I can help you to craft screenplays with dramatic structures that create conflicts, with actions that reveal characters, with characters that drive stories – the sorts of stories that, with a lot of work and a lot of luck, could conceivably help you get an agent, sell a script, or find financing for a film. Also, as Syd Field points out in our textbook for this semester, there are two activities that anyone who wants to become a screenwriter should do: watch motion pictures and read screenplays. As a former professional film critic, I can help you to analyze produced pictures and published scripts – to see them as a source of not only entertainment, but also education. WAIT: WHO ARE YOU? ARE YOU REALLY A FORMER PROFESSIONAL FILM CRITIC? My name is Chad Greene, and – yes – I am really a former professional film critic. (For you fact-checkers out there, about one hundred of my movie reviews are archived on Rotten Tomatoes.) It was while majoring in English and minoring in Film at the University of Minnesota that I first started to study screenwriting with Thomas Pope (Hammett) and to write movie reviews for the Minnesota Daily.
    [Show full text]