As for other factors, it was kind of difficult to tell what the venue will be like in the future due to the fact that things were obviously not finished (in addition to the Vinyl Bar being boarded up only one bathroom was operational in the main venue, for example). Apparently the bar staff were operating on only the most basic training from the venue and so any slowness on their part can be somewhat forgiven. Drink prices were kind of high anyway so after my first drink I never returned to the bar. There were a LOT of photographers and video cameramen in the crowd who occasionally got in the way, but I imagine this was just because it was opening night, though the venue has stated that many shows will be videoed and a feed will be shown in the Vinyl Bar so maybe the video cameramen will be a somewhat permanent fixture? I guess we'll find out soon enough.
On the plus side it has decent air-conditioning which will be a big help in summer, and frankly it's just nice to be seeing a gig somewhere other than the valley for once.
Modern Love: Rocketsmiths, Hungry Kids of Hungary, Nikko, Mass Migration (final show) @ The Zoo - 4zzzFM fundraiser. Tickets are half price for subscribers.
Ball Park Music (Album Launch), Blame Ringo, Jake Rush & The Bad Habits @ The Troubadour
Drawn From Bees, The Strange Attractors - Ric's Bar
Aleks & The Ramps (Vic), Toy Balloon @ Ric's Bar
The Grates, Children Collide (Vic), DZ @ The Hifi - I think this is sold out so I'm not too sure why I'm listing it.
Hazards of Swimming Naked, Le Fricken Hecks, Soma, The Sea Shall Not Have Them @ Rosie's Downstairs
New Jack Rubys, Hotel Motel, Skritch, Sabrina @ The Troubadour
Twist Oliver Twist, Last Dinosaurs, Wipedoubt, Damasyria, Arado, Kybosh, Beth Lucas @ The Globe
Moon Jog @ Ric's Bar
Swaying Buildings @ Ric's Bar (4pm)
Secret Birds @ Ric's Bar
Live Spark: Wind & Brackets, Grand Atlantic @ The Powerhouse
Lots of bands I can't be bothered listing @ The Caxton St Seafood Festival
Also don't forget that this is the last week to see the Underexposed Exhibition at Joshua Levi Galleries. There are bands and everything.
Remember what was said by Sia Jieang in the Gala Premiere video posted on News.mcot.net, about Tony JAA's next movie "Ong bak 3"...
He says that Ong Bak 3 will be full of more daredevil fightings between Dan Chupong and Tony JAA. Moreover, in Ong Bak 3 Tien's legs and arms (Tien is Tony's character) will be torturely damaged.
Consequently, Tien has to fight with some sort of boneless action. This is homework for Panna Rittikrai and Tony JAA to create the action for us to see what it will look like to fight in the state of boneless condition.
The Set of Khmer Palace which is already seen by the press is now fortified for its further usage. It will not be considered worthwhile if it is removed. Moreover, there is now a list of Ong Bak 3 casts including the name of Dan Chupong and Nui Kessarin who will be in the same set with Tony JAA.
The close of the New Hollywood era
On realizing how much money could potentially be made in films, major corporations started buying up the Hollywood studios. The corporate mentality these companies brought to the filmmaking business would slowly squeeze out the more idiosyncratic of these young filmmakers, while ensconcing the more malleable and commercially successful of them.
The New Hollywood's ultimate demise came after a string of box office failures that many critics viewed as self-indulgent and excessive. Directors had enjoyed unprecedented creative control and budgets during the New Hollywood era, but expensive flops including At Long Last Love, New York, New York, and Sorcerer caused the studios to increase their control over production.
New Hollywood excess culminated in two unmitigated financial disasters: Michael Cimino's Heaven's Gate (1980) and Francis Ford Coppola's One from the Heart (1982). After astronomical cost overruns stemming from Cimino's demands, Heaven's Gate caused severe financial damage to United Artists studios, and resulted in its sale to MGM. Coppola, having flourished after the near financial disaster of Apocalypse Now, plowed all of the enormous success of that film into American Zoetrope, effectively becoming his own studio head. As such, he bet it all on One from the Heart, which closed in less than a week, bankrupting Coppola and his fledgling studio. (Following the box-office disaster, Hollywood wags started referring to the picture as "One Through the Heart".)
These two costly examples, as well as the above-mentioned box-office failures, coupled with the new commercial paradigm of Jaws and Star Wars gave studios a clear and renewed sense of where the market was going: high-concept, mass-audience, wide-release films. Therefore, the costly and risky strategy of surrendering control to the director ended, and with that, the New Hollywood era.
The exploits of the New Hollywood generation are infamously chronicled in the book Easy Riders, Raging Bulls by Peter Biskind.
New Hollywood and independent filmmaking
It can often seem that the members of the New Hollywood generation were independent filmmakers. Indeed, some of their members have tacitly signaled that they were the precursors of the independent film movement of the 1990s.
However, this is not the case. The New Hollywood generation was firmly entrenched in the studio system, which financed the development, production and distribution of their films. None of them ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. Seemingly "independent" films such as Taxi Driver, Midnight Cowboy, The Last Picture Show and others were all studio films: the scripts were based on studio pitches and subsequently paid for by the studios, the production financing was from the studio, and the marketing and distribution of the films were designed and controlled by the studio.
There were only two truly-independent movies of the New Hollywood generation: Easy Rider in 1969, at the beginning of the period, and Bogdanovich's They All Laughed, at the end. Peter Bogdanovich bought back the rights from the studio to his 1980 film and paid for its distribution out of his own pocket, convinced that the picture was better than what the studio believed — he eventually went bankrupt because of this.
Truly independent filmmakers such as John Cassavetes, George Romero and Melvin Van Peebles — who secured outside financing and filmed their own scripts — were never a part of the New Hollywood generation, and should not be considered as such.
List of important figures in the New Hollywood era
Many of the filmmakers listed below did multiple chores on various film productions through their careers. They are here listed by the category they are most readily recognized as.
Writers and directors
The issue of whether or not a specific director belongs to the "New Hollywood" generation is a difficult one to address. Many of those listed below made either their only films or their most successful films (Bogdanovich or Hal Ashby) in this period. Others, such as Martin Scorsese or John Boorman, have continued to make acclaimed and successful films. Aside from this, however, "membership" of the New Generation is a blurred line. Thus, the list below does not include Stanley Kubrick or Sidney Lumet - although both of these directors were of the same generation as those below, they came to prominence in the late 1950s , in the latter part of the Classical Hollywood period. Initially, thus, their early films (famously Spartacus (1960) and 12 Angry Men (1957)) did not play a part in informing the New Generation zeitgeist as, say, Nashville (1975) or Midnight Cowboy (1969) did.
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Ong Bak 2 is only the beginning for Tony JAA who will soon be back on the set, filming scenes for Ong Bak 3.
Sahamongkol Films' president Somsak "Sia Jiang" Techaratanaprasert is talking up a storm about the next episode in the franchise. He's even sunk more than Bt200 million in Ong Bak 3.
Ong Bak 2 is just the prologue, he explains.
The climax of the story comes in Ong Bak 3, with lots of excitement in the key action scenes, on which we'll be spending more than Bt100 million.
The studio and the film's director and star, Panom Yeerum Tony JAA were able to resolve their conflict over budget overruns but the long delay in shooting led to Somsak deciding to split the film in two parts, with the rest of the story being told in Ong Bak 3.
Filming of Ong Bak 3 will commence before the end of the year and will only take a short time, as there's plenty footage from Ong Bak 2 that can be used.
However, there are concerned that the decision to split the film in two parts may negatively affect foreign sales.
"We'll know the response at the Cannes film market in May", he says.
"What happened in the past was caused by people around him. We have cleared the air and JAA is enthusiastic about returning to work", he says.
Somsak says he has faith in JAA and believes the superstar is back on track. And he is already thinking about Ong Bak 4, saying he hopes to persuade Jackie Chan to play a role in the project.
The key scene in "Ong Bak 3" will see elephants invading the palace
"Ong Bak 3" will be in cinemas next year
Directed by Sam Raimi
Starring : Tobey Maguire, Kirsten Dunst, James Franco, Alfred Molina
Release date(s) : June 30, 2004
Country : United States
Language : Hindi Dubbed
Casting In Spider Man 2 Hollywood Movie in Hindi :
Tobey Maguire as Peter Parker Or Spider-Man
Alfred Molina as Dr. Otto Octavius Or Doctor Octopus
Kirsten Dunst as Mary Jane Watson
James Franco as Harry Osborn:
J.K. Simmons as J. Jonah Jameson
onna Murphy as Rosalie Octavius
Spider Man 2 Hollywood Movie in Hindi Online Full Movie
Watch Spider Man 2 Hollywood Movie in Hindi Online Part 1
In this episode of Financial Lovemaking, Dr. Boyce and S. Tia Brown discuss Mel Gibson’s Half billion dollar divorce. Click the image to watch!
In her forthcoming film she will go fully bold and play a stripper titled ‘Showman’. Celina’s official site encompasses the story of a girl who aspired to join the army and her journey from there on to become a successful model and finally an famous actress.
Image via WikipediaCarole Lombard (October 6, 1908 – January 16, 1942), born Jane Alice Peters in Fort Wayne, Indiana, was an Oscar-nominated American actress. She was particularly noted for her comedic roles in several classic films of the 1930s, most notably in the 1936 film My Man Godfrey. She is listed as one of the American Film Institute's greatest stars of all time and was the highest-paid star in Hollywood in the late 1930s, earning around US$500,000 per year (more than five times the salary of the US President). Lombard's career was cut short when she died at the age of 33 in an airplane crash.
Carole Lombard made her film debut at the age of twelve after she was seen playing baseball in the street by director Allan Dwan; he cast her as a tomboy in A Perfect Crime (1921).
Cover of To Be or Not to Be
With director Alfred Hitchcock she did Mr. & Mrs. Smith (1941). The film gave Lombard's career a much needed boost and she followed her success with what proved to be her last film, one of her most successful, To Be or Not to Be (1942).That film got released two months after the untimely death of diva.
In 1999, the American Film Institute ranked Lombard 23rd on its list of the 50 greatest American female screen legends. She received one Academy Award for Best Actress nomination, for My Man Godfrey.
Lombard's Fort Wayne childhood home has been designated a historic landmark. The city named the nearby bridge over the St. Mary's River the "Carole Lombard Memorial Bridge."
Glorio is an album centred around Franzmann's (at times quite impressive) voice. Guitar and piano provide the base upon which her songs are built, and various other instruments rear their heads at certain points, but the thing that dominates the mix is that voice - everything else is there for either utility or decoration. The sound of the album evokes thoughts of the mellower songs from Sufjan Stevens' Michigan and Seven Swans albums, or even Talk Talk's Laughing Stock - there's a stark pristine quality to these songs, where each instrument is placed just so in the spectrum of sounds. It's the perfect local release for the upcoming winter months. That's not to say that the songs are unemotional or overly perfected in any way (in fact there's a nice rustic quality to the performances), it's just that the subtle instrumentation and reverb-laced vocals evoke a certain feeling of icy winter landscapes. This is music that sounds like it came from Canada, not Brisbane.
The album starts with perhaps its strongest song, the atmospheric 'How We Are'. With a descending four chord progression that continues through the entire track, the song also features a hazy sounding cello (or perhaps it's a bowed guitar?), glockenspiel, minimal percussion, creepy loops and operatic sounding backing vocals. It's simultaneously incredibly beautiful and faintly terrifying. It could be my favourite local song from the year so far. Following it up is the comparatively upbeat 'The Hollow Boat', which actually features a fairly driving rhythm (of sorts). 'A Difficult Crossing' is probably McKisko's most crowd-pleasing song in a live context with its clever use of loops, but on the record the minimal, vocals-heavy production takes away much of the song's power. It's still a good song and provides a useful jolt of energy, but it could perhaps have benefited from more robust sounding production. It might have also been more effective later in the album, instead of being a mere two songs after the similarly energetic 'The Hollow Boat'. In any case, from that point on everything is fairly slow, sparse and beautiful, with the highlights of the second half of the record being 'Silence Slowly' and the wonderful closer 'Into The Night'. I guess I'm just a sucker for those dirgy piano ballads.
With Franzmann's vocals being such a focal point her lyrics are bound to come under some scrutiny. In my opinion they hold up; I certainly didn't notice any clunky lines that pulled me out of the surrounding soundscapes. McKisko avoids the dreaded 'confessional singer-songwriter' tag by making her lyrics much more abstract that most other local troubadours, and the music benefits from it.
Glorio is a strong record with a handful of truly great tracks (hell, I'd recommend it for 'How We Are' alone). At only 9 songs it's also quite brief, which is a strength when you're talking about predominantly slow, minimal folk music. I can't really think of anything else to say other than if you have a predilection towards fairly minimalist folk pop you should definitely give this record a spin - you can listen to a number of songs from the record at her myspace, as well as find dates to check her out live.
Moon Jog, Biff Co @ Ric's Bar
Fawn, The Rook, Smokestack Orchestra @ The Zoo
I Heart Hiroshima, Dick Nasty @ Ric's Bar
Vegas Kings, Gentle Ben & His Sensitive Side, Sulphur Lights @ Step Inn
The John Steel Singers, Blue Carousel, D-Wizz 2.0 @ The Troubadour
FootFootFoot: Saint Surly, Monster Monster, Alrey Batol @ Black Star Coffee
The Gallant, Idle Cranes @ Ric's Bar
Blue Trial Records, The Dirty Liars @ Ric's Bar
Live Spark: Madeleine Paige, Scott Spark @ The Powerhouse