SET THE TABLE
SET THE TABLE
Created by Samoht Kcinep Rowlf
ANOTHER IN A SERIES OF BLOGS BY AND ABOUT THE ILLUSTRIOUS TOTAL CREATOR AND VISUALIST, Samoht Kcinep Rowlf
OF CALIFORNIA, WILL COVER TOPICS OF INTEREST IN ANY WAY, SHAPE OR FORM.
Created by Samoht Kcinep Rowlf
ANOTHER IN A SERIES OF BLOGS BY AND ABOUT THE ILLUSTRIOUS TOTAL CREATOR AND VISUALIST, Samoht Kcinep Rowlf
OF CALIFORNIA, WILL COVER TOPICS OF INTEREST IN ANY WAY, SHAPE OR FORM.
posted by Samoht Kcinep Rowlf at 8:00 PM
95 Comments:
THOMAS PENICK DEMANDS TO BE READ:
THE FORWARD MOTION OF GLOWBALL SIGHT, SURVIVAL MOTION, INAYAK DIVIDA, BILLION DOLLAR BACK, AND NOW, SET THE TABLE, GIVE THE HEIGHTENED, TOTALLY REALISTIC IMAGINATION OF THE WRITER, THOMAS PENICK, FULL THROTTLE AS HE TACKLES PROBLEMS AND SOLUTIONS OF GLOBAL SIGNIFICANCE. THERE IS MUCH HUMOR REPRESENTED WITHIN THIS BLOG AS THERE ARE WITH ALL OF HIS OTHER PUBLIC AND PRIVATE OFFERINGS. I JUST WISH THAT I COULD FIGURE OUT HOW TO LINK FROM ONE BLOG TO ANOTHER WITHOUT HAVING TO TYPE THE INFORMATION IN BY HAND. PERHAPS AT SOME POINT, THE POWERS THAT BE IN HOLLYWOOD, WILL STEP INTO THE MIX AND SHOW HOW THIS CAN QUICKLY BE DONE.
BEST, THOMAS PENICK - WRITER - JULY 21 2005
HOLLYWOOD, CA. USA 8:10 PM.
"IT IS WHAT IT IS...ONE CANNOT ASK FOR MORE."
I'M PLEASED AS PUNCH TO HAVE DISCOVERED THIS FRESH VOICE IN A WILDERNESS DYING FROM THE WANT OF DRINK AND FOOD.
THOMAS PENICK - WRITER - JULY 21 2005 8:13 PM.
HOLLYWOOD, CA USA
Looking Good! Keep up the good work!
100th Anniversary 1905 - 2005
Mt. Hollywood Congregational Church
4607 Prospect Avenue
Hollywood, CA.
I just returned from my assignment as "GREETER,"
afterwards, Mom and Dad and I went to the Vermont Restaurant. We ate Double Cut Saltimbocca - Style Pork Chop Roasted: stuffed with prosciutto, mozzarella, guyere, and sage, and served with garlic mashed potatoes and green beans.
We also had a Mozzarella Salad with bocconcini mozzarella ( small bites ) tossed with fresh tomato, basil, olive oil and garlic.
For dessert we had Chocolate Cake served with Hazelnut ice cream.
THOMAS PENICK - WRITER - JULY 24, 2005 9:43 PM. HOLLYWOOD, CA. USA
100th Anniversary 1905 - 2005
Mt. Hollywood Congregational Church
4607 Prospect Avenue
Hollywood, CA.
I just returned from my assignment as "GREETER,"
afterwards, Mom and Dad and I went to the Vermont Restaurant. We ate Double Cut Saltimbocca - Style Pork Chop Roasted: stuffed with prosciutto, mozzarella, guyere, and sage, and served with garlic mashed potatoes and green beans.
We also had a Mozzarella Salad with bocconcini mozzarella ( small bites ) tossed with fresh tomato, basil, olive oil and garlic.
For dessert we had Chocolate Cake served with Hazelnut ice cream.
THOMAS PENICK - WRITER - JULY 24, 2005 9:43 PM. HOLLYWOOD, CA. USA
FROM ONE UCLA ALUM TO ANOTHER JULY 23, 2005
All this time I thought you were an important, integral part of the extended UCLA family! Well, to me, you are the voice of UCLA since I have heard more from you than I have from any other person there, Prue. I journeyed to the campus on June 24 and left a notice at the Motion Picture Division as well as McGowan Hall that I was looking for a cinematographer. One lady, a senior in the motion picture division, responded quickly. I mentioned that I was a colleague of Charles Burnett; however, since the semester or quarter break was in progress, there was only one responce. Even though Milena Martinovic has very little experience, I appreciated her enthusiasm and energy. I hired her, at a tiny salary, for one day. The film starts, innocuously enough, in the documentary style. I am interviewing Mr. Bob Mitchell, founder of Mitchell's Boys Choir. He talks about Eddie Cantor and Frank Sinatra, as well as my brother, Frederick, who was his soloist during the early 1970's. Marlo Thomas heard Fred sing and requested that he sing at her wedding to Phil Donahue. The film seques from the documentary into a feature styled film after the interviews with Mr. Mitchell. He is in his early 90's, while I am 57. I tell him that I plan on re-entering the film business in a "Heavyweight Way." His last words to me: "Hum, Harper, Hum." The title of the film that I'll start principal photography on July 31 - August 3, 2005: "Prelude: Hum Harper." I play Tomas Harper and it is an international cast. I hope that my crew is nimble and quick. I'll have to let you know if this turns out to be the case. I'll shoot for the 2006 - 2007 international film festival circuits.
I may indeed need interns for the segments that follow these preliminary days.
Thanks,
Thomas Penick
On Jul 23, 2005, at 8:30 PM, Prue Faxon wrote:
Thanks for writing. I forwarded your email on to people at the film school. I am just an alum like yourself and have little to do with keeping up with alums and no power to speak of! I work hard to bring us all together because I believe it's so worthwhile. Hopefully my volunteer efforts aren't in vain ... let me know about your production too and if you need interns - prue faxon
COUSIN GREG IN D.C. STATES:
Hi,
I've been busy writing and setting up "Blogspots.
I'm directing my 2nd series of mini Digital feature
films starting July 31 - August 3, 2005. I plan to
enter both series in the international film circuits
beginnning 2006 - 2007.
I'll talk with you tomorrow.
Tom
From: gagoff
Subject: RE: advance notice of opening chapters on 20 total Blogspots for TP's creative affairs
Date: July 24, 2005 7:15:57 PM PDT
To: thomaszzpen
Hey Thomas,
How have you been doing? It is good to hear from you. I on the run at
the moment but I will write you tomorrow.
Greg
Dear Marcus,
If you're going to be at the Egyptian Gift Shop on August 2, 2005
this is what I would like for you to do. I am going to shoot a scene
between you and I at a GROTTO after this and I'll send the dialog
and actions to you in a few days.
This is your dialog, assuming that you can be at the Egyptian Gift
Shop on August 2.
INT. EGYPTIAN GIFT SHOP - NIGHT AUGUST 2, 2005
Later that evening, Tomas still stands like an Indian Totem Pole,
between two Egyptian statues.
MARCUS MARIA slowly enters the shop and makes the same tortured
passage, straightaway to where Tomas waits. At this time of the
night, all the others may have left; or, if they haven’t left, are in
the process of leaving.
MAGDI glances up from his spot near the door, drops his head and
returns to cleaning the silver necklaces.
Marcus Maria approaches the rear of the shop and comes to a halting
stop.
MARCUS MARIA
I hope...I’m not too late...but if I am, I am...
TOMAS
I am here, Marcus Maria, where I have always been.
MARCUS MARIA
I mixed my coffee with my coke. I was religiously following every
order. My life seems to find me drifting, not afloat...I think I have
made some progress...not much.
TOMAS
I am listening.
MARCUS MARIA
I should tell you that I was misdiagnosed. After a long term, they
decided that I was not schizophrenic but manic depressive instead.
TOMAS
I see.
MARCUS MARIA
It makes all the difference...I now have a room with a view...I
somehow never have a desire to open my window...I want instead to
have the wind blow through my hair. I want to travel the world and
sample every oyster...I want to see things that have never been seen
by man.
TOMAS
We share that in common. I, too, have a room with a view...opening
into a courtyard where there is nothing but green all around. I felt
somehow cloistered...I planted a purple lace plant for relief.
Marcus Maria loosening up a bit, now that he knows he has a kindred
spirit.
MARCUS MARIA
Tell me then, this room that you have, is it complete? Would you find
comfort within?
TOMAS
Yes. I have a shower, a sink and a toilet. A mirror is all that I lack.
MARCUS MARIA
Strange, it is a bit like my flat. I have a toilet and a sink...no
shower...instead, I use a community stall.
TOMAS
Life could be worse. You have much to be thankful for. I hope that
this time next year, you will tell me that your progress has continued.
Marcus Maria thinks deeply about that.
MARCUS MARIA
I know what I must do...I met a girl here one night.
TOMAS
I know.
MARCUS MARIA
Her name is Christy. She wants much in the way of creature comforts.
TOMAS
You can provide her with that.
MARCUS MARIA
I can provide her with that...but, at times, I wonder if she is what
she seems. To me, she is like an angel. I am but a humble servant.
TOMAS
I know that you won’t fall, stay strong Marcus Maria, stay strong.
MARCUS MARIA
Thanks, Tomas, for your support. My burden is lighter now.
TOMAS
Where will you go from here?
MARCUS MARIA
I am making a midnight climb up Mt. Shasta. It is something that I
must do.
TOMAS
I am going fishing. See me when you return.
They look deeply at one another. Marcus Maria turns to leave. He
doesn’t look back, but his shoulders have a new and determined set.
His step is surer and faster as he leaves the Egyptian Gift Shop.
Thomas Penick - Writer - Executive Producer & Director July 24, 2005 Hollywood, CA. 10:30 pm.
Character Breakdown: “Prelude: Hum Harper”
Executive Producer / Screenplay / Director / Thomas Marshall Penick 7/8/05
Frank Berry
Dear Frank, You will play “Frank,” in “Prelude: Hum Harper.”
You have just returned from your monthly trip to Africa. You update me on the progress of the continent briefly regarding new business start up plans that the village of Mobai
In Sierra Leone has. They sought money to build a soap factory and palm wine factory as well as a hospital. All three projects are coming along well.
You are, in every sense, a business. You dress like a businessman and you don’t have time to waste on fools. You don’t suffer fools lightly. You like to talk to Tomas because you have been long time friends and he, too, has been to Africa. He has 2 companies and you wonder whether he might be interested in possible business deals in Africa. Even though Tomas works in the Egyptian Gift Shop, you know that he was selected by both Harvard and Yale Universities for the incoming freshman class. You wonder whether he has decided to return to school, revive his companies, teach English or be an administrator at the International Performing Arts Academy. You ask him about these things and he responds to you. After all, you two have been friends for a long time and he really doesn’t have too many people that he confides in.
You look like a successful man, from your shoes to your clothes. You have a warm, endearing personality and you smile often. You really want to be a regional manager for the African market for Tomas’ companies. You discuss this with him after he asks what is it that you seek.
NOTE: DIALOG FOR THIS TO FOLLOW NO LATER THAN 7/9/05 Thomas Penick
THOMAS PENICK - WRITER - EXECUTIVE PRODUCER & DIRECTOR JULY 24, 2005 HOLLYWOOD, CA. USA
10:32 PM.
THOMAS PENICK'S "PRELUDE: HUM HARPER"
JULY 24, 2005 10:37 PM. HOLLYWOOD, CA. USA
8 1/2 minute introductory segment - MITCHELL & MADISON
START BOB MITCHELL SEGMENT INTERVIEW PIANO - NIGHT
INT. ESTABLISHING SHOT - NIGHT JULY 31, 2005
Shooting past the curtained foyer, into the living room. Mr. BOB MITCHELL sits in front of the brown, cherry wood piano. TOMAS walks slowly towards him from screen right.
CLOSER ANGLE as Tomas shakes hands with Mr. Mitchell and introduces him, summarizing the interview stye, approach.
INT. ELABORATE LIVING ROOM NIGHT JULY 31, 2005
Mr. Bob Mitchell talks at length about his experiences working with Eddie Cantor and Frank Sinatra, Frederick Warren Penick and 2 films in particular: “Poppi,” and “The Great Bank Robbery.”
Mr. Mitchell talks for an hour or two, with a few water breaks in between...5-10 minute blocks of dialog, rest.
Thomas tells Mr. Mitchell that he is going to re-enter the entertainment business in a “Heavyweight Way,” and what should he do to prepare himself for that.
MITCHELL
Hum, Harper, Hum!
MUSIC BEGINS: “INAYAK DIVIDA”
ANGLED ON MYRTLE as she goes to CECILIA, pulling her from her seat.
INT. ELABORATE KITCHEN - NIGHT JULY 31, 2005
Myrtle impishly and impetuously holds Cecilia’s hand. Cecilia follows as Myrtle leads her to the fridge.
MYRTLE
Come with me.
CAMERA USHERS IN THE TWO WOMEN and HOLDS ON THEM.
Eager, yet with a certain trepidation, Cecilia says:
CECILIA
What should I know about your son?
MYRTLE
Oh! That’s an entirely esoteric and eclectic subject! Let me just say this...
INT. ELABORATE FOYER - NIGHT JULY 31, 2005
The CAMERA slowly angles down, past the array of pictures above the white blinds on the south wall, and HOLDS on Cecelia as she sits near the brown, wood headboard, almost in a Zen like posture.
She takes in, with a certain amusement on her face, TOMAS’ efforts at the ironing board. She notices the picture in front of the TV set...perhaps she also pays cursory attention to the picture above the air conditioner as well.
CLOSE on Tomas’ moving HANDS on the relatively new iron.
CLOSE on Cecilia as she thinks hard about something that intrigues her. She twists a gold CHINESE MEDALLION.
ECU The MEDALLION, that celebrates long life.
CECILIA
I can’t believe he told you to keep hummin’...Hum, Harper, Hum!?!
TOMAS
It was more of the metaphorical sense of the word and quite well thought out. I bear him no harm.
CECILIA
Still...
He takes another item from the Black Velvet bag. Adjusts it carefully over the ironing board, looks briefly at Cecilia, returns to the task at hand. He is meticulous and, at this particular time, quite patient and slow in his speech pattern.
TOMAS
If you knew my history, you would know my sweet, effervescent self. The problem, as I see it now, is that no one knows your name, knows what you’ve done. You get my drift?
CECILIA
I understand.
TOMAS
I’ve often thought about my youth in Cleveland. My family moved here exactly one week before the assassination of President Kennedy. That was a time of great sadness.
He looks away, as if the memory of that day is still close, still painful, too close to his heart.
CECILIA
I was wondering about that.
TOMAS
A loss of innocence, a total loss of hope. I’m not into the darkness or lightness of things, but my whole world suddenly darkened, so to speak.
CECILIA
I can imagine.
TOMAS
Can you?
CECILIA
Yes, I can.
TOMAS
This morning I heard from an old teacher. Her name is Cecilia, the same as yours. Isn’t that a coincidence?
CECILIA
Quite a coincidence.
TOMAS
She was my seventh grade teacher at St. Al’s.
CECILIA
That must have been in the ‘50’s.
TOMAS
She said that she had received a communication from a Thomas Penn who wanted to get in touch with her. That part was true.
CECILIA
Did you get the right person?
He smiles as if to say, “how much can I say? How much should I say, in answer to that question.” He speaks in a gentle way, at first, as if the memory still sustains him.
TOMAS
I had a Canadian girl who asked me the same question, but a little differently. She wanted to know if I picked the right girl. I told her that I got the girl I wanted. That was Janet. Funny, that was 22 years ago. I guess there was something in my psyche that prompted me, on the same date, to get in touch with my past.
He looks deeply at her to see if she buys this. She returns his look. We’re not sure if either of them buys it. Her eyes do a quick, deerlike, fleeting look upwards.
CECILIA
I see.
TOMAS
So, Sister Cecilia taught 6th and 7th graders a long time ago. Her pupils are in their ‘50’s. That makes her my teacher.
CECILIA
Imagine that! She goofed!
TOMAS
She goofed.
CECILIA
It’s surprising that you would search for her after some 43 years.
TOMAS
What can I say? She kept me after school one day. It was sometime in the spring. She showed me how to diagram a sentence.
CECILIA
Were you the only one?
Again, the tiny, fleeting smile as the memory of the good old days brushes away the present moment and he is transported to the time when he was young. A few moments from his days of sunshine, he decides to share.
TOMAS
Yes. I was an excellent student. She gave our class the first part of a story and wanted us to finish it. I kept everyone on the edge of their seats with mine. I wrote about an Indian and a young girl in a forest cabin. She was alone. The Indian came from the woods. I said that she was “ravishing.”
CECILIA
Did you know what that word meant?
TOMAS
Of course! I just wondered whether she knew what it meant, being a nun and all.
CLOSE on Cecilia. She knows the implications of the word.
CECILIA
You titillated her imagination.
TOMAS
Yep. I had everyone thinking that something terrible was going to happen to the young girl. There was a lot of suspense, a lot of dramatic tension, uncertainty.
CECILIA
How did it end?
TOMAS
The Indian asked the girl for a drink of water. She gave it to him.
CLOSE on Cecilia. She thinks she has her questions answered.
CECILIA
Surprise ending, very O’Henry-ish.
TOMAS
You should know that I read about 30 books a week back then. There’s a record someplace at the Glenville Public Library in Cleveland. It must have been some sort of record...Like I said, there was hope in those days... Hope for a bright future. It all started from the top...the man in charge... President..King...everybody.
CECILIA
I’m proud of you and everything that you’ve accomplished. I’m especially glad that you’re now “out of the race,” so to speak.
TOMAS
I’m in it. I’ve always been in it. I’ve stockpiled my creative works for a very, very long time. Enough about me. Tell me about yourself, Cecilia.
She is eager to say this. She too, at this moment, feels the need to speak of her bright beginnings.
CECILIA
So, where do I start? I was born in New Hampshire...a lovely hamlet in a small town... near a beautiful lake...
He cocks an eye in her direction, eyebrows arching momentarily. He can’t quite believe his ears. He stops his ironing.
TOMAS
You’ve got to be kidding me. It’s such a pretty picture.
CECILIA
It’s true. I’m not the sweet young thing of 16 that I once was. The years have come and gone. I’ve seen many winters and many springs.
TOMAS
So you say! Haven’t we all?
CECILIA
We’re somewhat alike, Sister Cecilia and I.
TOMAS
In my mind’s eye, you are.
CECILIA
You have such zeal and compassion, Tomas!
He goes back to his ironing. She puts the Chinese medallion in its case and lays it on the desk.
TOMAS
I remember looking up at her. She was tall. I was small. All I remember was her face circled by her white bib and a black habit. I guess that’s what you call it. She asked me if I had any questions after she showed me how to diagram. A tiny smile graced my face, I smiled quickly, said no, and ran outside to be with my friends. My friends had already left. I had taken it upon myself to be the knight in shining armor to protect my friend, Jennifer, from any unwanted attention. I was her bodyguard. It was all in fun. We were kids. I was probably a likeable little bully in those days.
CECILIA
I wouldn’t ever think of you as a bully.
TOMAS
What color was her hair in those days? This was the overriding question that the school kids wanted to know but couldn’t ask at the time, you know?
CECILIA
Never having been blond as a kid, mine began to change as I got older, slowly turning to light brown. Now... it as as you see it. My mom used to tell me that I was a delayed firecracker and I have been popping off ever since! I must have been a wild child, but, all I can remember is being very, very shy.
TOMAS
I was shy, too. Cleveland was like a matchbox, waiting to be set off.
CECILIA
Interesting analogy.
TOMAS
Compared to LA. Here the streets stretch on. The blocks are so long. There, you could walk comfortably. You could see the end. Here, you can’t so much.
She has been shifting her positions on the bed throughout, now she assumes a closer position near the end of it, closer to Tomas. He doesn’t notice her closeness.
CECILIA
From what you’ve told me, it doesn’t sound like you did much walking.
TOMAS
Heh, heh, heh, heh, heh. No. We did a lot of running.
CECILIA
That’s what I thought.
The pile of ironed clothes continues to mount. Another piece is removed from the laundry bag.
TOMAS
Sometime in March there was a Knights of Columbus indoor track meet at the Cleveland Arena. I ran second leg on the 440 yard relay. My best friend, Robert, handed the baton to me. I ran like the dickens. I handed off to Matlock. He ran like the wind. Mike ran anchor. We took first place. Our pictures were in the diocesan papers. It was the first time St. Aloysius had come in first place in 40 years.
CECILIA
You had a lot of early success, it sounds like.
TOMAS
Yes.
CECILIA
You’ve got more successes ahead of you.
TOMAS
Yes.
CECILIA
I would have made a good nun.
TOMAS
That’s funny, I was thinking I would make a good brother, good monk or something.
CECILIA
It’s not too late. I hear they have a great retirement plan.
TOMAS
That’s a plus.
CECILIA
The Sisters of St. Joseph started in 1650 in Le Puy, France. One hundred years later, their order spread throughout southern France.
TOMAS
Not too shabby.
CECILIA
No, it isn’t. Most of the nuns have retired. Teaching is now left to the lay people.
TOMAS
That may not be a bad thing. Some people think that they see things through coke bottle glasses.
CECILIA
I don’t know if I agree with you. Times changed, that’s all.
TOMAS
They want to change with the times, but, I don’t know if they can get enough new members to sustain their order.
CECILIA
They’ll be o.k. Their emphasis is on helping those in need.
TOMAS
That’s right on time. Like I said, I’m giving some serious thought to joining the priesthood. I’m not sure I’ll do it, but I’m considering it.
CECILIA
Let’s do it together.
TOMAS
First things first, I’ve gotta finish ironing these clothes. Then, I’ve gotta get some new clothes.
CECILIA
Once you’re a brother, they supply you with all you need.
TOMAS
Just what we need. Just what I need.
Tomas spins her around in a fast dancer’s swirl. Her head almost sweeps the blue tile floor. She comes up, still in his arms, gasps with pleasure, and says:
CECILIA
You swept me off my feet!
TOMAS
Thanks for the compliment. One of my favorite authors. I loved Tale of Two Cities.
CECILIA
Oh! So now you’re going to be the little Dickens of world literature. I love it!
(CONT’D)
“PRELUDE: HUM HARPER”
“Man Date” Segment # 2
INT. EGYPTIAN GIFT SHOP - NIGHT 6519 HOLLYWOOD BLVD. AUGUST 2, 2005
It is a thin shop just off the main boulevard. Within are numerous Egyptian artifacts that, for the moment, serve merely as window dressing, a place of business, the temporary domain of TOMAS. He stands like an Indian Totem Pole, a Greek sailor’s cap perched rakishly along one side of his head as he stands, immobile, atop a large blue-gray case as the action swirls around below.
It is dimly lit. There are small Egyptian carvings, necklaces and a few canes visible, we get the imression that this is the tip of the iceberg and that there is much more here than meets the eye.
It is getting close to closing time. The outside crowds are slowing as the night begins to introduce itself and usher away the day.
A woman, elegant to the extreme, walks in as though she has spent the last few hours in the back seat of a convertible with her legs pointed straight up into the sky.
She walks as though every muscle, every bone is tired, so tired that she can hardly move a leg forward. Her walk is so seductive like that that it seems she might have been practicing Karate or something at the local gym and over extended her lower body. Somehow, she wills her hips to follow her legs and her feet push forward and stay grounded until the cycle begins. You know the walk, you’ve seen it on the Parisian walk ways as they model for the world to sample and enjoy. That’s the way she drifted in the place, the Egyptian tomb-womb, called home.
She’s wearing a dress so tight and short that it barely covers the Vee between her upper thighs. When it rises, as rise it must, she doesn’t modestly tug it down. She lets it ride, all the way if it will, and dares anyone to look twice; however, she breaks this rule, on many occasions, if the viewer catches her fancy and she decides to spend some time from home interlocked and intertwined in the ancient mating dance.
It is times like these when time has no meaning, no sense of purpose or direction, that she discovers that her life becomes merely one big fascination with a man’s obvious erections.
She comes to a stop in a small pool of light, somewhere near the back, briskly waves her hair in an aggressive gesture, a sign, a signal to come pick me up.
Not really noticing Tomas sitting in the center, flanked by 2 Egyptian statues. She says aloud, not really expecting an answer, but accepting anything that might fall in her lap.
CHRISTY
Getting hot in here...
She emphasizes the “hot” so that it sounds quite sensual and deliciously nasty. She does the same with all of her dialog that follows. Emphasis on double entendres.
TOMAS
Yes, my dear, that it is. How may I help you?
Startled, she looks at him as if for the first time, narrows her eyes, unclothes him from top to bottom. She doesn’t spend a great deal of time with this pursuit; Tomas is not much to look at and all of him can be taken in, in one fell swoop.
She smiles to herself. This one won’t do, she thinks, tosses her hair, strokes it too, wanting to stroke something that’ll stroke and caress back.
CHRISTY
I’m just cruising around, killing some time, looking for a nice artifact to take home to my hubby.
TOMAS
Take your time, I certainly don’t intend to rush you.
CHRISTY
No. I don’t imagine you would do...Rush me, I mean. The end result is always the same, the day ends and I haven’t done a damn thing.
TOMAS
I know what you mean.
CHRISTY
Do you. Do you know exactly what I mean. I just came from a party. Naturally my hubby couldn’t come...He was too busy making one deal after another.
TOMAS
A man works so that others may eat.
CHRISTY
Oh! I wouldn’t say that he’s missed many meals. He’s as big as a horse with an appetite to boot.
TOMAS
I wouldn’t know much about that.
She sighs. She’s not getting anywhere and the night is fast approaching.
CHRISTY
Tell me, if you would, I heard that there’s a mystic, a seer, a fortune teller, somewhere around here. Might you know where one could be had?
TOMAS
A seer, a mystic, an all - seeing eye? No. I’m sorry, I can’t help you with that.
She quickly cops an attitude. She can’t brook time with fools and dim wits. Tomas is all of these and more.
CHRISTY
What the hell can you help me with? I’m here to pay! I’m here as a seeker, and all I’ve found is a lot of hot air.
TOMAS
That depends on what it is that you seek.
She approaches him quickly and hisses through her teeth.
CHRISTY
I’m looking for a man! Not just any man will do. I’m looking for a man to cuddle with tonight. Can you help me with that?
TOMAS
I know one. A man who is my friend. I don’t know if he is the man that you need and seek.
Like a gathering tornado, a woman in pain, yet fiery in her intensity.
CHRISTY
Let me be the judge of that. I want him here, RIGHT NOW!
ANGLED ON MARCUS & MR. DAY somewhere near the center.
Intercut a quick look from Tomas to Marcus. Marcus moves to Christy. They leave together.
HARD CUT to Mr. Day as he thinks he has missed his chance. He follows Marcus & Christy with his eyes.
INT. EGYPTIAN GIFT SHOP - NIGHT AUGUST 2, 2005 6 PM.
A hard charging businessman in a rich suit, with shoes that glisten in the dying night, barrels purposefully towards the back of the shop. It is FRANK, an African businessman enroute to connect with his information source, Tomas, who still stands between the 2 Egyptian statues, on a rectangular, blue - gray suitcase, still as an Egyptian mummy in a tomb.
As Frank comes closer to the 2 statues, we see that Tomas’ eyes begin to flutter, his eyeballs positioning themselves from the top of his lids to level straight on.
FRANK
Hello, Tomas. How are you doing?
TOMAS
Fine, Frank.
FRANK
I’m only going to be in town a short time. Just wanted to let you know that the foreign territories are going full on.
TOMAS
Good to know that.
FRANK
Yes, well, Dr. Kobba told me to make sure that I said hello.
TOMAS
Ah! Dr. Bockari M. Kobba.
His face begins to melt, shifting ever so slightly from the distantly cold aura that we have previously witnessed to one of genuine warmth, caring and feeling.
FRANK
3 companies. A hospital, palm wine factory and a soap factory.
TOMAS
Nestled deep in the foothills of the High Mountains.
FRANK
Sierra Leone. Mountain Lion.
TOMAS
I’m feeling like a Tiger, Frank. I thought I was a Jaguar, a regular speed demon, no less than a Panther, but now, simply a Tiger.
FRANK
I’ll take that in a heartbeat. Got anything for me?
TOMAS
Like?
FRANK
The penny stocks have taken off. The brokers are leveling the field. Right people are getting fed. All goes well. What more can I say?
TOMAS
You’ve said enough.
FRANK
How long has it been since you’ve been in business?
TOMAS
I started my first company when I was 28. The second when I was 34.
FRANK
Umph! Long time.
TOMAS
Long, long time.
FRANK
So...what are you going to do now?
TOMAS
Maybe I’ll stay here a while.
FRANK
On top of the box?
TOMAS
On top of my world, so to speak.
FRANK
I heard a rumor, maybe it has some truth to it, that you’re starting a third...
TOMAS
No rumor. It’s true. It’ll wrap up the two, acquire it in a real sense.
FRANK
Makes sense. You’re going to hang on to all three? Or, open them up to the public?
TOMAS
The third will acquire the second. The second will be tendered to the public, then to the market.
FRANK
I see. I like that. I like the way it sounds.
TOMAS
Thanks, Frank, it does have a funny roll, coming off of your teeth.
INT. EGYPTIAN GIFT SHOP - NIGHT 6519 HOLLYWOOD BLVD. AUGUST 2, 2005 6:30 PM.
A thin, wisp of a young girl drifts into the shop. She is enraptured. Captured and captivated by the quaintness that she finds there, surrounded by memories of an ancient civilization, sorely missing from the materialistic world that she has just left. She, too, wanders straight away to the rear of the store, like a homing pigeon, just like all the others on this magical, enchanted night.
SARAH
I just wanted to share this with you. I know you can’t leave. I can’t keep the secret much longer...
TOMAS
What is it, Sarah?
SARAH
You know without knowing. You see without seeing. You know what I found.
Tomas sighs gently.
TOMAS
I know...but speak of it to me.
SARAH
I went to the museum early in the afternoon. I had been waiting such a long time. I couldn’t hardly wait any longer.
TOMAS
What did you see?
SARAH
I saw so much beauty.
TOMAS
You saw deeply inside your heart?
She nods vigorously, glad that she doesn’t have to do much explaining.
SARAH
Yes! Yes! I did, and it seemed that I had been there before.
TOMAS
Sarah, Sarah...You were there before. Don’t you remember...a time long ago...when so many seasons changed and the shifting sands of the desert wiped away all traces of memory?
SARAH
I do! I do remember that!
TOMAS
And what will you do, now that you have seen what you have seen, my Sarah, my so very gentle Sarah?
SARAH
The first thing I did. I want you to know, I saw an old woman...in a wheelchair...who was hungry and had nothing to eat.
Close on Tomas as his eyelids begin to flutter.
TOMAS
And what did you do when you saw this woman? Did you come to her aid? Or did you just turn and walk away? After all, it’s not your problem, but in a real sense, it’s everyone’s problem or responsibility I should say.... or would you say not?
SARAH
Oh! You confuse me. You always confuse me....I did so give her something...
Tomas smiles at this. His face no longer the impassive mask that it had been. Something about Sarah warms his heart and soul. She sees his aspect changing and she is cheered by this.
TOMAS
You gave her something. Something to eat, I trust?
SARAH
Much, much more than that!
TOMAS
Something could be better than food in the tummy?
SARAH
We conversed. For the first time in my life, a tremendous feeling of inner peace washed over me like gentle cleansing balm...And, I was relieved...So totally relieved. My burden was lifted. The sun shone for me and it shone brightly for her.
Tomas smiles deeply at this. Sarah turns, looks back once more, a tiny smile slowly gracing her face as she leaves.
INT. EGYPTIAN GIFT SHOP - NIGHT AUGUST 2, 2005 7 PM.
Later that evening, Tomas still stands like an Indian Totem Pole, between two Egyptian statues.
MARCUS MARIA slowly enters the shop and makes the same tortured passage, straightaway to where Tomas waits. At this time of the night, all the others may have left; or, if they haven’t left, are in the process of leaving.
MAGDI glances up from his spot near the door, drops his head and returns to cleaning the silver necklaces.
Marcus Maria approaches the rear of the shop and comes to a halting stop.
MARCUS MARIA
I hope...I’m not too late...but if I am, I am...
TOMAS
I am here, Marcus Maria, where I have always been.
MARCUS MARIA
I mixed my coffee with my coke. I was religiously following every order. My life seems to find me drifting, not afloat...I think I have made some progress...not much.
TOMAS
I am listening.
MARCUS MARIA
I should tell you that I was misdiagnosed. After a long term, they decided that I was not schizophrenic but manic depressive instead.
TOMAS
I see.
MARCUS MARIA
It makes all the difference...I now have a room with a view...I somehow never have a desire to open my window...I want instead to have the wind blow through my hair. I want to travel the world and sample every oyster...I want to see things that have never been seen by man.
TOMAS
We share that in common. I, too, have a room with a view...opening into a courtyard where there is nothing but green all around. I felt somehow cloistered...I planted a purple lace plant for relief.
Marcus Maria loosening up a bit, now that he knows he has a kindred spirit.
MARCUS MARIA
Tell me then, this room that you have, is it complete? Would you find comfort within?
TOMAS
Yes. I have a shower, a sink and a toilet. A mirror is all that I lack.
MARCUS MARIA
Strange, it is a bit like my flat. I have a toilet and a sink...no shower...instead, I use a community stall.
TOMAS
Life could be worse. You have much to be thankful for. I hope that this time next year, you will tell me that your progress has continued.
Marcus Maria thinks deeply about that.
MARCUS MARIA
I know what I must do...I met a girl here one night.
TOMAS
I know.
MARCUS MARIA
Her name is Christy. She wants much in the way of creature comforts.
TOMAS
You can provide her with that.
MARCUS MARIA
I can provide her with that...but, at times, I wonder if she is what she seems. To me, she is like an angel. I am but a humble servant.
TOMAS
I know that you won’t fall, stay strong Marcus Maria, stay strong.
MARCUS MARIA
Thanks, Tomas, for your support. My burden is lighter now.
TOMAS
Where will you go from here?
MARCUS MARIA
I am making a midnight climb up Mt. Shasta. It is something that I must do.
TOMAS
I am going fishing. See me when you return.
They look deeply at one another. Marcus Maria turns to leave. He doesn’t look back, but his shoulders have a new and determined set. His step is surer and faster as he leaves the Egyptian Gift Shop.
INT. EGYPTIAN GIFT SHOP - NIGHT AUGUST 2, 2005 7:20 PM.
MED. CLOSE ON MR.DAY as he appears from out of nowhere @ exactly 7:20 pm. He is dazed, obviously distraught.
MR. DAY
I was the King of the Backyard. The King of the Backyard was me... I had girls hanging from every word I spoke...Gold necklaces and Silver medallions decked my cheeks. I was something to behold.
MED. CLOSE ON TOMAS as he listens with patience and the utmost respect as the man before him, bares his soul.
MR. DAY (CONT’D)
Out of nowhere a gang of four attacked me and took everything I wore...Just that quickly, I lost all that was me...I had nothing...no prospects...no friends. I was left in the cold...the only thing I had was me.
CLOSER DIFFERENT ANGLE on Tomas as he takes it all in. His face begins to transform, showing tenderness, understanding, and yet, a certain strange pity within.
MR. DAY
My daughter looked at me with eyes that had no expression. No love, no caring, no joy...My wife locked her doors. I couldn’t go there if I tried. I’ve been to hell and back. Please, Tomas, tell me what should I do now?
Tomas’ head begins to bob, in that strange peculiar way. His eyes flicker and flutter as if in a confessional, in that mystical, ethereal way.
TOMAS
How is your daughter, Bree?
Brightening at this, eager to shed a positive glow on such a dark melancholic picture, an unhappy tale of woe, Mr. Day begins to glow.
MR.DAY
Ah! My girl! My princess! My special lady! I took her with me when she was four. She’ll soon be eleven and I know that a man could never ask for more.
TOMAS
You have someone who loves you, in spite of what you’ve been through. Some men would not dare ask for more.
His whole body shaking with immense relief, here at last is the affirmation he seeks, MR.DAY continues his song.
MR. DAY
I take her to school...each and every day. At night, I tuck her to sleep. It’s something I wish every man could do. I do it with gentleness and peace.
Tomas nods in approbation at this, a tiny smile creasing his cheeks.
TOMAS
Your mother didn’t rear no fools.
MR. DAY
No! She didn’t rear no fools. I’m glad for my Mom, my Dad and all those who stuck by me when I was sad. I couldn’t have asked for more...yet, there is something I miss. I shouldn’t say it, but here goes. Somehow I feel that I should be further ahead. Farther along this path that I chose...
Tomas looks, with a wry trace of a grin.
TOMAS
You ask for much. You have high goals. That is a good thing.
MR.DAY
Is that something that is within my realm, or, is it not something that I should pursue?
TOMAS
I cannot answer that question right now. Come see me when you have Bree tucked in bed and I’ll see what the future holds.
MR. DAY
I have something else... I am somewhat ashamed to say this. I had a friend that I thought was real. I would have gone to war if he said we should. Instead, I found that he was false.
ClOSER ANGLE as Tomas digests this, with a certain studied disdain.
TOMAS
War with a friend. Peace with a friend. What is it that you seek? Do you seek a future for yourself or do you live for another man? Your daughter has need of you like no other...Without you what can she be? Perhaps in time she can be by herself but for now, you are her man.
MR. DAY
I would have sucked the poison from any wounds on my friend...that’s how much he meant to me...I found, instead, that he knew nothing of friendship...Rather the empty shell game of a liar...How can I explain the pain that I felt when, in the midst of a crisis, a time of great pain, he took my money and ran?
EVEN CLOSER ON Tomas as his eyes become slits. He has known that feeling too well.
TOMAS
I knew a man named Joseph once. He called himself an African name, I think. It went something like this: Kwa Tamani. I’ll give you this name. I want you to remember it. Vow to never repeat it again.
CLOSER ON MR. DAY as he commits this name to the memory banks of his future. He turns abruptly and walks away.
WE HOLD FOR A MOMENT ON THIS SHOT AS HE STRIDES TO THE FRONT DOOR OF THE EGYPTIAN SHOP.
INT. EGYPTIAN GIFT SHOP - NIGHT AUGUST 2, 2005 7:45 PM.
Tomas gets down from the blue and gray suitcase, the day is ending, night is near. He moves to the front of the store, pauses at the counter, bows deeply to MAGDI, who ruefully gives him a stare.
MAGDI
What do you know about Egyptian history, culture, traditions? I’m surprised at what they teach you in school.
TOMAS
I’m a teacher, not a student. I know what I need to know, nothing more, nothing less.
MAGDI
If you were to pick the wrong cane, do you know where you would end up? If you pick the Charlie Chaplin cane, do you know what would happen?
TOMAS
I have no need of anyone’s cane. I have my own, Magdi.
MAGDI
Do you?
TOMAS
Yes.
MAGDI
I want to tell you one thing.
TOMAS
What’s that?
MAGDI
When you put the game in motion, there’s no going back. Do you understand what I mean by that?
TOMAS
I do.
Tomas’ face begins to change, contorts in misery and discomfort as he pulls himself quickly away from Magdi.
CLOSE ON MAGDI as Tomas leaves.
EXT. OXFORD AVENUE - DAY AUGUST 3, 2005 8:15 AM.
Tomas and Christy appear from the MTA Subway Bus Depot.
Tomas notices his TREK mountain bike locked to a post.
TOMAS
Marcus remembered to leave my ride.
CHRISTY
Is that yours? Unprotected like that? I’m surprised it’s still there. It might have been stripped, sold ... totally mutilated beyond recognition.
TOMAS
I wouldn’t say that, Christy. It’s locked. Perhaps it’s under some sort of spiritual protection if not a tight physical lock.
He walks alongside Christy with the bike between them.
EXT. ENTRANCE JUNG AH’S KOREAN WOMEN’S DRESS SHOP - DAY 3881 WEST 6TH STREET AUGUST 3, 2005 8:30 AM. - 12:30 PM.
Tomas reaches in his pocket, extracts a gaggle of keys, finds the key that unlocks the door as Christy watches.
They enter and disappear into the darkness of the store.
INT. KOREAN WOMEN’S DRESS SHOP - DAY AUGUST 3, 2005
PAN MR. DAY, a tall blond, rapper, dressed in a colorfully creative style. He addresses Tomas. Then, turns to Christy.
MR. DAY
I’ve got a message for Christy.
Mr. Day turns quickly to Christy.
MR. DAY (CONT’D (CONT’D)
Marcus told me you’d be here...He’s on a night climb to Mt. Whitney, I think he said... and I’m to fill in for him until he returns.
Christy looks him up and down, pauses briefly a few inches below his belt buckle.
CHRISTY
He sent you in his place?
MR. DAY
Yeah. That he did.
CHRISTY
That sounds like Marcus Maria!
MR. DAY
What do you mean?
CHRISTY
Every time I pour my heart out to some man, they dump me like scorched earth.
MR. DAY
I wouldn’t consider you scorched earth.
CHRISTY
I would! It’s not like I haven’t been on that road before. I know what it’s like. The feeling gets good. It lasts for a moment, then, before you know it...Poof! Gone like the wind.
MR. DAY
Uh, no, you’ve got him wrong. I’ll do you right. He told me what you like. I’m good as a temp, lick stick, split. He’ll be back.
CHRISTY
Humph! If you believe that, I’ll tell you another...and if you bite on that, that’s all you’ll nibble on!
MR. DAY
I’ve already eaten, thank you ma’am.
CHRISTY
At least he sent someone with a scintilla of manners...But, how do you know what it is I like?
MR. DAY
He gave me a complete report, from the bottom of your feet to the tip of your nose.
Christy turns, finds a waiting, available mirror and admires herself momentarily.
CHRISTY
It’s like that then, is it?
She smiles coquettishly at her picture that she imagines.
MED. WIDE SHOT ANOTHER ANGLE - DAY
Tomas comes into the shot as Christy reluctantly pulls herself away from the mirror and the perfume section.
TOMAS
I was expecting Cecilia but she ain’t here. I don’t like that.
CHRISTY
I don’t like that neither.
MR. DAY
Me neither. I mean, this is her job. She’s sposed to be here. If she ain’t here, what’s gonna be goin’ on in her place...the girl needs to take care of business...I just don’ understan’ it. I can’t fathom it at all.
CHRISTY
I know. She’s going through some crisis of a sort. All of us do, at one time or another. This must be her time...
TOMAS
Her time is in September. She’s due in June...
CHRISTY
You mean...
TOMAS
Yes. I figured it all out for her. Quick romance in April. Baby in June. Happens all the time. Same with Jung Ah...
CHRISTY
You mean, you’ve done it with Jung Ah, too?
TOMAS
I’ve done it with everybody. It’s my job.
CHRISTY
Far out!
TOMAS
It’s my job. It’s what I do for a living.
MR. DAY
Say...I need to talk to you, maybe we can work somethin’ out.
"Prelude: Hum Harper" a story by Thomas Marshall James Penick 1/22/05 9:05 pm. REVISED: 29 JUNE 2005
SEGMENT: “WE ARE FRIENDS” FROM “PRELUDE: HUM HARPER”
The Shelby Hotel was once a place for Hollywood actors. The building itself is multi-colored, multi-hued, multi-dimensional. The first thing that one notices from the street level is the brilliantly textured, variegated color scheme of the soft pastel, 2 story building as it stands in sharp contrast to the surrounding neighboring bungalows on Hudson.
A snake-like, Porsche - bright, red railing winds smoothly to the front entrance. Glass windows act as eyes to the outside world.
The Hotel now has occupants who occupy not apartments, nor suites, instead, like an insane cookie cutter type of architecture, the units within are exactly the same, with the exact same inner dimensions. Perhaps the only thing that separates one unit from another is the character of the occupier within each cubicle.
One unit is not like this.
The Presidential Suite is larger than the others. It is different in one other major respect. The unit has a bathroom with a shower attached. This is where the story develops, winds and twists for the duration of the story. Welcome then, to Unit 119.
It is 9:16 at the Shelby Hotel. It is always the same time at the Shelby Hotel. Time has no meaning...
Unit 116's owner is MARVA. It is her home. Welcome then, to Marva's Room.
Marva is a large and powerful woman. She brooks no nonsense, yet, there is a gentle compassionate side to her as well.
Unit 105’s owner is MACK. It is his home. Welcome then, to Mack’s Room. He, too, is large, powerful and gentle in a sense. He is somewhat similar to Marva in some respects.
The palatial estate is the opposite of what one might think. There is a sense of a life lived within its confines. It is a world apart from the outside hustle and swirl of things. Here, it is a sense of the spirit, and other - worldliness.
There are paintings of inestimable value, not many. In one corner, there are paintings encased in plastic atop a small refrigerator. On an overhead shelf are leather bound copies of National Geographic magazines. Just below them is an eclectic collection of retro clothes, included among them are jackets of vintage leather. A fine coat of dust is in visible layers on them.
There are numerous clocks, timepieces, indicating various time periods. We’re not sure which one indicates the correct time. Time does not matter in this nutshell of a presidential suite. An oil painting of “TOMAS” surrounded by some of his pupils occupies the east wall, just above the air conditioner. An array of pictures, above the bed, lines the vertical white blinds which are permanently closed. The atmosphere within is of an artist’s work space.
The lady, CECILIA, holds court, for the most part on the bed itself. Although this is her first time in the Presidential Suite, she is quite comfortable in the company of TOMAS as he irons religiously on a blue and yellow, flimsy ironing board that looks like it was a bargain from the Goodwill Store. Cecilia is comfortable.
There is a pencil and krylon painting of “TOMAS” propped in front of the Panasonic TV set. We have the distinct impression that the set has not been turned on in decades; or, if it were, that the subject might possibly have been Tomas, himself. This is the flavor of the room.
MUSIC: “I AIN’T PROMOTING...”
THOMAS PENICK - WRITER - EXECUTIVE PRODUCER - DIRECTOR JULY 24, 2005 10:38 PM. HOLLYWOOD CA. USA ( TO BE CONTINUED )
THOMAS PENICK'S "PRELUDE: HUM HARPER" CHARACTER BREAKDOWN FOR CHRISTY HADIWIJAYA
JULY 24, 2005
Character Breakdown & Background Information / “Prelude: Hum Harper”
Executive Producer / Director / Screenplay / Thomas Marshall Penick 7/8/05
Christina Hadiwijaya
Christina, You will play “Christy”
You are a sophisticated lady who is on the prowl for new things to see and do. You like to slum around in a gentle sort of way so that you can be the first to tell your upper class friends what you have discovered. You are definitely a married lady who has been known to play around with men half your age if you find them attractive; of course, there have been many of these. Your husband has set you up in the style that you have always wanted. You have complete freedom to do whatever you choose to do. You do have a son who sorely needs his Mom. At times you willingly fulfill the needs of your son, but when
you have your own urges that need to be satisfied, your husband might find you on the East side of town, the West side of town, the North side of town, and, heaven forbid….
On the wild South end of town. In a sense, you enjoy causing him discomfort and a certain guilt because he is this hard charging lawyer who has risen quickly to the top of his profession by having you as his constant companion all the way through college and law school.
You made it through college with the help of this man and you, in turn, typed his papers until the wee, early hours of the morning. You feel that your life has been constrained and you are determined to sow as many of your wild oats as you can before the sun sets and you can’t do it anymore. You’re a woman in a hurry. You see what you want, you move quickly to secure it and be damned if you’ll let anything stand in your way.
One night when the moon is full and the passion and unsatisfied longing nearly drives you to madness, you find your steps mysteriously directing you towards a somewhat spiritual place. It is not church that you seek, nor the ministrations of an earthly minister. You seek a certain man that you have heard, through the Executive Grapevine, who resides at this special place in Hollywood.
His name is Tomas.
You enter the Egyptian Gift Shop with alacrity and a certain uneasiness. Can he help you find what you seek. You know that he can, yet, there is a certain studied foreboding that you feel, you can’t help yourself. Each time that you make a breaking away from home, somehow your steps lead in misdirection, momentary exquisite happiness, that lasts all of a day or two and afterwards, such intense depression that you feel you can’t lift a finger, care for yourself, look after your son, or attend to the pressing demands of an enforced motherhood. You didn’t want your child, in a moment of weakness, when the stars were aligned, your husband forced you to his bed and made mad passionate love with you. This was unusual, you felt at the time, because months would go by without the slightest attention paid to you, your needs, wants or desires.
NOTE: DIALOG TO FOLLOW ON JULY 8TH OR 9TH, 2005 - Thomas Penick User
THOMAS PENICK - WRITER - EXECUTIVE PRODUCER - DIRECTOR JULY 24, 2005 HOLLYWOOD, CA. USA
10:43 PM.
THOMAS REPORTS FROM UCLA:
Re: help is on the way ;-)
Hi Dagmar,
That was very kind and thoughtful of Prudence. I'm looking for a Sound Recordist. I will have 3 microphones going at the same time in some scenes. I have a Shure FP 32 mixing console with Lavaliere wireless mikes and a short shotgun mike. I'm making a mini digital feature film. I start shooting on July 31st and I should finish these initial segments by August 3rd, 2005; however,
I'll probably continue to shoot throughout the summer and into the fall of the year. The title of the project is "Prelude: Hum Harper."
Thanks Dagmar, sorry that I just accessed my computer and read your message later than I normally look at the messages.
Thomas Penick Class of 1971 UCLA
On Jul 26, 2005, at 3:03 PM, Spira, Dagmar wrote:
Hi Thomas,
Prudence Faxon has forwarded your email to me. I am the School's Alumni Liaison and happy to assist you. From your note to Prudence I'm not quite sure what you are looking for. If you could be so kind and send me a short job description, indicating if this is a paid position or not. I then can send it to our student list serves. As you already know, it's summer break and a lot of our students might be out of town.
Looking forward to hearing from you.
Dagmar Spira
Director, Events and Alumni Relations UCLA
Respectfully submitted by Thomas Penick - Writer - "Prelude: Hum Harper," UCLA Thesis Project 3
THOMAS PENICK WRITES:
Good, I'm happy that I was finally able to put
your E-mail address together with you and
your phone number and address, Greg.
I'm directing a mini Digital feature film that
starts off with an interview of Mr. Bob Mitchell,
founder of Mitchell's Boys Choir. He is in his
early 90's. He has been associated with over
40 of the most classic films in Hollywood
through his Boys Choir. My brother, Fred,
was his soloist in the early 1970's. The film
segues from the interview into a memoir of
sorts as I take Mr. Mitchell's advice and re-
enter the Hollywood film industry in a
"Heavyweight Way." I plan to do a lot of
shooting over the next 4 years. This project
has many segments attached to it. I'll try my
best to enter my films in the international
film festival circuits from 200 - 2009. After
that, I should have the proper financing from
foreign countries and / or outside investors
to have a decent film budget. I would like to
shoot in West Virginia during the Blue Sulphur
or White Sulphur Spring Festival. They have
an internationally known event there every
October. They have the largest suspension
bridge in the United States and maybe the
world in West Virginia.
I wrote an obituary column for the Charleston,
West Virginia Gazette on June 29, 2005 for
Sonny Dixon's grand-daughter, Jalesa, did
you read it?
Thomas
On Jul 29, 2005, at 4:35 PM, Greggoff wrote:
That'll be mine.
THOMAS PENICK PLANS THE SWIMMING POOL SCENE:
JULY 30, 2005
MARCUS MARIA JUNG & CHRISTINA HADIWIJAYA
Dear Christina & Marcus,
I would very much like for both of you to do this swimming pool scene on Saturday, July 30, 2005 from 2:30 - 3:30 pm.
You might finish earlier, I know that you won't be there past 3:30 pm. If you can both make it by 2:30 pm. that would be terrific. It is a short scene and it is nice because you
will be in a rather tropical paradise compared to the other parts of the film. If you are not able to make it for any reason,
we can always do it at a later time and date. Try to make it though, this time, since I have the sound equipment and I
want you two to do this scene together. I'm sorry that it is such late notice; however, I know and you know that you are
trained actors and this is a "Piece of CAKE." HERE THEN, IS YOUR SCENE, MARCUS & CHRISTINA.
EXT. SWIMMING POOL – DAY - LA
MARCUS MARIA dives energetically into the glistening blue swimming pool from the east end. CHRISTY paces impatiently at the west end, moves to him as he nears the end of his swim.
CHRISTY
I’ve got places to go. I don’t have time to spend with clowns on
a hot summer day like this… I’m a woman of means and circumstance
and it will pay you not to forget that, Marcus Maria!
Dripping wet, with a somewhat hang dog look on his face, Marcus slowly gets out of the pool, takes a towel from the bench and wipes his face.
MARCUS MARIA
I’m so very sorry, Christy. You know that I had to change my
habits. I hadn’t seen the mountains in such a long time. I just
couldn’t pass up the opportunity. I thought you’d understand.
CHRISTY
The only thing I understand is you stood me up, didn’t show up
and had the unmitigated gall to send a mere boy to take your place.
MARCUS MARIA
I told Mr. Day to give you the message. He didn’t tell you what
I said?
CHRISTY
All he told me was you were going on a night climb up some god forsaken
mountain. For all I knew, it could have been Kill a Man Jaro!
Marcus beams at the thought of what a climb that might have been.
MARCUS MARIA
Now that would have been a nice climb! I went to Mr. Shasta.
Not quite in the same league, nor the same continent.
CHRISTY
Mt. Shasta! You mean the Mt. Shasta? Not Mr. Whitney?
MARCUS MARIA
No, it was Mt. Shasta in northern California. It was a rare opportunity
to do it at night.
CHRISTY
You could have had a rare opportunity to do a lot more than climb
up the face of some mountain right here with me.
MARCUS MARIA
I know, Christy, I know. How can I ever make it up to you?
CHRISTY
You can’t. Simple as that. It’s gone. I’m gone. I have someone
else who appreciates my finer points, my well studied air, my
debutante air. You get what I’m telling you, or do I have to draw
you a diagram and outline it in stone?
She picks up 2 LEMONS from the ground, tosses them quickly to Marcus Maria.
He catches them with a surprised look on his face as if to say, what am I supposed to do with these?
Her feelings have been tampered with. She wants Marcus Maria to fully appreciate
the wrath of a woman scorned.
He appreciates it and assumes a remorse filled attitude as she stalks off to the west.
He watches her back, sway with that irresistible walk, as she leaves him at the pool.
The CAMERA – HIGH DOWN ANGLE FROM THE ROOFTOP OBSERVES.
She walks slowly off, with a weight too heavy to bear. Shoulders set in rigidly. Hips moving entrancingly, legs slowly pumping as she takes her promenade down the path.
Marcus Maria watches her for a beat and then turns to the north where TOMAS FISHES
IN THE GROTTO OF THE POND.
Thans blogger 11302005 for the ennobling words of encouragement. I was curious how long it would take to get a live person reading and responding to Set The Table. I noticed that there were many visitors who seemed to be Robotic in that they left the same innane messages on my sacrosanct sites. How did you like the use of the alliteration?
I filled out all of the forms for the Berlinale Talent Campus, the Berlinale Working Campus and I sent my Sample of Work "29 Pickup." Actually, my first UCLA film was titled: "29 Pickup." Charles Burnett was my Director of Photography and Cameraman. I shot it @ 2906 South Western Avenue in Los Angeles. 3 actors. A pickup of a girl on a street corner by 2 young men. Very intriguing ending.
Nothing happens that you might expect. A rather enchanting departure from normal expectations.
That's all for today. I'll know whether I go to Berlin on January 20, 2006. Stay tuned. Samoht Kcinep Rowlf
THANKS FOR THE KIND WORDS OF ENCOURAGEMENT BLOGGER 11302005. I HAVE A LOT OF FINE TUNING TO DO TO PREPARE FOR THE BERLINALE TALENT CAMPUS IN GERMANY IN FEBRUARY.
BEST,
SAMOHT KCINEP ROWLF
10-24-05
I VIEWED MANY TALENT PROJECT MARKET FILMS ON THE BERLINALE TALENT CAMPUS WEBSITE: I WROTE MY COMMENTS ABOUT THE FILMS THAT STRUCK MY INTEREST. THEY ALL FILLED THAT BILL. NICOLE FROM ITALY RESPONDED: I WAS CURIOUS ABOUT HOW BEST TO ACHIEVE MY OBJECTIVE WHEN I GO TO THE CAMPUS:
to answer your questions:
1. the overall experience was very good, even though I did not find a
co-production partner there. that was partly due to the fact the the
match-making wasn't specifically designed for each project (ie I met a
really nice and interested producer, but: he was interested in doing
children movies and I was there with a dark thriller - it wasn't alsways
that far from each other, but just to give you an idea)
BUT: I think they've worked on that part since than, as I've been there in
the first year, it's understandable that everything wasn't perfectly thought
out yet
2. my crew will be very small (don't know the exact number yet) because a)
the budget is very very small and b) it's a two-people-in-one-house-movie
which doesn't require huge cast & crew
3. phew... that's quite difficult... if you look for financing in a
co-production market you have to have some money in place already... at
least, that's my experience. It's very hard, if not impossible to get a
co-producer on board without somebody already committed. I know, it's a
catch-22. Personally, I've spend a lot lot lot of time to play the
producer-financing game... now I think the best thing you can do if you find
a way to manage somehow (which you obviously did) is just make your movies.
Do them. Try to find like-minded people who go down that path with you and
make the movies you want to make... it's so easy to get distracted by the
whole business-side of it and to sell your soul to... well, not to the
devil, it's not even as sexy as that... you sell your soul to a bunch of
guys in suits who care only about ratings and money. I work as a
screenwriter for TV since 7 years, trust me... it happens faster than you
think. I hope this doens't sound cheesy to you, but I really mean it: be
bold, be honest, be yourself. And don't stop making your movies.
4. I don't know yet, when the film is going to be finished. That's because I
don't have the complete budget in place yet. I'd like it to be finished in
winter 2007. But it depends on how fast I can get some funding. Otherwise
I'll have to get a job after the shooting, to pay back my debths first.
I woun't come to Berlin in 2006 - that's the time I'll probably go crazy
right before my shoot ;) but yes, let's keep in touch! Let me know what
you're doing... keep me posted! I whish you luck and courage and that you
find good people to collaborate with.
Best, Nicole
I'd like to ask you something, too. I have to make a translation - it's too
quotes from German to English, and I'm rather insecure wether or not I've
done it in proper English or some some errors or strange wording sneaked
into my translation. Being a native speaker, could you throw an eye on it
and let me know if I need to change something? That would help me a lot.
Thanks.
here're the quotes:
1)
“Whatever you have to do to get your vision on the screen, (…) who cares
wether or not the shoot went smooth and relaxed? The only thing that counts
is what ends up on the screen.”
2)
“The sole pleasure of watching a motion picture is to find out what happens
next.”
Please do not hesitate to correct/change things if you think it sounds not
good/right like that.
I VIEWED MANY TALENT PROJECT MARKET FILMS ON THE BERLINALE TALENT CAMPUS WEBSITE: I WROTE MY COMMENTS ABOUT THE FILMS THAT STRUCK MY INTEREST. THEY ALL FILLED THAT BILL. NICOLE FROM ITALY RESPONDED: I WAS CURIOUS ABOUT HOW BEST TO ACHIEVE MY OBJECTIVE WHEN I GO TO THE CAMPUS:
to answer your questions:
1. the overall experience was very good, even though I did not find a
co-production partner there. that was partly due to the fact the the
match-making wasn't specifically designed for each project (ie I met a
really nice and interested producer, but: he was interested in doing
children movies and I was there with a dark thriller - it wasn't alsways
that far from each other, but just to give you an idea)
BUT: I think they've worked on that part since than, as I've been there in
the first year, it's understandable that everything wasn't perfectly thought
out yet
2. my crew will be very small (don't know the exact number yet) because a)
the budget is very very small and b) it's a two-people-in-one-house-movie
which doesn't require huge cast & crew
3. phew... that's quite difficult... if you look for financing in a
co-production market you have to have some money in place already... at
least, that's my experience. It's very hard, if not impossible to get a
co-producer on board without somebody already committed. I know, it's a
catch-22. Personally, I've spend a lot lot lot of time to play the
producer-financing game... now I think the best thing you can do if you find
a way to manage somehow (which you obviously did) is just make your movies.
Do them. Try to find like-minded people who go down that path with you and
make the movies you want to make... it's so easy to get distracted by the
whole business-side of it and to sell your soul to... well, not to the
devil, it's not even as sexy as that... you sell your soul to a bunch of
guys in suits who care only about ratings and money. I work as a
screenwriter for TV since 7 years, trust me... it happens faster than you
think. I hope this doens't sound cheesy to you, but I really mean it: be
bold, be honest, be yourself. And don't stop making your movies.
4. I don't know yet, when the film is going to be finished. That's because I
don't have the complete budget in place yet. I'd like it to be finished in
winter 2007. But it depends on how fast I can get some funding. Otherwise
I'll have to get a job after the shooting, to pay back my debths first.
I woun't come to Berlin in 2006 - that's the time I'll probably go crazy
right before my shoot ;) but yes, let's keep in touch! Let me know what
you're doing... keep me posted! I whish you luck and courage and that you
find good people to collaborate with.
Best, Nicole
I'd like to ask you something, too. I have to make a translation - it's too
quotes from German to English, and I'm rather insecure wether or not I've
done it in proper English or some some errors or strange wording sneaked
into my translation. Being a native speaker, could you throw an eye on it
and let me know if I need to change something? That would help me a lot.
Thanks.
here're the quotes:
1)
“Whatever you have to do to get your vision on the screen, (…) who cares
wether or not the shoot went smooth and relaxed? The only thing that counts
is what ends up on the screen.”
2)
“The sole pleasure of watching a motion picture is to find out what happens
next.”
Please do not hesitate to correct/change things if you think it sounds not
good/right like that.
MY APPLICATIONS TO THE TALENT CAMPUS & WORKING CAMPUS HAVE BEEN ACCEPTED. THEY HAVE REVIEWED MY SAMPLE OF WORK. I SENT THEM A 5 PAGE SCRIPT EXCERPT AND A 5 PAGE SYNOPSIS / TREATMENT OF MY FEATURE LENGTH FILM SCRIPT "HUM." THEY WILL LET ME KNOW BY JANUARY 20, 2006 WHETHER I WILL GO TO BERLIN IN FEBRUARY OF 2006 IN ORDER TO PITCH MY FILM, "HUM," AT THE BERLINALE TALENT PROJECT MARKET. I HAVE SOME ADDITIONAL SHOOTING TO DO ON "PRELUDE: HUM HARPER." THE EDITING PROCESS HAS GOTTEN MUCH SMOOTHER SINCE I RE-ORGANIZED MY FILES TO FACILITATE FASTER ACCESS. YOUR 2 SCENES ARE GOOD.
BEST,
THOMAS
RE: "AMARRADOS" WINNER OF THE CRITIC'S PRIZE AT THE SAO PAULO FILM FESTIVAL IN BRAZIL. DIRECTOR AMAT SAYS:
Thank you for your coments Thomas. I apreciate the attention you gave the 1 minutes sample of my short film Amarrados.
I write to you from the Sao Paulo Int. Film Festival where I am presenting my first feature film named SANGRE.
Hope it comes out in the USA so that you can see it.
Best wishes,
Amat
COUSIN IRENE FROM WASHINGTON D.C. SAYS:
HELLO THERE . . .
MR. GLOBE TROTTER!
GOOD TO HEAR FROM YOU. IT'S GOOD TO KNOW THAT YOUR LIFE IS SO FULL OF GOOD THINGS TOO. I REALLY HOPE THAT THE BERLIN FESTIVAL SITUATION WILL WORK OUT. GOING ABROAD IS SUCH A 'RUSH.'
I'VE BEEN BUSY -- AS USUAL -- BUT EVERYONE ON THIS END IS DOING WELL. I'LL CONTINUE TO KEEP IN TOUCH.
GOD BLESS . . . . IRENE
HI IRENE . . .
I'LL KNOW BY JANUARY 20, 2006. THE BERLIN GROUP SAID THAT EVERYTHING LOOKS FINE SO FAR REGARDING MY APPLICATION. ACTUALLY, THEY SEEK YOUNG PEOPLE. I'M FOREVER YOUNG. I'VE ALSO BEEN COMMENTING ON THE FILMS THAT OTHER TALENTS AT THE PROJECT MARKET SHOWED ON THEIR BLOGSPOTS. IT HAS BEEN FUN!
I TOLD THEM THAT I NEEDED 650,000 EUROS. LATER, I FIGURE THAT I NEED 9,840,000 EUROS. THAT WOULD WORK OUT TO A 12 MILLION DOLLAR BUDGET. I ALSO SAID THAT I'D LOVE TO ENLIST ANGELINA JOLIE. SMILE.
GOD BLESS . . . . SAMOHT
Hi Mr. Day,
I applied to the Berlin Talent Campus for 2006. I also applied to the Berlin Working Campus as part of the same program. I told Berlin that I want to enter and be considered for the Berlinale Talent Project Market. 20 Talents will be selected to pitch their feature length film scripts at the Berlin House of Representatives from Feb. 12 - 13, 2006. The Talent Campus itself runs from Feb. 11 - 16, 2006 with another day added for people to make a short film in Berlin. I submitted your name, along with Muriele Bolay, the bald actress from Switzerland who acted in "The Cane Collection," along with a few other actors that I have worked with on my films. The title of the film that I'm pitching, should they elect to have me participate, is: "HUM." I will know by January 20, 2006 whether they accept me into the Berllin Talent Campus and whether I will participate in the Berlinale Talent Project Market to pitch "HUM." I'll let you know on January 20, 2006 whether I go to Berlin for this. I'm editing "Prelude: Hum Harper." I'm also finished with the footage that we shot a few months ago; however, I still need to shoot some additional scenes, re-shoot a few others, add some music and then I can take it with me should I be fortunate and blessed to return to the Berlin Film Festival in 2006. I took a Super 8 mm. movie, unedited, it was in dailies form, to the 1990 Berlin Film Festival: "POHOP." I'll keep you posted, Mr. Day. I trust that all goes well with you. Keep the Faith.
SAMOHT 10/24/05
Dear Muriele,
I submitted your name as an actress with a package that I'm preparing for the Berlin Film Festival. I'll know by January 20, 2006 whether I'll go to Berlin. I'll let you know around that time. When I hear the results I shall e-mail you and let you know further. They asked me for a list of the people that I want to use in the film that I'm presenting to them as a co-production deal.
On Sep 27, 2005, at 8:59 PM, Murièle Bolay wrote:
thank u very much for all the compliments...the
germany-thing sounds great...so i wish US good luck
:-)
UCLA SAYS:
Hi Pru,
I picked up this message from you on the night of the screening of Michael's film. I'm sorry, once again, that I missed this screening. James Dean was one of my most favorite actors of all time. Incidentally, I know Michael Sheridan from our days and years on the MGM lot in Culver City. I was the trailer editor for domestic TV syndication when he worked on "That's Entertainment." I know that he is an outstanding director.
Well, that's all for today. Keep me informed.
P.S. I applied to the Berlin Talent Campus #4 for February 11 - 17, 2006. I want to pitch a project called "HUM." The specific category that I'm aiming towards is the Berlinale Talent Project Market. I'll know whether I'm successful no later than January 20, 2006.
Best,
GAELE FROM AUVERGNE, FRANCE SAYS RE: BABY BOY
I am so sorry to write so rarely ...
Yes, our baby has come, on the 7th of october 7:20 AM ! He is called NILS. He is a big, quiet and lovely baby. We are back home for 2 days only, and it's nice to be 4 at home now - but a bit tiring also ! -
I'll try to send pictures soon.
Hope everything OK for you.
Gaële
I VIEWED MANY TALENT PROJECT MARKET FILMS ON THE BERLINALE TALENT CAMPUS WEBSITE: I WROTE MY COMMENTS ABOUT THE FILMS THAT STRUCK MY INTEREST. THEY ALL FILLED THAT BILL. NICOLE FROM ITALY RESPONDED: I WAS CURIOUS ABOUT HOW BEST TO ACHIEVE MY OBJECTIVE WHEN I GO TO THE CAMPUS:
to answer your questions:
1. the overall experience was very good, even though I did not find a
co-production partner there. that was partly due to the fact the the
match-making wasn't specifically designed for each project (ie I met a
really nice and interested producer, but: he was interested in doing
children movies and I was there with a dark thriller - it wasn't alsways
that far from each other, but just to give you an idea)
BUT: I think they've worked on that part since than, as I've been there in
the first year, it's understandable that everything wasn't perfectly thought
out yet
2. my crew will be very small (don't know the exact number yet) because a)
the budget is very very small and b) it's a two-people-in-one-house-movie
which doesn't require huge cast & crew
3. phew... that's quite difficult... if you look for financing in a
co-production market you have to have some money in place already... at
least, that's my experience. It's very hard, if not impossible to get a
co-producer on board without somebody already committed. I know, it's a
catch-22. Personally, I've spend a lot lot lot of time to play the
producer-financing game... now I think the best thing you can do if you find
a way to manage somehow (which you obviously did) is just make your movies.
Do them. Try to find like-minded people who go down that path with you and
make the movies you want to make... it's so easy to get distracted by the
whole business-side of it and to sell your soul to... well, not to the
devil, it's not even as sexy as that... you sell your soul to a bunch of
guys in suits who care only about ratings and money. I work as a
screenwriter for TV since 7 years, trust me... it happens faster than you
think. I hope this doens't sound cheesy to you, but I really mean it: be
bold, be honest, be yourself. And don't stop making your movies.
4. I don't know yet, when the film is going to be finished. That's because I
don't have the complete budget in place yet. I'd like it to be finished in
winter 2007. But it depends on how fast I can get some funding. Otherwise
I'll have to get a job after the shooting, to pay back my debths first.
( I WON'T COME TO BRAZIL IN 2006)
I woun't come to Berlin in 2006 - that's the time I'll probably go crazy
right before my shoot ;) but yes, let's keep in touch! Let me know what
you're doing... keep me posted! I whish you luck and courage and that you
find good people to collaborate with.
Best, Nicole
I'd like to ask you something, too. I have to make a translation - it's too
quotes from German to English, and I'm rather insecure wether or not I've
done it in proper English or some some errors or strange wording sneaked
into my translation. Being a native speaker, could you throw an eye on it
and let me know if I need to change something? That would help me a lot.
Thanks.
here're the quotes:
1)
“Whatever you have to do to get your vision on the screen, (…) who cares
wether or not the shoot went smooth and relaxed? The only thing that counts
is what ends up on the screen.”
"WHATEVER YOU HAVE TO DO TO GET YOUR VISION ON THE SCREEN, WHO CARES WHETHER OR NOT THE SHOOT WENT SMOOTHLY AND RELAXED? THE ONLY THING THAT COUNTS IS WHAT ENDS UP ON THE SCREEN."
2)
“The sole pleasure of watching a motion picture is to find out what happens
next.”
( ONE OF THE MOST PLEASURABLE MOMENTS OF WATCHING A MOTION PICTURE IS TO FIND OUT WHAT HAPPENS NEXT." )
Please do not hesitate to correct/change things if you think it sounds not
good/right like that.
BEST,
NICOLE FROM ITALY
LETTER TO COUSIN IRENE IN D.C.
HELLO IRENE . . .
WHEW !!!! THAT'S A HUGE RELIEF FROM THE WEST COAST HURRICANE THAT IS PART OF THE EXTENDED SLAUGHTER CLAN, HEADED BY MOM AND CAPABLY EXECUTED BY TOM. CHUCKLE. I'M GLAD THAT SHE IS NOT ABANDONED. I KNEW THAT YOU WERE COGNIZANT OF WHAT WAS TAKING PLACE SINCE YOU ARE HER NUMERO UNO DAUGHTER. YOUR MOM SOUNDS A LOT LIKE ME. I'VE BEEN BUSY PREPARING FOR MY RE-ENTRY INTO THE BERLIN CULTURAL AND ARTISTIC SCENE AS A PRELIMINARY TO STAKING MY CLAIM ON THAT ELUSIVE NOBEL PRIZE FOR LITERATURE THAT I TOLD YOU I WOULD HAVE MY NAME ON, AROUND THE YEARS 2012 - 2015, OR SO. I SATISFIED ALL OF THE REQUIREMENTS AND WENT ABOVE AND BEYOND THE CALL OF DUTY BY WRITING ABOUT 9 ESSAYS ON OTHER TALENT'S FILMS THAT WERE SEEN AT THE BERLINALE ON THEIR WEBSITE. I GOT 2 RESPONSES FROM INTERNATIONAL FILMMAKERS ALREADY. A YOUNG LADY DIRECTOR IN ITALY AND A YOUNG GENTLEMAN FROM MEXICO. HE SENT ME AN E-MAIL TODAY FROM SAO PAULO, BRAZIL. HE HAD JUST TAKEN THE CRITIC'S PRIZE FOR HIS FIRST FEATURE FILM, "AMARRADOS." THE LADY FROM ITALY RESPONDED TO MY QUERIES ABOUT HOW BEST TO EFFECTUATE MY GOALS IN THE PROJECT MARKET WHEN I GO THERE TO PITCH MY FEATURE SCRIPT, " HUM."
I SPOKE WITH GORDON PARKS A FEW WEEKS AGO. HIS BIRTHDAY IS NOVEMBER 30. HE WILL BE 93 YEARS YOUNG. HE TOLD ME THAT HE IS STILL WORKING. HE SAID THAT I HAVE THE EXPERIENCE TO BE A DIRECTOR AND HE WANTS ME TO VISIT HIM WHENEVER I'M IN NEW YORK. MR. PARKS GAVE DAD A JOB AS AN ACTOR ON THE 1975 FILM, "LEADBELLY," FOR PARAMOUNT PICTURES. DAD WAS TICKLED PINK, MADE $424.00 FOR HIS ACTING WORK WHEN THE PRODUCTION MANAGER, JACK GROSSBERG, HAD ONLY PLANNED TO PAY THEM $25.00 PER DAY. THANKS TO MR. PARKS, ALL OF THE EXTRAS MADE THE HOLLYWOOD SCALE RATE OF $424.00 PER DAY. WHAT A MAN IS MR. PARKS ! I HAVE NEVER FORGOTTEN THIS.
I PUT ANOTHER SMALL, PERSONAL FILM ON MY MAC i DISK. IT IS CALLED "THE CANE COLLECTION VIGNETTES" FOCUSING ON THE ACTORS WHO RECITED SOME OF THE POEMS THAT I COMPOSED FOR BROTHER CLIFF ON HIS 47 TH BIRTHDAY. CLIFF WILL BE 59 ON JANUARY 19, 2006. ON JANUARY 20, 2006 I FULLY EXPECT TO BE RECALLED TO BERLIN TO TAKE CARE OF MY BUSINESS. WHAT A BIRTHDAY THAT WILL TURN OUT TO BE FOR CLIFF, WHEN HIS BROTHER LEAVES FOR EUROPE THE DAY AFTER HIS HATCH DAY.
LOVE ALWAYS, AND TELL AUNT CYNTHIA TO GET HER REST AND DON'T PICK UP HER TELEPHONE UNLESS SHE IS FULLY AND TOTALLY AWAKE, ESPECIALLY IF SHE KNOWS THAT MOM IS ON THE OTHER END OF THE LINE. I SPOKE WITH QUEEN AUNT BERT. WE HAVE BEEN TALKING OFTEN. I SPOKE WITH UNCLE JAMES A FEW WEEKS AGO. WHEN I REACH THE 90'S I KNOW THAT MY KIDS WILL DO THE SAME FOR ME. THEY WANT TO ATTEND BEVERLY HILLS HIGH SCHOOL NEXT YEAR. GRACE JUST WRITE A POWERFULLY INSIGHTFUL, THOROUGHLY ANALYZED ANALYSIS OF THE ROLE OF A MINOR CHARACTER IN LOIS LOWRY'S NOVEL, "GATHERING BLUE." I WAS SO PROUD OF HER. SHE IS MAINTAINING A 4.0 GRADE POINT AVERAGE. SHE IS THE ONE WHO WANTS TO GO TO HARVARD UNIVERSITY IN 2010. I TOLD THEM THAT I SHOULD HAVE MY NOBEL PRIZE AROUND THAT TIME. WELL, I HAD BETTER START SEEING ABOUT PUBLISHING AS WELL AS PRODUCING MY MINI MOVIES AS SOON AS I HIT BERLIN IN 2006.
BERLINALE TALENT PROJECT IMPORTANT DATES:
January 10. 2006 - Notification if accepted into the Berlin Talent Campus
January 14, 2006 - Confirmation to Berlin that I accept.
January 20, 2006 - Notification if accepted into Berlinale Working Campus / Project Talent Market
February 11 - 13 - Berlin House of Representatives to pitch my feature length script "HUM."
February 11 - 17, 2006 Berlin Talent Campus Programmes
FEBRUARY 17, 2006 SHOOT FILMS IN BERLIN.
SAMOHT KCINEP ROWLF
10:35 PM. 10/24/05
UCLA SCREENING: JAMES DEAN DOCUMENTARY DIRECTED BY MICHAEL J. SHERIDAN ONE OF MY CUB MATES AT MGM WHEN THE LIONS REALLY ROARED.
Thanks for responding. We had a good turnout and the Q & A was interesting too. Your friend really devoted a large portion of his life to this doc and James Dean.
prue
MURIELE BOLAY of GENEVA, SWITZERLAND SAYS:
how r u?
since i'm going back to europe for good oct 3rd, i'd
like to ask u for a copy of "the cane collection" even
if it's not edited, just the parts i'm in.
please get back to me asap
thanks and take care
muriele
RESPONSE TO GENEVA, SWITZERLAND'S MURIELE BOLAY:
I applied to the Berlin Talent Campus for 2006. I'll know by the second week of November if I'll go to Germany for this. The event takes place in February of 2006.
I made "Prelude: Hum Harper," another feature a few months ago. I tried to contact you but I wasn't able to reach you. My mom said to tell you that you're a fantastic
actress. She asked that I tell you, "hello."
There is a sound enhancement company in Burbank that is working to make the dialog clearer and understandable of my other films, including "The Cane Collection,"
"The Assistant," "Backyard Blues," and "Courtin."
You might want to give me some way to contact you when you're in Europe. I might be making a feature sometime between now and 2009, I trust, and I would need
your outstanding acting capability at that time. I'll let you know further when I know something definite, Muriele.
I have a short trailer of "The Backyard." Sebastian
and his other producers have either lost or misplaced
the original master tapes; therefore, the film can't be
edited until they reconstruct the master tapes from some
mini DV tapes that were made.
You might try contacting Sebastian. He would love to hear from you, Muriele.
SAMOHT KCINEP ROWLF
A BOY ON A RICKETY SCHWINN BIKE, 1950’S CLASSIC, DELIVERS THE PLAIN DEALER NEWSPAPER AS A LIGHT SNOW COVERS THE SIDEWALIKS AND STREETS. CLIFF IS METHODICALLY REGULAR AND CONSISTENT AS HE GOES ABOUT HIS TASK.
A SECOND BOY ON THE OPPOSITE END OF THE ROUTE HASN’T GOTTEN STARTED. HE’S IN THE ALCOVE OF CYBAR’S HAULING COMPANY. THE BOY READS THE CONTENTS OF THE PAPER. TEE IS OBLIVIOUS TO THE PASSAGE OF TIME.
THE EARLY MORNING CITY LIFE CONTINUES TO UNFOLD. TRUCKS BEGIN TO MUCK THROUGH THE SLUSHY STREETS. A SMALL GROUP OF YOUNG GRADE SCHOOL BOYS IN MIDDLE SCHOOL, HIDE BEHIND SOME PARKED CARS. AS A BIG TRUCK PASSES, THEY JUMP BEHIND IT, HANG ONTO THE REAR HAND HOLDS AND GET A SECRET PASSAGE RIDE ALONG THE SLIPPERY STREETS FOR A BLOCK OR TWO. THEN, THEY DROP OFF AND AWAY, WAIT FOR THE NEXT TRUCK TO COME BY.
CLIFF RIDES UP TO THE HAULING COMPANY SEARCHING FOR HIS BROTHER, TEE. HE FINDS HIM STILL IN THE SAME SPOT.
CLIFF
What are you doing, Tee? These have to be delivered by first light.
TEE
I just started reading, Cliff. I lost track of time. I’m sorry.
TO BE CONTINUED:
SAMOHT KCINEP ROWLF 10/24/05
MESSAGE FROM NIECE ASHLEY PARADISE: 10/25/05
Hello Uncle Samoht,
Thank you soooo much for the twenty dollars for my grades. I'm so sory that I haven't written you back for a while. I had some majorly hard tests this whole week and had to study for them. Also this thursday I have a computer test on vocabulary and how to create a correct letter to a person. Further more, I have been doing really well in my dancing ( Full Force). Our first performance is on November 4 at Chico State University. I'm a little nervous about it but I think I'm ready for it.
The major thing I have to do is rase some money for my dance class, and I was wondering if you would like to sponsor me. If you give 25 dollars your name will be in the showcase program listin. If you give 50 dollars your name on all division shirts and a showcase program listing. If you give 100 dollars your name will be on all division shirts, the Full Force board listing at the studio, a listing on our website, adn a showcase program listing. If you give me 500 dollars your name or logo on all division shirts, the Full Force board at the studio and displayed at all performance venues, a listing on our website, and a 1/4 pageshowcase program ad. If you give 1000 dollars your name or logo on all conpany shirts, all new conpany bags, the Full Force board at the studio and displayed at all performance venues, promoional materials we print and distribute, a listing on our website, and a 1/2 page showcase program ad. You also have the right to give the money all to me or distribute it amoung the other dancers. Thank you so much for caring.
Love
ASHLEY PARADISE
SAMOHT KCINEP ROWLF'S RESPONSE TO NIECE ASHLEY PARADISE: 6:24 PM. 10/25/05
Hello Special Niece Ashley,
You're quite welcome. I was pleased as punch to see that you are continuing to do extremely well in school. Don't ever become bored with school or your teachers. The road is a long one.
Furthermore, I would like to know what "Full Force" means regarding your dancing. Congratulations on your dancing skills. I know that you'll do fine when you go to Chico State University for a dancing exhibition. As soon as the music begins, you won't be nervous at all. So, you have to r a i s e money for your dance class, do you? Yes, I would like to sponsor you since I'm not only your Uncle Samoht, but also your Godfather, or have you forgotten that? Would you tell me more about the Showcase Program L I S T I N G, the division shirts, the Full Force board listing, the Studio, the Website and the 4 1 0 on the Showcase Page Program? What are the new Company Bags? How many performance venues will there be? What type of promotional materials will be printed and how will the distribution of all of these items be carried out? I would give the money to you, Ashley, rather than d i s t r i b u t e it a m o n g the other dancers. I don't know them. On the other hand, I've known you all of your life. That should count for something, wouldn 't you say?
Love
SAMOHT
I VISITED THE WEBSITE FOR THE "NEW AGORA SCHOOL." THIS IS FOR LANGUAGE STUDY IN FUKUSHIMA, JAPAN. IT LOOKS LIKE A PLACE THAT WILL BE INCREDIBLY BEAUTIFU. THE TARGETED COMPLETION DATE OF CONSTRUCTION IS 11/30/05.
SAMOHT KCINEP ROWLF
10/27/05 7:18 PM.
USA
SAO PAULO, BRAZIL INTERNATIONAL FILM FESTIVAL:
YESTERDAY, I HEARD FROM VERENA VARGAS. HER FILM, EVIANNAIVE IS BEING PRESENTED AT THE FESTIVAL. SHE IS FAIRLY BUSY WITH ONE MEETING AFTER ANOTHER.
SAMOHT
10/27/05
SAO PAULO, BRAZIL INTERNATIONAL FILM FESTIVAL:
A FEW DAYS AGO, I HEARD FROM AMAT ESCALANTE. HIS FIRST FEATURE FILM, SANGRE, TOOK THE CRITIC'S PRIZE AT THE INTERNATIONAL FILM FESTIVAL IN BRAZIL.
SAMOHT.
10/27/05
BACKYARD BLUES:
MY 6:59:26 MINUTE TRAILER WAS FINISHED LAST NIGHT. I USED TEDDY EDWARDS' MUSIC, "MISSISSIPPI LAD." IT WORKED OUT FINE WITH THE VISUALS. THERE ARE 3 PRIME ACTORS IN "BACKYARD BLUES." SAMOHT, MURIELE BOLAY AND ODILE PARI. MURIELE IS AN ACTRESS FROM GENEVA SWITZERLAND WHO ALSO ACTED IN MY FILM, "THE CANE COLLECTION." ODILE IS AN ACTRESS FROM IRAN AND GERMANY. SHE ACTED IN MY FILM, "THE ASSISTANT," AS WELL.
I USUALLY USE THE SAME ACTORS IF THEY ARE AVAILABLE; HOWEVER, IF I CAN GET ANGELINA JOLIE TO PLAY THE ROLE OF "CHRISTY," IN MY BERLIN PROJECT: "HUM," I SHALL, INDEED, BE ONE HAPPY CAMPER.
SAMOHT KCINEP ROWLF
7:29 PM. THURSDAY 10:27/05
WHEN THE PHOTOGRAPHY IS FINISHED, THE EDITING BEGINS:
I need to get some music for the various little, handmade personal films that I've managed, somehow, to do. They all look different, sometimes you'll see the same actors in different projects, but, all with one continuing thread, the glue that holds it all together and that is me. Stay tuned for further developments.
Samoht - Halloween - U.S. 7:14 am.
WE ARE FRIENDS
Another small, personal gem from Samoht.
This film stars Mac Burks & Marva. This is the first time that they have received starring billing in a movie, although Marva is an old hand at attending game shows in Hollywood. They are both tall and powerful appearing people. This stands in stark contrast to my presence. I'm thinner and, although not an instigator, certainly an initiator of the action. There is humor in my scene with Marva and a certain jocularity and a studied seriousness of concern in my scene with Mac. My brother plays the role of "Wolverine." He is quite good.
Samoht 11/1/05 4:42 am.
U.S.A.
POHOP
The picture that I took to the Berlin Film Festival in 1990 was "Pohop." The title is an acronym for the full title which is: "Poorhouse to the Outhouse to Home, Home to the Outhouse to the Penthouse, or Panthouse."
I'm one of the 3 actors in the Super 8 mm. movie which is still unedited, even as I speak. I shot enough footage for about 80 minutes of material. I used a Beaulieu Super 8 mm. movie camera. Unfortunately, the editing tools of the trade that should be my forte still require me to make it on another system, perhaps transferring the existing Super 8 mm. footage to mini Digital Video format and editing with that. More on all of this later in February of 2006 perhaps.
Major need for composers of original music for all of my creative work. There are many Talents in Berlin that can fit this bill I'm sure. I'm eager to connect with international filmmakers. It has been a while since I helped UCLA, AFI and Loyola Marymount filmmakers. Now, this filmmaker needs a hand. Maybe even a small crew of 12 - 20 people would suit me fine.
Samoht 11/1/05 4:53 am.
USA
Francis & my brother, Fred, were in POHOP, along with me and my Labrador.
Samoht
POHOP REVISITED
Poorhouse to Home to the Outhouse, without leaving Home, without leaving the neighborhood.
Not many people know the full title, or what it means.
You are indeed fortunate to know this now.
Samoht 11/1/05 4:57 am.
USA
GORDON PARKS, FILMMAKER, PHOTOGRAPHER, POET, COMPOSER - NEW YORK
AN INTERESTING THOUGHT CAME TO ME A FEW DAYS AGO. I MIGHT ASK MR. PARKS IF HE HAS ORIGINAL MUSIC THAT I COULD EMPLOY IN THE SLATE OF FILMS THAT I HAVE TARGETED FOR 2006. THAT WOULD BE GREAT IF HE WOULD ALLOW ME TO DO THIS. HE HAD THE ORIGINAL "SHAFT" FILM STARRING RICHARD ROUNDTREE WITH A MUSICAL SCORE BY ISAAC HAYES.
HE DIRECTED "THE LEARNING TREE," FOR WARNER BROTHERS, "THE LEGEND OF SOLOMON NORTHRUP," AND "SHAFT'S BIG SCORE." HE SAID THAT "LEADBELLY" WAS HIS BEST FILM. IT WAS A MUSICAL SET IN THE DEPRESSION, CIRCA 1930'S ABOUT THE LEGENDARY 12 STRING GUITARIST, HUDIE LEDBETTER. LEDBETTER LIVED IN LOUISIANA AND TEXAS. NEVER COULD STAY OUT OF JAIL.
SAMOHT 5:25 AM. 11/1/05
USA
CONSIDERATIONS OF LOIS LOWRY’S “THE GIVER”
IN MANY RESPECTS, LOIS LOWRY’S “THE GIVER” CREATES A STRANGELY FRIGHTENING WORLD WITHIN A VILLAGE IN THE DISTANT FUTURE. THE UNNAMED TOWN WHERE JONAS LIVES IS HIGHLY REGIMENTED, PEOPLE MUST ADHERE TO A STRICT PROGRAM. THE SOCIAL STRUCTURE IS OVERSEEN BY THE ELDERS. IT IS A COMMUNITY OF LOWRY’S IMAGINATION, ONE IN WHICH THERE SEEMS TO BE A HEAVENLY PARADISE FOR THE PEOPLE IN THE COMMUNITY, A TOTALLY UNREALISTIC UTOPIAN IDEAL. THERE IS BOREDOM, MONOTONY AND SAMENESS TO THE LIVES OF THE PEOPLE THAT I DON’T THINK THE SOCIETY IN WHICH WE LIVE WOULD BE COMFORTABLE LIVING IN, SINCE ARE USED TO A CERTAIN AMOUNT OF FREEDOM, CHOICE AND SPONTANEITY. I THINK THAT IT IS INTERESTING TO CONSIDER THE ADVANTAGES AND DISADVANTAGES TO LIVING IN THE SPECIAL WORLD THAT LOWRY HAS CREATED.
THE WORLD OF “THE GIVER” THAT LOWRY CREATES IS IMAGINATIVELY FRIGHTENING. THERE ARE PEOPLE WHO ROBOTICALLY GO ABOUT THEIR BUSINESS IN THE COMMUNITY. ELDERS DEMAND CERSPECIFBEHAVIORS FROM THE CITIZENS. THEIR MOVEMENTS ARE MONITORED AT ALL TIMES. WHENEVER SOMEONE DOES SOMETHING WRONG, AN ALL-SEEING “EYE” WITNESSES WHAT THEY HAVE DONE. IT IS LIKE BEING WATCHED BY “BIG BROTHER.” THEY ARE HELD ACCOUNTABLE FOR EVERYTHING. JONAS TAKES AN APPLE AWAY FROM SCHOOL AND HE IS REPRIMANDED FOR THIS, SINCE ALL FOOD MUST BE EATEN AT ONCE, WHILE ALL O FTHE LEFTOVER FOOD IS COLLECTED AND REDISTRIBUTED TO OTHER PEOPLE.
LOVE IS A FOREIGN CONCEPT. FAMILIES ARE CONSIDERED A “UNIT.” THERE ARE NO RANDOM CHILDREN. PARENTS ARE ONLY ALLOWED TO “ACQUIRE” CHILDREN MUCH AS ONE “ACQUIRES” A PAINTING OR A WORK OF ART. WHEN TWO PEOPLE WANT TO GET MARRIED THEY MUST ASK PERMISSION OF THE ELDERS. THE ELDERS DETERMINE IF THE TWO PEOPLE ARE “RIGHT” FOR ONE ANOTHER. LONG PERIODS OF TIME MIGHT PASS BY BEFORE THEY ARE ALLOWED TO MARRY.
THIS WORLD OF IMAGINATION THAT LOWRY CREATES IS THE OPPOSITE OF THE WORLD IN WHICH WE LIVE. WE ARE NOT ROBOTS. AT LEAST NOT YET. WE STILL HAVE THE RELATIVE FREEDOM OF CHOICE. WE CAN MARRY WHOMEVER WE CHOOSE. WE HAVE THE FREEDOM TO PURSUE OUR LIVES ANY WAY THAT WE WANT TO, AND, AS LONG AS WE DON’T INJURE SOMEONE, WE HAVE A CERTAIN RELATIVE FREEDOM TO ACT AS WE WISH. IN OUR WORLD, WE CAN HAVE AS MANY CHILDREN AS WE CAN AFFORD, IDEALLY. THERE ARE NO LIMITS SET ON THE SIZE OF OUR FAMILIES AT THIS POINT IN HISTORY.
IDEALLY, THE CONCEPT OF A WORLD WITHOUT WAR IS SOMETHING THAT MOST THINKING, FEELING, HUMANISTIC AND CARING PEOPLE WOULD REALLY DESIRE IN THEORY AS WELL AS IN ACTUAL PRACTICE. IN REALITY, THERE HAVE BEEN MANY REASONS FOR GOING TO WAR. THE RATIONALES THAT ARE GIVEN INCLUDE THE FOLLOWING: GOING TO WAR TO PRESERVE OUR NATION’S WAY OF LIFE; DECLARING WAR BECAUSE OUR NATION NEEDS THE NATURAL RESOURCES OF ANOTHER COUNTRY THAT THEY HAVEN’T BEEN ABLE TO SECURE LEGITIMATELY THROUGH NORMAL TRADE RELATIONS; INSTITUTING WAR BECAUSE OF ATTACKS ON OUR COUNTRY; STARTING A WAR BECAUSE OF RELIGIOUS, ECONOMIC OR ETHNIC INTOLERANCE BY AN OFFENDING NATION; AND, FINALLY INITIATING A CONFLICT WITH ANOTHER SOVEREIGN NATION BECAUSE WE KNOW THAT WE CAN WIN THE WAR, OSTENSIBLY AND WE ARE, AT THE MOMENT, MORE POWERFUL THAN OUR OPPONENT.
ULTIMATELY, MANY MEN AND WOMEN ON BOTH SIDES OF THE CONFLICT WILL DIE AS THE RESULT OF WAR. SOME INDUSTRIES ARE ABLE TO GREATLY ENRICH THEMSELVES BY SUPPLYING ARMS, WEAPONS AND AMMUNITION AS WELL AS MONEY TO KEEP THE WAR EFFORT ALIVE. THE TOTAL COST OF WAR CAN BE MEASURED NOT ONLY IN THE MILLIONS OF PEOPLE WHO HAVE DIED, BUT ALSO THE HUGE NUMBERS OF INNOCENT MEN, WOMEN AND CHILDREN WHO ARE INJURES, MAIMED, AND CRIPPLED FOR LIFE. THEY HAVE HAD THEIR LIVES FOREVER SHATTERED. ESSENTIALLY, I WOULD SAY THAT THE PROSPECTO OF A WORLD WITHOUT WAR WOULD BE A GOOD THIN. THERE IS SOMETHING ABOUT PACIFISM WHICH MORE THAN HAS ITS OWN INTRINSIC MERITS. HUMANITY WOULD CONTINUE AND THE EFFORTS OF EVERYONE THROUGHOUT THE WORLD WOULD BE DEVOTED TOWARDS PEACEFUL PURSUITS, THE CREATION OF BEAUTY, ART MUSIC AND THE ELIMINATION OF HUMAN SUFFERING. I WONDER WHETHER THESE ARE MUTUALLY EXCLUSIVE. CAN GREAT ART EXIST WITHOUT THE IMPETUS OF WAR AND HUMAN MISERY? THAT IS THE QUESTION.
UTOPIA, OR AN IDEALLY RUN SOCIETY, IS SOMETHING THAT MAY BE TOTALLY UNREALISTIC; HOWEVER, A COMMUNITY THAT OPERATES FOR THE BETTERMENT OF ALL OF ITS CITIZENS IS A LAUDABLE GOAL, PERHAPS ONE THAT ONLY A FEW OF THE MORE ADVANCED NATIONS CAN LAY CLAIM TO AT THIS MOMENT IN TIME. I WONDER IF I WOULD FEEL THAT I’M LIVING IN PARADISE, THOUGH, WHEN THE CITIZENS MERELY BLINDLY FOLLOW ORDERS FROM AN UNQUESTIONED, REMISS AUTHORITY? THERE IS NO FREE WILL. FREE WILL AND INDEPENDENCE ARE QUALITIES THAT MARK A DEMOCRATIC SOCIETY SUCH AS OURS. SINCE EVERY PERSON HAS AN ASSIGNED TASK THAT THEY MUST PERFORM, I WOULDN’T SAY THEAT THERE IS MUCH OF AN OPPORTUNITY FOR CHANGES TO TAKE PLACE.
ONE OF THE SPECIAL MARKS THAT MAKE OUR WORLD DIFFERENT FROM LOWRY’S WORLD IS THE CAPACITY FOR LOVE, COMPASSION AND WARMTH THAT IS FOUND IN MANY FAMILIES. I DON’T HAVE THE SENSE THAT THIS TAKES PLACE IN “THE GIVER.” INSTEAD, PEOPLE ARE FUNCTIONAL, UTILITARIAN. THEY DO A JOB. ONCE THEY HAVE OUTLIVED THEIR USEFULNESS, THEY ARE “RELEASED.” THE EUPHEMISTIC TERM OF “RELEASED” SUGGESTS THAT THEY HAVE WHAT WE CALL A “TIME OUT.” ALTHOUGH OUR TIME OUT IS A GENTLE STEPPING BACK FROM A PROBLEM OR A STRESSFUL SITUATION, THE PROSPECTO OF BEING “RELEASED” HAS A NEGATIVE CONNOTATION IN LOWRY’S SHORT STORY.
INTERESTINGLY, THE MEMBERS OF LOWR’S COMMUNITY EAGERLY LOOK FORWARD TO THEIR “RELEASE.” AN EXAMPLE OF THIS TAKES PLACE WHEN AN OLDER PERSON WHO HAS LIVED A FULFILLING LIFE, GOES TO THE HOUSE OF THE OLD, WILLINGLY PREPARES TO BE”RELEASED,” AND SMILES WITH PLEASURE AS HE WALKS INTO THE RELEASING ROOM. THE CONCEPT OF ASSISTED SUICIDE, EUTHANASIA, THAT OUR SOCIETY PRACTICES IS DIFFERENT FROM THE PHENOMENA OF “RELEASE” WHEN THERE IS NO REAL MEDICAL NECESSITY OR URGENCY FOR ENFORCED DEATH, WHICH IS WHAT HAPPENS WHEN YOU ARE “RELEASED” IN LOIS LOWRY’S WORLD OF “THE GIVER.”
SAMOHT 7:55 PM. 11/1/05
U.S.A.
NOTES FROM LEVON MINASIAN - WORLD CLASS DIRECTOR, WRITER, CAMERAMAN & ACTOR FROM ARMENIA 11/3/05
Hi Levon
I saw everything except for "A l'Aube du Printemps," and "Reves d'Ailleurs," & "La Bataille."
You are a world class director, Levon. I'm am more than happy to see & experience your vision.
Thomas
Begin forwarded message:
From: Thomas
Date: November 2, 2005 3:23:52 PM PST
To: "L.M."
Cc: Thomas
Subject: Re: sample of work
Yes. I am a writer. My specialty is screenwriting. I have a B.A. from the Theater Arts Department, Motion Picture Division @ UCLA. I spent many years in post-production at most of the major Hollywood film studios. I worked for Ken Russell as his First Assistant Film Editor on Altered States for Warner Brothers, Gordon Parks' film "Leadbelly" for Paramount Pictures as Mr. Parks' First Assistant Film Editor and I worked for Michael Kahn, Steven Spielberg's film editor on 3 successive features. Michael begged me to work with him on "Close Encounters" but, I was in the process of seeing if I could direct a small film called, "You Gotta Have a Little Luck." I was the TV domestic syndication film editor for MGM for 3 years as well.
Thank you for your comments about my acting. I do quite a lot of acting in all of the little films that I'm making. I learned that this is the best way for me to make sure that I have someone to shoot when I'm ready to roll the camera. Other actors come and go. At least I can depend upon myself being there. ;-)
I have a couple of comedies of situation, gentle sorts of comedies, not laugh out hard until you split your gut sorts of things My comedy arises naturally.
best,
Thomas
On Nov 3, 2005, at 2:09 AM, L.M. wrote:
Thomas, I guess you are on my website
www.LevonMinasian.com
to screen films, click on the stills.
I visited your website, screened 2 sequenses. I think
you are a good actor. Did you try to write and paly
comedies?
best
Levon
a écrit :
Hi Levon,
It worked on the Explorer. I see stills but no
film. I'm on
J'adore Votre Visage, La Bataille, A l'Aube Du
Printemps, Terra
Emota, Lux Aeterna, Overseas Lovers, Reves
d'ailleurs, L'Univers
Merveilleux et invisible de Monsieur Kazarian, Mon
Jardin Noir. Happy
New Era,
thomas
On Nov 3, 2005, at 1:04 AM, L.M. wrote:
Hi Thomas
the link of my demo is working, just ckick or copy
that in your Explorer. May be you have not Wind.
Media
Player in your computer?
Good luck for your feature project on Talent
Project
Market.
Levon
Samoht: a écrit
:
Dear Levon,
J'ai ta message, unfortunately, I can't open
it.
I'll see your
work when I return to Berlin for the 2006 Talent
Campus. I have
applied to the Berlin Working Campus and the
Berlinale Talent Project
Market to pitch my feature length script, "HUM."
Best,
Thomas
On Nov 1, 2005, at 9:13 AM, L.M. wrote:
thank you for spending time to watch and comment
my work.
my demo reel is available here,
http://levon.minasian.free.fr/LevonDemoReelEngl.wmv
you can have a look if you want.
thanks again
Levon
Samoht Kcinep Rowlf said...
NOTES FROM AN INTERNATIONALLY SOON TO BE WELL - KNOWN GLOBAL ACTRESS FROM GENEVA, SWITZERLAND: MURIELE BOLAY
STAR OF "THE CANE COLLECTION," "VIGNETTES," AND "BACKYARD BLUES," shortened version.
Muriele: schreib:
hi samoht,
thanks for everything.
i couldn't watch my sequenzes yet...but i will
hopefully have access to a computer that allows me to
see our work :-)
sincerely
muriele
Samoht: schrieb:
Great! I put some selected takes from your
exquisite job of
acting together. I haven't put them on DVD yet;
however, you can view
it on my website.
I have called your 22 minute sequence "Muriele Bolay
Segments" or
something like that. They are also known as: "The
Cane Collection
Vignettes," on my website; however, with the Berlin
Film Festival,
I'm calling it merely: "VIGNETTES." There is a
subtle reason for
all of this. I'm the only one who knows the mystery
enshrouding the
rationale for this. It will be revealed by me in
time.
The password for viewing your material:
Type the password when you see the welcome screen.
;-)
I used some temporary music from Teddy Edwards, the
now deceased
internationally known saxophonist. Tom Waits is the
singer. I don't
have the music rights to this musice. I intend to
lay in my own
original music at some point soon, or at least
before I make any deal
to have them shown in a paying capacity. Right now,
I'm merely
looking to get noticed and I think that WE have done
this to my
satisfaction with Berlin. I took "POHOP," to the
Berlin Film Festival
in 1990 when it was in Super 8 mm. dailies form,
totally uncut.
Berlin knows my work and this will be my first
choice for all of my
creative work beginning in 2006 and extending
through 2009.
Best,
Thomas
P.S. My blogspots:
http://setthetable.blogspot.com
http://www.billiondollarback.blogspot.com
http://glowballsight.blogspot.com
You might want to periodically check set the table
from time to
time. I have about 30 blogspots as you can access
by viewing my
profile. You can click on the time slot and view
and add comments if
you wish.
You can also comment on the "Muriele Bolay Segments"
on my i Disk
and send me a message. If you are in Geneva, let
me know how to
reach you in the event that I need you as a paid
actress whenever I
am fortunate enough to be in that position, Muriele.
I have already
let the Berlin Film Festival people know that you
are the main STAR
in 2 of my pictures. I have about 17 right now that
they will see
before any other festival.
On Nov 2, 2005, at 10:04 AM, Murièle Bolay wrote:
yes ;-)
4:36 AM 11/3/05
UPDATE: UPCOMING SHOOTING SCHEDULE 29 PICKUP
& NEED FOR UCLA ACTRESS NOT OLDER THAN 32
JAMES DEAN FILM DIRECTED BY MICHAEL / FRIEND / FELLOW CUB MATE @ MGM
Michael worked with many Academy Award winners while he was at MGM; he learned a lot from the masters. I worked as an Assistant film editor for 2 Academy Award winners.
Henry Berman, who edited Grand Prix and Gunga Din (1930's, produced by his brother, Pandro S. Berman). I also worked as an Assistant film editor for Ralph E. Winters. Ralph won an Academy award for his work on Ben Hur. Ralph won roughly 2 Academy Awards as a Film Editor. He worked rather exclusively for Billy Wilder and the Mirisch company. I was Michael Kahn's First Assistant Film Editor for 3 successive pictures. Michael has also won 2 Academy Awards as a Film Editor for Steven Spielberg.
I put some segments of the small, personal, handmade films that I've been working on religiously on my internet iDisk. You can take a look see when you have a few moments.
The password for both when you see the welcome screen
NEED FOR UCLA ACTRESS IF AVAILABLE:
1 ACTRESS TO PLAY THE ROLE OF CHRISTY. AGE: Not older than 32.
I'm looking at dates in November and December and probably January.
Saturdays, Sundays and Mondays. I can get back into the Lotus Egyptian
Gift Shop anytiime, the owner, Magdi, tells me. Christy sold her home and
moved to Dallas, Texas. She will no longer be with us. I'll give you your new
dialog in a few days for the scenes that I shall shoot. I'll let you know the new
schedule in roughly a week or so. I plan to pick up another Asian lady who is
not a trained actress. She will only speak a line or two of dialog at a time and
then I'll cut the camera and change angles. I'll do the same with your dialog
as well as the other actors who will be with us on the project. Mr. Day has to
go back East the 2nd week of December. Everything is the same except that
Christy will be unavailable for the rest of the projects that I have, including the
present one.
As far as the length of time, hour wise, we will only shoot for 4 hours. It will
not be a long extended amount of time that we'll shoot at the Lotus Shop.
I'll be using one light this time and I'll use the remote option on the camera.
I sent all of the information to Berlin that they requested. I told them of the actors
that I would like to use for the feature length script that I want to pitch, "HUM."
I'll know by January 10, 2006 whether I have been accepted into the Talent
Campus. I'll know by January 20, 2006 whether I have been accepted into the
Talent Project Market so that I can see about getting a deep pocketed financier
to underwrite all of the small, personal, handmade internationally targeted films
that I want to do.
Best,
Samoht
On Oct 22, 2005, at 10:35 PM, PRUE wrote:
Thanks for responding. We had a good turnout and the Q & A was interesting too. Your friend really devoted a large portion of his life to this doc and James Dean.
prue
hi, thanks for your messages at my site!
i'll read everethingt you wrote or asked on a quiet moment, now i just returnd from paris.
see you later
Hi Jana,
I re-visited your site. You have many great pictures on it. One of these days I'll learn how to post my own pictures. This gives another element of tactile sense to these blogs.
I have a friend who teaches Swing in the United States and Europe.
Samoht 11/6/05
L'implications sociales du Germinal:
Je suis parfois un peu affole par tous les circonstances des vies des pauvre mineurs dans le roman GERMINAL d'Emile Zola. Je m'excuse pour la brevite de la renseignement. Je sais que l'histoire des litteratures classiques francaises est pleine avec l'oeuvres dramatiques de Zola. Zola est le champion du droit de l'ouvrier pour l'existence comme les hommes et les femmes de la France, les pauvres dans la lutte contre la classe bourgeoise est constant et perpetuel. Emile Zola etait connu partout dans le monde pour ses efforts dans la cause du bas gens. Je propose de considerer quelques situations a propos GERMINAL quant aux relations entre les hommes et les femmes et le contraste avec les vies des classes bourgeoises.
Le theme du film est la lutte des classes. Il y avait toujours des conflits entre les classes ouvrieres et cela les bourgeoises. Les ouvrieres, pauvres, n'avaient peu de moyen pour contester l'oppression, et les greves ne fesaient qu'agraver leurs situations, deja delicates. L'oppresseurs sont toujours la haute societe, les classes bourgeoises en tout ces formes. Les longes greves n'abboutissaient sur rien, et les mineurs retournaient a leurs vies initiales, encore plus pauvres qu'un paravent.
Dans le roman, GERMINAL, il y a un conflit perpetuel parceque deux formes de la societe n'etaient pas en accorde, ils ne sont pas de niveau avec la classe bourgeioise. Poul les laborieux etaient un existence miserable. Les compatriotes devaient epuise par le travail dans les mines. Par exemple, il est necessaire que plusiers gens aident les familles des mineurs pour vivre comme citoyens utiles du pays. Le travaill de la bas ouvrier est toujours sale, avec moins d'argent; il est impossible d'achever l'elevation sociale pour l'avancement dans la societe laquelle ils vivent. Quant aux classes, le mouvement entre les deux classes n'existaient pas et par cette raison il n'y a pas la vision a l'avenir pour eux s'amelieurer le futur n'est pas vif avec les jeunes mineurs. Les travaux sont toujours monotone, toujours dure, toujous tres dangereuse pour les femmes et leurs hommes. Les enfants aussi doivent travailler jusqu'au ils avaient acheve l'annees d'adolescence.
Les vies des classes bourgeoises sont toujors confortable pour tous les miembres. Le pere travaille dans l'office. La mere travaille dans la maison laquelle il y a l'assistance de beaucoup domestiques. Les vies des mineurs sont tragiques et miserables. Ils boivent pour les petites joies dans leurs vies. Leurs femmes adorent les petites faveurs laquelle les gentilhommes auraient offre pour satisfier leurs pulsations sexuelles. Les pauvres veulent soulagemnet dans les bras des femmes parce qu'il n'y a pas temps sufficant pour se mettre a l'aise. Un jour normal est plein de mecontent a cause de leurs situations commes les vies des mineurs. C'est une dilemma naturelle que tous personnes comprennent et acceptent parce qu'ils ne doivent pas faire meilleure. Les systemes des justice n'existaient pas pour les bas ouvrieres. Le probleme avait existe pour milles d'ans.
L'epoque du Napoleon Buonaparte institue un Code Scolaire pour l'avancement des bas classes mais Zola avait decide raconter en forme dramatique les resultats des vies sans les reves. Les classes bourgeoises avait eu toujours tout l'argent, tout l'assistance pour l'avancement rapidement surtout la societe et cette situation etait dangereuse parce qu'il a permet une volatile groupe d'ouvriers, avec impuissance mais l'appetit pour les fleurissants choses d'autres miembres des societe.
La femme, Fleurance, innocente et naif, avec la purete d'une belle femme, songait de posseder un petit symbol du richesse, elle veut un jaune ruban. Un homme l'ai achete pour elle. Fleurance croyait qu'il etait elegant aungque u peu trop chic pour la. Le ruban etait le symbol de la jaunesse et l'esperance et ses desirs pour l'avenir aussi les temps presente. L'ouvrier essayait a seducer Fleurance dans la foret. Fleurance etait belle mais le travail dans les mines n'etait pas pour la tout les jours. Elle accomplissaient beaucoup de travail chaque jour aussitot que les hommes qui travaillaient pres d'elle. Elle gagne l'admiration et respecte de l'autres ouvriers. Fleurance avait responsabilite pour l'assistance a sa famille, s'il Fleurance ne pouvait pas travailler, donc, moins d'argent pour sa famille. Pour une femme, elle avait une grande responsibilite et les pauvres gens apprecieraient ses efforts. C'etait des circonstances normaux dans cette epoque pour les femmes a aider leurs familles. C'etait le genie de Emile Zola a raconter le roman. Zola avaient decrit les environnes et les situations particulieres avec les hommes et leurs femmes dans les mines.
Si non Zola, qui seraient ete le champion des pauvres, les mineurs, les femmes, les jeunes, tout qui doivent tenir un champion pour l'elucidation et l'education des bas vies en France dans cette epoque? Zola etait gentilhomme avec une conscience sociale avec les outils pour achever ses objectifs. Zola defendait les droits de Alexander Dreyfuss, u adjutant juif, dans le service militaire quand une sentence incroyable avait ete lui donner. Dans l'epoque dans laquelle Zola vivaient, sa gran voix etait la crie pour justice et raissonableness qui assistait les gens dans les cours des leurs existence. Zola dessinaient un environnement inescapable, mecontent et pleine avec la consideration d'autres dans laquelle la bas ouvrieres n'existaient pas. Zola avait illumine la nuit noire por les gens du monde entier. Zola etait ecrivain par excellence dans la societe Francaise. Les romans du Zola reflete les miseries dans les vies des les bas des societe. Aujourd'hui, tous les gouvernements dans le monde apprecierent Zola et les gens qui travaillent sans cesse dans le monde loin des maisons des classes bourgeoises. La cause pour egalite continuera pour la prochaine epoque.
Emile Zola avait voulu le meilleur sante pour tout les familles du gens pauvres surtout la bas societe. La morte d'un ouvrier etait triste mais les conditions qui existaient pour tout les gens doivent faire ameliorer ou les vies des classes bourgeoises seraient ste disapparu. La lutte entre eux qui possedent l'argent et l'esperance pour l'avenir ne permit pas la continuance d'inegalite. C'etait le genie du Zola qui illumine les vies des pauvretes et les conditions miserables pour les gens du monde entirer a voir et reflechissaient a propos faire changements.
Samoht 11/06/05
hi samoht
You don't have to send me so many messages! a long message at once is okey to :)
i didn't took the pictures myself, because i haven't got a digital camera . And as you see i play music, tuba, accordeon and flute.
i visited paris last week, but i don't think it's a good idea to visit it now! with al this agression.
bye,jana
NOYUMA DIRECTED BY CHARLES BURNETT:
Charles returned from 18 months of shooting a movie in Namibia, Africa on Sunday, November 6, 2005. The movie stars Danny Glover and Carl Lumbly. Burnett is in the process of finishing his Director's Cut. I expect that this film will be ready for exhibition to the world in 2006 or 2007.
Samoht 11/7/05 11:51 am.
U.S.A. Hollywood
CONTRARIAN PERSPECTIVES ON "L'ETRANGER" THE STRANGER BY ALBERT CAMUS
IF I WERE MEURSAULT'S ATTORNEY, I WOULD PLEAD FOR JUDICIAL RELIEF BY USING THE DIMINISHED CAPAACITY DEFENSE. MEURSAULT LIVED A QUIET LIFE. HE WAS PUNCTUAL ABOUT SHOWING UP FOR HIS JOB AS A WAREHOUSE CLERK. HE WAS AN HABITUAL CUSTOMER AT A LOCAL RESTAURANT WHO INVARIABLY ORDERED THE SAME MEALS DAY AFTER DAY. HE HAD A GIRLFRIEND, MARIE, WHO WOULD GO WITH HIM TO THE BEACH TO SWIM. SHE TRIED TO SHOW HIM AFFECTION BY RUBBING AGAINST HIM IN THE WATER AND TRYING TO TEASE HIM INTO ROMANCE. MEURSAULT WAS INTROSPECTIVE. HE DIDN'T BELIEVE THAT HE SHOULD TELL PEOPLE WHAT HE REALLY THOUGHT. THIS QUALITY PROVED TO BE UNFORTUNATE BECAUSE THE MAGISTRATE BELIEVED THAT MEURSAULT DIDN'T SHOW THE REQUIRED REMORSE FOR HIS CRIME OF MURDERING THE YOUNG ARAB WORKER. MEURSAULT LOVED HIS MOTHER ALTHOUGH HE DIDN'T SEE HER AS OFTEN WHEN SHE ENTERED THE SANITARIUM. HE THOUGHT OF HIS MOTHER OFTEN, BUT BECAUSE SHE WASN'T PHYSICALLY PRESENT IN HIS LIFE, HE DISMISSED HER. HE KNEW THAT SHE WAS WELL TAKEN CARE OF. HE DIDN'T FEEL THAT HE NEEDED TO EXPLAIN HIS INNER FEELINGS ABOUT HER BECAUSE THEY WERE PRIVATE THOUGHTS WHICH BELONGED TO HIM AND WHICH NO ONE ELSE SHOULD BE PART OF. MEURSAULT WAS NOT IN HIS RIGHT MIND AFTER THE DEATH OF HIS MOTHER. THE HEAT OF THE SUN AND THE LOSS OF A MOTHER WHO HAD CARED FOR HIM SINCE HE WAS A CHILD MADE THAT PARTICULAR DAY OF THE ARAB'S DEATH SURREAL. HE HAD LOST MORE THAN A MOTHER. HE HAD LOST THE ONLY PERSON WHO UNDERSTOOD HIM. MARIE, HIS GIRLFRIEND, TRIED TO BE HIS FRIEND AND LOVER. ONE OF THE OTHER WORKERS TRIED TO GET MEURSAULT TO GO OUT TO PARTIES WITH THE GROUP FROM THE WAREHOUSE BUT MEURSAULT DIDN'T EXPERIENCE THE JOY OF MOST PEOPLE. HE LOVED NATURE, THE SEA AND HIS MOTHER. HIS INTERIOR THOUGHTS WERE ALL THAT CONCERNED HIM AS HE THOUGHT OF THE ASPHALT ON THE ROAD WHILE HE WAS ON THE WAY TO THE FUNERAL. ONE OF THE OLDER PEOPLE AT THE FUNERAL THOUGHT HE WAS AN ODD CHARACER BECAUSE HE DIDN'T COME TO VISIT HIS MOTHER REGULARLY AFTER SHE HAD BEEN THERE FOR A WHILE. MEURSAULT'S RATIONALE FOR THAT WAS THAT SHE WAS WITH HER FRIENDS AND SHE WAS HAPPIER THAT WAY; OLDER PEOPLE UNDERSTOOD AND LOVED HER AND THAT WAS FINE WITH MEURSAULT. AS MEURSAULT'S ATTORNEY, I WOULD ARGUE THAT EACH MAN'S INNER MOTIVATIONS CANNOT BE EXPRESSED IN A WAY THAT OTHERS IN SOCIETY MIGHT DEMAND OR EXPECT. MEURSAULT WAS A LONER. EVEN THOUGH MARIE TOLD HIM THAT SHE LOVED HIM WHEN HE WAS IN JAIL, HE COULDN'T LIE TO HER AND TELL HER WHAT SHE WANTED TO HEAR. MEURSAULT HAD A CHILDISH ASOCIAL NATURE OF WHICH THE NORMS AND TRADITIONS OF CIVILIZED SOCIETY WERE LOST. HE SHOULD BE JUDGED NOT FOR KILLING THE YOUNG ARAB WORKER ON THE BEACH BUT FOR THE FAILURE TO FOLLOW THE DICTATES OF THE SOCIETY IN WHICH HE LIVED. MEURSAULT FIRED TWO SHOTS AT A FIGURE ON THE BEACH BUT HE WAS NOT INTENDING TO KILL A HUMAN BEING. MEURSAULT, I BELIEVE, WAS FIRING AT AN APPARITION. EVEN THOUGH THERE WAS A DEATH INVOLVED, THERE WAS NO MOTIVATION FOR MEURSAULT. HE DIDN'T EVEN KNOW THE PERSON HE KILLED AND HE HAD NOTHING TO GAIN BY THE MAN'S DEATH. HE WAS IN HIS OWN WORLD.
THE DAY OF THE ARAB'S DEATH WAS A TRAUMATIC TIME FOR MEURSAULT. HE WAS NUMB TO LIFE, NUMBED BY THE DEATH OF HIS MOTHER. I WOULD ARGUE THAT MEURSAULT WAS IN A DREAM STATE. HE WAS EXCEPTIONALLY AWARE OF THE COLORS OF THE FLOWERS IN THE FIELD, THE SMELL OF ASPHALT WHICH SEEMED TO HIM LIKE BURNED TAR. HE NOTICED THINGS WHICH MOST PEOPLE WOULD PROBABLY NOT HAVE PAID ATTENTION TO, BUT FOR MEURSAULT, THIS WAS HIS EXISTENCE THESE INNER DESCRIPTIONS, THOUGHTS AND FEELINGS WERE WHAT HE WAS AWARE OF. WHEN HE WAS IN JAIL, THE FACT THAT THE ROOM WAS BARE CONCERNED HIM, BUT OF MORE IMPORTANCE WAS THE FACT THAT HE COULDN'T SEE THE SUN. HE WAS NOT A PEOPLE ORIENTED PERSON; HE WAS MORE OF A SPIRITUAL MAN WHO DIDN'T BELIEVE IN GOD OR ORGANIZED RELIGION. HE MOURNED IN HIS OWN FASHION. IT WAS ONLY AFTER HE REALIZED THE CONSEQUENCES OF THE CHARGES THAT WERE FILED AGAINST HIM, THAT HE BEGAN TO UNDERSTAND THEIR GRAVITY. HIS LACK OF A RESPONSE TO THE BASIC QUESTIONS POSED BY HIS QUESTIONERS CAME BACK TO HAUNT HIM, THEY FORCED HIM TO RELIVE HIS PAST, HIS LIFE AND WHAT HE HAD DONE ON THE DAY OF HIS MOTHER'S DEATH AND OF THE HORRIBLE EVENTS WHICH PROMPTED HIM TO TAKE ANOTHER HUMAN BEING'S LIFE.
MEURSAULT DIDN'T PRE-MEDITATE MURDER. HE NEVER THOUGHT OF THE CONSEQUENCES OF WHAT WOULD HAPPEN WHEN HE PULLED THE TRIGGER OF THE REVOLVER. HE JUST WANTED TODO IT BECAUSE HE HAD A TOOL AND THE SOUND OF THE GUN ENTRANCED HIM. I SUPPOSE THAT MEURSAULT FELT A SENSE OF POWER FROM THE GUN. THE ARAB WAS FAR AWAY IN THE DISTANCE, WHILE MEURSAULT WAS SAILING ON THE SEA. THE DAY WAS UNBEARABLY HOT. HIS MIND WAS NOT ON MURDER BUT ON THE PLEASANTNESS OF THE DAY, THE CRESTING OF THE WAVES, AND THE WOMAN WHO WAS NEXT TO HIM. HE WAS REMEMBERING HIS CHILDHOOD AND, I WOULD ARGUE, CONCERNED ABOUT HIS LIFE WITHOUT HIS MOTHER, WHO HAD TAKEN CARE OF HIM SINCE CHILDHOOD.
THE CRIME OF MEURSAULT WAS UNFORTUNATE. I DON'T BELIEVE THAT HE KNEW WHAT HE WAS DOING, OR THE EFFECT THAT IT WOULD HAVE ON THE ARAB OR ON THE ARAB'S FAMILY. THE INTERESTS OF JUSTICE WOULD BEST BE SERVED BY A SENTENCE OF MANSLAUGHTER IN THE SECOND DEGREE. THERE WERE NO OTHER INSTANCES OF CRIMINAL HISTORY. INDEED, THIS MAN LIVED A SIMPLE, UNCOMPLICATED LIFE. HE DOESN'T DESERVE TO BE EXECUTED. HE DESERVES COMPASSION AND UNDERSTANDING. NOW THAT HE IS OUT OF THE MEMORY OF THAT DAY, HE CAN PERHAPS WORK ALONGSIDE OTHER YOUNG ARABS IN HIS VILLAGE AND MAKE ATONEMENT TO THE ARAB'S FAMILY. THEY ARE WITHOUT A BREAD WINNER IN THEIR FAMILY. MEURSAULT, BY THE DEATH OF THIS MAN, SHOULD TAKE HIS PLACE IN A FINANCIAL SENSE AND DO ALL THAT HE CAN TO MAKE THEIR LOSS WHOLE. REVENGE IS NOT THE ORDER OF THIS COURT, NOR ITS OBLIGATION; HOWEVER, A DEBT HAS TO BE PAID. MEURSAULT'S DEBT TO THE FAMILY AND TO THE SOCIETY WHICH HE NOW UNDERSTANDS HOLDS HIM ACCOUNTABLE AND FULLY RESPONSIBLE FOR INDISCRIMINATELY ENDING ANOTHER MAN'S LIFE. YOUR HONOR, I FERVENTLY HOPE THAT THE INTERESTS OF JUSTICE WILL BEST BE SERVED BY INSISTING THAT MEURSAULT SERVE HIS TIME BY DOING COMMUNITY SERVICE AND THEN DEVOTE THE REST OF HIS LIFE TO MAKING THE ARAB'S FAMILY FINANCIALLY WHOLE.
I REST MY CASE, YOUR HONOR. VIVE LA FRANCE! VIVE MEURSAULT!
Samoht 11/8/05 6:48 pm.
U.S.A.
MAVERICK FILMMAKER FROM INDIA SAYS:
Its great! You seem to have varied experience and good
at the art of filmmaking.
For us in India such films are not welcommed. We have
problems in even showing this to people. It is not
banned, but it is not considered to be films. It is
"just a fools play".
But this film went on win major awards including from
NY Film Festival. It was shown at Oberhausen and
Hamburg film fests. Nice experience indeed.
This film is part series that I had planned - a
trology. The 1st is Rhythm of Death; 2nd is Tree of
life; and 3rd would be One for the Road. The second
film is also ready and has been awarded at Fike Intl
Fest. It was shown at Oberhausen, Capalbio and
Yamagata. Third film would be complted in one month's
time.
For the second film I broke away from this style and
went to classical Indian artistic filmmaking pattern.
But my third would be getting back to the roots -
maveric filmmaking. One for the Road is actually an
episode picked up from Dostevsky's Notes from the
Underground.
I think my film which you saw is a three minute film
and it is has powerful impact for it being short. We
intended to keep it as short as possible to let that
space of outside the frame be felt by the possible
viewer of the film.
The connection between chickens and the music players
is similar to that of the chickens and the butcher;
the chickens and the auto-rickshaw driver. The basic
idea to simply say that we all are chicken-hearted and
in no way we are superior to that being.
The music players are traditional south Indian artists
who usually perform for marriages. But these people,
when we went to shoot, were actually is depressed
state because they don't have business in the present
status. And were trying mend their instruments. Hence
we got them playing some unusual tunes and unhappy
tunes. That added the flavour to entire film.
Good to hear from you. I would love to watch your
films. Hope I will the opportunity to view them once.
Keep in touch, all the best for Berlinale.
Best,
Jayadev
--- Samoht wrote:
Hi Jayadev,
I applied for the Berlin Talent Campus, Working
Campus and the
Berlinale Talent Project Market for February 2006.
I graduated from
the UCLA film school and I spent a number of years
working in post -
production at most of the major Hollywood Studios. I
was the First
Assistant Film Editor for Gordon Parks' "Leadbelly,"
for Paramount
Pictures and the First Assistant Film Editor for Ken
Russell's film,
"Altered States," for Warner Brothers. I was the
production manager,
film editor and I played a small role in Charles
Burnett's film, "My
Brother's Wedding." I had a Cameo Role as a "Dead Body in a Coffin." Maybe he was trying to tell me something. At any rate, I resurrected myself with the films that I directed.
I have directed a number of mini digital feature
films:
The Cane Collection
Vignettes
The Assistant
Backyard Blues
Courtin' for Polito
Crossed Canes
The Shower, etc.
I hope to be one of the participants to the Talent
Campus. I'd like
to pitch my feature length script, "HUM." I'm like
a factory of one
when I make these mini digital films. I wear 7 hats.
I produce,
write, direct, edit, shoot, act and whatever else is
necessary. I'm a
friend and contemporary of Charles Burnett. Burnett
was awarded the
Critic's Prize at the Berlin Film Festival for
"Killer of Sheep."
I spent some time in the country when I was a lad. I
lived with my
grandparents on a farm in Virginia. Thus, when I saw
the chickens, I
had a premonition that they would soon be somebody's
supper.
I saw your Sample of Work when I accessed the Berlin
Film Festival's
Talent Campus website. I've commented favorably on
quite a large
number of films that I have seen. I used to write
for my high school
newspaper. I was the features page editor, columnist
and feature page
editor. I wrote a few columns for the Black
Student's newspaper,
NOMMO, when I was a student at UCLA.
Best,
Samoht
On Nov 7, 2005, at 7:49 PM, K Jayadev wrote:
Hey Samoht,
Thanks for the mail regarding my film.
I am glad it still continues to make few sit up a
watch.
BTW, where did you get to watch the film? Pls tell
me
about yourself. Then I wouldlike to send you
detailed
backgrounders about my film. I liked the
word"maverick
filmmaking" and thats what I am known for.
Good to hear from you. Write back about yourself,
which will enable me to write properly the background
about the film, the connections between the music
players and chickens, etc etc.
Best,
Jayadev
CATHERINE DENEUVE INSIGHTS FROM JANA:
Sa vie / Biographie
Photos
Sa vie
Biographie
Famille
Sa carrière
Films
Festivals et honneurs
Partenaires
Propos sur le cinéma
Autres activités
Ses interviews
Presse 2000-2005
Presse 1990-1999
Presse 1980-1989
Presse 1960-1979
Radio et télévision
Livres
Ses portraits
Hommages
Dessins
Photos
Sa personnalité
Caractère
Centres d'intérêt
Opinions
Engagements
Son univers
Mode de vie
Style
Coups de cœur
Sorties et voyages
Catherine Deneuve est unanimement respectée pour avoir réussi à protéger sa vie privée de la curiosité des journalistes et du public. Loin de moi l'idée de livrer des révélations croustillantes, qui seraient une insulte à sa discrétion que j'admire tant. On trouvera donc dans ce chapitre uniquement quelques grands repères de sa vie mis en parallèle avec les grands tournants de sa carrière. Cliquez sur une époque pour découvrir des informations, des photos, et ce qu'en a dit Catherine Deneuve.
Dates
Période
Film marquant
1943-1960
L'enfance et l'adolescence
Une enfance heureuse auprès de sa famille, et des débuts timides au cinéma.
Les portes claquent (1960)
1961-1964
Le réveil de la "Belle au Bois Dormant"
La vraie naissance au cinéma grâce à Jacques Demy, et l'explosion d'une star dans "Les parapluies de Cherbourg".
Les parapluies de Cherbourg (1964)
1965-1974
De grands bouleversements
Heureux ou tragiques, de grands changements dans sa vie privée. En parallèle, un certain nombre de films majeurs avec de grands réalisateurs.
Belle de jour (1967)
1975-1979
Une carrière construite sur la diversité
Des films variés qui la confirment dans son double statut d'actrice exigeante et de vedette populaire.
Le sauvage (1975)
1980-1985
Une actrice au sommet
Dix Césars pour "Le dernier métro", des incursions dans la chanson et la publicité, et l'incarnation de Marianne.
Le dernier métro (1980)
1986-1991
De nouveaux défis
Un virage vers plus de dépouillement et de vérité. Des personnages inédits et bouleversants.
Le lieu du crime (1986)
1992-1998
La consécration internationale
Un nouveau sommet avec "Indochine", un César, une nomination aux Oscars, la vice-présidence du Festival de Cannes, le prix d'interprétation à Venise, et de nombreux hommages.
Indochine (1992)
1999-2004
En perpétuel mouvement...
Une frénésie de tournages, en alternant premiers et seconds rôles, comédies et tragédies, films intimistes et films grand public. Pour échapper au danger de la "mythification" ?...
Huit femmes (2002)
Dans "Ma saison préférée", Daniel Auteuil disait : "Tu t'agites, tu t'agites, mais ce qui compte, c'est de donner un sens à sa vie". Je partage cette réflexion et l'applique au mieux dans la mienne.
Catherine Deneuve, L'Express 1996
Merci beaucoup pour ton information, Jana
Samoht 11/10/05 12:21 am
U.S.A. Hollywood
Berlin Working Campus: Berlinale Talent Project Market Feb. 12 – 13, 2006
BERLIN HOUSE OF REPRESENTATIVES TO PREP PROPOSAL FOR INCLUSION IN THE PROJECT MARKET:
5 page Synopsis / Treatment of feature film script “HUM”
page 1
The Lotus Egyptian Gift shop acts as a magnet in the Hollywood area for an ongoing stream of young people who are drawn to a mystical man that they find there or have heard about through the proverbial grapevine. The man is TOMAS HARPER, small in stature and of indeterminate age who listens to the stories that they bring to his attention. At times he comments on what he hears, at other times he merely listens. On rare occasions, he dispenses timely advice. His concern is whether to attend Harvard or Yale University since he wanted to do that years ago. He lives in an independent living facility in which the shades are always drawn by his own choice rather than by decree. The times that he spends at the Lotus Egyptian Gift shop are wearisome in a certain sense because he is like an Indian Totem Pole or a virtually immovable object. He holds court on top of a coffin type box with 4 jars of coins at his feet. A gold lion is at the front of the box and an Egyptian deity is on his other side. TOMAS rarely moves, instead, people come to him from all walks of life as if he is their confessor. They see him as somewhat of a mystical force in their lives and they greatly appreciate the opportunity to bare their souls to him. In some cases, it is an anonymous sort of gratification that they receive even though there are regular customers who drop coins in one of the 4 jars at his feet. This small job is one of 3 that TOMAS is engaged with for the purpose of accumulating a certain amount of monies to enable him to pay the hefty fees at Harvard or Yale, should he elect to attend graduate school there.
An early customer at the Egyptian shop is MR. DAY, a 23-year-old blond, blue-eyed rapper with an unusual social awareness. He dresses “au courant.” He is totally in sync with the latest spoken word poetry events about town. Women are attracted to him in a “raw sort of way.” He is so, so, so, so, so very hip that he can taste it in his mouth. He wants the entire world to know it. He is loud and brash and doesn’t mind paying the ticket to show how large and great he is. He does a lot with a little bit of money.
The way MR. DAY walks is bold. The way he talks is non-stop. He says something and doesn’t expect an answer.
He is also a conniving, devil may care wanderer who sees an opportunity and pounces on it. His best friend is “COBRA” and DAY would strangle him in a second if he ever got in the way of something that DAY thought was important. DAY is a two-faced man who loves to slap a man on the back, say encouraging words, all the while sizing up opportunities to take advantage without seeming to do so.
5 page Synopsis / Treatment of feature film script “HUM”
page 2
DAY has been kicking it with his friend. Life has been on an upward spiral. After years of making a small amount of money, he has just returned from an uplifting trip to the East coast, specifically, New York and Boston, where he was the talk of the town for the strangely mystical lyrics that he has put together. He has a brand new album that just went Platinum on the charts and he knows that he will soon get his Emmy award. You share the good news with your friend, COBRA. Life hasn’t quite been as swell for him as it has been for you. He grudgingly listens as DAY tells him that he partied with Audrey Tautou, Nicole Kidman and Angelina Jolie last night and a group of anonymous hangers on. DAY didn’t think that she was so great when he saw her in person, but the groupies that were there were all quite something to behold. He tells COBRA about one girl in particular that he took to the sack and when she awakened the next morning, you had fled during the night. DAY and COBRA both laugh at this, marvel at how beautiful life is and COBRA helps his friend to enjoy the moment.
DAY undergoes significant changes as we experience with him throughout the picture. At first, we think that he is rather inconsequential; later, we realize that he has become a substantial person who treats women with great dignity, in spite of his apparent naïveté with them. He picks up a lot of innate spirituality from the mystical seer, TOMAS, primarily in the Lotus Egyptian Gift shop and also at TOMAS’ other place, the Korean Women’s Dress shop.
COBRA is a tall, dark German who has been misdiagnosed as a schizophrenic who is finally getting his life in order after a long hiatus from civilization and the pleasurable company of women. He has suffered a lot in life and conversely, has caused a lot of suffering that he is totally aware of. He served in the Army during the Afghanistan and Iraq wars and never rose above the rank of private. He pretends that he was a sergeant and continues to live this lie until TOMAS sees deeply into his heart and tells him that he knows exactly who he is. TOMAS, too, is a properly diagnosed bi-polar protagonist while COBRA becomes the antagonist in the picture.
COBRA has experienced many of the vicissitudes of a rapidly changing world where he hasn’t been trained to keep up with technology. He is an old - fashioned sort of guy who is Catholic and loyal to a fault. In a world where hipness and contemporary concerns outweigh the spiritual side of things, he is definitely left in the lurch.
COBRA likes to come in at times and talk with TOMAS. Both of them are kindred spirits and COBRA feels that TOMAS, above all others, understands him more than most. He is not quite sure that he understands himself because he has been known to do some wild and crazy things. COBRA fills TOMAS in on the things that he has done, hoping to get a second opinion or at least an affirmative nod. At times, TOMAS listens, at times, he merely makes suggestions.
5 page Synopsis / Treatment of feature film script “HUM”
page 3
COBRA has just gotten situated in an independent living facility. He tells TOMAS that he now has a room, without a view, and a toilet without a shower. He seems somewhat apologetic about this, but TOMAS accepts this without being judgmental, since he too, resides in a place that is similar, in some respects and quite different in that he has a lovely courtyard and there are an abundance of flowers and color surrounding him.
COBRA can’t wait to get out of the city. He wants to do things that he has never done before. He wants the wind to blow through his hair; but, most of all, he wants a woman with whom he can share, a woman that he can love and who will love him with passion.
It has been years since he had a woman. He has almost forgotten how a woman feels or tastes. COBRA expresses this to TOMAS, who is psychic at times and somewhat of a facilitator, since there is so much foot traffic in the Hollywood area. TOMAS tries to steer him to 2 different type of women. One woman, Christy, attracts him in particular because he sees her ballet - toned legs in the near distance as she flirtatiously prances through the store pretending to have her mind on some Egyptian artifacts but she is really on the prowl for a man, any man will do.
COBRA fits the bill. They go off together. COBRA gives the all-okay sign to TOMAS.
TOMAS has a certain uneasy sense that this is not the right woman for COBRA; however, he shrugs off his suspicions and figures that COBRA will make out okay.
SARAH is also in her early twenties, well known in the Hollywood area since she used to live on the streets when she arrived 5 years ago from the Midwest. She helps people as a matter of course. Sarah doesn’t have a lot of money to burn, instead, she derives her reason for being and living as a person in the service of others. In another time and place, she might have been a dedicated social worker or a Sister in the Servants of Mary. Convent life would have suited her just fine; however, she is now a part of the scenery, the landscape, the ambience in this Entertainment capital of the world and she rather likes being on the fringes of things. SARAH thinks that she’ll be discovered at Consumer’s Discount Drugstore one day while buying cosmetics or ice cream. She has a ready and genuine smile and she uses it often. Sarah wears eyeglasses which tend to hide the inner beauty of her eyes. When she comes to see TOMAS at the Lotus Egyptian Gift shop, she quickly jerks off her glasses so that she can see him clearly. There is an indefinable bond between SARAH and TOMAS that is nonsexual but, rather, the glue of like people meeting and seeing each other whole for the first time, each time.
SARAH finds herself within the Egyptian Gift Shop because she and her boyfriend spent an enraptured time at the Los Angeles County Museum of Art, admiring the artifacts from King Tutankhamen. SARAH can’t stop thinking about what she has seen, and she needs to talk to somebody…somebody who represents the majesty and mystery
5 page Synopsis / Treatment of feature film script “HUM”
page 4
of the strange Tombs and Artifacts at the Museum. Somehow, SARAH’S steps lead to the closest aura that is somehow attached to Egypt and that is this spiritual store in Hollywood. She knows, senses, and feels, that within the tomb is a man, a spiritual, gentle man, for the most part, named TOMAS. She has a burning, urgent need to speak to him, not merely to talk about what she has seen at the Museum of Art, but to find out about her place in the world. SARAH willingly joined 10 churches, yet, still can’t find her inner peace and harmony, her reason for being, her inner drive. Perhaps TOMAS can help. She goes to him with that in mind.
TOMAS has his own inner demons that these visitors to his domain have yet to realize. He has a friend, perhaps his closest friend, CECILIA with whom he confides. Both CECILIA and TOMAS have been considering the sisterhood and the priesthood, respectively. They live in close living spaces and their options are rather broad as far as life choices are concerned. TOMAS reminisces about another woman that he knew a long time ago. CECILIA is from Korea. TOMAS tells MR. DAY about a way for him to generate more money when his day in the sun as a highly acclaimed, popular rapper comes to an end. His advice has to do with sharing the money that he will make from cellphone ringtones with an African businessman who has numerous contacts in Africa. MR. DAY promises that he will share the proceeds equally with FRANK, the African businessman. TOMAS knows that he can trust FRANK. He is not sure if he can fully trust MR. DAY, so he tests him by giving him the name of someone with whom he entered a business agreement with some time ago and who abused the trust.
MR. DAY abuses the confidence that TOMAS placed in him, subconsciously, TOMAS suspected that MR. DAY would do just that, since he looked into his soul and found primarily greed.
COBRA loses CHRISTY’S companionship because he placed a higher value on climbing and seeing things that man had never before seen. He starts an assignation with another woman even though TOMAS cautions him against putting his faith in someone other than his own desires. COBRA feverishly attempts to connect with one woman after another. He never learns from his mistakes.
MARVA, an Afro-American lady who makes marvelous use of her extremely tight living quarters and manages to sell at a profit and maneuver in a highly technological world, finds herself in a better lifestyle.
MACK, an Afro-American former basketball player, who was once familiar with Kareem Abdul Jabbar, discovers that he is now well liked and prosperous because he made it to the leveling field of the television screen, accepts his new found status in life with dignity and assurance.
5 page Synopsis / Treatment of feature film script “HUM”
page 5
DOUG, also known as WOLVERINE, discovers a global marketplace for his hand crafted 150 year old canes as he too makes it onto the television screen. His family now treats him with a great deal of genuine honor and respect.
SARAH wants to dump her boyish boyfriend and seeks to start a new relationship with TOMAS even though she really doesn’t know much about him.
TOMAS decides that he will teach children and not go to Harvard or Yale even though they beg him to attend their universities. He discovers that he really won’t pursue a life as a minister or as a monk. He enjoys his life too much. At the end of the day, he decides that he will hum a song and then he begins to dance. He begins to reap the benefits from the coins that were placed in his Mason jars. They signaled a certain magical symbol to himself as well as others and as the coins accumulated, so too did his prospects for financial independence. He winds up with part ownership of 25 companies. His focus
is the Lotus Egyptian Gift shop and the Korean Women’s Dress shop. He dances as the customers flock in to buy canes, artifacts and clothing. There is a palpably magical air as he dances and hums his way through his life. Money constantly pours into the 4 clear Mason jars that had very few coins when we first see them at his feet. A lot of trade begins with customers who bring canes that are distributed through the international grapevine that he initiates. TOMAS starts with pennies and winds up co-owner of 25 small international companies. He invests wisely and re-invests even more wisely.
THE END
Samoht 11/10/05
Catherine Deneuve...
c'est du site d'Isabelle Vautier:
http://toutsurdeneuve.free.fr
GREAT i Know!
Jana
SATURDAY BOOK DISCUSSION GROUP 11/12/05
“REWARD” BY JULIE
I would like to go to high school because I want to enjoy the fruits and rewards of my labor as a student. When I graduate from high school, I would like to continue on to college or university studies. I will focus on environmental science because I think that this will help me get a better job when I graduate from high school. I will be studying the environment. So, when I graduate from high school, I want to receive rewards that are related to the environment. I want to gain a thorough foundation in physical environmental studies.
When I learn about the environment, I would like to learn about environmental damages as well as its natural causes. In order to study about environmental sciences, I will have to begin learning about plants and animal’s life & impact on their environment as well as the damage that will occur from humans or natural events. I will not focus on environmental affairs right now because I might change my goals. If I graduate from high school without knowing enough environmental science, I would like to physically try on the subject matter of environmental studies by going to mountains in order to record information on animal’s lives as they adapt to their surroundings and the advancing nature of societies that threaten their habitat. When I become more knowledgeable, I might also start going underwater to explore the ocean and the sea environment. I can explore underwater and look for fish, too. I might discover some that I never knew existed. In these ways, I might learn both environmental and scuba diving specialties. When I finish my school days, I will start traveling to different countries, understanding and knowing about various place’s environments and try to let people know of my research and unique ways to create better lives for the society in which we live.
SATURDAY BOOK DISCUSSION GROUP 11/12/05
"REWARD" BY HA-YEON
When I go to high school I would mostly like to learn about medical science. When I went through middle school, I found myself very interested in science. I really paid a lot of attention to that subject and tried to learn a variety of different things. When I graduate from high school, I would like to be more educated about medical science and diseases. The reason I want to focus on science is because I think that it is very interesting and I also enjoy learning about it. However, I might enjoy learning about it now. I might change my favorite subject to something different. My second plan is to learn about physical health, something that is related to science. I would also like to get a college scholarship as well. I think that this would support me a great deal when I am very well – educated while I’m attending college. I would really like to be able to fluently speak my third language, Spanish, really well. I want to speak at least three different languages fluently before I attend college. I think that the best reward I would receive is earning my goal and getting ready for the future
SATURDAY BOOK DISCUSSION GROUP 11/12/05
"REWARD" BY GRACE
High school is perhaps one of the most important milestones in a person’s educational career. The four years would allow students to decide on a bright and enriching future. Students take education quite seriously. I believe that the years of experience in school would greatly aid my future success as a contributing and productive member of society.
I truly hope that I would be more open-hearted, warm, caring and genuine in my dealings and relationships with other people. It is important to interact with your neighbors, especially since America is composed of people from such a wide variety of cultures and traditions. It is important that I socialize and express myself succinctly, freely, and well. As I listen to others, I would gain more knowledge and insight into areas of life that I might know very little about, thereby increasing my understanding of the world and the people that make up this global world in which we live and work. I would be able to understand what the students are thinking about as well as their opinions and reasons that motivate them to action. When I have something to say, I should speak. Socializing and interacting with others is part of developing our minds. Expressing simple ideas and gathering varieties of thought and abstract concepts would enable students to think more clearly. Social health is important, but so too is my physical health. ( Social health is equally as important as my physical health )
Elective courses such as joining the sports teams that many students pursue, the Arts and foreign language study help me to mature as a person.
“Solid as the Rock of Gibraltar”
Captain of Industry soon to be here
Not on a wing or a prayer…But,
A Rock, A middle backer,
A solid Rock of Gibraltar
Close to the White Hills of Dover
Flying from the East
Like a straight Arrow
From an Indian’s Bow
Like fine Wine from an Artesian Wellspring
Like a Mercedes finely built
Cliff standing Rock Solid
As the Years whipped by
Clipper Ship here, Boss!!
Clipper Ship here!!
“It is Morning”
The Day is near
Sunlight soon shall be
Drifting through my door
Nighttime going
Moonlight shedding
Night retreating
Day advancing
Dawning near
No rain, no sleet, no hail
No spider creating a mysterious web
Only crickets chirping,
Bullfrogs burping, children breathing.
As I hear the Lions roar
Thunder pounding, streams rushing
Oceans filled to overflowing
As I watch the night turn into day
“I Remember”
I remember when we were wee willie winkies way whack when
Living on a farm
You riding Prince.
Me riding Bill
Two stallions on the Slaughter farm
Galloping across the meadows
Jumping over gullies
You riding ahead
Me tagging behind
Us jumping logs
Me hanging from a limb
You getting off Prince to find out what’s the fuss
Hearin’
My cries for help
Bill, riderless, headin’ home
“Open your eyes, open your eyes”
I remember you saying
As I, with tightly closed eyes, hung onto a limb
For my dear life
Ground, 2 feet down
Sheepishly dropping to the turf
Us riding on again
Over the red hills, down ditches, around the trees
Making bows and arrows out of bottle caps
Having us some fun!!
“In memory of those who have struggled 1725-2005"
I kneew a boy once who cried all the time.
He would cry him a river at the drop of a dime.
I knew a boy once who never cried at all.
He smiled and worked, hardly uttered a word.
The boy who cried and cried, at some point, stopped,
And became a man.
The boy who smiled and smiled
Never smiled again.
The oceans moved, the shies shook
Berlin fell, China shook
The boy who cried and cried and became a man
Worked and fought and took back the land.
“Doctor, Lawyer, Indian Chief”
Doctor, Lawyer, Indian Chief
My mother said to me.
Little man, big man.
My father said to me.
Little Tommy Tittle Mouse
My grandfather said to me
Lived in a little house
His sheets were made of straw
And everywhere this little mouse moved
His cheeks were soon made raw
You can be a driver, you can be just right
You can be, whatever to you seems Bright
Doctor, Lawyer, Indian Chief
My mother said to me
Bottleman
Gatekeeper
Keykeeper
Holder of the light, keep this thought in mind
The night is darkest just before the dawn
When the light comes, it shines so bright
When the day breaks, it breaks for you
Soooo, put those keys in the Jet, Jettttttt
Fire up the old Jalopy
Open those sleepy eyes. See the newness of the day
And celebrate each hour.
“The Job”
My pop tore a garage down once
I pulled down a tree
My pop put up a fence once
I called it a wall
My pop put up a fence once
My brother lined it up just right
I called it a wall
My pop sang a song once
I called it Artistic
Others called it Fantastic
My pop tore a garage down once
With his bare hands
I, watched in fascination, as he worked and sweated in the hot sun, not realizing he could have used some help,
Mine
Samoht 11/27/05 4:47 pm.
U.S.A.
11/28/05 11:14 AM “I remember Uncle Bobby” 01/23/03 3:14:30 am.
1949 - 1951 Red Hill, Virginia / Grandma & Grandpa's 180 acre farm
Sometime in 1950 or 1951, when I was about 2 or 3 years old, Grandpa was sitting in his rocking chair, reading books and newspapers, telling Cliff & me about Sevastopol and Vladivostok, the only warm water ports with access to the sea for mother Russia. We were tiny tots, yet, I remember Grandpa saying that if those ports were ever closed, blockaded, barricaded, denied access to trade, then Russia MUST go to war! He smiled gently when he said that. He explained to us that Russia was a counterbalance to the United States. At the time, his logic went by me. I just remembered his words and learned to spell them. I knew that I was a lucky man, even at the age of two and a half. Sevastopol and Vladivostok were imprinted indelibly in my memory banks. Russia was a reality and I hadn’t even learned to read, much less begin to attend to my formal education. I had the best teachers at an early age. Uncle Bobby had Clifford and me scout underneath the farmhouse for the eggs that the chickens laid during the night. My brother decided that I had such good balancing & cleanliness management skills that I should have the honor of getting the eggs while he waited on the porch. Somehow, none of the chicken droppings ever attached themselves to me as I picked up egg after egg. Grandpa, Grandma, Uncle Bobby and my Mom were in the front yard when Grandpa loaded his buckboard for a trip to town. I decided that I would go, too. I was about 2 feet tall and although Grandma told me to stay home, I pretended that I didn’t hear her because I wanted to go with Grandpa. Grandpa looked at my Mom, then Uncle Bob and said that I had a mind of my own. Grandma just shook her head as Grandpa and I went to town. I didn’t look to the right or to the left. I didn’t even look behind. I looked straight ahead!
Grandma waited patiently late one night for a sly red fox that tried to abscond with her chickens. She pointed her rifle out of the window of her farmhouse, aimed with military precision, and pulled the trigger. Clifford and I saw a dead fox the next morning. At that time, Uncle Bobby was about 16 or 17 and worked a lot on the farm, yet he always took time to be with my brother and me. I’ll never forget that. He showed my brother and me how to create arrow tips from soda pop tops and bows from the saplings of tree limbs. Even though I never had children of my own, even now, I do my best to carry on the tradition of spending quality time with my brothers and sisters, as well as helping their children with their school homework. I learned that from both my Uncle Bobby and my Uncle James. I know that Uncle Bobby took a special interest in Aunt Alice’s sons. To this day, I still have pictures of a young Clifford E. with Uncle Bobby, Aunt Cynthia and Aunt Bert. They meant a lot to him. I always knew that.
At the farm in Virginia, my brother Clifford and I wanted to ride the horses on the farm. We kept pestering Grandpa and Uncle Bob for days on end to let us ride, so, finally, Uncle Bobby saddled up the two stallions after Grandpa gave the okay: Prince, the white horse, and Bill the black horse. This took place around 1950 or 1951, I was about 2 and a half and Clifford was 3 or 4. Uncle Bobby put Cliff on Prince and saddled me onto Bill. My brother and I rode hard and fast through the meadows of Red Hill, Virginia, over the ditches and brushed dangerously close by the trees, having us some fun!
Around that time, maybe a few years later, when Cliff and I were riding in Uncle Bobby’s car from Virginia to Washington or Philadelphia, I remember Uncle James reciting a song that he had composed: “I do absolutely nothing, nothing, nothing, all day long. I do absolutely nothing. How do you like my nothing song?” Second verse same as the first. Third verse same as the first. Fourth verse same as the first. Cliff and I thought that Uncle James was a pretty smart guy to think of a great song like that. I rmember well, Uncle Bobby’s Mantra about his dog, Buckyman:
“Buckyman, Nevelson, Johnson, Slaughter, Scott, Parker, Jackson, and Judy too, Prince, Collie and all the rest; now, don’t you think Buckyman is the best???”
He sang it all the time. I thought that Tippy and Mojo, Grandpa’s dogs on the farm, might have tired of hearing about Buckyman, but they never complained. Cliff & I loved the catchy tune and sang it often in the country.
It is strange how one special person’s passing tends to unite those elements of the family that want to share remembrances with one another. This is part of his legacy to me and I wanted to share it with you. As I grew older, I called Uncle Bobby from time to time, just as I called Aunt Naomi, Aunt Bert, Uncle James and Aunt Cynthia as the years rolled along. After a while, I realized that I was beginning to become an elder statesman as they had been, when I looked up to them.
Uncle Bobby was a Rock of Gibraltar in the Family. I remember that he always took care of Aunt Alice’s sons as they needed his fatherly and brotherly assistance and wisdom. I thank God that Uncle Bobby was my Uncle. I thank God that he was a part of my life and that I have these memories to share and remember. When I think of Uncle Bobby, I look within my own immediate family and think of my brother, Douglas. I remember that when he came from the hospital as a newborn infant, he looked exactly like a miniature Mr. Charles Atlas. He was built as solidly and as strongly as Uncle Bobby. Doug, like Uncle Bobby, is a joy to speak with since both of them are great listeners and hard workers. There are many interconnecting threads over time.
I will always remember you, my Uncle Bobby. I thank God that this has been a time when I have re-united with Mrs. Sheri S., Mrs. Irene
G. and Clifford E. via E-Mails and photographs that I sent in order to help solidify the family. It has been great communicating via E-mail with Mrs. Cheryl R.. I knew Everett in Cleveland when he and his sister came to visit us. Well do I remember Clarence D. III (Butch), when he rode his bicycle with my brother Clifford and me on the handlebars in Washington, D.C. and we discovered that virtually the entire city was related to our Family. I truly miss the times that Nicky and all of us had with Clifford, Johnny, Reginald, Harry, Patrick and Jimmy E. when they also came to visit us in Ohio. I believe that Uncle Bobby brought all of them along with him when he came out in the 1950’s, early 1960’s. Uncle Bobby’s illness at Hospital initiated quite a flurry of E-mails back and forth from the East Coast to the West Coast. Cheryl has done a masterful job of continuing the Family Tradition and History with the Family Directory. I would love to hear more about the backgrounds of our past as well as the comings and goings of our present relatives.
I know that Uncle Bobby was the youngest in the Family, closest to my own MOM than any of the other brothers and sisters in terms of age, but, perhaps most importantly, they thoroughly and genuinely enjoyed one another’s company. Whenever they saw one another, or spoke on the phone, I could always detect a certain warmth that I wish all families would truly experience. Clifford’s middle name is the same as Uncle Bobby’s – – interestingly, Cliff and I both selected as our Catholic confirmation names – James – because of Uncle James and my uncle James Frederick on my Dad’s side of the Family. All of this is in keeping with the perpetuation of similar names that has continued throughout the Family. My Mom named me after Aunt Bert’s husband. Sometimes I use two “l’s,” sometimes one. She tells me that she named me after Thomas Jefferson, one of the early United States Presidents. All this time I had always thought that I was named after St. Thomas Aquinas. It is time to renew our spirits! Regenerate ourselves from the rich Motherlode of our History, celebrate the strengths that reside in each one of us!
Let us begin anew. Let us renew ourselves like the Phoenix rises from the ashes. Let us keep in touch throughout eternity through the collective memories of Uncle Bobby, Aunt Alice, Aunt Dot, Aunt Harriet, and my most favorite Aunt Naomi, who, along with Aunt Bert, I considered my second mothers. Let us honor those among us who are still present and would love to hear from us, even if it be only on a special birthday. It behooves us to carry on the torch, the Family Tradition of one large umbrella encompassing so many generations. I know that Grandma and Grandpa would expect that, if not demand it, and I know that all of them are smiling now, in Heaven, joyous that Uncle Bobby has joined them, for, he is indeed, the Rock of Gibraltar in the extended, loving Family. Think about that whilst I compose myself. Think about that while we compose ourselves in order to begin afresh, renewed by the spirit of all those generations that came before us, buoyed by the rising tide of the generations that will surely follow us!
Samoht 11/29/05 12:26 am.
11/28/05 11:14 AM “I remember Uncle Bobby” 01/23/03 3:14:30 am.
1949 - 1951 Red Hill, Virginia / Grandma & Grandpa's 180 acre farm
Sometime in 1950 or 1951, when I was about 2 or 3 years old, Grandpa was sitting in his rocking chair, reading books and newspapers, telling Cliff & me about Sevastopol and Vladivostok, the only warm water ports with access to the sea for mother Russia. We were tiny tots, yet, I remember Grandpa saying that if those ports were ever closed, blockaded, barricaded, denied access to trade, then Russia MUST go to war! He smiled gently when he said that. He explained to us that Russia was a counterbalance to the United States. At the time, his logic went by me. I just remembered his words and learned to spell them. I knew that I was a lucky man, even at the age of two and a half. Sevastopol and Vladivostok were imprinted indelibly in my memory banks. Russia was a reality and I hadn’t even learned to read, much less begin to attend to my formal education. I had the best teachers at an early age. Uncle Bobby had Clifford and me scout underneath the farmhouse for the eggs that the chickens laid during the night. My brother decided that I had such good balancing & cleanliness management skills that I should have the honor of getting the eggs while he waited on the porch. Somehow, none of the chicken droppings ever attached themselves to me as I picked up egg after egg. Grandpa, Grandma, Uncle Bobby and my Mom were in the front yard when Grandpa loaded his buckboard for a trip to town. I decided that I would go, too. I was about 2 feet tall and although Grandma told me to stay home, I pretended that I didn’t hear her because I wanted to go with Grandpa. Grandpa looked at my Mom, then Uncle Bob and said that I had a mind of my own. Grandma just shook her head as Grandpa and I went to town. I didn’t look to the right or to the left. I didn’t even look behind. I looked straight ahead!
Grandma waited patiently late one night for a sly red fox that tried to abscond with her chickens. She pointed her rifle out of the window of her farmhouse, aimed with military precision, and pulled the trigger. Clifford and I saw a dead fox the next morning. At that time, Uncle Bobby was about 16 or 17 and worked a lot on the farm, yet he always took time to be with my brother and me. I’ll never forget that. He showed my brother and me how to create arrow tips from soda pop tops and bows from the saplings of tree limbs. Even though I never had children of my own, even now, I do my best to carry on the tradition of spending quality time with my brothers and sisters, as well as helping their children with their school homework. I learned that from both my Uncle Bobby and my Uncle James. I know that Uncle Bobby took a special interest in Aunt Alice’s sons. To this day, I still have pictures of a young Clifford E. with Uncle Bobby, Aunt Cynthia and Aunt Bert. They meant a lot to him. I always knew that.
At the farm in Virginia, my brother Clifford and I wanted to ride the horses on the farm. We kept pestering Grandpa and Uncle Bob for days on end to let us ride, so, finally, Uncle Bobby saddled up the two stallions after Grandpa gave the okay: Prince, the white horse, and Bill the black horse. This took place around 1950 or 1951, I was about 2 and a half and Clifford was 3 or 4. Uncle Bobby put Cliff on Prince and saddled me onto Bill. My brother and I rode hard and fast through the meadows of Red Hill, Virginia, over the ditches and brushed dangerously close by the trees, having us some fun!
Around that time, maybe a few years later, when Cliff and I were riding in Uncle Bobby’s car from Virginia to Washington or Philadelphia, I remember Uncle James reciting a song that he had composed: “I do absolutely nothing, nothing, nothing, all day long. I do absolutely nothing. How do you like my nothing song?” Second verse same as the first. Third verse same as the first. Fourth verse same as the first. Cliff and I thought that Uncle James was a pretty smart guy to think of a great song like that. I rmember well, Uncle Bobby’s Mantra about his dog, Buckyman:
“Buckyman, Nevelson, Johnson, Slaughter, Scott, Parker, Jackson, and Judy too, Prince, Collie and all the rest; now, don’t you think Buckyman is the best???”
He sang it all the time. I thought that Tippy and Mojo, Grandpa’s dogs on the farm, might have tired of hearing about Buckyman, but they never complained. Cliff & I loved the catchy tune and sang it often in the country.
It is strange how one special person’s passing tends to unite those elements of the family that want to share remembrances with one another. This is part of his legacy to me and I wanted to share it with you. As I grew older, I called Uncle Bobby from time to time, just as I called Aunt Naomi, Aunt Bert, Uncle James and Aunt Cynthia as the years rolled along. After a while, I realized that I was beginning to become an elder statesman as they had been, when I looked up to them.
Uncle Bobby was a Rock of Gibraltar in the Family. I remember that he always took care of Aunt Alice’s sons as they needed his fatherly and brotherly assistance and wisdom. I thank God that Uncle Bobby was my Uncle. I thank God that he was a part of my life and that I have these memories to share and remember. When I think of Uncle Bobby, I look within my own immediate family and think of my brother, Douglas. I remember that when he came from the hospital as a newborn infant, he looked exactly like a miniature Mr. Charles Atlas. He was built as solidly and as strongly as Uncle Bobby. Doug, like Uncle Bobby, is a joy to speak with since both of them are great listeners and hard workers. There are many interconnecting threads over time.
I will always remember you, my Uncle Bobby. I thank God that this has been a time when I have re-united with Mrs. Sheri S., Mrs. Irene
G. and Clifford E. via E-Mails and photographs that I sent in order to help solidify the family. It has been great communicating via E-mail with Mrs. Cheryl R.. I knew Everett in Cleveland when he and his sister came to visit us. Well do I remember Clarence D. III (Butch), when he rode his bicycle with my brother Clifford and me on the handlebars in Washington, D.C. and we discovered that virtually the entire city was related to our Family. I truly miss the times that Nicky and all of us had with Clifford, Johnny, Reginald, Harry, Patrick and Jimmy E. when they also came to visit us in Ohio. I believe that Uncle Bobby brought all of them along with him when he came out in the 1950’s, early 1960’s. Uncle Bobby’s illness at Hospital initiated quite a flurry of E-mails back and forth from the East Coast to the West Coast. Cheryl has done a masterful job of continuing the Family Tradition and History with the Family Directory. I would love to hear more about the backgrounds of our past as well as the comings and goings of our present relatives.
I know that Uncle Bobby was the youngest in the Family, closest to my own MOM than any of the other brothers and sisters in terms of age, but, perhaps most importantly, they thoroughly and genuinely enjoyed one another’s company. Whenever they saw one another, or spoke on the phone, I could always detect a certain warmth that I wish all families would truly experience. Clifford’s middle name is the same as Uncle Bobby’s – – interestingly, Cliff and I both selected as our Catholic confirmation names – James – because of Uncle James and my uncle James Frederick on my Dad’s side of the Family. All of this is in keeping with the perpetuation of similar names that has continued throughout the Family. My Mom named me after Aunt Bert’s husband. Sometimes I use two “l’s,” sometimes one. She tells me that she named me after Thomas Jefferson, one of the early United States Presidents. All this time I had always thought that I was named after St. Thomas Aquinas. It is time to renew our spirits! Regenerate ourselves from the rich Motherlode of our History, celebrate the strengths that reside in each one of us!
Let us begin anew. Let us renew ourselves like the Phoenix rises from the ashes. Let us keep in touch throughout eternity through the collective memories of Uncle Bobby, Aunt Alice, Aunt Dot, Aunt Harriet, and my most favorite Aunt Naomi, who, along with Aunt Bert, I considered my second mothers. Let us honor those among us who are still present and would love to hear from us, even if it be only on a special birthday. It behooves us to carry on the torch, the Family Tradition of one large umbrella encompassing so many generations. I know that Grandma and Grandpa would expect that, if not demand it, and I know that all of them are smiling now, in Heaven, joyous that Uncle Bobby has joined them, for, he is indeed, the Rock of Gibraltar in the extended, loving Family. Think about that whilst I compose myself. Think about that while we compose ourselves in order to begin afresh, renewed by the spirit of all those generations that came before us, buoyed by the rising tide of the generations that will surely follow us!
Samoht 11/29/05 12:26 am.
Jason's essay:
"How I would feel about 7th grade"
When I go to 7th grade, I would feel excited. I think 7th grade would be difficult. I would try to get straight "A's" without getting any "B's." I wouldn't want to get any girl friend like Joanne because I feel too young for that. Maybe in high school I would get one. But that's a 10 % chance that I would want one. In college, I would get one. I would reject those who are ugly. In 7th grade, there are going to be bad kids who smoke or even bully people. I hope that I get a bad teacher who teaches hard so I can improve. I think I got a hard teacher in 6 th grade. Like Joanne, she bullies me. She wants me to get a girlfriend. She always pinches and hits me, so I think she is a bully.
Samoht 12/21/05 4:51 pm.
U.S.A.
A few weeks ago, there was an article in the LA Times about a building inspector who had been shortchanging clients as far as misrepresenting how much concrete had been used in the buildings that had been constructed in Japan. This disclosure caused a whirlwind of activity, as one might expect, since the people who forked over the money thought that they were absolutely within the requirements of the industry's building and safety codes.
Samoht 12/27/05 6:00 pm. Tuesday
As of today, January 9, 2006 I have completed the principal editing of 25 mini digital films that I have written, produced and directed. The earliest film was my project 1 film at UCLA in 1969. The next film was directed by me in 1989 for the 1990 Berlin Film Festival. 1999 marked my resurfacing as a writer/producer/director with "ARSONIST." Sebastian Dehi pulled me out of an enforced retirement with his request that I direct from his script, "The Backyard." I directed the backyard in the incredibly long, hot summer of 2003 during the months of June, July and August. During that same time period, I segued into my own realm as a total filmmaker with "The Cane Collection," "Zebra 1," "Courting for Polito," "Backyard Blues," "Nobel Blues," "Nobel Assistant," "We Are Friends," "Primitive Word Play," and a host of other films too numerous to mention.
Samoht 1/9/06 12:11 am.
Hollywood, USA
“EVIANNAIVE” VERENA VARGAS GERMANY 10/26/05 6:27 AM.
EVIANNAIVE BRINGS BACK MANY MEMORIES ESPECIALLY WITH THE REALIZATION THAT THE UNITED NATIONS WILL SOON CELEBRATE ITS ANNIVERSARY WITH THE MISSION STATEMENT OF PEACE AMONG MEMBER NATIONS. I WONDER, WHEN I VIEW YOUR SELECTION, HOW MUCH IS REALLY CHANGING IN THE WORLD AND HOW MUCH REMAINS THE SAME. THE FIGHT FOR JUSTICE AND FREEDOM AND FULL PARTICIPATION OF WORKERS IN THE PROFITS OF THE COMPANIES FOR WHICH THEY WORK WILL ALWAYS BE OF PARTICULAR URGENCY IN THE DAYS OF GLOBALIZATION AND SHRINKING JOB MARKETS ON ONE HAND, WITH COMPANIES SEEKING TO MAXIMIZE THEIR PROFITS BY OUTSOURCING TO COUNTRIES WITH A LARGE WORK FORCE, WHILE PAYING MINIMUM WAGES. YOUR FILM RAISES MANY QUESTIONS THAT I KNOW YOU WILL ADDRESS IN THE FULL FILM. I AM PLEASED THAT I WAS ABLE TO VIEW YOUR WORK WHEN I HAVE THE OPPORTUNITY TO DO SO. I HOPE THAT THIS WILL NEVER CHANGE. NOW THAT I HAVE SEEN AN EXAMPLE OF YOUR CREATIVE WORK, I WOULD LIKE TO SEE MORE. I WOULD LIKE TO FEEL THAT AT SOME POINT, THERE WON'T BE A NEED FOR CONFRONTATIONS SUCH AS THESE. REALISTICALLY, I KNOW THAT THERE MAY ALWAYS BE BATTLES SUCH AS THESE THAT MAY HAVE TO BE FOUGHT, THAT MAY HAVE TO BE WON. I AM REMINDED OF MARTIN LUTHER KING AND MAHATMA GANDHI'S CRIES FOR SOCIAL JUSTICE WHEN I SEE YOUR FILM. I AM REMINDED THAT WE NEED TO KNOW MORE ABOUT THE CONSEQUENCES OF OUR INDUSTRIAL DECISIONS, ABOUT HOW THEY WILL AFFECT THE LIVES OF WORKERS, STUDENTS, AND THOSE STRIVING TO KEEP WHAT THEY HAVE.
KEEP UP THE GOOD WORK. I WOULD LIKE TO SEE MORE OF YOUR WORK.
BEST,
Samoht Kcinep Rowlf - 679
USA
THE MUSIC REALLY ADDS GREATLY TO THE IMMEDIACY AND INTENSITY OF THE IMAGES. WHEN THE NARRATOR SAYS THAT "WE ARE IN GENEVA," I FEEL THAT WE ARE IN THE WORLD. WE MUST MAKE IT THE BEST WORLD POSSIBLE. I WOULD LIKE TO BELIEVE THAT AT SOME POINT IN THE 21ST CENTURY, THERE WILL NOT BE ANY NEED FOR CONFRONTATIONS SUCH AS THESE. I HOPE THAT THIS IS NOT A N A I V E VACUOUS THOUGHT OR HOPE; HOWEVER, IT IS SOMETHING THAT WE MIGHT WANT TO STRIVE TOWARDS.
IS THERE MORE THAN THIS THAT YOU EXPLORE IN YOUR FILM. I WOULD LIKE TO SEE MORE OF YOUR WORK. I THINK, AND I WANT TO BELIEVE, THAT THE CHARACTERS THAT I SEE EARLY ON IN THE FILM, WILL HAVE SOME IMPACT, THAT WE WILL GET TO KNOW THEM A BIT MORE, SO THAT WE CAN EXPERIENCE WHAT THEY UNDERGO. I KNOW THAT THEY WILL GIVE VOICE, SUBSTANCE AND MEANING TO THE MOVEMENT THAT IS AN EVENT THAT DRAWS THE WORLD'S ATTENTION.
KEEP UP THE GOOD WORK. I WOULD LIKE TO SEE MORE OF YOUR FILMS. AFTER READING YOUR INFORMATION ABOUT YOUR OTHER PROJECTS, I SEE THAT YOU HAVE DEVOTED YOUR CAMERA AND YOUR DIRECTORIAL IMPERATIVE TO EXAMINING SUBJECTS THAT OTHERS HAVE LEFT UNEXAMINED, UNEXPLORED AND UNTOUCHED. YOU HAVE THE CAPACITY TO TOUCH PEOPLE, TO MOVE THEM TO ACTION, TO ADDRESS ACTIONS THAT HAVE NEED OF FURTHER AND DEEPER CONSIDERATIONS, AND THIS IS A GOOD THING.
THE RHYTHMIC, PULSING SOUNDTRACK LEADS US INEXORABLY TOWARDS ANOTHER PLATEAU, A DEEPER UNDERSTANDING OF THE EVENTS THAT WILL UNFOLD. I CANNOT WAIT TO SEE THE FULLER PICTURE OF "EVIANNAIVE."
Samoht Kcinep Rowlf – 679
VERENA VARGAS BACK ¬
GERMANY
24 FRAMES PER SECOND AND THE SOUND ON DOLBY SUROUND...
VIEW SAMPLE OF WORK ¬ HELP¬
DIRECTOR, CINEMATOGRAPHER
NOMINATIONS & AWARDS
--- "EVIANNAIVE" (PRODUCER, DIRECTOR, EDITOR) OFFICIAL SELECTIONS 2005: - FESTIVAL INT. RÉSISTANCES, FOIX - FRANCE - INT. FILM FESTIVAL WORK & DIGNITY, GDANSK - POLAND - INT. VIDEOLISBOA_DOC, LISBOA - PORTUGAL - KASSELER DOKUMENTARFILM UND VIDEOFEST, KASSEL - GERMANY - 29TH SÃO PAULO INTERNATONAL FILMFESTIVAL, SÃO PAULO, BRAZIL
FILMOGRAPHY
EVIANNAIVE (DOCUMENTARY, DIRECTOR, PRODUCER, EDITOR) 80 MINUTES, 2004, GERMANY SHORT CONTENT: IN JUNE 2003, MORE THAN 1000 YOUNG ACTIVISTS WENT BY A TRAIN TO EVIAN TO BLOCK THE G8 SUMMIT. REMEMBERING ALLENDE AND LENIN, THE "ATTAC SONDERZUG" WAS ORGANIZED TO DENOUNCED THE GROWING ORDINARY TOTALITARISME. AWARDS: OFFICIAL SELECTIONS 2005: - FESTIVAL INT. RÉSISTANCES, FOIX - FRANCE - INT. FILM FESTIVAL WORK & DIGNITY, GDANSK - POLAND - INT. VIDEOLISBOA_DOC, LISBOA - PORTUGAL - KASSELER DOKUMENTARFILM UND VIDEOFEST, KASSEL - GERMANY - 29TH SÃO PAULO INTERNATONAL FILMFESTIVAL, SÃO PAULO, BRAZIL PRODUCTION COMPANY: VARGAS NOTARO CREW: VERENA VARGAS - DIRECTOR BERNADETTE PAASSEN - CINEMATOGRAPHER MARCUS JEAGER - CINEMATOGRAPHER LAURENT NOTARO - EDITOR VERENA VARGAS - EDITOR
X- DER PLATZHALTER (DOCUMENTARY, DIRECTOR) 20 MINUTES, 1997, CHILE SHORT CONTENT: THE PLACE IS THE WITNESS OF THE COMMUNITY'S LIFE. IN SEARCH OF THE SOCIAL SPACE IN MY HOMETOWN VALPARAISO. PRODUCTION COMPANY: VARGAS
TAHARA (DOCUMENTARY, DIRECTOR, CINEMATOGRAPHER) 24 MINUTES, 1994, EGYPT SHORT CONTENT: DOCUMENTARY ABOUT WOMEN IN EGYPT PRODUCTION COMPANY: VARGAS CREW: CINEMATOGRAPHER: VERENA VARGAS IDEA: MICHAEL LENNERT, ZEIN KHALIFA EDITING: DIRK SCHULZ, VERENA VARGAS SOUNDEDITING: TILMAN CLUSS
MASSNAHME ODER JEDEM DAS SEINE (DOCUMENTARY, DIRECTOR, EDITOR) 6 MINUTES, 1992, GERMANY SHORT CONTENT: FILM MINIATUR ABOUT BUCHENWALD NEAR BY WEIMAR PRODUCTION COMPANY: HFG KARLSRUHE CREW: CINEMATOGRAPHER: BUSSO VON MUELLER, ANDREAS WEBER, VERENA VARGAS SOUNDDESIGN: TILMAN CLUSS EDITING; VERENA VARGAS
PROJECTS
BLACK HANDS - FEATURE LENGTH FICTION, SEARCHING COPRODUCERS
AGE: 35
ADDRESS
VERENA VARGAS BERLIN GERMANY
Dear Verena,
thanks for your prompt response. Amat Escalante is at the Sao Paulo International Film Festival with either "Amarrados," or "Sangria." He sent an E-mail to me a few days ago.
Best success with all of your films, Verena. I'm looking forward to your thoughts on both your films as well as your feelings about the film festival. I have applied to the Berlin
Talent Campus for February of 2006. I would very much like to participate in the Talent Project Market in order to pitch my feature length script, "HUM." When you have time,
I know that you are busy with all of the details and meetings and screenings that you must attend, would you give me your thoughts about how best to achieve my objectives
as a Talent for the Project Market?
Best,
Samoht Kcinep Rowlf - U.S.
On Oct 26, 2005, at 6:31 AM, Verena Vargas wrote:
Dear Samoht,
thanks a lot for your good words, I am now in Sao Paulo presenting the movie, I will answer you with more time when I am back at home. with kind regards Verena Vargas
January 8, 2006 I journeyed to the Arclight Cinema to watch Ang Lee's "BROKEBACK MOUNTAIN." The film is tightly constructed and quite well done. I hadn't seen films in a movie theater in a very long time; however, with this one, I stayed awake throughout the story development and character progression and I am pleased to say that it is definitely a worthwhile film to see; indeed, it is a "MUST SEE" film. Keith Ledger and Jake Guyllenhall do a fantastic job of acting. The theater was packed with people, luckily I bought tickets an hour before the start of the movie and I sat mid center with an unobstructed view of the screen. Hats off to "BROKEBACK MOUNTAIN," and the outstanding job of the actors and crew in helping to realize Ang Lee's vision from a script by ANNIE PROULX.
SAMOHT 1/14/06 10:52 PM.
HOLLYWOOD
Eun is a rare student who sets her sights on the loftiest goals in education. She eventually plans to attend an Ivy League college. Based on her consistent performances in our Saturday Book Discussion group, she will have no problems. One instance comes to mind when the assignment was to write in depth about one of the books that we had studied. She approached the problem with such seriousness of purpose and incisive execution that her score, the content of her paper, its organization and wealth of details earned her the highest score in the class. Although she is an 8th grader, she exhibited the research and writing skills of a post-doctoral student at one of the finest universities. Normally, she writes, scores and ranks around the top of her colleagues. She is always on time in everything that she does and I recommend her without reservation to the Marlborough School.
Samoht 1/17/06 9:44 pm.
U.S.A.
Yesterday, January 18. 2006 I received an intriguing mailer about an attempt to curtail the politicization of UCLA professors when they teach their classes. It seems that there is a list ala the McCarthy era in the 1950's wherein those who don't conform get tagged, reprimanded and the like for injecting political views into their lectures. It seems to me that this is something that is unavoidable. How is it possible for one to do something without divorcing oneself from who they are? In this respect, it seems that there is ample opportunity at a university, of all places, to hear, listen and respond to divergent viewpoints from all persuasions. It is the role of the student to do the thinking and analysis that is necessary to arrive at a synthesis, if such a thing is possible, and learn from everyone, not just a certain political persuasion. I'll write more about all of this later. It seems like only yesterday that Mario Savio, Berkeley in the 1960's started the Free Speech Movement. Subsequently, the universities and the rest of society sequed into "political correctness." Now, it seems that the pendulum is attempting to swing even more to a place where, if left unchecked, can never be redressed. Stay tuned.
Samoht 1/19/06 7:48 pm.
USA
The Films of Samoht Kcinep Rowlf
Filmography
AFTERMATH (2005) UNITED STATES, 58:15:10 minutes min edit ¬ delete ¬
AFTER THE MATH (2005) UNITED STATES, 26:54 min edit ¬ delete ¬
Gorilla Interviews Dehi (2005) UNITED STATES, 14:34 min edit ¬ delete ¬
RUBIES & SAPPHIRES (2005) UNITED STATES, 02:46 min edit ¬ delete ¬
BACKYARD BLUES - shortened version (2005) UNITED STATES, 7 minutes min edit ¬ delete ¬
Prelude: Hum Harper shortened version (2005) UNITED STATES, 18 minutes min edit ¬ delete ¬
SLEEP WITH GORILLAS (2005) UNITED STATES, 1 minute min edit ¬ delete ¬
WE ARE FRIENDS (2005) UNITED STATES, 38:13:27 minutes min edit ¬ delete ¬
29 PICKUP / BERLIN SAMPLE OF WORK (2005) UNITED STATES, 3 minutes min edit ¬ delete ¬
Zebra 1 Ana (2005) UNITED STATES, 6:41:03 min edit ¬ delete ¬
Primitive Word Play (2005) UNITED STATES, 60 min edit ¬ delete ¬
STALKING AYE (2005) UNITED STATES, 22 min. 20 sec min edit ¬ delete ¬
NOBEL ASSISTANT (2005) UNITED STATES, 52:45:00 minutes min edit ¬ delete ¬
DAVID ANUBIS (2005) UNITED STATES, 4:26:06 minutes min edit ¬ delete ¬
COURTING FOR POLITO (2005) UNITED STATES, 6:11:21 minutes min edit ¬ delete ¬
NOBEL BLUES (2005) UNITED STATES, 58:25:06 minutes min edit ¬ delete ¬
RECHARGE (2005) UNITED STATES, 60 min edit ¬ delete ¬
The Cane Collection shortened version (2005) UNITED STATES, 42:28:21 minutes min edit ¬ delete ¬
CANE COLLECTION (2005) UNITED STATES, 1:01:12:26 min edit ¬ delete ¬
Hum Harper Hum (2005) UNITED STATES, 60 min edit ¬ delete ¬
Vignettes (2005) UNITED STATES, 10:48 min edit ¬ delete ¬
The Backyard, or Romancing the Apartheid (2003) UNITED STATES, 11 minutes min edit ¬ delete ¬
Gorilla #1 Interviews Dehi (2003) UNITED STATES, 5 minutes 14 sec. min edit ¬ delete ¬
Zebra 1 (2003) UNITED STATES, 4:13:23 min edit ¬ delete ¬
Gorilla #2 Interviews Dehi (2003) UNITED STATES, 8 min. 45 sec. min edit ¬ delete ¬
ARSONIST - shortened version (1999) UNITED STATES, 15:45:11 minutes min edit ¬ delete ¬
Salute (1998) UNITED STATES, 9:25 minutes min edit ¬ delete ¬
Pohop (1990) UNITED STATES, 10 min edit ¬ delete ¬
Hurry, Cane Season (1983) UNITED STATES, 1 minute min edit ¬ delete ¬
29 Pickup (1969) UNITED STATES, 3 minutes min edit ¬ delete ¬
REDUX (2006) UNITED STATES, 14:36:18 minutes
samoht kcinep rowlf 1/19/06
USA
thanks for youre wishes, have a nice 2006 too! i know little bit late because we already started but okey :)
bye jana
il pleut dans ma chambre:
il pleut dans ma chambre mais mon coeur est plein de l'amour pour le monde cequi nous vivons.
Hi Jana, Have a fantastic 2006.
Samoht 10:48 am. 1/20/06
USA
ENGLISH TRANSLATION:
IL PLEUT DANS MA CHAMBRE
It rains in my room but my heart is filled with love for the world in which we live.
Samoht 1/20/05 9:07 pm.
USA
RESPONSES RE: UCLA'S "DIRTY THIRTY" MINI CONTROVERSY CURRENTLY ROILING SOME CIRCLES AT THIS "LEFT OF CENTER" UNIVERSITY OF HIGHER LEARNING
RESPONSE FROM UCLA'S TRUFFLEZ RE: THE ATTEMPT TO MUZZLE PROGRESSIVE UCLA PROFESSORS IN THEIR CLASSROOM BY DISGRUNTLED STUDENTS: JANUARY 19, 2006 BY TRUFFLEZ OF UCLA
You know Prue...sorry to say...none of this surprises me. Indeed, nothing surprises me anymore. The entire country has become so ridiculously polarized that we're leaning, in our entirety, toward communism where no opinions, no points of view, no respectful discussion or dissent of any kind, can be had or maintained because someone, somewhere, will be offended or be wrongfully labeled. This would be a type of self-imposed social communism, not the traditional political form. This, I will admit, is a function primarily of the extreme left and I'! ve got plenty of examples to show where MY rights have been violated in the name of fairness, equality and feeling good. By the same token, right wingers seem to be pulling all the strings in government at the moment and it serves no purpose but to further give conservative values a bad name; lumping anyone who's traditional in their upbringing as a "right wing religious fanatic" which couldn't be further from the truth. Just because one is liberal (as the term USED to be applied) doesn't mean that person is a wacko. And just because one is conservative (as the term USED to be applied) doesn't mean that person is a religious nut case. Indeed, can't someone be a little of both? We've gotten to the point where everyone MUST be pigeonholed in one of two boxes and if you don't fit in either, you're a political, social and moral orphan or ambiguity.
For sure, there are lunatics on the left and there are lunatics on the right. What's sad is that no one seems to really be logical, reasonable or practical anymore. It's all about extreme idealogy or feelings while logic and pragmatism take a flying leap. You're either "with them" or "against us" or "a nut" or "a religious freak" or any number of slurs being coined on a daily basis. Personally, I'm pretty sick of the Bush bashing and Republican bashing...not because I voted for him and not because I'm a registered Republican, I didn't and I'm not. But it's not good FOR THE COUNTRY in any way, shape or form and serves no positive purpose. That said, no one really seems to understand this or care. It's all about finger pointing, appointing blame and hate mongering. GET OVER IT ALREADY AND GROW THE HELL UP. On the flip side, I'm sick of extreme right wingers wanting to turn the clock back on our society just because they don't agree with social evolution. They're just as bad as the Catholic church AND I'M CATHOLIC! Again, DEAL WITH THE 21ST CENTURY AND GROW THE HELL UP! Take off the diapers, remove the bottle from your mouth, stop crying and react in a positive way for the betterment of the country...not your party, not your constiuents, not your bank account, not yourself, but for OUR COUNTRY. I've never understood the USA-hate in this country anyway but that's another tirade.
Insofar as the specific issue at hand, I don't believe a professor should pepper, embellish, imbue, taint or otherwise promote in his or her teaching, ANY political view. Professors are usually the first ones to cry foul when an issue concerning separation of church and state rears its ugly head. By the same token, they should admit that their personal ideologies have NO PLACE in the classroom or admit that they're hypocrites. It's an academic instituion of supposed "higher learning" not boot camp for ideologues. I'm not saying I agree with Andrew Jones' tact! ics but one thing's for sure...he's turning heads, shaking things up, getting people to talk, offending some and garnering support from others. Sounds like a democracy to me. But oops! Sorry, I forgot. He's a self-admitted Republican so that means he MUST be evil. Yup, no two ways about it. (What B.S.) If that's the case, does this mean all Democrats are basket cases? No.
One thing IS for sure...this country seems to have no ruder and we're sinking by the weight of our own idealogical and massively polarized stupidity. Whatever we reap, we have sown.
I've probably pissed someone off by all this so I guess since I've offended SOMEONE, SOMEWHERE, I'm now going to be categorized, tagged, labeled and placed in the appropriate box where I will await slings, arrows, cabbage and rotten apples before being plunged into boiling oil - but that's okay as it'll probably be canola oil. It's an unsaturated fat and is proven to be healthier for your heart.
Now...on to more important things... " by Trufflez of UCLA January 19, 2006
Reprinted by the discretion of Samoht in part 1/20/06 9:34
USA
9:35 PM
Samoht Kcinep Rowlf said...
INITIAL RESPONSE FROM CAROL OF UCLA RE: UCLA PROFESSOR CRISIS INSTIGATED BY "DIRTY THIRTY" DESIGNATION BY DISGRUNTLED FORMER STUDENT, NOW HEAD OF BRUIN ALUMNI ASSOCIATION:
Dear Pru,
Thanks for forwarding this -- the issue has been deeply upsetting to all of us who value academic freedom. We first became aware of it last week. It is important that this be stopped, and I am concerned that the administration seems unable to do so. I enclose my own response below -- I think this needs far more attention. I also copy after my resonse an article from Pennsylvania --as you see, 19 states now have this new McCarthyism in place.
All best wishes--
Carol
-------
As owners or our intellectual property, that means our lectures in this case, we have a right to prevent all taping unless we give permission. Copying and disseminating intellectual property without prior consent and approval amounts to either theft or plagerism, depending on the situation. Obviously, a letter from the office of students with disabilities would mean that student could tape if that was specified, but only for personal use, and that the tapes could not be shared with others without your permission. (Also, if the same office says that the person gets to have a note-taker, or etc then the same rules apply). That also includes dissemination of notes to others than those enrolled in the class, which we must approve if we wish to let it happen. UC strictly prohibits the attendance of "auditors" who are not enrolled in UC -- but those not enrolled in our classes who are bonafide students at UC may audit a class with the instructor's permission only. These are policies of long standing and as far as I know these have not changed (I have served as Chair of Acdemic Senate Committee on Grievances and as a member of both that committee and Charges committee). I beleive this issue needs to be addressed by the universities lawyers and the appropriate AS committees. The concept of free speech as well as the ownership of intellectual property are at stake here. We can't let the old witch-hunts and blacklists reappear.
-- Carol
Respectfully transmitted by the faithful transcriber, in part SAMOHT 1/20/06 9:52 PM.
USA
9:51 PM
Samoht Kcinep Rowlf said...
UCLA Alumni Group Is Tracking 'Radical' Faculty
By Stuart Silverstein and Peter Y. Hong, Times Staff Writers
A fledgling alumni group headed by a former campus Republican leader is offering students payments of up to $100 per class to provide information on instructors who are "abusive, one-sided or off-topic" in advocating political ideologies.
The year-old Bruin Alumni Assn. says its "Exposing UCLA's Radical Professors" initiative takes aim at faculty "actively proselytizing their extreme views in the classroom, whether or not the commentary is relevant to the class topic." Although the group says it is concerned about radical professors of any political stripe, it has named an initial "Dirty 30" of teachers it identifies with left-wing or liberal causes.
ADVERTISEMENT
Some of the instructors mentioned accuse the association of conducting a witch hunt that threatens to harm the teaching atmosphere, and at least one of the group's advisory board members has resigned because he considers the bounty offers inappropriate. The university said it will warn the association that selling copies of professors' lectures would violate campus rules and raise copyright issues.
The Bruin Alumni Assn. is headed by Andrew Jones, a 24-year-old who graduated in June 2003 and was chairman of UCLA's Bruin Republicans student group. He said his organization, which is registered with the state as a nonprofit, does not charge dues and has no official members, but has raised a total of $22,000 from 100 donors. Jones said the biggest contribution to the group, $5,000, came from a foundation endowed by Arthur N. Rupe, 88, a Santa Barbara resident and former Los Angeles record producer.
Jones' group is following in the footsteps of various conservative groups that have taken steps, including monitoring professors, to counter what they regard as an overwhelming leftist tilt at elite colleges and universities around the country. He said many of these efforts, however, have done a poor job of documenting their claims. As a result, Jones said, the Bruin Alumni Assn. is offering to pay students for tapes and notes from classes.
"We're just trying to get people back on a professional level of things. Having been a student myself up until 2003, and then watching what other students like myself have gone through, I'm very concerned about the level of professional teaching at UCLA," said Jones, who said he is supporting himself with a modest salary from the organization and is its only full-time employee.
He said he plans to show what he considers biased material to professors and administrators and seek to have teachers present more balanced lectures or possibly face reprimand.
UCLA administrators say they are planning no immediate legal action, other than to notify Jones and to alert students that selling course materials without the consent of the instructor and Chancellor Albert Carnesale violates university policy. Patricia Jasper, a university lawyer, said UCLA would reserve the right to take legal action if any students engaged in unauthorized selling of materials.
Adrienne Lavine, chairwoman of UCLA's academic senate, agreed that the university could do little more at this point. She said she found the profiles on the alumni group's website "inflammatory" and "not a positive way to address the concerns that Mr. Jones has expressed." Still, she said, "I certainly support freedom of speech and that extends to Andrew Jones as much as it does to every faculty member on campus."
The group's recent campaign has upset a number of targeted professors and triggered the resignation last weekend of Harvard historian Stephan Thernstrom, a prominent affirmative action opponent and former UCLA professor, from the advisory board for Jones' organization.
Thernstrom said he joined the alumni group's more than 20-member advisory board last year because he believed it "had a legitimate objective of combating the extraordinary politicization of the faculty on elite campuses today."
Still, Thernstrom said, "I felt it was extremely unwise, one, to put out a list of targets of investigation and to agree to pay students to provide information about what was going on in the classroom of those students. That just seems to me way too intrusive. It seems to me a kind of vigilantism that I very much object to."
Thernstrom said a fellow advisory board member, Jascha Kessler, an emeritus UCLA English professor, also resigned for the same reason. Kessler could not be reached for comment, but Jones confirmed that Kessler had resigned.
Jones said other members of the advisory board include Linda Chavez, former federal civil rights commissioner in the Reagan administration and head of a Virginia-based anti-affirmative action group; former Republican Rep. Jim Rogan; and current UCLA professors Matt Malkan and Thomas Schwartz.
Jones said he has lined up one student who, for $100 a class session, has agreed to provide tapes, detailed lecture notes and materials with what the group considers inappropriate opinion. He would not name the student or the professor whose class will be monitored. Jones characterized the work as non-commercial news gathering and advocacy that does not violate university policy.
On one of its websites, the Bruin Alumni Group names education professor Peter McLaren as No. 1 on its "The Dirty Thirty: Ranking the Worst of the Worst." It says "this Canadian native teaches the next generation of teachers and professors how to properly indoctrinate students."
McLaren, in a telephone interview, called the alumni group's tactics "beneath contempt."
"Any sober, concerned citizen would look at this and see right through it as a reactionary form of McCarthyism. Any decent American is going to see through this kind of right-wing propaganda. I just find it has no credibility," he said.
The website also lists history professor Ellen DuBois, saying she "is in every way the modern female academic: militant, impatient, accusatory, and radical — very radical." In response, DuBois said: "This is a totally abhorrent invitation to students to participate in a witch hunt … against their professors."
But DuBois minimized the effect on campus, saying "it's not even clear this is much other than the ill-considered action of a handful, if that, of individuals."
The group's leading financial backer, Rupe, is a UCLA alumnus. He said his foundation donated $5,000 because "I think there's not enough balance on the campus. Some families are going into hock to send their kids there, and are not getting their money's worth."
Rupe said the group's plan to pay students to record alleged bias "would be ideal if it could be done legally."
Rupe's philanthropy is not centered on conservative causes. His foundation donated $500,000 to UC Santa Barbara in 1998 to endow a professorship studying the effects of the media on social behavior.
Ronald E. Rice, who holds the professorship, said Rupe told him he was "really interested in the truth. He wants to bring people with different perspectives together to really argue."
RESPECTFULLY REPRINTED COURTESY OF E-MAIL MAILER SAMOHT KCINEP ROWLF 1/20/06 9:54
USA
9:54 PM
Samoht Kcinep Rowlf said...
LATEST UPDATE ON THE UCLA PROFESSOR CONTROVERSY CURRENTLY SWIRLING ( OR NOT ) AT THIS WEST COAST INSTITUTION OF HIGHER LEARNING REGARDING THE MALIGNED AND DENIGRATED "DIRTY THIRTY"
JANUARY 19, 2006 VIA E-MAIL REROUTING COMPLIMENTS OF NANCY R. AN ASSOCIATE PROFESSOR IN THE FILM DEPARTMENT AT UCLA FILM SCHOOL.
You know, the one nugget of gold in all this is that it has been a media story at all.
This group is an anomaly and is recognized as such. UCLA is still considered a left-of conservative place, for whatever is worth. (Of course, I didn't believe it when I enrolled there from Berkeley in the 80s.)
Those shit heads have a right to their own shit. That's the definition of a free country.
I always remember he Bill of Rights was established for the rare moments when we find ourselves behaving like assholes.
Thanks for listening.
MER
SAMOHT 1/21/06 1:47 PM.
GOOD NIGHT AND GOOD LUCK AND MAY THE DEVIL TAKE WHAT'S LEFT
USA HOLLYWOOD
1:47 AM
Samoht Kcinep Rowlf said...
UCLA'S NANCY R. CAPS EVERYTHING UP WITH THIS RE: UCLA "DIRTY THIRTY" MINI ESCAPADES
I feel somewhat insulted that I was not named in the UCLAProfs.com "dirty thirty."
I would be happy to invite the Bruin Alumni Association - whoever he is -- to my editing class when we screen "Good Night and Good Luck."
Nancy R FILM DEPARTMENT @ UCLA
SAMOHT SAYS: TIME TO PUT THIS PUPPY TO BED.
1/21/06 USA HOLLYWOOD
1:55 A.
This is an untenable situation and an ostensibly draconian portent of what may lie ahead in America and not merely in an educational setting. Stay tuned.
Samoht 1/21/06 2:03 am.
USA
MORE ON HAVING STUDENTS PAID TO REPORT ON THEIR TEACHERS FROM MARSHA OF UCLA 1/21/06
Just a footnote......In reading more on this 'alumni organization' and the interest in having students paid to tape lectures, etc. ~ I am truly appalled. I still agree with David's views on how sad it is that we are now so polarized that sides are so black or white that they don't really communicate ~ but this way of checking on professors is disgusting. I am not a very 'political animal' ~ but from what I have read, this is not the way to handle any situation. Just my 2 cents.
Marsha
SAMOHT KCINEP ROWLF 1/21/06 2:19 PM.
USA
LETTER OF RECOMMENDATION FOR EUN TO MARLBOROUGH SCHOOL By Samoht Kcinep Rowlf
Eun functions exceedingly well in her interaction with others, yet, I have noticed that she attenuates keenly when she is in an environment that calls for directed questions and co-operation with her fellow students and the professor. She appears to be a person of unquestioned loyalty, compassion and an inner drive to excel that propels her to higher achievements. She expressed a passion, a consuming desire, to effect changes in the world in which she lives as one of the purposes of her education. I believe that her immense maturity, in most cases, coupled with a keen sense of humor, will make her a welcomed addition to any school in the world that she chooses to attend, since she is academically talented, intellectually inquisitive, strongly motivated, and highly committed to challenges and opportunities. For the most part, she is undaunted. She often projects confidence, intellectual assurance, and positive conviction.
My Favorite Subject by Kevin L.
My favorite subject is science. It’s important since we interact with our everyday environment and we appreciate our natural environments as a result of our understanding of science. First of all, you can learn more about the most common things around you. Air is an example. You can find it almost anywhere in the world, but oxygen in the air is critical to our lives. Without oxygen, there wouldn’t be any living things on Earth. Science is also used in everyday life. The car you ride to go to work, the hammer you use to put the nail in the walk, the fan to cool you down, the television to watch your favorite shows, cell phones you use to call your best friends, are very important things in our lives today. Light bulbs were created by scientific applications. When you have to go to a picnic and see if it might be raining tomorrow, you have to look at the weather tomorrow. Climates are determined by science, too. Over 100 million years ago, we found out that the 7 continents were one piece of a land called Pangaea. The lands were pulled apart by th e ocean and got separated, creating the 7 continents. The lands are still moving away from each other nowadays. A lot of mysterious phenomena is defined by science. There are so many things that are still undefined. As part of my mission as a student, I would like to define the undefined.
My favorite subject: science by Ha-Yeon S.
My favorite subject is science. There are several reasons I enjoy it so much. One of the reasons is that science is a very interesting subject. When I learn about science, I am learning about things that are going on around the world today. There are numerous aspects of science that you can learn about, such as biology, medical science, chemistry and a lot more. Science is something that you can use in later life., like becoming a pharmacist requires a person to learn both math and science that can help people who are sick and have diseases. Scientists invent things that we might need in later life. When I grow up, I want to become a pharmacist because I want to help people who are suffering from dangerous diseases or having a difficult time moving because they are sick. I have learned that there are more than one hundred kinds of cancers that do not have a cure. Examples are clear cell carcinoma, advances in breast cancer or YST that stands for yolk sac tumor also known as germ cell tumor. I feel really sorry for people who might get these kinds of sickness and die because of them. I want to be helpful in my later life, creating different kinds of medicines that can help many people live an enriched and more fulfilling life.
When I was young, I enjoyed learning about plants and the system of photosynthesis. I took pictures of the plants and carried a small notebook in which I wrote information about plants that I had encountered in my research. As I grew older, I was really into science. Still, there are a lot of different subjects that I like, nevertheless, science is something that I am interested in the most. Later, I want to learn more about medical science. I changed as I grew older. I enjoyed learning about photosynthesis; however, I am now starting to like medical science and I have a strong desire to learn more about the physiology of human bodies.
Sometimes when I’m at school, it is hard for me to understand the words and it makes it very difficult to study. The fun of learning science for me is trying to understand what they are talking about, how it is created and why it is important. I really enjoy learning all different kinds of science. I am willing to learn about medical science when I go to high school and college. Science is something that I really like learning about. Science helps improve human life, and, in my opinion, I think that people should be thankful that there is science.
History: My favorite subject by Julie C.
My favorite subject is history. There are several reasons why I enjoy it so much. It’s important for us to know the events that happened during the past that changed our lives today. For example, it it weren’t for Thomas Edison, we wouldn’t have electricity today. Since Thomas Edison invented light bulbs, we are able to use lamps instead of candles. As a student, I am able to study whenever I want by turning the light on. I also have access to the computer. Workers don’t have to stop working when the sun goes down. We can also drive at night since we have streetlights.
My interest in history began in the 4th grade, when I read the Book of Records. The Book of Records was about the amazing things that people did just because they wanted to be well-known. The next instance that aroused my curiosity about history happened in the 8th grade. An unusual $20 bill was being sold at auction. This article caught my attention because it was very rare. A person acquired th e$20 bill for $25,000 because there was a banana sticker mistakenly embossed on the bill.
Although it’s almost impossible to know all the things that happened in the past, I think that we should know some of the important things people did. For example, pianists should know who invented the piano since they play music on it. Pianists who enjoy playing the piano should be thankful that Cristofori worked hard to invent it centuries ago in Italy. These are just some of the major historical inventions that have made our lives more interesting, worthwhile, and productive in the 21st Century.
Submitted by Samoht 1/21/06 4:01 pm.
USA
CONSIDERED RESPONSE TO THE “DIRTY THIRTY” by Thomas Penick 1/21/06
UCLA Class of 1971 Theater / Film / Televison Specialty Screenwriting
HI PRUE,
Sometime in 1950 or 1951, when I was about 2 or 3 years old, Grandpa was sitting in his rocking chair, reading books and newspapers, telling MY BROTHER & me about Sevastopol and Vladivostok, the only warm water ports with access to the sea for mother Russia. We were tiny tots, yet, I remember Grandpa saying that if those ports were ever closed, blockaded, barricaded, denied access to trade, then Russia MUST go to war! He smiled gently when he said that. He explained to us that Russia was a counterbalance to the United States. At the time, his logic went by me. I just remembered his words and learned to spell them. I knew that I was a lucky man, even at the age of two and a half. Sevastopol and Vladivostok were imprinted indelibly in my memory banks. Russia was a reality and I hadn’t even learned to read, much less begin to attend to my formal education. I had the best teachers at an early age.
WHAT DOES THIS HAVE TO DO WITH “THE DIRTY THIRTY?” IN A STRANGE CIRCULAR FASHION, IT SEEMS THAT THINGS THAT ONCE WERE CONSIDERED WRITTEN IN STONE, SO TO SPEAK, ARE BEING UNEARTHED, REFINED, RE-DELIVERED AND DISSEMINATED WITH THE FORCE OF TRUTH, AS IF IN FACT THEY ARE REAL. THE FUNCTION OF A TEACHER IS TO TEACH. THE FUNCTION OF A STUDENT IS TO LEARN. BASICALLY, HOW ONE GOES ABOUT EITHER ONE OF THESE ESSENTIALS IS DEPENDENT ON HOW THEY SEE THE WORLD AND THEIR PLACE WITHIN IT. AT TIMES, IT SEEMS THAT SOME STUDENTS MIGHT WANT TO INITIATE ACTIVITIES, THAT SEEM TO THEM, ON ITS FACE TO BE RATHER INNOCUOUS; HOWEVER, THESE TIMES, LIKE MANY OTHER CRITICAL TIMES IN HISTORY, REQUIRE A DIFFERENT SORT OF RESPONSE. I WOULD DARE TO SAY THAT MORE IS REQUIRED THAN MINDLESS, CHILDISH MIND GAMES AND ATTEMPTS TO CONTROL THE OUTPUT OF AN INSTRUCTOR. IT SEEMS TO ME THAT UCLA, WHEN I ATTENDED FROM 1966 – 1971, WITH A BRIEF STOPOVER IN WEST AFRICA FOR THE OPERATION CROSSROADS AFRICA PROGRAM, WAS CONSIDERED ON THE CONSERVATIVE SIDE, AT LEAST WITH RESPECT TO WHAT WAS TAKING PLACE IN BERKELEY AT THE TIME. I ENVIED MY FELLOW STUDENTS WHO WERE PART OF THE BERKELEY SCENE BECAUSE THEY KNEW AND I KNEW THAT THEY WERE MAKING HISTORY, ALBEIT IN A SMALL WAY. THEY CARED DEEPLY ABOUT THE EVENTS OF THE WORLD AND THEY DARED TO TAKE A STAND TO REDRESS THEIR GRIEVANCES.
FROM WHAT I UNDERSTAND, AFTER HAVING READ MOST, IF NOT ALL OF THE DOCUMENTATION SWIRLING ABOUT THE CASE OF THE “DIRTY THIRTY,” THERE SEEMS TO BE A DESIRE BY SOME PEOPLE TO KEEP STIRRING UP THE POT OF CONTROVERSY BY PAYING STUDENTS TO DIG UP THE DIRT IN A SENSE ON PROFESSORS WHOSE STYLE AS EDUCATORS THEY MIGHT DISAGREE WITH. THIS, ON ITS FACE, SEEMS CONTRARY TO THE WHOLE IDEA OF A FREE EXPRESSION AND EXCHANGE OF IDEAS THAT I ALWAYS THOUGHT WAS THE BASIS AND STRENGTH OF ANY EDUCATIONAL SYSTEM, CERTAINLY AT THE UC SYSTEM.
THE PROPENSITY OF INSTRUCTORS, OR ANYONE ELSE, TO INJECT THEIR PERSONAL LIKES AND DISLIKES INTO COURSE WORK IS WELL KNOWN AND I THINK THAT IT IS PAR FOR THE COURSE. IN LIFE THAT IS THE WAY THINGS HAPPEN. I’M REALLY SUGGESTING THAT THIS IS MERELY PREPARATION FOR THE LARGER, ALL-INCLUSIVE WORLD THAT IS THE 21ST CENTURY. THOSE WHO CANNOT ALLOW FOR ANY DIVERGENT OPINIONS, VIEWPOINTS, OR ENLIGHTENED EDUCATIONAL DISCOURS TO TAKE PLACE WILL ASSUREDLY BE OUT OF THE LOOP WHEN IT COMES TO DEALING WITH A GLOBALIZED ECONOMY, WHEN IT COMES TO UNDERSTANDING THE TREMENDOUS AMOUNT OF ENERGY AND ENLIGHTENED FEEDBACK THAT IS NECESSARY TO KEEP THE WORLD MOVING IN A PROGRESSIVE RATHER THAN A REGRESSIVE FASHION.
THAT’S ALL FOR NOW. I HAVE OTHER THOUGHTS ABOUT THIS MATTER AND OTHERS THAT ARE BEST LEFT IN MY ARCHIVES AND VAULTS.
SAMOHT KCINEP ROWLF CLASS OF 1971 UCLA
U.S.A.
6:42 PM.
Update: Freedom Fighters
I called Charles Burnett, the director of "N U J O M A - WHERE OTHERS WAVERED"
STARRING DANNY GLOVER & CARL LUMBLY
The movie is about the liberation of Southwest Africa which had been under the protectorate of the country of South Africa. The Germans had used it as a colony for years prior to the takeover by the South Africans. S.W.A.P.O. the Southwest Africa People's Organization fought for the right to govern themselves and rid themselves of the rule of South Africa. The film is about the founder of S.W.A.P.O. NUJOMA who became Namibia's first president and served for 3 terms. He started his rule in 1990 and finished it in March of 2005.
See ya,
Samoht
On Jan 22, 2006, at 12:16 AM, Samoht wrote:
Hi Les,
That I S a good thing!
Brokeback Mt. wasn't on my short list of films to see since I haven't seen many films in theatres in ages, really. Instead, I've been looking at my own films in the comfort of my place. Alternatively, I'll watch DVD's, again at home, rather than in the theatres. I have many thoughts about Brokeback that were occassioned by my viewing of this unusual love story. It is unusual for me because I am used to the traditional love stories between men and women. I feel that most men displace the men in the movies and "pretend" that they are in the scene with the woman involved, and vice versa with the women. There is a certain transposition of desire and presence that takes place; however, with Brokeback, one had to watch and wonder why this was unique, that is to say, why should it be unusual for 2 men to care deeply enough about each other that they would want to share such intimate moments with themselves rather than a woman. I felt that Heath Ledger, the loner shown at the beginning of the film, would always be more often than not, by himself. Jake Gyllenhall, the more outgoing of the 2 cowboys, seeks male contacts even after he has had several flings of deep moment with Heath Ledger. When Heath finds out that he has gone to Mexico, he distances himself from his lover because of his fear of diseases that might have been contracted. Both men become involved with women years after their liaison and ;yet, still manage to get together for the anticipated "fishing trips in the mountains." Heath's wife quickly wises up to what is going on with her mate and the father of her children. She puts a note on the end of his fishing line that he should bring some fish home; since he never does, she knows that they never read the note and therefore never went fishing. On the philosophical side, it is a film that questions established ways of perception and action and it is very well done, directed by Ang Lee, who directed "Crouching Tiger, Hidden Dragon." The film is from a fine short story by Annie Proulx that is only 55 pages in length. It might be the sleeper film of the year for the Academy Awards.
I don't know anything about the African Freedom Fighters in Namibia. I would imagine that all of us will know about them soon, since the film is already considered an "epic." Now if I can find out the title and the plotline, I'll alert you so that both of us might have more information about Freedom Fighters. As I have seen, the fight for continuing freedoms is a never ending life long struggle.
See ya!
Samoht 1/22/06 12:28 pm.
U.S.A.
LIVING IN A WORLD OF DEADBEATS DEAD BEETS
I’ m living in a world of deadbeats. One of these days, I’m going to assume my rightful place in the world of communications. When that day comes, I’ll be quite happy.
Yesterday, June 17th, I traveled to the Director’s Guild to see Dwight Williams’ “Hustle and Flow.” I wasn’t able to get in because all of the tickets were sold. I did see Babu of the Pan African Film Festival and Bill Wynn, who knows Charles Burnett. I did a lot of networking as well. For instance, I made 9 contacts with different film groups. My overall concern is global marketing of my film and television projects. Perhaps Charles can be of some assistance in this area. I’m not depending on just that, however, I’ve already done the preliminary work by creating small discrete units in Korea, France, Germany, Spain, Brazil and Italy.
I plan to attend Mt. Hollywood Congregational Church on Sunday, 19 June 2005. I’m very much interested in the outreach and social services programs of the church. Even though it is a tiny church, we can be rather inclusive.
SAMOHT 1/23/06 8:11 PM.
USA MONDAY
ZURICH, SWITZERLAND LETTER TO MURIELE BOLAY
UP AND COMING ACTRESS SET TO BREAK INTO FILMS IN SWITZERLAND IN 2006
Dear Muriele,
Thank you for the excellent job of acting on my projects. CANE COLLECTION, VIGNETTES, THE CANE COLLECTION SHORTENED VERSION, COURTING FOR POLITO, DAVID ANUBIS, and of course, THE BACKYARD, OR, ROMANCING THE APARTHEID would certainly not have been as memorable for me or the film itself without your esteemed and inimitable presence as an actress. I hope that we can work together again soon.
I’ll let you know about the World Cinema Fund and the International Forum for New Cinema when I get further details in the next few months.
In any event, I’ll be having a Thomas Penick Film Retrospective in the United States on June 1, 2009 the day before my 61st birthday. I’ll let you know how this develops and perhaps you can attend this event.
Yours,
Best regards,
SAMOHT 1/23/06 8:16 PM.
USA MONDAY
MORE NOTES ON FAVORITE SUBJECTS BY YOUNG WRITERS WITH TALENT AND INSIGHT 1/23/06
“My favorite Subject” science: my favorite subject by Julie M. 1/21/06
My favorite subject is science. There are several reasons I enjoy it so much. I enjoy science because I like to learn about the plants and animals. If I later want to explore more, I could go to different places. I could enjoy by traveling and seeing new plants and animals. I don’t want to be a scientist, who is looking for new plants and animals. I just want to find some that I had never known. Mostly, I want to learn about animals, more than plants. I want to know where they live and what they eat. Later when I become more knowledgeable about science, I want to make one of my own homes for animals to live. I would like to always be able to see them and care for them. But, I don’t want them to have hard times where I keep them. I wish them to have a normal life. I would plant the plants to make a perfect home. When I become a science teacher for my dream, I want to show the students, what I did and how much effort I put into it. When these students learn about science and become interested in it, I would like to let them visit and groom the animals and plants from what they learned. Science could later make my own home for animals, and plants, and could make my dreams as a science teacher to be better. It will also be fun and interesting, and show what science could do.
MY FAVORITE SUBJECT BY ESTEE B. 1/20/06
My favorite subject is art. There are several reasons I enjoy art so much. There are different aspects that are very fascinating to learn. For example, whenever I have art class, I learn the techniques of perspective, pointillism, using oil pastels, and shading. These areas of art can be very fun to draw; when I draw, I feel very calm, and it keeps me busy. I appreciate art very much because I have the ability to make art and draw objects and realistic things such as lilies, roses, and tulips. One major reason that influenced me into having fun with art is that I can express my emotions onto paper, which allows other people to know how I actually feel. I can also use my imagination to make my drawings unique. I chose art as my favorite subject because of my mom, grandma, and aunt. Most of the people on my mom’s side of the family love art and have lots of knowledge about it. Two artists that greatly influenced me were Monet and Van Gogh. I love their paintings very much. Monet’s style is landscapes that seem blurry, but interesting to see. He uses a technique called impressionism. Van Gogh’s painting with the blue tulips had influenced me greatly; therefore, I respect his work a great deal.
In the future, I might become a clothing designer because I have a strong interest in art and I like creating my own clothing and patterns.
MY FAVORITE SUBJECT BY EUN H.C. 1/20/06
FIRST DRAFT
My favorite subject is art. There are several reasons I enjoy it so much. First of all, I believe that art is what I do and what I need to do. I feel confident when I express myself with projects. Art allows me to view life from a different perspective. Everything has color and each has its own characteristics.
You need to have patience whenever you illustrate or paint. You have to be able to concentrate and calm yourself. I grew to love art from the influence of my school teachers who are great artists. My elementary teachers not only encouraged me to build my academic skills, but also in the study of art and music. They assigned art projects so that from a young age, students would be able to bring forth their own ideas, creations and perspectives. Art is one way to express oneself. There are other ways to maifest creative instincts such as through writing (poetry), performing arts and music. It’s just that I am better suited doing art. Whether I use a brush, pencil or charcoal, I am freely aable to present my talent. I may not be the best artist around, but art doesn’t require your skill. It is the creativity that makes anyone special; your ideas and techniques play a role in this, too. In addition, I was greatly influenced by my artist brother who is currently attending Pasadena college of Art and Design. He is my role model so I tend to follow his path.
However, as I grow, I may be involved in oher subjects. If I bond with Art, I am going to become a transportation designer or a simple illustrator. I want the streets to be filled with luxurious and fashionable cars in the future. I will help to compose those streets. I will give the world new concepts about transportation and its importance in the lives of society.
SAMOHT 1/23/06 8:57 PM.
USA MONDAY
Significance of Matt Eun Hye 10-22-05
Analyzing the story and creating a synthesis of the characters’ actions would help one understand their significance in the story. A young tyke named Matt from Gathering Blue greatly influenced the development of the plot. However, he is not the main character. He shows integrity, honesty, mobility and simplicity. Matt transforms Kira’s mind from having a vengeful heart, to helpint the chaotic community. Any young toddler like Matt can make a difference in one’s life.
Matt lives in the Fen, a dirty, disorganized place. He would grow up to be like the other dangerous men, fighting and killing each other for their own benefit. As a matter of fact, some of his behavior patterns have much in common with these men. Yet, there are other aspects that separate Matt from the other tykes in the fen. He cares about Kira, an orphan who has lost her family, possessions and hope. She is very lonely and on top of that, she has a twisted leg. This may be a disadvantage; however, the obstacle brings Kira and Matt together. If Kira cannot use her leg, then Matt can be the one who substitutes for her. They would always be together, wherever they or whatever hardships they face.
Without Matt, the story wouldn’t have a unifying focus. Matt demonstrates true friendship and integrity. He would be describes as being very direct and straightforward. Kira has received a great amount of support from Matt. At one time, Matt rescued Kira’s most important belonging – her mother’s necklace. This necklace was Kira’s only hope and memory of her father. How would Kira live without Matt? Well, later in the story, Matt goes on a long journey, or, as Anabella said, “over yonder.” In order for Matt to express his true admiration towards Kira, he searches for a gift.
Matt’s result of the journey was more than just a gift to Kira. It brought hope and encouragement. He has brought Kira blue dye which no one has ever created in her community. In this way, she can impress the community, showing that she is no ordinary artist. She is special. In addition, Matt has delivered Kira’s father, Christopher, who was believed to be dead and taken away by the beasts He was covered with scars and blind. Christopher used to be the most well known and esteemed man in the village. He was recognized for his bravery. It turned out that the men from the past tried to kill him out of jealousy. There were no beasts. The break up of the family’s peace was caused totally by Jamison. Jamison had a villainous heart and initiated the actions of the other men that fateful hunting night to attempt to kill Chris under the cover of darkness. How do you think Kira felt after hearing the truth? Who would be able to understand Jamison, the one who ruined a crippled girl’s life by depriving her of a loving father?
However, instead of Kira having a vengeful heart, she decides to help her community – the community where the people are like Jamison: jealous, murderous, and brutal. This was the kind of place Kira lived in. She had the choice of following her father to the outside community of serenity and peace. Why did she decide to stay? Well, this was because she knew that her group of people were lacking. These people lacked an education and probably didn’t have respect toward others. Kira knew that soon, this community would fail and die out. The leaders are corrupted with evidence from Jamison. She wanted to make a difference. She wanted to weave out the future of a great civilization that existed many years ago. Then, Matt would continually stay with Kira, helping her out in creating a new and improved community.
Outstanding essay, Eun !
You thoroughly analyzed Matt’s importance and significance. Ms. Eun, the cosnsistently superior quality of your writing and analyses of the stories that we have read in our Saturday Book Discussion Group is extremely gratifying to me as a teacher and fellow student of the writing and thinking processes. The development of your essay is brimming with richly good details to support the topic. I know that as you continue your in depth analysis and keen thought processes, you will do exceptionally well in high school, Advanced Placement English classes, the SAT test & certainly Harvard University.
Best,
Samoht Kcinep Rowlf 12:41 pm.
USA Tuesday
Spanish Verb Conjugations 16 May, 2005
Regular Verbs: ending in "-ar," "-er" and "-ir" hablar, comer, vivir.
First conjugation Second conjugation Third Conjugation
Simple tenses
habl- ar to speak com - er to eat viv - ir to live
habl - ando speaking com - iendo eating viv - iendo living
habl - ado spoken com - ido eaten viv - ido lived
Indicativo:
Present
habl-o I speak com - o I eat viv - o I live
habl-as com-es viv-es
habl-a com-e viv-e
habl-amos com-emos viv-imos
habl-ais com-eis viv-is
habl-an com-en viv-en
Imperfect:
habl-aba I was speaking com-ia I was eating viv-ia I was living
habl-abas com-ias viv-ias
habl-aba com-ia viv-ia
habl-abamos com-iamos viv-iamos
habl-abais com-iais viv-iais
habl-aban com-ian viv-ian
Preterito:
habl-» I spoke com-i I ate viv-i I lived
habl-aste com-iste viv-iste
habl-o com-io viv-io
habl-amos com-imos viv-imos
habl-asteis com-isteis viv-isteis
habl-aron com-ieron viv-ieron
Futuro:
hablar-» I shall speak comer-» I shall eat vivir-» I shall live
hablar-as comer-as vivir-as
hablar-a comer-a vivir-a
hablar-emos comer-emos vivir-emos
hablar-eis comer-eis vivir-eis
hablar-an comer-an vivir-an
Conditional:
hablar-ia I should speak comer-ia I should eat vivir-ia I should live
hablar-ias comer-ias vivir-ias
hablar-ia comer-ia vivir-ia
hablar-iamos comer-iamos vivir-iamos
hablar-iais comer-iais vivir-iais
hablar-ian comer-ian vivir-ian
Present:
habl-e com-a viv-a
habl-es com-as viv-as
habl-e com-a viv-a
habl-emos com-amos viv-amos
habl-eis com-ais viv-ais
habl-en com-an viv-an
Imperfect S-form
habla-se comie-se vivie-se
habla-ses comie-ses vivie-se
habla-se comie-se vivie-se
habla-semos comie-semos vivie-semos
habla-seis comie-seis vivie-seis
habla-sen comie-sen vivie-sen
habla-ras comie-ras vivie-ras
Imperfect R-form
habla-ra comie-ra vivie-ra
habla-ra comie-ra vivie-ra
habla-ramos comie-ramos vivie-ramos
habla-rais comie-rais vivie-rais
habla-ran comie-ran vivie-ran
Future:
habla-re comie-re vivie-re
habla-res comie-res vivie-res
habla-re comie-re vivie-re
habla-remos comie-remos vivie-remos
habla-reis comie-reis vivie-reis
habla-ren comie-ren vivie-ren
Imperativo:
habl-a speak com-e eat viv-e live
habl-ad com-ed viv-id
hayamos hablado hayamos comido hayamos vivido
hayais hablado hayais comido hayais vivido
hayan hablado hayan comido hayan vivido
1/27/06
NOTES FROM BRAZIL:
Thank you very much for your help. It was very helpful.
Mais português?
Ok, então vou te ensinar alguns verbos no presente simples:
Em português, a maioria dos verbos são regulares e existem 3 tipos:
AR ER IR
trabalhar escrever assistir
levantar viver
acordar aprender
tomar comer
Todos os verbos em português terminam em ar, er ou ir.
Eu trabalho levanto
Você trabalha levanta
Ele trabalha levanta
Nós trabalhamos levantamos
Eles trabalham levantam
Vocês trabalham levantam
Eu escrevo aprendo
Ele escreve aprende
Você escreve aprende
Nós escrevemos aprendemos
Eles escrevem aprendem
Vocês escrevem aprendem
Eu assisto
Ele assiste
Você assiste
Nós assistimos
Eles assistem
Vocês assistem
Ele e você são conjugados da mesma forma ele assite, você assiste, é igual.
Claro que existem muitos verbos irregulares, como por exemplo o verbo dormir, sair, querer, vir e ir
Dormir
eu durmo
ele/você dorme
nós dormimos
eles/vocês dormem
sair
eu saio
ele/você sai
nós saímos
eles/vocês saem
querer
eu quero
você/ele quer
nós queremos
eles/vocês querem
vir
eu venho
você/ele vem
nós vimos
eles/vocês vêm
ir
eu vou
você/ele vai
nós vamos
eles/vocês vão
Algumas frases como exemplo:
Eu venho sempre nesse bar.
Eu vou para a academia de ginástica todo dia.
João trabalha em uma empresa na escola de inglês. Ele é professor e escreve muito. Ele quer aprender a falar inglês por isso vai morar nos Estados Unidos. Ele assiste à televisão todos os dias para praticar o inglês. Ele sempre sai à noite e dorme muito tarde.
Qualquer dúvida me pergunte.
Um abraço,
Mônica
8:08 PM
Samoht Kcinep Rowlf said...
MONICA'S NOTES - PORTUGUESE - BRAZIL
Vamos começar então pelos pronomes:
Eu Eu sou a Mônica
Você Você é o Thomas
Ele Ele é o João
Ela Ela é a Maria
Nós Nós somos professores
Vocês Vocês são canadenses
Eles Eles são brasileiros.
Em português os verbos "ser" e "estar" correspondem ao verbo “to be”.
SER é permanente e ESTAR é temporário.
A conjugação:
verbo ser verbo estar
Eu sou Eu estou
Você/ Ele é Você/Ele está
Nós somos Nós estamos
Eles são Eles estão
Exemplos:
Eu sou brasileira.
Você é canadense.
Ele é americano.
Eu estou no Brasil agora.
Ele está na universidade
Nós estamos em casa.
Ela está com fome.
Eu sou professora há dois anos, mas antes trabalhava em agências de publicidade, em estações de rádio e televisão, também trabalhei com produção de filmes.
Eu aprendi a falar inglês em Londres, eu morei lá em 1997 e 1998. Também morei na Espanha em 2001. Fiquei em Madri por 6 meses.
Eu estou estudando para o teste do Cambridge CPE (Cambridge Proficiency Certificate) e quero fazer em agosto o CELTA (Certificate in English Language Teaching to Adults).
Posso te escrever uma ou duas vezes por semana e às vezes posso demorar para responder, mas respondo, não se preocupe.
Próximo email te explico mais verbos e vocabulário.
Um abraço,
Mônica
8:10 PM
Samoht Kcinep Rowlf said...
MONICA - BRAZIL NOTES
Talking on the phone helps a lot, we just need to schedule a time and date that suits us both.
You can also help me writing in English but using your normal vocabulary, so I can search the new words, especially idioms and phrasal verbs.
Despite the mistakes, I can communicate well, I mean I can talk about lots of things but using my range of vocabulary. I´ve been studying very hard since last year and I´m also attending English classes twice a week, starting next week as this week is Carnival.
I also need to practice my writing. Is it possible sometimes to send you some writing in English and then you can correct me?
Here is the version in Portuguese with some differences from the original one:
Falar ao telefone ajuda muito sim, nós só temos que combinar um horário que é bom pra (=para) mim e pra você também. Não sei qual a diferença de horário entre Estados Unidos e Brasil, preciso checar.
Você pode me ajudar escrevendo em inglês e usando o seu vocabulário normalmente, sem tentar facilitar nada, assim eu pesquiso e se tenho dúvidas te falo.
Consigo me comunicar bem em inglês, estudo muita gramática e vocabulário e tenho aulas uma vez por semana também.
Preciso praticar também minha escrita em inglês, então de vez em quando vou te mandar uns textos para você corrigir, tudo bem?
Lição do dia:
conjugação do verbo ter
Ter
Eu tenho
Ele/Ela/Você tem
Nós temos
Eles têm
Eu tenho 2 irmãos.
Ele tem um gato.
Nós temos um carro.
Veja a frase com os verbos ser, estar e ter:
Meu nome é Carlos.
Eu sou canadense.
Eu sou de Toronto mas agora estou nos Estados Unidos.
Eu tenho um cachorro.
Eu sou professor de inglês.
Nacionalidades:
Brasileiro - brasileira
Americano - americana
Canadense
Espanhol - espanhola
Italiano - italiana
Francês - francesa
Japonês - japonesa
Alemão - alemã
Eu sou alemã e tenho um amigo japonês.
No próximo email te envio vocabulário e a conjugação dos verbos regulares.
Um abraço,
Mônica
8:13 PM
1/28/06
Oi Monica,
Eu quero ensinar em uma escola elementar.
I want to teach at an elementary school.
Eu sou um professor ingles grande.
Como voce gostam de meu portugues, Monica?
Adeus, Samoht
Oi Samoht,
Faz tempo que não te escrevo, né? Mas é que ando ocupada, trabalhando muito. Mas agora já estou de volta.
E aí, como vai indo o seu português?
Hoje vou te ensinar os dias da semana.
Hoje é segunda-feira, amanhã é terça-feira, depois de amanhã é quarta-feira, depois quinta-feira, sexta-feira e o fim de semana é sábado e domingo.
E os meses são:
Janeiro
Fevereiro
Março
Abril
Maio
Junho
Julho
Agosto
Setembro
Outubro
Novembro
Dezembro
As datas em português são escritas assim: 28/02/05 (28 de fevereiro de 2005). É o contrário do inglês.
I watched the Oscar too, but it was to late at night here and I fell asleep. I read the newspaper today but to be honest I haven´t seen all the movies. I watched Sideways, I liked and One Million Baby, good but too sad, I got depressed after watching it.
Boa semana!
Mônica
P.S. I´m not going to USA. Maybe you´re confusing me with another key pal.
Have a nice week!
MY FAVORITE SUBJECT C.H. EUN 1/28/06
Second Draft
My favorite subject is History. There are many reasons why I prefer History on top of any other studies. First of all, I believe that history will bolster my dream of becoming a prosecuting attorney in order to fight against national crimes as a specialist. Specifically, the study of U,S. government would be a great advantage to my future career. In addition, I am fascinated to learn about world history. I am always attracted to the different lifestyles of ancient civilizations and how history has developed technology. History shows constant progress in any human congregation from simple nomadic lives, to complex industrialized civilizations. I am intrigued by the art and architecture of the Greek, Roman, Medieval and Renaissance periods. History is one obsession, but the reason that I love history starts from my interest in art. Art is what I do and what I should do during my spare time. While I work hard and enjoy studying law, I believe that doing extracurricular studies are important. Apart from serious business in dealing with crime cases, I want to feel confident as I express myself through creativity. Both History and Art allow me to view life from a different perspective. I am sure that they will benefit and influence my life greatly. Everything seems to have color and each has its own characteristics. History teaches me about the long experience of human life over thousands of years. On the other hand, art allows me to be distant from the complex world that may consist of constant worries and stresses.
My dream is to work for the national government in solving mysteries and crimes. Starting from a young age, I was always into Mysteries. It is interesting to see how the authors used intriguing plots for murder and other crimes. The more incredible part to it is when those sharp detectives would investigate the scene and one by one match the puzzle pieces. With only the little years of experience in my life, I built up my dream at first as a detective; however, this idea gradually changed into eventually becoming a prosecutor. I want to study law, which includes government, and fight against criminals. I believe that the first step to the fulfillment of my desires is to consider History. Although I enjoy all the fields in History, government and law is my goal. In the future, I want to make the world a safer place to live. Maybe someday, my dream of becoming an attorney will come true. Then, with my experience as an attorney, I will help the CIA organize and solve crime cases.
It wouldn’t be a detriment to have interests in other academic disciplines. In my case, my extracurricular interest would be in Art. History would be my number one goal, but during my spare time, I want to do what I enjoy doing alone. Art allows patience whenever you illustrate or paint. You have to be able to concentrate and calm yourself. I grew to love art from the influences of my schoolteachers who are great artists. My elementary teachers not only encouraged me to build my academic skills, they also encouraged me in the study of art and music. Art also allows one to bring forth original ideas, creations and perspectives. Art is one way to express oneself. There are other ways to manifest creative instincts such as through writing (poetry), performing arts and music. It’s just that I am better suited doing art. Art directly connects to History, because art comes from all periods of time. Art has developed along thousands of years. Art, in turn, has greatly influenced the world. By using a brush, pencil or charcoal, we are freely able to present our talents. I may not be the best artist around, but art doesn’t require highly developed skills. The same goes for any aspects of it. It is the uniqueness and the creativity that makes someone special. In addition, I was greatly influenced by my artist brother who is currently attending Pasadena College of Art and Design. He is my role model so I tend to follow his path.
History is what I do and what I need to do. The world will need me someday, and I will always be prepared. At some point, the night streets would be as safe as during the daylight hours. There would be less murder and crimes around the world. I will enjoy fighting against crimes and at the same time it will be challenging. Apart from the world full of danger, I will make time to do what I also enjoy – Art. This will allow me to be calm and absent from stress. I will be a model to the world to exemplify how simple interests in a subject can one day have a great impact on mankind. I will one day give the world new concepts to add to the significance and importance of history.
Ich hoffe, Sie eines Tages in Person zu treffen. Ich
möchte mit Ihnen tanzen. Ich möchte um Ihre Hand
anhalten. Ich möchte Ihre Mutter treffen. Ich möchte
zur Schule gehen. Ich möchte studieren. Ich möchte
unterrichten. Ich möchte an der Universität
unterrichten. Ich möchte an der mittleren Schule
unterrichten. Ich möchte an der Volksschule
unterrichten.
warmly,
Martina
Nobel Peace
Center
The Nobel Peace Prize for 1999
The Nobel Lecture given by The Nobel Peace Prize Laureate 1999, Médecins Sans Frontières by James Orbinski (Oslo, December 10, 1999)
General permission is granted for the publication in newspapers in any language. Publication in periodicals or books, or in digital or electronic forms, otherwise than in summary, requires the consent of the Foundation. On all publications in full or in major parts the underlined copyright notice must be applied.
Copyright © The Nobel Foundation, Stockholm, 1999.
Your Majesties, Your Royal Highness, Members of the Norwegian Nobel Committee, Excellencies, Ladies and Gentlemen:
The people of Chechyna - and the people of Grozny - today and for more than three months, are enduring indiscriminate bombing by the Russian army. For them humanitarian assistance is virtually unknown. It is the sick, the old and the infirm who cannot escape Grozny. While the dignity of people in crisis is so central to the honor you give today, what you acknowledge in us is our particular response to it. I appeal here today to his excellency the Ambassador of Russia and through him, to President Yeltsin, to stop the bombing of defenseless civilians in Chechnya. If conflicts and wars are an affair of the state, violations of humanitarian law, war crimes and crimes against humanity apply to all of us.
Let me say immediately that the extraordinary distinction that the Nobel Committee has given Medecins Sans Frontières is one that we accept with sincere gratitude, but also a profound discomfort in knowing that the dignity of the excluded is assaulted daily. These are the forgotten populations in danger, like the street children who struggle each grinding hour to live off the waste of those who are «included» in the social and economic order. These too are the illegal refugees that we work with in Europe, denied political status, and afraid to seek health care, lest this contact leads to their expulsion.
Our action is to help people in situations of crisis. And ours is not a contented action. Bringing medical aid to people in distress is an attempt to defend them against what is aggressive to them as human beings. Humanitarian action is more than simple generosity, simple charity. It aims to build spaces of normalcy in the midst of what is abnormal. More than offering material assistance, we aim to enable individuals to regain their rights and dignity as human beings. As an independent volunteer association, we are committed to bringing direct medical aid to people in need. But we act not in a vacuum, and we speak not into the wind, but with a clear intent to assist, to provoke change, or to reveal injustice. Our action and our voice is an act of indignation, a refusal to accept an active or passive assault on the other.
The honor you give us today could so easily go to so many organizations, or worthy individuals, who struggle in their own society. But clearly, you have made a choice to recognize MSF. We began formally in 1971 as a group of French doctors and journalists who decided to make themselves available to assist. This meant sometimes a rejection of the practices of states that directly assault the dignity of people. Silence has long been confused with neutrality, and has been presented as a necessary condition for humanitarian action. From its beginning, MSF was created in opposition to this assumption. We are not sure that words can always save lives, but we know that silence can certainly kill. Over our 28 years we have been - and are today - firmly and irrevocably committed to this ethic of refusal. This is the proud genesis of our identity, and today we struggle as an imperfect movement, but strong in thousands of volunteers and national staff, and with millions of donors who support both financially and morally, the project that is MSF. This honor is shared with all who in one way or another, have struggled and do struggle every day to make live the fragile reality that is MSF.
Humanitarianism occurs where the political has failed or is in crisis. We act not to assume political responsibility, but firstly to relieve the inhuman suffering of failure. The act must be free of political influence, and the political must recognize its responsibility to ensure that the humanitarian can exist. Humanitarian action requires a framework in which to act.
In conflict, this framework is international humanitarian law. It establishes rights for victims and humanitarian organisations and fixes the responsibility of states to ensure respect of these rights and to sanction their violation as war crimes. Today this framework is clearly dysfuntional. Access to victims of conflict is often refused. Humanitarian assistance is even used as a tool of war by belligerents. And more seriously, we are seeing the militarisation of humanitarian action by the international community.
In this dysfunction, we will speak out to push the political to assume its inescapable responsibility. Humanitarianism is not a tool to end war or to create peace. It is a citizens' response to political failure. It is an immediate, short term act that cannot erase the long term necessity of political responsibility.
And ours is an ethic of refusal. It will not allow any moral political failure or injustice to be sanitized or cleansed of its meaning. The 1992 crimes against humanity in Bosnia-Herzegovina. The 1994 genocide in Rwanda. The 1997 massacres in Zaire. The 1999 actual attacks on civilians in Chechyna. These cannot be masked by terms like «Complex Humanitarian Emergency», or «Internal Security Crisis». Or by any other such euphemism - as though they are some random, politically undetermined event. Language is determinant. It frames the problem and defines response, rights and therefore responsibilities. It defines whether a medical or humanitarian response is adequate. And it defines whether a political response is inadequate. No one calls a rape a complex gynecologic emergency. A rape is a rape, just as a genocide is a genocide. And both are a crime. For MSF, this is the humanitarian act: to seek to relieve suffering, to seek to restore autonomy, to witness to the truth of injustice, and to insist on political responsibility.
The work that MSF chooses does not occur in a vacuum, but in a social order that both includes and excludes, that both affirms and denies, and that both protects and attacks. Our daily work is a struggle, and it is intensely medical, and it is intensely personal. MSF is not a formal institution, and with any luck at all, it never will be. It is a civil society organization, and today civil society has a new global role, a new informal legitimacy that is rooted in its action and in its support from public opinion. It is also rooted in the maturity of its intent, in for example the human rights, the environmental and the humanitarian movements, and of course, the movement for equitable trade. Conflict and violence are not the only subjects of concern. We, as members of civil society, will maintain our role and our power if we remain lucid in our intent and independence.
As civil society we exist relative to the state, to its institutions and its power. We also exist relative to other non-state actors such as the private sector. Ours is not to displace the responsibility of the state. Ours is not to allow a humanitarian alibi to mask the state responsibility to ensure justice and security. And ours is not to be co-managers of misery with the state. If civil society identifies a problem, it is not theirs to provide a solution, but it is theirs to expect that states will translate this into concrete and just solutions. Only the state has the legitimacy and power to do this. Today, a growing injustice confronts us. More than 90% of all death and suffering from infectious diseases occurs in the developing world. Some of the reasons that people die from diseases like AIDS, TB, Sleeping Sickness and other tropical diseases is that life saving essential medicines are either too expensive, are not available because they are not seen as financially viable, or because there is virtually no new research and development for priority tropical diseases. This market failure is our next challenge. The challenge however, is not ours alone. It is also for governments, International Government Institutions, the Pharmaceutical Industry and other NGOs to confront this injustice. What we as a civil society movement
demand is change, not charity.
We affirm the independence of the humanitarian from the political, but this is not to polarize the «good» NGO against «bad» governments, or the «virtue» of civil society against the «vice» of political power. Such a polemic is false and dangerous. As with slavery and welfare rights, history has shown that humanitarian preoccupations born in civil society have gained influence until they reach the political agenda. But these convergences should not mask the distinctions that exist between the political and the humanitarian. Humanitarian action takes place in the short term, for limited groups and for limited objectives. This is at the same time both its strength and its limitation. The political can only be conceived in the long term, which itself is the movement of societies. Humanitarian action is by definition universal, or it is not. Humanitarian responsibility has no frontiers. Wherever in the world there is manifest distress, the humanitarian by vocation must respond. By contrast, the political knows borders, and where crisis occurs, political response will vary because historical relations, balance of power, and the interests of one or the other must be considered. The time and space of the humanitarian are not those of the political. These vary in opposing ways, and this is another way to locate the founding principles of humanitarian action: the refusal of all forms of problem solving through sacrifice of the weak and vulnerable. No victim can be intentionally discriminated against, OR neglected to the advantage of another. One life today cannot be measured by its value tomorrow: and the relief of suffering «here», cannot legitimize the abandoning of relief «over there». The limitation of means naturally must mean the making of choice, but the context and the constraints of action do not alter the fundamentals of this humanitarian vision. It is a vision that by definition must ignore political choices.
Today there is a confusion and inherent ambiguity in the development of socalled «military humanitarian operations». We must reaffirm with vigor and clarity the principle of an independent civilian humanitarianism. And we must criticize those interventions called «military-humanitarian». Humanitarian action exists only to preserve life, not to eliminate it. Our weapons are our transparency, the clarity of our intentions, as much as our medicines and our surgical instruments. Our weapons cannot be fighter jets and tanks, even if sometimes we think their use may respond to a necessity. We are not the same, we cannot be seen to be the same, and we cannot be made to be the same. Concretely, this is why we refused any funding from NATO member states for our work in Kosovo. And this is why we were critical then and are critical now of the humanitarian discourse of NATO. It is also why on the ground, we can work side by side with the presence of armed forces, but certainly not under their authority.
The debate on the «Droit d'Ingerence»- the right of state intervention for so called humanitarian purposes - is further evidence of this ambiguity. It seeks to put at the level of the humanitarian, the political question of the abuse of power, and to seek a humanitarian legitimacy for a security action through military means. When one mixes the humanitarian with the need for public security, then one inevitably tars the humanitarian with the security brush. It must be recalled that the UN Charter obliges states to intervene sometimes by force to stop threats to international peace and security. There is no need, and indeed a danger, in using a humanitarian justification for this. In Helsinki this weekend governments will sit down to establish the makings of a European army, but to be available for humanitarian purposes. We appeal to governments to go no further down this path of dangerous ambiguity. But we also encourage states to seek ways to enforce public security so that international humanitarian and human rights law can be respected.
Humanitarian action comes with limitations. It cannot be a substitute for political action. In Rwanda, early in the genocide, MSF spoke out to the world to demand that genocide be stopped by the use of force. And, so did the Red Cross. It was however, a cry that met with institutional paralysis; with acquiescence to self-interest, and with a denial of political responsibility to stop a crime that was «never again» to go unchallenged. The genocide was over before the UN Operation Turquoise was launched.
I would like for a moment to acknowledge among our invited guests Chantal Ndagijimana. She lost 40 members of her family in Rwanda's genocide in 1994. Today she is a part of our team in Brussels. She survived the genocide, but like a million others, her mother and father, brothers and sisters did not. And nor did many hundreds of our national staff. I was Head of Mission in Kigali during that time. No words can describe the sheer courage with which they worked. No words can describe the horror that they died in. And no words can describe the deepest sorrow that I and all in MSF will carry always.
I remember what one of my patients said to me in Kigali : «Ummera, Ummera - sha». It is a Rwandan saying that loosely translated, means «courage, courage, my friend - find and let live your courage». It was said to me in Kigali at our hospital, by a woman who was not just attacked with a machete, but her entire body rationally and systematically mutilated. Her ears had been cut off. And her face had been so carefully disfigured, that a pattern was obvious in the slashes. There were hundreds of women, children and men brought to the hospital that day, so many that we had to lay them out on the street. And in many cases, we operated on them then and there, as the gutters around the hospital literally ran red with blood. She was one among many - living an inhuman and simply indescribable suffering. We could do little more for her at that moment than stop the bleeding with a few necessary sutures. We were completely overwhelmed, and she knew that there were so many others. She knew and I knew. She released me from my own inescapable hell. She said to me in the clearest voice I have ever heard «allez, allez . ummera, ummera-sha» - «go, go . my friend; find and let live your courage».
There are limits to humanitarianism. No doctor can stop a genocide. No humanitarian can stop ethnic cleansing, just as no humanitarian can make war. And no humanitarian can make peace. These are political responsibilities, not humanitarian imperatives. Let me say this very clearly: the humanitarian act is the most apolitical of all acts, but if actions and its morality are taken seriously, it has the most profound of political implications. And the fight against impunity is one of these implications.
This is exactly what has been affirmed with the creation of the international criminal courts for both the Former Yugoslavia and Rwanda. It is also what has been affirmed with the adoption of statutes for an International Criminal Court. These are significant steps. But today on the 51st anniversary of the Universal Declaration of Human Rights, the court does not yet exist, and the principles have only been ratified by three states in the last year. At this rate it will take 20 years before the court comes into being. Must we wait this long? Whatever the political costs of creating justice for states, MSF can and will testify that the human costs of impunity are impossible to bear.
Only states can impose respect for humanitarian law and that effort cannot be purely symbolic. Srebreneca was apparently a safe haven in which we were present. The UN was also present. It said it would protect. It had Blue Helmets on the ground. And the UN stood silent and present - as the people of Srebrenica were massacred.
After the deadly attempts of UN intervention in Former Yougoslavia and Rwanda, which led to the death of thousands. MSF objects to the principles of military intervention which do not stipulate clear frameworks of responsibility and transparency. MSF does not want military forces to show that they can put up refugee tents faster than NGOs. Armies should be at the service of governments and policies which seek to protect the rights of victims.
If UN military operations are to protect civilian populations in the future, going beyond the «mea culpa» excuses of the Secretary General over Srebrenica and Rwanda, there must be a reform of peacekeeping operations in the UN. Member States of the Security Council must be held publicly accountable for the decisions that they do or do not vote for. Their right to veto should be regulated. Member States should be bound to ensure that adequate means are made available to implement the decisions they take.
Yes, humanitarian action has limits. It also has responsibility. It is not only about rules of right conduct and technical performance. It is at first an ethic framed in a morality. The moral intention of the humanitarian act must be confronted with its actual result. And it is here where any form of moral neutrality about what is good must be rejected. The result can be the use of the humanitarian in 1985 to support forced migration in Ethiopia, or the use in 1996 of the humanitarian to support a genocidal regime in the refugee camps of Goma. Abstention is sometimes necessary so that the humanitarian is not used against a population in crisis. More recently, in North Korea, we were the first independent humanitarian organization to gain access in 1995. However, we chose to leave in the fall of 1998. Why? Because we came to the conclusion that our assistance could NOT be given freely and independent of political influence from the state authorities. We found that the most vulnerable were likely to remain so, as food aid is used to support a system that in the first instance creates vulnerability and starvation among millions. Our humanitarian action must be given independently, with a freedom to assess, to deliver and to monitor assistance so that the most vulnerable are assisted first. Aid must not mask the causes of suffering, and it cannot be simply an internal or foreign policy tool that creates rather than counters human suffering. If this is the case, we must confront the dilemma and consider abstention as the least of bad options. As MSF, we constantly call into question the limits and ambiguities of humanitarian action - particularly when it submits in silence to the interests of states and armed forces.
Last week, the United States Congress passed a bill authorizing direct food transfers to the Rebels in South Sudan. This is a missappropriation of the meaning and intent of humanitarian assistance. It makes food a fuel of war. And it is a dereliction of a state's duty to use any and all political means to address a 17 year-long civil war that has left millions dead. Sudan's civil war today is a human misery where millions are displaced and at risk of starvation and disease; where people are bombed, robbed, looted constantly, and even enslaved, while corporate oil interests are protected, where humanitarian space is so severely restricted that it exists only in pockets; and where we and other NGOs and UN Agencies struggle to bring humanitarian assistance and protection. Is food the only political option to curb war? Food aid or humanitarian assistance, if it is to be «humanitarian assistance» - cannot be a tool in state-craft. In this case we must denounce the perfidious use of food that confuses the meaning of humanitarian assistance. If the political masks itself in an ambulance, then it is certain that the ambulance will be fired on. As well, if food is allowed to be used as a weapon of war, then it also legitimates that populations can be starved as a weapon of war.
Independent humanitarianism is a daily struggle to assist and protect. In the vast majority of our projects it is played out away from the media spotlight, and away from the attention of the politically powerful. It is lived most deeply, most intimately in the daily grind of forgotten war and forgotten crisis. Numerous peoples of Africa literally agonise in a continent rich in natural resources and culture. Hundreds of thousands of our contemporaries are forced to leave their lands and their family to search for work, food, to educate their children and to stay alive. Men and women risk their lives to embark on clandestine journeys only to end up in a hellish immigration detention centre, or barely surviving on the periphery of our so called civilised world.
Our volunteers and staff live and work among people whose dignity is violated every day. These volunteers choose freely to use their liberty to make the world a more bearable place. Despite grand debates on world order, the act of humanitarianism comes down to one thing: individual human beings reaching out to their counterparts who find themselves in the most difficult circumstances. One bandage at a time, one suture at a time, one vaccination at a time. And, uniquely for Medecins Sans Frontieres, working in around 80 countries, over 20 of which are in conflict, telling the world what they have seen. All this in the hope that the cycles of violence and destruction will not continue endlessly.
As we accept this extraordinary honor, we want again to thank the Nobel Committee for its affirmation of the right to humanitarian assistance around the globe. For its affirmation of the road MSF has chosen to take: to remain outspoken, passionate and deeply committed to its core principles of volunteerism, impartiality, and its belief that every person deserves both medical assistance and the recognition of his or her humanity. We would like to take this opportunity to state our deepest appreciation to the volunteers and national staff who have made these ambitious ideals a concrete reality, and who have, we believe, brought some peace to the world that has experienced such immense suffering and who are the living reality of MSF.
Thank you for contacting us. I have forwarded your request to the Norwegian Nobel Institute, which deals with these types of questions.
Best regards,
Jessica Angstreich
Trainee
ABOUT CHARLES BURNETT
DIRECTOR OF NUJOMA: WHERE OTHERS WAVERED
TO BE RELEASED GLOBALLY IN 2007.
I started my educational career at UCLA in the History and Sociology departments. I met Charles Burnett one early morning as he was headed to the north campus, Theater Arts & Motion Picture area. I was headed to the southern part of the campus, toward the Engineering Department. Charles asked me to help him as a member of a jury that he would be shooting the following morning at 7:00 am. That was a bit early for me, since had my first classes beginning at noon; nevertheless, I told him that I would be there. As it turned out, I was the only member of the 12 person jury who showed up as scheduled. Charles and I became friends from that point in 1967. I made a Project 1 student film. Charles was my Director of Photography and Cameraman. I wrote, produced, directed and edited it. The film was "29 Pickup." We made it on the corner of 29th Street and Western Avenue in Los Angeles in the summer of 1969. It dealt with an invasion of privacy among 2 young men and a young woman.
I joined the motion picture division because I had met Charles and I felt that this would be a good vehicle for me to present my work as a writer on the worldwide, international stage.
I gave Charles a Honda Super 90 motorcycle when his car broke down so that he could get to UCLA classes sometime after that. Charles asked me to help him make "My Brother's Wedding" since he had gotten $75,000.00 in camera money from ZDF in Germany to conduct camera tests. Charles asked me if I thought that we could make a color feature film with the money rather than camera tests. I said that I would see what we could do. I contacted a friend of mine, Ruth, who worked for Earl Williman, the head of the Electrical Department for Lorimar Pictures. Earl "Pee Wee," promised to help us make the film. He gave us many lights and arranged for Lorimar to sell us film at a big discount. We used "short ends." Since the picture took 2 years, Lorimar eventually dropped the price of the film stock even further, finally amounting to about 13 cents a foot.
Charles used my home on Wellington Road in the Lafayette Square district for 2/3 of his movie. He asked me to play a "Dead Body in a Coffin," as a cameo role in addition to my other roles as Production Manager and Film Editor. I used all of the members of my family as extras in "My Brother's Wedding." I also let Charles use my Porche red Alfa Romeo convertible as a "picture car" when Pierce, the lead character in the film, has to find his way from the funeral to the wedding and winds up being late for both events.
Charles asked me to help him on Several Friends as well as The Horse, and Killer of Sheep. I gave him a bit of help on the first two films; however, I had a heavy time commitment at MGM during the time that he was shooting Killer of Sheep. I asked my sister, Christine Penick, to help him in the sound area. Incidentally, this was the first time that she had worked on a film. She knew nothing about sound. She has since turned into a fine still photographer. Her specialty is Women's Judo. She is the highest rannked Women's Judoist in the world. Several years ago, she was awarded a Red and White Belt in Judo which is the highest belt that anyone can get.
I had a VHS copy of "My Brother's Wedding," but it began to deteriorate. It would greatly please me to buy it on DVD when Milestone re-issues it. I spent 2 years with Charles on the making of it and, yes, there were many memories. This was the first feature film that I had worked on. My experience had been as an assistant film editor for Michael Kahn, Ralph Winters and Henry Berman at the major studios. I was the trailer editor for domestic television syndication @ MGM from 1975 - 1978. I was the first assistant film editor for Gordon Parks' "Leadbelly" from 1974 - 1975. I'm primarily a writer. I've made many experimental, short and long form mini digital films since 2003. My first film was made in 1969 at UCLA. Then, I took a Super 8 mm. film, "Pohop," to the 1990 Berlin Film Festival in dailies form. In 1983 I made a one minute trailer of "Hurry, Cane Season. Burnett was my Cameaman & DP. In 1999 I made "The Arsonist" in 16 mm. color. In 2003 I made "The Backyard" for an Ivory Coast novelist, Sebastian Dehi after I completely re-wrote 5 of his scripts over the preceding few years. I then realized that I had best make my own films. I continue to write since I do it well. I anticipate publishing all of my creative work by 2009.
Since this was Charles' first 35 mm. film, he wasn't used to the pacing of 35 mm. He had made 16 mm. films and the film movement was a lot different from 35 mm. Charles initially told me to play the scenes out. Eventually, I made many deep trims in scenes otherwise "My Brother's Wedding" would have been a much longer film. I was disappointed in the acting throughout the picture. When I read Charles' script prior to beginning the film, I was quite excited. I think that he should re-make the project and have someone pick the cast as a casting director.
I had been keeping in touch with Gordon Parks and Charles Burnett; however, Mr. Parks passed in March of this year. I still communicate often with Charles.
I have always thought that Charles Burnett is a filmmaker par excellence!
In every area of filmmaking he has known exactly what he was doing and how he wants to do it.
He adds tremendously to existing ideas with his own perspectives and ways of seeing. There is no one like him in the world of filmmaking.
If anything, he needs a great casting director, I feel, and also, more importantly, a viable budget for the marketing of his creative works.
This has been something that he sorely needs in order for the audience to fully appreciate his films. I saw "Annihilation of Fish" and I thought it was his best film, technically.
My only problem with "Annihilation" was the choice of title. I seriously doubt that the people who would see this film fully understood what "annihilation" means, thus they would not go to see it. Charles asked me to alert my circle of friends about this film. I did so. None of them showed up, merely the members of my family.
Charles is very good at listening with the utmost patience and putting forth what he wants to see happen on the screen. He usually does everything on his films, loading the camera, shooting the camera, setting up all of the lights, carrying everything, driving the truck, etc.
Perhaps his finest actor, in my opinion, was his brother, Andy Burnett. The only problem with Andy was that he didn't realize how skilled and talented his brother Charles was. In my opinion, if Andy had been able to contain his irascible nature, he would have been another James Dean. I say that in all seriousness. Andy was that good.
Charles was also very attentive to his grandmother and mother when I knew him in the 1960's. He took photographs of his grandmother that were something that Gordon Parks would have envied.
As far as working with actors, Charles always sought to have them portray their characters without relying on stereotypes. He fought against them doing things the way that Hollywood traditionally does things. He was always seeking fresh outlooks, fresh perspectives, new ways of seeing and thinking.
I doubt that Charles Burnett was interested in the good or the bad guys, rather he would try to explore the common humanity of people in all of the films that he has done. This is rare. It shows someone who is really interested in the human condition and what makes everyone "tick."
blessings
SAMOHT KCINEP ROWLF
7/2/06 10:51 PM.
HOLLYWOOD, CA. USA
Hi Barbara,
RE: TRIP TO KENYA TO STUDY THE GUINNON MONKEYS - SUMMER OF 2006
I enjoyed reading about your preparations for your upcoming trip to Kenya. I graduated from UCLA in 1971 in the Theater Arts Department, Motion Picture Division, Specialty Screenwriting. I know that your adventure will not only enrich the lives of your students upon your return, but, additionally give you greater insights on endangered species and environments. Students are keenly interested in both of these areas since they know that they are the hope of the future and they want to make sure that their future is being taken care of, in the most responsible way. I know that the students are going to anticipate your return and you will be bombarded with incisinve, thoughtful questions that will really test you when you return.
Your son might surprise you and learn how to take care of himself. After all, if you can go there and do the things that you'll be doing, the least that he can do is follow in the footsteps of dear Mom when it comes to managing a household in a sheltered environment.
I went to Africa in 1967 as part of the UCLA Crossroads Africa Program. 18 college students from Canada and the United States were sent to the village of Mobaii in northeastern Sierra Leone to help to build a small hospital for the indigenous people. I kept in touch with the Doctor that we assisted for 30 years, Dr. Bockari M. Kobba. From that initial mud block & cement hospital, the village expanded to 7 revenue producing streams, including a palm oil factory and soap factory. You never know what additional insights you will gain from leaving the comforts of the United States and seeing how other people, animals, and environments require sustained and intelligent responses so that the resources are not depleted but maintained for the future generation.
blessings,
Samoht Kcinep Rowlf
Los Angeles, CA. 7/7/06 6:15 pm
MIDDLE SCHOOL BY EUN. HYE C.
My junior high school years flew by very fast. I believe that the last three years in John Burroughs hve been a great, momentous experience. Different from elementary, I made closer friendships with others. I became more involved in school activities, and I tried harder to improve my academic skills. By the eighth grade, the school and everyone around me became part of a family. It wasn’t a simple task in achieving the greatest out of the school; but, on the other hand, middle school has made a powerful influence in my life as a student.
It was like entering a whole new world when I first walked into John Burroughs Middle School. That was how I felt three years ago. I was nervous, but ready to take on the challenge ahead. I grew accustomed to middle school faster than I thought. I made a group of new friends in just a week. In addition, I had kind teachers with whom I felt comfortable. However, I realized then, that we can no longer act like babies. I had to be more responsible and organized. I had to be well-prepared for every classroom and do what I was expected to do as a student.
In no time, everyone, including me, grew to become young adults. In just a year, our physical appearance changed. Everyone grew taller and no one acted like the way they used to in elementary. The school knew that the students were capable of taking up more challenges. In 7th grade, we were assigned six different teachers including an elective. I was given the opportunity to take a class of my choice for the 6th period. I decided to take drama for the 1st semester and art for the 2nd. The elective courses allowed me to get involved in school activities while learning valuable lessons. In eighth grade, I took Spanish. For the second semester I wanted to try something new, so I tried taking Service. I wanted to help the school by being a teacher’s aide in the library. It has been a new experience. I took on more responsibility by keeping all the books organized and helping the students in the lower grades. In this way, I got to become closer with the students and school teachers. I learned more about what was going on around the school, how how the staff try their best to be good to the students. The last three years in middle school was a great experience that will never be forgotten.
MIDDLE SCHOOL BY EETSE B.
Middle school has taught me many things about life and knowledge. While I attended middle school, I have made new friends, and I even met new teachers. Middle school has given me new experiences such as dances, sleepovers, and other events.
When I attended P+++ Private School for the first time, I hated it because I wanted to go to the same school as my friends. But, as time passed, I began to like the school. I even studied very hard and got straight A’s. This made me the top student of my class. However, I wasn’t really active at that time.
During 7th grade, I began to make close friendships, and I studied well. I began to be more talkative with my friends, but I was still too quiet in class.
Finally, in the 8th grade, I changed my appearance a lot. Instead of wearing glasses and putting my hair into a ponytail, I walked to school with my hair down and with my contact lenses on. Everyone was surprised at me. That was the time I began to be even louder and more open with my friends and teachers. I started getting in trouble in class and I gradually got bad grades. Since it was my last year, I went to events such as dances and sleepovers, so that I could have new experiences that would be unforgettable. Even though I had good times at school, I had problems. My grades dissatisfied my parents, and I became depressed ever since January. I started thinking more about my life. Also, I began to play tennis and became more active than before.
After I graduated from P+++ Private School, I’ve had many good memories and only a few regrets. One of the major things that I regretted was my lack of participation in sports. I wanted to become active in sports and school events. However, I still have an opportunity to do things that I couldn’t do in middle school. Although I will miss my friends and teachers, I know that I have to move on in my life and try to reach my goals.
Samoht 7/8/06 12:56 am.
Los Angeles, CA. U.S.A.
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