It is no secret that I am a huge enthusiast to ascertain the expansion of knowledge for the work of Nikola Tesla.
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Best Supporting Actor 2000: Willem Dafoe in Shadow of the Vampire
Willem Dafoe received his second Oscar nomination for portraying Max Schreck in Shadow of the Vampire.
Shadow of the Vampire is a movie with a interesting premise, but it also has many pointless and uninteresting scenes. It feels oddly slow despite being a fairly short film, but the last scene of the film is terrific.
Max Schreck portrayed a vampire Count Orlock incredibly well in the original silent film Nosferatu, and this film tells the story that the reason Schreck was so good in the role was because he really was a vampire. Willem Dafoe has a rather incredible an odd challenge in portraying Schreck because Schreck's original performance was so strange, and almost other worldly that it would be difficult for any actor to even attempt to imitate it. Dafoe performance is not a spitting image of Schreck's original performance that would be impossible but his imitation is still uncanny.
Dafoe utilizes his whole body to create Schreck once again, which he uses to make all of Schreck's mannerisms. Every part of his body from his bizarre odd posture that is just as Schreck's original posture, and the way Schrek would move his neck and head in its odd way, and that perfect way in which he would moves his fingers. All of these movements and motions are very odd, but they seem completely natural due to Dafoe. This is astonishing because it makes his performance all the creepier since he really seems like a vampire.
Now Dafoe's performance is not only an expert imitation though. He also develops this odd vampire quite well. He makes Schreck actually an odd somber and sad vampire in one incredible scene. Dafoe is simply magnificent in showing the age of Schreck, and the actual almost sadness he has for being a relic. He also makes Schreck want to be known through film rather interesting, with making an actual need of Schreck, an incredible desire which is almost above everything else.
Dafoe makes Schreck an entertaining villain, showing his evil happiness exceptionally well, and in a very entertaining fashion. Dafoe's performance as Schreck simply is brilliant creating a complex character out of what could be a simple monster, and somehow naturally imitating the bizarre manner of the original performance of Schreck's. I wish the film was as good as this terrific performance.
Max Schreck portrayed a vampire Count Orlock incredibly well in the original silent film Nosferatu, and this film tells the story that the reason Schreck was so good in the role was because he really was a vampire. Willem Dafoe has a rather incredible an odd challenge in portraying Schreck because Schreck's original performance was so strange, and almost other worldly that it would be difficult for any actor to even attempt to imitate it. Dafoe performance is not a spitting image of Schreck's original performance that would be impossible but his imitation is still uncanny.
Dafoe utilizes his whole body to create Schreck once again, which he uses to make all of Schreck's mannerisms. Every part of his body from his bizarre odd posture that is just as Schreck's original posture, and the way Schrek would move his neck and head in its odd way, and that perfect way in which he would moves his fingers. All of these movements and motions are very odd, but they seem completely natural due to Dafoe. This is astonishing because it makes his performance all the creepier since he really seems like a vampire.
Now Dafoe's performance is not only an expert imitation though. He also develops this odd vampire quite well. He makes Schreck actually an odd somber and sad vampire in one incredible scene. Dafoe is simply magnificent in showing the age of Schreck, and the actual almost sadness he has for being a relic. He also makes Schreck want to be known through film rather interesting, with making an actual need of Schreck, an incredible desire which is almost above everything else.
Dafoe makes Schreck an entertaining villain, showing his evil happiness exceptionally well, and in a very entertaining fashion. Dafoe's performance as Schreck simply is brilliant creating a complex character out of what could be a simple monster, and somehow naturally imitating the bizarre manner of the original performance of Schreck's. I wish the film was as good as this terrific performance.
Blixa Bargeld - A Quiet Life
For fans of Blixa Bargeld, whether it be for Einstürzende Neubauten or Nick Cave and the Bad Seeds.
Best Supporting Actor 2000
Willem Dafoe in Shadow of the Vampire
Joaquin Phoenix in Gladiator
Benicio Del Toro in Traffic
Jeff Bridges in The Contender
Albert Finney in Erin Brockovich
After finally getting over the trauma of watching Star! I feeling I can finally return to supporting.
James Bond and ‘Midnight Cowboy’ Composer John Barry Has Died at Age 77
From slashfilm, One of the great film composers has passed. It was revealed last night that BAFTA and Oscar-winning composer John Barry died Saturday of a sudden heart attack in New York. He was 77. Mr. Barry contributed a great many memorable cinema scores, including those of many James Bond movies as well as for films as diverse as Midnight Cowboy, The Black Hole and Dances With Wolves. For many his Bond work is his greatest legacy, but I still regard the plaintive harmonica theme for Midnight Cowboy as one of the most effective movie themes I’ve ever heard.
'light in winter' and 'sagan's cosmos 30 years on' art show
this year, the ithaca tompkins county public library participated in the annual light in winter festival in ithaca, NY, with an art show entitled sagan's cosmos 30 years on: celebrating the thirtieth anniversary of the PBS series cosmos: a personal voyage. the exhibit opened on january 21st and featured never-before seen art of carl sagan, as well as massive images from the mars rover and the cassini mission.
i was happy to donate two of my sagan-inspired images to the exhibit: pale blue dandy and little planet pendeli.
patrick fish, founder of the sagan appreciation society, very kindly forwarded some images from the opening night to me, as well as a link to the tompkins weekly which describes the exhibit in depth [on page 5].
from left, library development associate sally grubb, carl sagan's son, nick sagan, and curator patrick fish.
photo by lawrence klaes.
nick sagan and my image, pale blue dandy :-))
photo by patrick fish
the exhibit will be on display through february 27th -- so if you're in the ithaca area, you're very, very lucky.
i was happy to donate two of my sagan-inspired images to the exhibit: pale blue dandy and little planet pendeli.
patrick fish, founder of the sagan appreciation society, very kindly forwarded some images from the opening night to me, as well as a link to the tompkins weekly which describes the exhibit in depth [on page 5].
from left, library development associate sally grubb, carl sagan's son, nick sagan, and curator patrick fish.
photo by lawrence klaes.
nick sagan and my image, pale blue dandy :-))
photo by patrick fish
the exhibit will be on display through february 27th -- so if you're in the ithaca area, you're very, very lucky.
Lead Ranking Over 200 Nominees
- 1962
- 1939
- 1964
- 1965
- 1974
- 1976
- 1954
- 1982
- 1972
- 1967
- 1979
- 1955
- 1950
- 1977
- 1968
- 2006
- 1943
- 1956
- 1984
- 1958
- 1998
- 1946
- 1936
- 2005
- 1993
- 1947
- 1981
- 1989
- 2004
- 1937
- 1941
- 1997
- 1996
- 2003
- 1945
- 1985
- 2001
- 1991
- F. Murray Abraham in Amadeus (1984)
- Marlon Brando in On the Waterfront (1954)
- Peter O'Toole in Lawrence of Arabia (1962)
- James Stewart in It's a Wonderful Life (1946)
- Paul Newman in The Verdict (1982)
- Giancarlo Giannini in Seven Beauties (1976)
- Edward Norton in American History X (1998)
- Peter O'Toole in The Lion in Winter (1968)
- Daniel Day-Lewis in My Left Foot (1989)
- Peter Finch in Network (1976)
- Laurence Olivier in Sleuth (1972)
- Richard Burton in The Spy Who Came in From The Cold (1965)
- Rod Steiger in The Pawnbroker (1965)
- Kirk Douglas in Lust For Life (1956)
- Laurence Olivier in Richard III (1956)
- Robert Montgomery in Night Must Fall (1937)
- Ray Milland in The Lost Weekend (1945)
- Clark Gable in Gone With The Wind (1939)
- Ernest Borgnine in Marty (1955)
- Philip Seymour Hoffman in Capote (2005)
- Clark Gable in It Happened One Night (1934)
- Robert De Niro in Taxi Driver (1976)
- Victor McLaglen in The Informer (1935)
- Ronald Colman in A Double Life (1947)
- Spencer Tracy in A Bad Day At Black (1955)
- Anthony Quinn in Zorba the Greek (1964)
- Forest Whitaker in The Last King of Scotland (2006)
- Peter O'Toole in Becket (1964)
- Art Carney in Harry and Tonto (1974)
- Jack Nicholson in Chinatown (1974)
- William Hurt in Kiss of the Spider Woman (1985)
- Dustin Hoffman in Tootsie (1982)
- Paul Lukas in Watch on the Rhine (1943)
- Jack Lemmon in Days Of Wine And Roses (1962)
- Al Pacino in The Godfather Part 2 (1974)
- James Stewart in Mr. Smith Goes Washington (1939)
- Gregory Peck in To Kill A Mockingbird (1962)
- Liam Neeson in Schindler's List (1993)
- Rod Steiger in The Heat of the Night (1967)
- Anthony Hopkins in The Silence of the Lambs (1991)
- James Dean in East of Eden (1955)
- Laurence Olivier in Wuthering Heights (1939)
- Marcello Mastroianni in Divorce Italian Style (1962)
- Richard Burton in Becket (1964)
- Michael Caine in Sleuth (1972)
- Tom Wilkinson in In The Bedroom (2001)
- James Mason in A Star is Born (1954)
- Robert Donat in Goodbye, Mr Chips (1939)
- Laurence Olivier in Henry V (1946)
- Peter Sellers in Dr. Strangelove (1964)
- Marlon Brando in The Godfather (1972)
- Peter Sellers in Being There (1979)
- Walter Huston The Devil and Daniel Webster (1941)
- Robert Duvall in The Apostle (1997)
- Dustin Hoffman in Kramer vs. Kramer (1979)
- Emil Jannings in The Last Command (1928)
- Walter Huston in Dodsworth (1936)
- David Niven in Separate Tables (1958)
- Leonardo DiCaprio in The Aviator (2004)
- Bing Crosby in The Country Girl (1954)
- Dudley Moore in Arthur (1981)
- Don Cheadle in Hotel Rwanda (2004)
- Henry Fonda in On Golden Pond (1981)
- John Travolta in Saturday Night Fever (1977)
- Oskar Werner in Ship of Fools (1965)
- Marcello Mastroianni in A Special Day (1977)
- Dustin Hoffman in The Graduate (1967)
- Tom Hulce in Amadeus (1984)
- William Powell in The Thin Man (1934)
- Ben Kingsley in Gandhi (1982)
- Ian McKellen in Gods and Monsters (1998)
- James Stewart in Harvey (1950)
- Heath Ledger in Brokeback Mountain (2005)
- Jose Ferrer in Cyrano De Bergerac (1950)
- William Holden in Sunset Blvd. (1950)
- Daniel Day-Lewis in In the Name of the Father (1993)
- Cary Grant in Penny Serenade (1941)
- Leonardo DiCaprio Blood Diamond (2006)
- Russell Crowe in A Beautiful Mind (2001)
- Morgan Freeman in Driving Miss Daisy (1989)
- Paul Newman in Cool Hand Luke (1967)
- Peter Fonda in Ulee's Gold (1997)
- Alan Bates in The Fixer (1968)
- Albert Finney in Under The Volcano (1984)
- Tony Curtis in The Defiant Ones (1958)
- Orson Welles in Citizen Kane (1941)
- Sam Waterson in The Killing Fields (1984)
- Sidney Poitier in The Defiant Ones (1958)
- Humphrey Bogart in Casablanca (1943)
- Lee Marvin in Cat Ballou (1965)
- Clark Gable in Mutiny on the Bounty (1935)
- Tom Hanks in Saving Private Ryan (1998)
- Ryan Gosling in Half Nelson (2006)
- Clint Eastwood in Million Dollar Baby (2004)
- Jack Lemmon in The China Syndrome (1979)
- Spencer Tracy in Father of the Bride (1950)
- Dan O'Herlihy in Robinson Crusoe (1954)
- Peter O'Toole in The Ruling Class (1972)
- Paul Newman in A Cat on a Hot Tin Roof (1958)
- Roy Scheider in All that Jazz (1979)
- Fredric March in A Star is Born (1937)
- Tom Cruise in Jerry Maguire (1996)
- Gregory Peck in The Keys of the Kingdom (1945)
- Peter O'Toole in My Favorite Year (1982)
- Richard Burton in Equus (1977)
- Mickey Rooney in The Human Comedy (1943)
- William Holden in Network (1976)
- Ralph Fiennes in The English Patient (1997)
- William Powell in My Man Godfrey (1936)
- Cliff Robertson in Charly (1968)
- Laurence Olivier in Othello (1965)
- Peter O'Toole in Venus (2006)
- Kenneth Branagh in Henry V (1989)
- Warner Baxter in In Old Arizona (1929)
- Dustin Hoffman in Lenny (1974)
- Gary Cooper in Mr. Deeds Goes to Town (1936)
- Fredric March in The Best Years of Our Lives (1946)
- Warren Beatty in Bonnie and Clyde (1967)
- Al Pacino in ...And Justice for All (1979)
- Anthony Hopkins in The Remains of the Day (1993)
- James Dean in Giant (1956)
- Burt Lancaster in Atlantic City (1981)
- William Powell in Life With Father (1947)
- Charles Laughton in Mutiny on the Bounty (1935)
- Bill Murray in Lost in Translation (2003)
- Jude Law in Cold Mountain (2003)
- Rock Hudson in Giant (1956)
- Jack Lemmon in Missing (1982)
- John Garfield in Body and Soul (1947)
- Ron Moody in Oliver! (1968)
- Rex Harrison in My Fair Lady (1964)
- Charles Boyer in Conquest (1937)
- Burt Lancaster in Birdman of Alcatraz
- Woody Allen in Annie Hall (1977)
- Paul Muni in The Life of Emile Zola (1937)
- James Cagney in Love Me or Leave Me (1955)
- David Straithairn in Good Night and Good Luck (2005)
- Harrison Ford in Witness (1985)
- Sean Penn in Mystic River (2003)
- Spencer Tracy in Guess Who's Coming to Dinner (1967)
- Geoffrey Rush in Shine (1996)
- Alan Arkin in The Heart is a Lonely Hunter (1968)
- Richard Dreyfuss in The Goodbye Girl (1977)
- Humphrey Bogart in The Caine Mutiny (1954)
- Michael Redgrave in Mourning Becomes Electra (1947)
- Nick Nolte in Affliction (1998)
- Mickey Rooney in Babes in Arms (1939)
- Charlie Chaplin in The Circus (1928)
- Jack Nicholson in As Good as it Gets (1997)
- Dustin Hoffman in Wag the Dog (1997)
- Paul Muni in The Story of Louis Pasteur (1936)
- Louis Calhern in The Magnificent Yankee (1950)
- Gary Cooper in For Whom the Bell Tolls (1943)
- Walter Pidgeon in Madame Curie (1943)
- Billy Bob Thorton in Sling Blade (1996)
- Johnny Depp in Finding Neverland
- Albert Finney in Murder on the Orient Express (1974)
- Spencer Tracy in San Francisco (1936)
- Johnny Depp in The Curse of the Black Pearl (2003)
- Franchot Tone in Mutiny on the Bounty (1935)
- Joaquin Phoenix in Walk the Line (2005)
- Paul Winfield in Sounder (1972)
- Frank Sinatra in The Man With the Golden Arm (1955)
- Tom Hanks in Philadelphia (1993)
- Gregory Peck in The Yearling (1946)
- Robin Williams in The Fisher King (1991)
- Gregory Peck in Gentleman's Agreement (1947)
- James Garner in Murphy's Romance (1985)
- Robert Montgomery in Here Comes Mr. Jordan (1941)
- Sylvester Stallone in Rocky (1976)
- Paul Newman in Absence of Malice (1981)
- Frank Morgan in The Affairs of Cellini (1934)
- Warren Beatty in Reds (1981)
- Gene Kelly in Anchors Aweigh (1945)
- Ben Kingsley in The House of Sand and Fog (2003)
- Robert De Niro in Cape Fear (1991)
- Jon Voight in Runaway Train (1985)
- Nick Nolte in The Prince of Tides (1991)
- Will Smith in The Pursuit of Happyness (2006)
- Denzel Washington in Training Day (2001)
- Laurence Fishburne in What's Love Got To Do With It (1993)
- Bing Crosby in Bells of St. Mary's (1945)
- Spencer Tracy in The Old Man and The Sea (1958)
- Chester Morris in Alibi (1929)
- Jack Nicholson in Prizzi's Honor (1985)
- Woody Harrelson in The People vs Larry Flynt (1996)
- Larry Parks in The Jolson Story (1946)
- Warren Beatty in Bugsy (1991)
- Terrence Howard in Hustle and Flow (2005)
- Matt Damon in Good Will Hunting (1997)
- Robin William in Dead Poet's Society (1989)
- Tom Cruise in Born on the Fourth of July (1989)
- Yul Brynner in The King and I (1956)
- Cornel Wilde in A Song to Remember (1945)
- Jeff Bridges in Star Man (1984)
- Spencer Tracy in Captain Courageous (1937)
- Gary Cooper in Sergeant York (1941)
- Will Smith in Ali (2001)
- Roberto Benigni in Life is Beautiful (1998)
- Sean Penn in I Am Sam (2001)
- Jamie Foxx in Ray (2004)
Most Lead Wins: Walter Huston, Clark Gable, Laurence Olivier, Peter O'Toole and James Stewart with 2
Most Losses without win: Spencer Tracy with 6
Most Reviewed Performer: Spencer Tracy, Peter O'Toole
Best Real Winner: F. Murray Abraham in Amadeus
Worst Real Winner: Jamie Foxx in Ray
Lowest of My Winners: Bill Murray in Lost in Translation
Most 2nd places: William Powell, Dustin Hoffman
Random Thoughts of the second 100:
Best Entrance by Nominee: Clark Gable in Gone With the Wind
Best Exit: Clark Gable in Gone With The Wind
Strangest Character: Peter Sellers as Being There
Most Pleasant Surprise: Robert Montgomery in Night Must Fall
Pieter Nooten & Michael Brook - After The Call
Pieter penned some of my fave tunes during the 80s in COXymox. Michael Brook influenced folks like The Edge (U2). This music will always be special. ♫ http://blip.fm/~11b8cb
Perfect: Javier Bardem Offered Starring Role in New James Bond Film
From slashfilm [excerpt] Javier Bardem has been pretty unstoppable this week. In the past 7 days alone, Bardem has received an Academy Award nomination for Best Actor and been offered a lead role in Ron Howard’s Dark Tower adaptation. On top of all that, we’ve now learned that Bardem has been offered a starring role in the 23rd James Bond film. Hit the jump to find out what we know.
The news comes from Deadline, who reports that the offer to appear in the next Bond was extended last week, around the same time as the Dark Tower offer was. Nikki Finke and Mike Fleming at Deadline speculate on what this role might be, saying, “Details about the character are being kept under wraps for now. But traditionally the biggest male role opposite 007 is the villain…”
Robin Williams To Play Dr. Hugo Strange In Dark Knight Rises?
From cinemablend, Well, this is certainly out of left field. If you were expecting the Dark Knight Rises rumors to end now that we’ve finally started getting a real cast, you apparently don’t know how the internet works. This evening the web has been aflutter with rumors that Robin Williams will play Dr. Hugo Strange. It all seems to stem from a tweet by Batman On Film, but as Caped Crusader sources go, they’re among the most trustworthy.
You may remember ages ago, Williams came within a hair of landing the coveted Joker role in Tim Burton’s Batman, but it was not to be. Still, after all those years, the longing hasn’t quite died. The comedian who’s arguably better in his dramatic roles openly said last year that he’d work on The Dark Knight Rises in a second, but up until now, his words seemed more like longing than real casting news.
I’m not completely sold. Thus far, there’s been no confirmation from Williams, the studio or Christopher Nolan; so, even as much as I trust Batman On Film, I must recommend you take this purely as a rumor for the time being. What a glorious rumor it is though. For those of you unfamiliar with Gotham, Dr. Hugo Strange is a Batman-obsessed villain psychologist with more than a few screws loose. Williams has not only won an Academy Award for playing a shrink but has also crushed all of his creepy psychopath roles in the past.
Culture Club to reunite
From ew, After recent hinting in the press, Boy George confirms: Culture Club will reunite next year.
The singer, 49, also promises a "proper huge worldwide tour" starring the iconic '80s hitmakers. The announcement comes during the run-up to the release of his solo album 'Ordinary Alien,' partly written while he served four months in prison for the assault and false imprisonment of a male escort.
Responding to a question about a Culture Club reunion, sent to the BBC's 'Breakfast' show late last week by celebrity fan Mark Ronson (a top producer in the industry, and brother of Lindsay Lohan's ex, Samantha Ronson), Boy George replied: "We are getting back together. Next year. This year [I'm touring] on my own. It's kind of a precursor for what I'm doing with Culture Club in 2012. We'll be doing a proper huge worldwide tour. And a new album."
The reunion falls on the band's 30th anniversary. They nearly hit the road together in 2006, when original bandmates Mikey Craig and Jon Moss announced a Culture Club comeback, but their flamboyant frontman declined to sign on, and plans were soon scrapped.
"I kind of use my writing like a diary, so I write about things that are very personal to me, things that I've experienced, things that have affected me and that I feel strongly about," Boy George (born George Alan O'Dowd) has said about growing as an artist during his 2009 imprisonment. "I've surprised myself, really with my resilience. Yes [prison] did happen, but it feels so long ago now."
Meet the next Superman
From ew, Henry Cavill, 27, best known for playing Charles Brandon on Showtime’s The Tudors, has been cast as Clark Kent/Superman in the new Superman movie to be directed by Zack Snyder, Warner Bros. announced today. “In the pantheon of superheroes, Superman is the most recognized and revered character of all time, and I am honored to be a part of his return to the big screen,” Snyder says in the release. “I also join Warner Bros., Legendary and the producers in saying how excited we are about the casting of Henry. He is the perfect choice to don the cape and S shield.” The film is expected to hit theaters in December 2012. David S. Goyer is writing the script, based on a story by Goyer and Christopher Nolan, director of The Dark Knight and Inception, who is among the movie’s producers.
Best Actor 1979: Results
4. Roy Scheider in All That Jazz- Scheider has the right charm and right type of presence in this film, but I believe the self-indulgent film holds his performance back.
3. Jack Lemmon in The China Syndrome- Jack Lemmon gives a strong performance and shows his character emotional disintegration as his conscience grows on him. 
2. Dustin Hoffman in Kramer vs. Kramer- Dustin Hoffman gives an authentic and very realistic performance. A strong performance which work incredibly well with the rest of the cast especially Justin Henry. 
Martin Sheen in Apocalypse Now
Best Actor 1979: Dustin Hoffman in Kramer VS. Kramer
Dustin Hoffman won his first Oscar from his fourth nomination for portraying Ted Kramer in Kramer VS. Kramer.
Kramer Vs. Kramer is an effective family drama with an effective story, and great acting.
Dustin Hoffman portrays Ted Kramer a successful workaholic advertising executive who is very much surprised by his wife divorcing him, and leaving him to take care of their son by himself. The first scene is brilliantly portrayed by both Hoffman and Meryl Streep. Hoffman's reaction is perfect in his at first disbelief of the situation, than his realization, and than quick attempt at reconciliation. Both actors are perfectly attuned to each other showing the couples history in just this one scene, showing their relationship, and clearly giving a vivid idea of it before we came in on it.
After this strong opening scene the film portrays Ted attempting to deal with his job, and raising his son at the same time. Hoffman gives and interesting and realistic performance as we follow him through his new life as a single father. Hoffman very good because he does not show this as easy at all for Kramer, and also he shows that he is not at all a perfect father. The relationship between Kramer and his son (Justin Henry) is brilliantly handled by both actors. Both actors show a natural real relationship between father and son, that is not at all perfect.
Their relationship changes and grows and both actors show their gradual change incredibly well. From their first moments together where they fight with one another, these scenes are incredibly well handled by Hoffman and Henry because they handle the realistically fight, but afterward are both incredibly authentic in their apologies. Their relationship grows and Hoffman and Henry show a realistic and very authentic father and son relationship which contains a whole lot of authentic heart, that does not seem at all forced but instead is completely natural and very effective. There relationship growth and change is perfectly handled, and their relationship makes the ending moments of the film all the more effective.
Their relationship is challenged though when Kramer's ex-wife returns and wants custody of their son herself. Hoffman is perfect in showing Kramer's passionate want to keep his son, and his anger at his ex-wife. Hoffman is incredible strong in the courtroom sequences. From his incredible strong and perfectly attuned reactions to first Streep's testimony sequence, but Hoffman is heartbreaking in his own testimony scene. Also very good is his final talk with Justin Henry which really shows how far their relationship and has come, and how strong the actors are in their roles. Overall Hoffman's performance is a strong, realistic, and very authentic one.
Dustin Hoffman portrays Ted Kramer a successful workaholic advertising executive who is very much surprised by his wife divorcing him, and leaving him to take care of their son by himself. The first scene is brilliantly portrayed by both Hoffman and Meryl Streep. Hoffman's reaction is perfect in his at first disbelief of the situation, than his realization, and than quick attempt at reconciliation. Both actors are perfectly attuned to each other showing the couples history in just this one scene, showing their relationship, and clearly giving a vivid idea of it before we came in on it.
After this strong opening scene the film portrays Ted attempting to deal with his job, and raising his son at the same time. Hoffman gives and interesting and realistic performance as we follow him through his new life as a single father. Hoffman very good because he does not show this as easy at all for Kramer, and also he shows that he is not at all a perfect father. The relationship between Kramer and his son (Justin Henry) is brilliantly handled by both actors. Both actors show a natural real relationship between father and son, that is not at all perfect.
Their relationship changes and grows and both actors show their gradual change incredibly well. From their first moments together where they fight with one another, these scenes are incredibly well handled by Hoffman and Henry because they handle the realistically fight, but afterward are both incredibly authentic in their apologies. Their relationship grows and Hoffman and Henry show a realistic and very authentic father and son relationship which contains a whole lot of authentic heart, that does not seem at all forced but instead is completely natural and very effective. There relationship growth and change is perfectly handled, and their relationship makes the ending moments of the film all the more effective.
Their relationship is challenged though when Kramer's ex-wife returns and wants custody of their son herself. Hoffman is perfect in showing Kramer's passionate want to keep his son, and his anger at his ex-wife. Hoffman is incredible strong in the courtroom sequences. From his incredible strong and perfectly attuned reactions to first Streep's testimony sequence, but Hoffman is heartbreaking in his own testimony scene. Also very good is his final talk with Justin Henry which really shows how far their relationship and has come, and how strong the actors are in their roles. Overall Hoffman's performance is a strong, realistic, and very authentic one.
Fish Heads - Barnes and Barnes (1979)
A young lad in 1979 & all about Star Wars, awaiting Empire Strikes Back, I saw this video on Friday Midnight Special. Btw, FAT FISH tomorrow! JOIN ME! ♫ http://blip.fm/~119mvr
Oh my god there's two of them!
Since flash pics take all the jazz out of jack-o'-lanterns, Johnny Sweatpants kindly photoshopped a dark shot onto the flash shot. Thanks Johnny!(The real 50P is on the right.)
Best Actor 1979: Peter Sellers in Being There
Peter Sellers received his second and final Oscar nomination for portraying Chance the Gardner in Being There.
This now is the third time I have watched Being There, and although I do like its opening very much, I think it wears its welcome as the story becomes harder and harder to believe, even though I must say they get a whole lot out of a single joke.
Peter Sellers performance here is one very much about character creation and character persistence. Chance is not a character who changes at all since he is in fact a simple mentally retarded man. Sellers' creation of Chance is perfectly done by him. Everything aspect of Chance is finely attuned, to make Chance an endearing character. His whole manner in his very particular manner of walking and moving, and that simple Stan Laurel voice perfectly amplify the emptiness of which the character is.
Peter Sellers makes every motion and movement of character completely fit with that character, from his very gentle way of speaking, and moving, to his way of always turning toward the television. Sellers shows that is simply where Chance sees everything and knows everything therefore he turns to the television for any sort of idea or thought. He imitates what he sees in a slow, completely childlike way, in which he just follows what he seems to see it as right.
Sellers does something very important as Chance and that is because he stays completely consistent throughout the performance. He never tries to show an actual change in Chance which is important, he shows that Chance will not change in his personality for this is the way Chance is and always will be. If Chance changed at all it would be incorrect for the character, and Sellers always keeps with the character, and keeps with the proper way of the character throughout the film.
Sellers makes Chance into a fully realized and believable as a character, he makes Chance somehow real despite the strangeness of Chance. He also manages to add a certain amount of heart to Chance despite Chance never showing any overt emotion. He somehow makes Chance charming, without Chance trying to be due to his simple but incredibly effective characterization of Chance. Sellers even more amazingly actually makes the plot believable for about half the movie, because of this unique characterization. The second half not being believable is not his fault, the story just simply takes it further than it really can go.
Chance does not change really except in a very small way which is earned by Sellers, since he showed Chance slowly learn this change from others and television, which is his emotional recognition of death. Sellers slowly shows this very much earned change, which is with the character because he shows a childlike recognition of death at the end of the film which Sellers makes very effective, and consistent with Chance.
Now Sellers lacks a character ark and Chance really only has one very minor change throughout the performance, and one could easily say this is not really an extremely challenging character, since he does not change. Chance is a simple character but he could have easily gone completely wrong with another actor. Sellers though finds the right tone for his performance, and brilliantly creates Chance into an endearing and effective character.
Peter Sellers performance here is one very much about character creation and character persistence. Chance is not a character who changes at all since he is in fact a simple mentally retarded man. Sellers' creation of Chance is perfectly done by him. Everything aspect of Chance is finely attuned, to make Chance an endearing character. His whole manner in his very particular manner of walking and moving, and that simple Stan Laurel voice perfectly amplify the emptiness of which the character is.
Peter Sellers makes every motion and movement of character completely fit with that character, from his very gentle way of speaking, and moving, to his way of always turning toward the television. Sellers shows that is simply where Chance sees everything and knows everything therefore he turns to the television for any sort of idea or thought. He imitates what he sees in a slow, completely childlike way, in which he just follows what he seems to see it as right.
Sellers does something very important as Chance and that is because he stays completely consistent throughout the performance. He never tries to show an actual change in Chance which is important, he shows that Chance will not change in his personality for this is the way Chance is and always will be. If Chance changed at all it would be incorrect for the character, and Sellers always keeps with the character, and keeps with the proper way of the character throughout the film.
Sellers makes Chance into a fully realized and believable as a character, he makes Chance somehow real despite the strangeness of Chance. He also manages to add a certain amount of heart to Chance despite Chance never showing any overt emotion. He somehow makes Chance charming, without Chance trying to be due to his simple but incredibly effective characterization of Chance. Sellers even more amazingly actually makes the plot believable for about half the movie, because of this unique characterization. The second half not being believable is not his fault, the story just simply takes it further than it really can go.
Chance does not change really except in a very small way which is earned by Sellers, since he showed Chance slowly learn this change from others and television, which is his emotional recognition of death. Sellers slowly shows this very much earned change, which is with the character because he shows a childlike recognition of death at the end of the film which Sellers makes very effective, and consistent with Chance.
Now Sellers lacks a character ark and Chance really only has one very minor change throughout the performance, and one could easily say this is not really an extremely challenging character, since he does not change. Chance is a simple character but he could have easily gone completely wrong with another actor. Sellers though finds the right tone for his performance, and brilliantly creates Chance into an endearing and effective character.
Best Actor 1979: Jack Lemmon in The China Syndrome
Jack Lemmon received his sixth Oscar nomination for portraying Jack Godell in The China Syndrome.
The China Syndrome is not a great film, as it is message is heavy handed at times, but it does make for a fairly effective thriller at end.
Jack Lemmon portrays Jack Goddell who is one of the main supervisor who works at a Nuclear power plant. He is first introduced in the film when the plant has what seems to be a minor problem, and he appears to help deal with it. Slowly the problem escalates into a full threat to the entire plant. Lemmon gives a terrific performance in this opening scene, as he goes from taking care of business as usual, but slowly begins to freak out as he sees the problem becoming worse. Lemmon's performance is excellent here because it exemplifies the escalation of the problem with his emotional disintegration.
After his rather strong opening scene Lemmon comes in and out of the film, as he at first takes his company's stand on the incident which is to pretend that almost nothing really happened, and there is absolutely nothing wrong with the plant itself. Lemmon is very strong in a moment where he has to lie to a news reporter (Jane Fonda). Lemmon is very strong in showy the facade he puts on but with the clear indication that he really knows he is lying and that he knows there is in fact something very wrong with the plant.
Slowly though he soon finds out that the plant has serious problems which the officials of the plant know. Lemmon presents Godell growing frustrations brilliantly since he shows the frustrations effect him very deeply, since it basically challenges his own life's work. This leads to a climatic scene where he tries to get the truth out about the plant rather dramatically by taken command of the central control room. Lemmon is absolutely terrific in these moments as attempts to control the situation to get the word out, but also starts to break down due to all of the pressure around him. His last moment in which he freaks out at the end very end is chilling due to Lemmon. Lemmon gives a strong realistic performance which succeeds in properly amplifying emotional strength of the film by really becoming the soul of the film.
Jack Lemmon portrays Jack Goddell who is one of the main supervisor who works at a Nuclear power plant. He is first introduced in the film when the plant has what seems to be a minor problem, and he appears to help deal with it. Slowly the problem escalates into a full threat to the entire plant. Lemmon gives a terrific performance in this opening scene, as he goes from taking care of business as usual, but slowly begins to freak out as he sees the problem becoming worse. Lemmon's performance is excellent here because it exemplifies the escalation of the problem with his emotional disintegration.
After his rather strong opening scene Lemmon comes in and out of the film, as he at first takes his company's stand on the incident which is to pretend that almost nothing really happened, and there is absolutely nothing wrong with the plant itself. Lemmon is very strong in a moment where he has to lie to a news reporter (Jane Fonda). Lemmon is very strong in showy the facade he puts on but with the clear indication that he really knows he is lying and that he knows there is in fact something very wrong with the plant.
Slowly though he soon finds out that the plant has serious problems which the officials of the plant know. Lemmon presents Godell growing frustrations brilliantly since he shows the frustrations effect him very deeply, since it basically challenges his own life's work. This leads to a climatic scene where he tries to get the truth out about the plant rather dramatically by taken command of the central control room. Lemmon is absolutely terrific in these moments as attempts to control the situation to get the word out, but also starts to break down due to all of the pressure around him. His last moment in which he freaks out at the end very end is chilling due to Lemmon. Lemmon gives a strong realistic performance which succeeds in properly amplifying emotional strength of the film by really becoming the soul of the film.
the world and the universe through the eyes of non-believers
what we believe
music and lyrics by colony 5 - future:
tragedies and suffering
i hear them scream
screaming for help
the prophets preach
the end of the world
only fools believe their words
we want to love
we want to breathe
we want to be
rebuild the world
with the knowledge
we retrieve
we want to feel
we want to live
we want to see
seek the wisdom
from the future
and believe
no truth without evidence
it's easy to lie
who can seek the answers
who can see through the sky
such a great temptation
who can carry such a quest
and gain that information
we don't need no god
we don't need no god no more
we don't need a tyrant
we want to love
we want to breathe
we want to be
rebuild the world
with the knowledge
we retrieve
we want to feel
we want to live
we want to see
seek the wisdom
from the future
and believe
music and lyrics by colony 5 - future:
tragedies and suffering
i hear them scream
screaming for help
the prophets preach
the end of the world
only fools believe their words
we want to love
we want to breathe
we want to be
rebuild the world
with the knowledge
we retrieve
we want to feel
we want to live
we want to see
seek the wisdom
from the future
and believe
no truth without evidence
it's easy to lie
who can seek the answers
who can see through the sky
such a great temptation
who can carry such a quest
and gain that information
we don't need no god
we don't need no god no more
we don't need a tyrant
we want to love
we want to breathe
we want to be
rebuild the world
with the knowledge
we retrieve
we want to feel
we want to live
we want to see
seek the wisdom
from the future
and believe
Having one of the top 2010 albums for me, I am excited to see Tamaryn @TheEcho tonight. Awesome SF Shoegaze ala... ♫ http://blip.fm/~118gj2
Best Actor 1979: Roy Scheider in All That Jazz
Roy Scheider received his second and final Oscar nomination for portraying Joe Gideon in All That Jazz.
All That Jazz has interesting moments, but it is a rather self-indulgent semi-autobiographical effort by Bob Fosse, especially at the end of film.
Scheider portrays Joe Gideon who obviously is suppose to be Bob Fosse himself. Gideon is a talented choreographer, and musical director, but also a womanizer, and indulging in far too many drugs, drink, and smoking. It is certainly stranger to Scheider in this role as this manic flamboyant man, which is an extreme far cry from some of his other far more straight laced character such as the detective in the French Connection, or the Police Captain in Jaws. Scheider is very much against type, but he does not seem to be miscast though.
I think Scheider actually fits the role well enough, and is believable with the technical aspects of the performance. He completely is believable as Bob Fosse, and he does show the right amount of semi slimy charm, along with the right amount of energy he puts into everything. I really had no problem whatsoever with what Scheider did I thought it always lined up well with the character and just seemed right in the part in his various situations. He also handled the characters disintegration well at the end.
Now I did not think this was an amazing performance though, and I think that this is because this really is a director's film. All the actions, all the characters are always completely moved sometimes almost randomly by Fosse. Now most films are in control obviously not by the actors, but a film like this and its stylistic flourishes really almost seem to put the actors in a back seat in a way, and this includes Scheider. His performance never controls the film, and I never really felt an emotional drive with his performance because Fosse clearly drove for particular emotions with the direction and not the acting on the forefront, especially at the end of the film. Not that Scheider is not good he is, but the film just limited his performance for me.
Scheider portrays Joe Gideon who obviously is suppose to be Bob Fosse himself. Gideon is a talented choreographer, and musical director, but also a womanizer, and indulging in far too many drugs, drink, and smoking. It is certainly stranger to Scheider in this role as this manic flamboyant man, which is an extreme far cry from some of his other far more straight laced character such as the detective in the French Connection, or the Police Captain in Jaws. Scheider is very much against type, but he does not seem to be miscast though.
I think Scheider actually fits the role well enough, and is believable with the technical aspects of the performance. He completely is believable as Bob Fosse, and he does show the right amount of semi slimy charm, along with the right amount of energy he puts into everything. I really had no problem whatsoever with what Scheider did I thought it always lined up well with the character and just seemed right in the part in his various situations. He also handled the characters disintegration well at the end.
Now I did not think this was an amazing performance though, and I think that this is because this really is a director's film. All the actions, all the characters are always completely moved sometimes almost randomly by Fosse. Now most films are in control obviously not by the actors, but a film like this and its stylistic flourishes really almost seem to put the actors in a back seat in a way, and this includes Scheider. His performance never controls the film, and I never really felt an emotional drive with his performance because Fosse clearly drove for particular emotions with the direction and not the acting on the forefront, especially at the end of the film. Not that Scheider is not good he is, but the film just limited his performance for me.
Say it isn't so, Jon!
FORT LAUDERDALE — An actor who starred as one of two California highway officers in the 1970s TV series CHiPs was sentenced Friday to serve three years probation for conspiring to commit securities fraud.
U.S. District Judge James I. Cohn imposed the sentence on Larry Wilcox, 63, who had faced a maximum prison term of five years. Wilcox also must perform 500 hours of community service and pay a fine of $100.
"I think we got an individual who is truly remorseful," Cohn said. "He should not be punished because of his celebrity status."
Wilcox played Officer Jonathan "Jon" Baker on the show, opposite Erik Estrada as Officer Frank 'Ponch' Poncherello. Wilcox left the show a year before it ended its NBC run from 1977-83.
He wiped away tears as he addressed the court before sentencing.
Read more here
Pooch-A-Rilla: Six months since
It is six months, today, without Miss Pooch-A-Rilla.
I suppose I am a "cat person" now.
Throughout my entire life, my family and I had the companionship of dogs. It is a break to not have to wake and walk an animal as well as do this when it is cold and you are tired, just before sleep.
I am content with Li-Kitty. She did show signs of sadness for a while, including sleeping where Pooch would. My cat allergies have diminished greatly. When I leave for a day or even two, I no longer have to call upon a friend to keep watch.
Most days I am fine, however there are often moments when I sit and reflect upon the amazingly beautiful buddy I had, who touched the lives of so many people in person and over the net, who was there with me for roughly fourteen years, a few states (physically & mentally), who was a hiking partner, snuggle pillow, snorer (sometimes even louder than me), dancing partner (she was a graceful waltzer) and last but not least, a member of my family.
I miss her dearly but it was time. I am extremely lucky to have had the moments I did. Miss Pooch-A-Rilla is a major highlight of my life.
I love you, Pooch!
Please visit Pooch Tribute http://bit.ly/d8bvTE
The Marc-o'-Lantern
For 50P's birthday I gave him a three-month old pumpkin with his face on it. What, you've never procrastinated on anything?
Best Actor 1979: Al Pacino in ...And Justice for All
Al Pacino received his fifth Oscar nomination for portraying lawyer Arthur Kirkland in ...And Justice For All.
...And Justice for All is a very stupid movie, which hammers in its point very heavily with a blunt point. It strangely wants to be a serious court room drama but with wacky court room antics, and a wacky suicidal judge, now wacky and suicidal usually do not go together except in maybe crazy comedies, but they do in this movie. Now the movie is definitely stupid, but I will admit I sort of enjoyed it, despite many one dimensional characters, constant cliches, and its serious tonal problems.
Al Pacino plays a real crusading lawyer one that might just be a super lawyer. He cares about the real justice, the search for truth for everyone. He does not like miscarriages of justice, he does not like mistreatment of prisoners, he does not like mean judges to the point of punching them, and he does not like moral law commissions which do not go after the real problems within the system. Pacino actually is fine even if his character is really written in a very unspectacular fashion at the beginning of the film. Pacino has his work cut out for him to not make his character seem like a really pretentious jerk Well Pacino can't stop him from being still far too pretentious, but he makes him somewhat likable pretentious guy.
Pacino is fine with his dealings of the wacky court dealings in the first half of the film, from his comedic law partner, to freaking out on a helicopter ride with the suicidal judge (Jack Warden), to romancing a woman on that law commission he dislikes so much. All of the court dealings, and the romance especially are contrived in someway, but Pacino does do a fine job in keeping at least some sort of reality no matter how unrealistic some of the scenes can be. Pacino is never really amazing here, but it is interesting to see Pacino be able to do more of a star leading man performance which a little unusual for Pacino especially portraying such just a super guy like Arthur Kirkland.
The second half of the film just about everything that could go wrong for Arthur does go wrong for him. The film really lets Pacino's character have it here, ruining basically everything he is trying to do, and trying to ruin the character's whole career. Pacino is good as he slowly becomes more and more stressed out, due to everything basically crumbling around him, he shows his character's passion and sadness well, and I gotta say his pretentiousness really started to be less annoying closer to the end. Anyways the film sort of haphazardly leads to a big dramatic opening statement by Pacino. Pacino delivers the big scene incredibly well, and makes it a satisfying ending, even if it is a stupidly written one. Overall Pacino gives a good performance in a dumb movie.
Al Pacino plays a real crusading lawyer one that might just be a super lawyer. He cares about the real justice, the search for truth for everyone. He does not like miscarriages of justice, he does not like mistreatment of prisoners, he does not like mean judges to the point of punching them, and he does not like moral law commissions which do not go after the real problems within the system. Pacino actually is fine even if his character is really written in a very unspectacular fashion at the beginning of the film. Pacino has his work cut out for him to not make his character seem like a really pretentious jerk Well Pacino can't stop him from being still far too pretentious, but he makes him somewhat likable pretentious guy.
Pacino is fine with his dealings of the wacky court dealings in the first half of the film, from his comedic law partner, to freaking out on a helicopter ride with the suicidal judge (Jack Warden), to romancing a woman on that law commission he dislikes so much. All of the court dealings, and the romance especially are contrived in someway, but Pacino does do a fine job in keeping at least some sort of reality no matter how unrealistic some of the scenes can be. Pacino is never really amazing here, but it is interesting to see Pacino be able to do more of a star leading man performance which a little unusual for Pacino especially portraying such just a super guy like Arthur Kirkland.
The second half of the film just about everything that could go wrong for Arthur does go wrong for him. The film really lets Pacino's character have it here, ruining basically everything he is trying to do, and trying to ruin the character's whole career. Pacino is good as he slowly becomes more and more stressed out, due to everything basically crumbling around him, he shows his character's passion and sadness well, and I gotta say his pretentiousness really started to be less annoying closer to the end. Anyways the film sort of haphazardly leads to a big dramatic opening statement by Pacino. Pacino delivers the big scene incredibly well, and makes it a satisfying ending, even if it is a stupidly written one. Overall Pacino gives a good performance in a dumb movie.
Happy Birthday, 50Page McGee!
Yes that's right, beloved west-coaster and musical genius 50P McG is turning 33 today.
Same age as Jesus when he got nailed to some wood! So bust out your finest tequila and your finest nails and wish the guy some lerve. Bang bang bang!
horizon: science under attack
BBC2 24 January 2011
'nobel prize winner sir paul nurse examines why science appears to be under attack, and why public trust in key scientific theories has been eroded - from the theory that man-made climate change is warming our planet, to the safety of GM food, or that HIV causes AIDS.'
via debunking christianity
'nobel prize winner sir paul nurse examines why science appears to be under attack, and why public trust in key scientific theories has been eroded - from the theory that man-made climate change is warming our planet, to the safety of GM food, or that HIV causes AIDS.'
via debunking christianity
fizzy enceladus
at NASA:
click image to source
'for years researchers have been debating whether enceladus, a tiny moon floating just outside saturn's rings, is home to a vast underground ocean. is it wet--or not? now, new evidence is tipping the scales. not only does enceladus likely have an ocean, it's probably fizzy like a soft drink and could be friendly to microbial life.'
...more here...
click image to source
'for years researchers have been debating whether enceladus, a tiny moon floating just outside saturn's rings, is home to a vast underground ocean. is it wet--or not? now, new evidence is tipping the scales. not only does enceladus likely have an ocean, it's probably fizzy like a soft drink and could be friendly to microbial life.'
...more here...
Balloon Party!
As I've said, I'm not a huge fan of poetry, basically because it scares me to death, so I've decided to change the format for this week. I of course welcome poetry back next week or whatever the winner chooses to do.
So without further delay, this week's topic is balloons, and I want you to write a series of vignettes that individually tell a story that together forms a larger one, with each including this topic in some way. I think it might be best to share my writing example and then I'll lay out the rules, which are vast, and maybe complicated if I explain them like an ass, but are meant to allow for an array of creativity.
When I was a kid my mother worked for a singing balloonagram company. She would often drag my sister and me with her to work. Her goal was to go back to the shop as little as possible, and so she would cram more balloons in the car than there was breathing space. Painfully, we would sit huddled within a rainbow cave of rubber, our bodies contorted and powerless to move. Usually we were starving, but my mother’s obsessive tardiness resulted in her standard response of, “We don’t have the time. Stop being babies you’re not going to die.” We succumbed to the torture, and tried not to pay attention to the unremitting gurgling sounds blaring from our bellies, and the nauseating smell of latex being shoved up our noses.
At my best friend’s eleventh birthday party there was a talentless, obnoxious clown named Mr. Giggles. With whisky soaked breath and nicotine stained teeth, he told dim-witted jokes, like why did the chicken cross the road. Even though his humor was lame, his balloon animals had been the buzz of conversation. Everyone kept congregating tightly around as Mr. Giggles, with intense concentration that made his forehead crinkle and eyes water, had successfully constructed beauties, such as a three legged dog with a missing ear, a short neck giraffe with a tumor protruding from its belly, and balloon hats that closely resembled the male genitalia. We all laughed at first, but it soon got old, and after numerous attempts to keep our attention, Mr. Giggles desperately resorted to mooning us.
My sister once dated a guy named Lan Tran who always wore a red and black checkered shirt, and fixed car transmissions with his unblemished, oversized hands. One blistering summer day Lan drove up to our house with a helium tank. I watched as his beefy arms jolted and perspired while he wrestled the hefty piece of metal out from the bed of his truck and into our garage. Later, I helped Lan blow up balloons while my sister borrowed his truck to pick up friends. When he wasn’t paying attention I stole glances at his handsome feathered, streaked mullet. He soon asked me if I wanted to do it, and handed me a helium filled balloon. As I sucked the air through my throat and into my lungs, I imagined the cold air trickling inside me and being warmed by my body was Lan’s sweet syrupy breath. I began to get dizzy and lightheaded, and in an instant I was flat on my back watching my balloon whiz by my head as the remainder of helium forced itself out. Like a velocious bull, Lan charged to my side to examine my condition. I blurted that I was fine with a voice that sounded like one of the chipmunks, while with impeccable timing, as always, my sister came sauntering in with her friends and rudely told me to leave. Everyone laughed, including Lan. Still feeling the effects of the helium, I sat outside the garage with the discomforting sensation of my exile in the pit of my belly, and listened while the happy gang repetitively gulped down helium, and made crank calls to elderly people.
“Bombs away,” they screamed. We had averted our eyes upward just in time to see orbs of red, yellow, green and blue spiraling down upon us. The three of us screamed from the intense feeling of latex snapping against our skin, like rubber bands, and the shock of the cold unforgiving water dripping down our legs.
“You dumb jerks,” I yelled up at them.
“Screw you Stevens,” howled my friend Meredith while she politely gave him the finger.
Jill, who was always the quiet one, kept walking, until, out of the blue, she came to a dust screeching halt, and with the poise of a dancer lifted her insipid freckled arm to examine the cherry colored welt that was increasingly jutting out. Instantaneously, her pale skinned face turned fire engine red, while her stretched, lean fingers, which normally hung droopily by her side, began ceasing a strength that caused her emerald veins to slither and stretch beneath her pasty casing. With the speed of the roadrunner, Jill suddenly sprinted up two steps at a time to their apartment and gracefully threw Stevens out of the window.
The funeral was cheerless. In an ironic attempt to memorialize Stevens, someone at the burial released several hand signed balloons. Little boys jumped wildly in the air in an effort to keep them captive, but as the spheres were sucked further into the cosmic sky, loosing their importance to the eyes, the boys began to cry.
Adam, my college boyfriend, who I met at Stevens' funeral, took me on a surprise picnic in a secluded spot with rolling hills as far as the eyes could see. We ate cheese, strawberries, and more wine than either of us should have drank. Adam eagerly fondled my upper thigh, and soon we were naked, his body pressed confidently into mine. while our bodies entwined, a breeze of colors swooshed passed my face. It was...
Now, on to the rules:
1) Each vignette must include balloons in some form. This means, for example, it can be actual balloons; a balloon design on a shirt, tablecloth, window, etc.; maybe something that looks like balloons; or simply conversations about balloons.
2) Each vignette needs to tell a story, while together forming a larger one.
3) You cannot write an ending to each series of vignettes. You want them to stay open. Why? See rule 4.
4) You can choose to continue writing my last vignette, which I left unfinished, and then continue that series; or you can write an entirely new series of vignettes; or you can write off of someone else's series. You don't have to pick up where the last person left off. For example, say JPX decided to finish my last one and continue the story for a few more vignettes. Cat could then either pickup where JPX left off or she could choose to write where I left off and send the story in a completely different direction.
5) Your stories have to include balloons, but other than that they can incorporate anything you want and be wherever you want. They can be about people, animals, objects, locations, senses, etc. They can take place over the course of an hour, a day, or a lifetime.
6) Write as little or as much as you want.
7) If I've confused the hell out of you, and you don't know what to do, then just write anything that you want. Rules were meant to be broken, and no matter what, if I love it, I'll award you the winner.
All right, enough rules, now go have some fun with balloons.
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