Archive for the Category »Social Issues «

Return Of The Divas…

(NEW YORK, NY – AUGUST 25, 2009)–A superstar diva in her own right with sales of over 50 million records and six number one hits, multiple Emmy and Grammy awards winner Paula Abdul is set to host the VH1 Divas live concert event.

Joining the star-studded list of Divas performers is one of America’s favorite pop idols – the platinum selling artist, Jordin Sparks. Previously announced “Divas” include Adele, Kelly Clarkson, Leona Lewis and Miley Cyrus. The VH1 Divas concert will be televised live on VH1 on Thursday, September 17 at 9:00pm ET.

For the first time ever, these leading ladies at the top of their musical game will perform together live at the Brooklyn Academy of Music (BAM) Howard Gilman Opera House in Brooklyn, New York. Continuing in true Divas tradition, the evening will feature a night of unforgettable performances from various performers, presenters and special guests. Additional performers and presenters will be announced in the coming weeks.

Fans can go now to Divas.VH1.com to submit a “Diva Stories” text or video testimonial that tells the world how their favorite divas have influenced their lives. VH1 wants to hear from all Divas’ fans – favorite songs, favorite moments and the craziest things they’ve done to show their diva how they feel. Select testimonials may be featured online and on-air leading up to this year’s live telecast.Divas.VH1.com has also launched close to 50 past “VH1 Divas” performances, featuring Diana Ross, Mariah Carey, Whitney Houston and many more. Join Divas.VH1.com on Thursday, September 17 for live blogging coverage before and during the live telecast. Users can also follow all show-related news by following the VH1 Divas twitter account at http://twitter.com/vh1divas.

Premiering on VH1 in 1998, VH1 Divas became synonymous with some of the most memorable live female vocal performances in television history. The show quickly became a highly anticipated annual phenomenon, generating speculation among music fans and industry executives on who would be part of that year’s telecast. Previous featured performers over the years included Diana Ross, Tina Turner, Cher, Mariah Carey, Celine Dion, Aretha Franklin, Mary J. Blige, Shania Twain, Faith Hill, Whitney Houston, Beyonce, Chaka Khan and many more.

VH1 Divas is executive produced by Lee Rolontz, Rick Krim and Patrizia DiMaria.

As in previous years, this VH1 Divas special will raise funds for the VH1 Save The Music Foundation, a non-profit organization dedicated to restoring instrumental music education in American public schools, and raising awareness about the importance of music as part of each child’s complete education. Since VH1 Save The Music was created in 1997, more than $43 million worth of musical instruments have been donated to 1,600 public schools in 100 cities, improving the lives of more than 1.2 million children.

Exclusive VH1 Save The Music VIP tickets and Gold Circle ticket packages will offer premium seating to the live VH1 Divas concert plus pre and post party access and an exclusive gift bag. Event sponsorship opportunities are also available to the two distinctively different VH1 Divas Parties on the same night. For more information on tickets or to sponsor an event, please contact:Nia.Mack@vh1savethemusic.com or at 212-846-7324.

VH1 Divas is sponsored by Garnier® Fructis® and CoverGirl®.

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VH1 connects viewers to the music, artists and pop culture that matter to them most with TV series, specials, live events, exclusive online content and public affairs initiatives. VH1 is available in 95 million households in the U.S. VH1 also has an array of digital channels and services including VH1Classic, VH1 Soul, VH1 Mobile, VH1Games and extensive broadband video on VH1.com. Connect with VH1 at VH1.com.

Advocating…

April 20, 2009 (LOS ANGELES)The Advocate and Advocate.com, the world’s leading multi-platform news provider directly targeting the LGBT audience, successfully implemented a new print and online strategy now accessing millions of gay and lesbian consumers globally. According to a recent article in “The Business Insider,” of 249 major magazines tracked by a Magazine Publishers of America study, The Advocate was one of only 28 titles to bring in more revenue in the first quarter of 2009 than it did in the first quarter of 2008. During the first quarter of 2009 The Advocate saw a 12.5% increase in revenue over first quarter 2008. In addition, The Advocate has seen an increase in ad pages, bucking an industry-wide trend. The website’s unique visitors and page views also continue to grow on a monthly basis.

“No other LGBT media company currently creates the vast array of original, award-winning content across a variety of platforms targeted exclusively to the gay and lesbian consumer,” said Stephen Macias, Executive Vice President and General Manager of The Advocate’s parent company, Regent Media. “Advertisers come to The Advocate confident their product is being associated with the best brand in gay media. We speak directly to our diverse community on a daily basis.”

In early 2008 The Advocate transitioned from a biweekly to a monthly format. The first monthly edition of The Advocate landed on newsstands in January 2009. The new monthly Advocate print publication, recently nominated by the Gay & Lesbian Alliance Against Defamation (GLAAD) as Outstanding Magazine Overall Coverage for its 2009 Media Awards, inspires LGBT consumers to continue the conversation about the headlines most important to the community. Early retail sales figures for the January and February issues of The Advocate have seen a noted increase in bookstore sales, including Barnes & Noble.

As The Advocate moved to publishing monthly, Advocate.com quickly became the daily news source for the global gay and lesbian consumer. Nominated for a GLAAD Media Award for Outstanding Digital Journalism Article, Advocate.com reports up-to-the-minute news throughout the day, keeping consumers returning to the site throughout their day.

Keeping up with technology trends, the highly trafficked Advocate.com features professionally produced video content. Having spotlighted such diverse topics as the 2008 campaign for marriage equality in California and an exclusive interview with Olympic gold medalist Matthew Mitcham to in-depth travel guides for cities across the globe, these new video segments provide exciting opportunities for advertisers to reach the LGBT audience. Now, for the first time in the website’s history, Advocate.com offers pre-roll video to its clients. During the first two months of 2009 alone, Advocate.com’s video views have increased by 1000%. Additionally, page views on the website increased more than 35% over the past eight months.

As numbers grow both digitally and in print, the multi-platform sales strategies The Advocate team implements give advertisers direct access to the coveted LGBT audience. Recognizing the buying power of the gay consumer, an eclectic group of clients including The Campbell’s Soup Company, Kaiser Permanente, Subaru, and, most recently, Progressive Insurance have launched aggressive campaigns with The Advocate brands. Lifetime Television already reaped success from this new initiative with a successful multi-platform campaign for their critically acclaimed original film Prayers for Bobby, starring Sigourney Weaver.

These 360-degree campaigns bridge the various Advocate properties and offer advertising targeted exclusively to millions of LGBT homes in print, with online banners, and Web-based video. Additionally, advertisers benefit from added-value initiatives such as premium placement at LGBT-targeted consumer events, where the client’s products receive the undivided attention of a captivated, taste-making audience.

The Advocate is currently available to consumers as a monthly publication via subscription or by logging on to its award-winning website at www.advocate.com. The Advocate is sold in Barnes & Noble, Borders, Walden Books, and other major bookstore chains, as well as in major supermarket and drug store chains including Ralph’s, Safeway, Krogers, Target, and CVS.

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About The Advocate:
Celebrating over 40 years in print this year, The Advocate is the world’s leading gay publication of record. As of 2009, the magazine reports monthly on news, politics, business, medical issues, and arts & entertainment. Hailed by The Washington Post as the “standard of gay journalism,” The Advocate distributes almost four million copies each year. Please visit The Advocate.

Take Up The IDAHO Challenge!

President Barack Obama’s Inaugural Address

Following is the transcript of President Barack Obama’s Inaugural Address, as transcribed by The New York Times:

OBAMA: Thank you. Thank you.

CROWD: Obama! Obama! Obama! Obama!

My fellow citizens: I stand here today humbled by the task before us, grateful for the trust you have bestowed, mindful of the sacrifices borne by our ancestors.

I thank President Bush for his service to our nation…

(APPLAUSE)

… as well as the generosity and cooperation he has shown throughout this transition.

Forty-four Americans have now taken the presidential oath.

OBAMA: The words have been spoken during rising tides of prosperity and the still waters of peace. Yet, every so often the oath is taken amidst gathering clouds and raging storms. At these moments, America has carried on not simply because of the skill or vision of those in high office, but because We the People have remained faithful to the ideals of our forbearers, and true to our founding documents.

OBAMA: So it has been. So it must be with this generation of Americans.

That we are in the midst of crisis is now well understood. Our nation is at war against a far-reaching network of violence and hatred. Our economy is badly weakened, a consequence of greed and irresponsibility on the part of some but also our collective failure to make hard choices and prepare the nation for a new age.

Homes have been lost, jobs shed, businesses shuttered. Our health care is too costly, our schools fail too many, and each day brings further evidence that the ways we use energy strengthen our adversaries and threaten our planet.

OBAMA: These are the indicators of crisis, subject to data and statistics. Less measurable, but no less profound, is a sapping of confidence across our land; a nagging fear that America’s decline is inevitable, that the next generation must lower its sights.

Today I say to you that the challenges we face are real, they are serious and they are many. They will not be met easily or in a short span of time. But know this America: They will be met.

(APPLAUSE)

On this day, we gather because we have chosen hope over fear, unity of purpose over conflict and discord.

OBAMA: On this day, we come to proclaim an end to the petty grievances and false promises, the recriminations and worn-out dogmas that for far too long have strangled our politics.

We remain a young nation, but in the words of Scripture, the time has come to set aside childish things. The time has come to reaffirm our enduring spirit; to choose our better history; to carry forward that precious gift, that noble idea, passed on from generation to generation: the God-given promise that all are equal, all are free, and all deserve a chance to pursue their full measure of happiness.

(APPLAUSE)

In reaffirming the greatness of our nation, we understand that greatness is never a given. It must be earned. Our journey has never been one of shortcuts or settling for less.

OBAMA: It has not been the path for the faint-hearted, for those who prefer leisure over work, or seek only the pleasures of riches and fame.

Rather, it has been the risk-takers, the doers, the makers of things — some celebrated, but more often men and women obscure in their labor — who have carried us up the long, rugged path towards prosperity and freedom.

For us, they packed up their few worldly possessions and traveled across oceans in search of a new life. For us, they toiled in sweatshops and settled the West, endured the lash of the whip and plowed the hard earth.

OBAMA: For us, they fought and died in places Concord and Gettysburg; Normandy and Khe Sahn.

Time and again these men and women struggled and sacrificed and worked till their hands were raw so that we might live a better life. They saw America as bigger than the sum of our individual ambitions; greater than all the differences of birth or wealth or faction.

This is the journey we continue today. We remain the most prosperous, powerful nation on Earth. Our workers are no less productive than when this crisis began. Our minds are no less inventive, our goods and services no less needed than they were last week or last month or last year. Our capacity remains undiminished. But our time of standing pat, of protecting narrow interests and putting off unpleasant decisions — that time has surely passed.

OBAMA: Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.

(APPLAUSE)

For everywhere we look, there is work to be done.

The state of our economy calls for action: bold and swift. And we will act not only to create new jobs but to lay a new foundation for growth.

We will build the roads and bridges, the electric grids and digital lines that feed our commerce and bind us together.

We will restore science to its rightful place and wield technology’s wonders to raise health care’s quality…

(APPLAUSE)

… and lower its costs.

OBAMA: We will harness the sun and the winds and the soil to fuel our cars and run our factories. And we will transform our schools and colleges and universities to meet the demands of a new age.

All this we can do. All this we will do.

Now, there are some who question the scale of our ambitions, who suggest that our system cannot tolerate too many big plans. Their memories are short, for they have forgotten what this country has already done, what free men and women can achieve when imagination is joined to common purpose and necessity to courage.

What the cynics fail to understand is that the ground has shifted beneath them, that the stale political arguments that have consumed us for so long, no longer apply.

OBAMA: The question we ask today is not whether our government is too big or too small, but whether it works, whether it helps families find jobs at a decent wage, care they can afford, a retirement that is dignified.

Where the answer is yes, we intend to move forward. Where the answer is no, programs will end.

And those of us who manage the public’s knowledge will be held to account, to spend wisely, reform bad habits, and do our business in the light of day, because only then can we restore the vital trust between a people and their government.

Nor is the question before us whether the market is a force for good or ill. Its power to generate wealth and expand freedom is unmatched.

OBAMA: But this crisis has reminded us that without a watchful eye, the market can spin out of control. The nation cannot prosper long when it favors only the prosperous.

The success of our economy has always depended not just on the size of our gross domestic product, but on the reach of our prosperity; on the ability to extend opportunity to every willing heart — not out of charity, but because it is the surest route to our common good.

(APPLAUSE)

As for our common defense, we reject as false the choice between our safety and our ideals.

Our founding fathers faced with perils that we can scarcely imagine, drafted a charter to assure the rule of law and the rights of man, a charter expanded by the blood of generations.

OBAMA: Those ideals still light the world, and we will not give them up for expedience’s sake.

And so, to all other peoples and governments who are watching today, from the grandest capitals to the small village where my father was born: know that America is a friend of each nation and every man, woman and child who seeks a future of peace and dignity, and we are ready to lead once more.

(APPLAUSE)

Recall that earlier generations faced down fascism and communism not just with missiles and tanks, but with the sturdy alliances and enduring convictions.

OBAMA: They understood that our power alone cannot protect us, nor does it entitle us to do as we please. Instead, they knew that our power grows through its prudent use. Our security emanates from the justness of our cause; the force of our example; the tempering qualities of humility and restraint.

We are the keepers of this legacy, guided by these principles once more, we can meet those new threats that demand even greater effort, even greater cooperation and understanding between nations. We’ll begin to responsibly leave Iraq to its people and forge a hard- earned peace in Afghanistan.

OBAMA: With old friends and former foes, we’ll work tirelessly to lessen the nuclear threat and roll back the specter of a warming planet.

We will not apologize for our way of life nor will we waver in its defense.

And for those who seek to advance their aims by inducing terror and slaughtering innocents, we say to you now that, “Our spirit is stronger and cannot be broken. You cannot outlast us, and we will defeat you.”

(APPLAUSE)

For we know that our patchwork heritage is a strength, not a weakness.

We are a nation of Christians and Muslims, Jews and Hindus, and nonbelievers. We are shaped by every language and culture, drawn from every end of this Earth.

And because we have tasted the bitter swill of civil war and segregation and emerged from that dark chapter stronger and more united, we cannot help but believe that the old hatreds shall someday pass; that the lines of tribe shall soon dissolve; that as the world grows smaller, our common humanity shall reveal itself; and that America must play its role in ushering in a new era of peace.

OBAMA: To the Muslim world, we seek a new way forward, based on mutual interest and mutual respect.

To those leaders around the globe who seek to sow conflict or blame their society’s ills on the West, know that your people will judge you on what you can build, not what you destroy.

To those…

(APPLAUSE)

To those who cling to power through corruption and deceit and the silencing of dissent, know that you are on the wrong side of history, but that we will extend a hand if you are willing to unclench your fist.

(APPLAUSE)

OBAMA: To the people of poor nations, we pledge to work alongside you to make your farms flourish and let clean waters flow; to nourish starved bodies and feed hungry minds.

And to those nations like ours that enjoy relative plenty, we say we can no longer afford indifference to the suffering outside our borders, nor can we consume the world’s resources without regard to effect. For the world has changed, and we must change with it.

As we consider the road that unfolds before us, we remember with humble gratitude those brave Americans who, at this very hour, patrol far-off deserts and distant mountains. They have something to tell us, just as the fallen heroes who lie in Arlington whisper through the ages.

We honor them not only because they are guardians of our liberty, but because they embody the spirit of service: a willingness to find meaning in something greater than themselves.

OBAMA: And yet, at this moment, a moment that will define a generation, it is precisely this spirit that must inhabit us all.

For as much as government can do and must do, it is ultimately the faith and determination of the American people upon which this nation relies.

It is the kindness to take in a stranger when the levees break; the selflessness of workers who would rather cut their hours than see a friend lose their job which sees us through our darkest hours.

It is the firefighter’s courage to storm a stairway filled with smoke, but also a parent’s willingness to nurture a child, that finally decides our fate.

Our challenges may be new, the instruments with which we meet them may be new, but those values upon which our success depends, honesty and hard work, courage and fair play, tolerance and curiosity, loyalty and patriotism — these things are old.

OBAMA: These things are true. They have been the quiet force of progress throughout our history.

What is demanded then is a return to these truths. What is required of us now is a new era of responsibility — a recognition, on the part of every American, that we have duties to ourselves, our nation and the world, duties that we do not grudgingly accept but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so defining of our character than giving our all to a difficult task.

This is the price and the promise of citizenship.

OBAMA: This is the source of our confidence: the knowledge that God calls on us to shape an uncertain destiny.

This is the meaning of our liberty and our creed, why men and women and children of every race and every faith can join in celebration across this magnificent mall. And why a man whose father less than 60 years ago might not have been served at a local restaurant can now stand before you to take a most sacred oath.

(APPLAUSE)

So let us mark this day in remembrance of who we are and how far we have traveled.

In the year of America’s birth, in the coldest of months, a small band of patriots huddled by nine campfires on the shores of an icy river.

OBAMA: The capital was abandoned. The enemy was advancing. The snow was stained with blood.

At a moment when the outcome of our revolution was most in doubt, the father of our nation ordered these words be read to the people:

“Let it be told to the future world that in the depth of winter, when nothing but hope and virtue could survive, that the city and the country, alarmed at one common danger, came forth to meet it.”

America, in the face of our common dangers, in this winter of our hardship, let us remember these timeless words; with hope and virtue, let us brave once more the icy currents, and endure what storms may come; let it be said by our children’s children that when we were tested we refused to let this journey end, that we did not turn back nor did we falter; and with eyes fixed on the horizon and God’s grace upon us, we carried forth that great gift of freedom and delivered it safely to future generations.

Thank you. God bless you.

(APPLAUSE)

And God bless the United States of America.

The Informers

One of the films making its world premiere at this year’s edition of Sundance is ‘The Informers.’ The film is based on the oft-maligned and misunderstood 1994 book by Bret Easton Ellis (who co-writes the screenplay here). ‘The Informers’ was the 1994 follow-up to ‘American Psycho’–and as such, I suppose any let down that some readers felt was inevitable considering the cult-status achieved by ‘American Psycho.’ ‘The Informers,’ which was yet another of Ellis’ brutal dissections of the early-80’s drug and sex excess, was panned by critics because of its seemingly disjointed vignette stylization and the scatter shot character development, Quite frankly, I found it rather tedious to read at times–but well-worth the effort. If you were a fan of ‘Less Than Zero’, I think you can more easily relate to the Ellis’ rotating first-person narrative device.

As usual, Ellis is fascinated by the affectless, jaded pseudo-celebrity, family, class and the innate cruelties of human interaction when sex, drugs and alcohol are involved. How the source material translates to the big screen will be an interesting challenge and I look forward to seeing how it plays out. The film, which was directed by Gregor Jordan, will open in New York City and Los Angeles on April 10, 2009. ‘The Informers’ stars Billy Bob Thornton, Kim Basinger, Winona Ryder, John Foster, Amber Heard, Austin Nichols, Lou Taylor Pucci, Rhys Ifans, Chris Isaak, Brad Renfro and Mickey Rourke.

The book, ‘The Informers,’ will be reissued in paperback on February 24, 2009 via Vintage Contemporaries.

ABOUT THE STORY:

In such works as ‘Less Than Zero’ and ‘American Psycho’ Bret Easton Ellis brilliantly dissects contemporary American society, a culture in which too much is never enough. Now, adapting his own acclaimed novel for the screen, he returns to the Los Angeles of the early 1980’s with a multi-strand narrative that deftly balances a vast array of characters who represent both the top of the heap (a Hollywood dream merchant, a dissolute rock star, an aging newscaster) and the bottom (a voyeuristic doorman, an amoral ex-con). Connecting all his intertwining strands are the quintessential Ellis protagonists—a group of beautiful, blonde young men and women who sleep all day and party all night, doing drugs—and one another—with abandon, never realizing that they are dancing on the edge of a volcano. Filmed with uncommon glamour and grit by acclaimed Australian director Gregor Jordan (’Ned Kelly,’ ‘Buffalo Soldiers’), ‘The Informers’ is an alternately blistering and chilling portrait of hedonism run amuck.

ABOUT THE PRODUCTION:

With the publication of his first novel, ‘Less Than Zero,’ in 1985, Bret Easton Ellis was catapulted to fame and hailed as the voice of a generation. In the ensuing two decades, he has remained famous (with frequent forays into notoriety) but, more importantly, he has maintained and solidified his standing as unofficial poet laureate of disenchanted youth and crushed innocence. In a career that bridges the twilight of the twentieth century and the dawn of the twenty-first, Ellis continues to speak for every young person who is dissatisfied with the way things are; he also speaks for–and to–an ever-growing audience that has left youth behind, but still wants to feel connected to its various pains and pleasures.

Few writers are as “of the moment” as Ellis, and every one of his books succeeds as a time-capsule portrait of the era in which it was written. However, there is a timelessness to his work that makes it utterly contemporary. Though written or set in the past, his novels are always about “now,” and nothing underscores this quality more persuasively than the new film adapted from Ellis’ 1994 book, ‘The Informers.’ With a screenplay co-written by the author himself, the film, like the book, is set in Los Angeles in 1983. But, Ellis’ pitchperfect dissection of the Reagan years works every bit as effectively as a chronicle of Bush-era excess. ‘The Informers’ is set at a moment when America—a culture in which too much is never enough—wakes up after an extended spree with a very big hangover. An alternately blistering and chilling portrait of hedonism run amuck, the film is unmistakably about today.

‘The Informers’ is frequently referred to as a novel, although it is actually a collection of short fiction. The stories are only casually linked by occasional recurring characters, most of them college-age kids and/or their parents, and are all set in and around the most privileged sections of L.A., and. More importantly, they are all variations on the same theme, dealing in subtly different ways with the moral bankruptcy of the older generation, and its inevitable effect on the younger one. In Ellis’ universe, the adults are either unwilling or unable to set limits and, as a result, their children have none. Kids are constantly crossing thresholds in matters of sex, drugs, money, or violence, all the while waiting for someone to say “stop, you’ve gone too far.” But, that warning never comes.

Though published after ‘American Psycho,’ much of ‘The Informers’ was written ten years earlier, when Ellis was the precise age of his protagonists. As he recalls, “I was still at college during the early 80’s, traveling back and forth from Vermont to L.A., so a lot of the stories were about friends of mine and about the milieu I grew up in.” He goes on to say that “everyone always assumed that ‘Less Than Zero” was such an autobiographical novel. Understandably so, because it was a first novel and everyone thinks that a first novel is autobiographical.” But, in fact, he considers ‘The Informers’ his most personal book–“the one where I rid myself of a lot of autobiographical tendencies.” He also feels that, for this reason, he was able to successfully adapt the book to the screen. “I’ve done adaptations of my work for other directors that didn’t really pan out,” citing a script he did of ‘American Psycho’ for David Cronenberg that, by his own admission, “didn’t really work.” It was different with ‘The Informers,’ he says, “because I knew the material really well, and I knew these kids, knew these parents, knew these men and women. I think the other adaptations were less autobiographical, and maybe that’s why this one worked for me, and ended up as seamless as it ended up being.”

Despite his closeness to the material, it was not Ellis, but rather his co-writer, Nicholas Jarecki, who first had the idea of bringing ‘The Informers’ to the screen. Ellis recalls receiving “a phone call, followed up by an email, from someone who said, ‘I would really like to make this book into a movie; it’s one of my favorite books, and I would like you to work on the script with me.’” That someone was Jarecki, an NYU Film School graduate who had made a documentary about James Toback that Ellis had quite liked. More importantly, “he was very young—about 25 or 26 when he contacted me,” recalls Ellis, meaning that he was close to the age of the main characters, just as Ellis had been when creating them. “We sat around the Chateau during the summer of ‘04,” Ellis continues, (referring to the West Hollywood landmark, Chateau Marmont), “and started to piece together how we would take these 13 or 14 stories set in L.A., select which ones to use, choose characters we wanted to concentrate on, and make this into a movie that would flow.”

According to Ellis, “there were problems with getting the picture made,” and it languished for some time before finding its way to producer Marco Weber, whose critically acclaimed film, ‘Igby Goes Down,’ dealt with the same social class (albeit on the east coast), as well as very similar characters and crises. Nearly two years after starting his first draft of ‘The Informers,’ Ellis teamed with Weber, who then brought director Gregor Jordan on board, and the three of them refined the script until it was ready to shoot. Ellis, Weber and Jordan are all approximately the same age, and shared a perspectiveon what 1983 was like, having formed their adult sensibilities during that period. By the same token, they shared a sense of how relevant the story could be today.

As Jordan notes, ‘The Informers’ was shaped by things that happened 25 years ago to a young, unpublished author who began writing about his life, his friends, their parents, characters from popular culture at the time, as well as things from his imagination.
Three years ago, Bret, as a post forty-year-old, turned these stories from his life into a screenplay.” The result, notes Jordan, was a script that “had all of the insights into Los Angeles in 1983 that only someone who was there could have. But, it was filtered through a middle-aged man’s experiences. He continues: “There was a certain mood to Bret’s writing that I found unique—a sort of creeping miasma that really gripped me when I read the script, and then made me think about it for days afterwards. I thought that if we could somehow bring that mood out in the final film, then it would potentially be a very original piece.”

Given its multi-character, multi-generation nature, ‘The Informers’ is much less about plot than about mood, and Jordan acknowledges being influenced by at least one other L.A.-based “interlocking-lives” film. “I greatly admire Robert Altman’s “Short Cuts’” he says. “The stories are grim but completely compelling. It was a guide for me as to how to make a film with so many dark storylines palatable to a general audience.” Citing several other filmic influences, including De Sica’s ‘The Garden of the Finzi Continis’ and Antonioni’s ‘Blow Up,’ he says that “a film that inspired me, strangely enough, was ‘Lost in Translation.’ It is a movie that didn’t have a lot of story, but in my opinion worked because it had an interesting mood. To me, it is an example of how music and performance can help create a tone that carries an audience along more than a plot.”

Summarizing his approach to the material Jordan says, “as someone who was also a young man in 1983, my job as the film’s director was to interpret this story and somehow give it relevance to a contemporary audience. The themes of decadence, obsession with beauty, extravagance, emotional and physical cruelty, and hedonism seemed as pertinent to me, living through the Bush era, as they did to anyone in the Reagan era. It also seems as if the excesses of that period are being paid for now.”

A sprawling ensemble cast was assembled to give life to Ellis’ prismatic and populous portrait of an age, but if there is one “star” of ‘The Transformers,’ it is Los Angeles. As Jordan, a transplanted Australian who now resides there says, “I think Los Angeles has many essences, but the one of decadence and immorality is definitely conveyed in the book and film. The movie and music businesses are centered in Los Angeles, and their star systems are just so emblematic of this city. When you populate a city with people who have massive amounts of money and fame, combined with weak moral compasses, then decadence and excess is inevitable.” Weber, originally from Germany, though an L.A. resident for nearly two decades adds, “it can be an amazingly beautiful city, but on the other side it can be very brutal, cruel, and violent, especially if you are not successful. A lot of people forget that there are more than two standards by which you measure life; it’s not only about money and success.”

Unlike his collaborators, Ellis’ relationship with L.A. is life long, and for him it is more than a setting–to no small extent, it is his subject. As he says, “I grew up out here, and I’m a child of Los Angeles for better or for worse. Though I didn’t really behave as badly as my characters, I did see a fair amount of behavior that was a product of the city, and of the milieu of Beverly Hills and Bel Air. It was a kind of behavior that was very self-destructive, and seemed brought on by a kind of limitless freedom a lot of rich kids have. They have no boundaries, and so they actually start acting like adults, even though they’re not even fully formed people yet, they’re still teenagers. That’s why I’ve come back to L.A. a couple of times in my novels, because that’s a very interesting thing, something I really like exploring, and something I saw growing up.”

Weber notes that Ellis’ L.A. is, in fact divided. “We had two worlds we needed to film—the world of the adults in Los Angeles, and the world of their kids, which is a completely separate world.” In fact, the shooting schedule bore this out in that the older actors and the younger ones rarely worked together. “With the exception of the funeral and one dinner scene, it’s as if we have two casts on two different shoots, and they never seem to meet each other! On the one hand you have these really experienced actors like Kim, Billy Bob, Mickey and Winona, most of whom began their careers in the 80’s. On the other hand, you have these really great up-and-coming kids who have done excellent work, and who are all at an interesting point in their development.” But, the fractured nature of the contemporary American families depicted in the film dictate that these two generations of actors–and characters—share little screen time.

Ellis hastens to point out that this very issue is at the heart of ‘The Informers.’ “There’s a much more universal aspect to ‘The Informers,’” he says. “It really is a movie about fathers and sons, and husbands and wives, and friendships and all sorts of things my other books–and the movies made from them–aren’t about. Those works are all about one particular thing, like ‘Rules of Attraction’ is about acting out in college, and ‘American Psycho’ is about a serial killer on Wall Street. But, this has a much larger range to it, and I think the characters are far more relatable, and much more sympathetic than they have been in any of my other work that’s been adapted.”

Weber agrees with Ellis’ assessment, noting that a surprisingly broad audience might identify with ‘The Informers.’ “On one hand, it’s a movie for kids, because it is a film about a generation, about teenagers growing up. But, also, there are the older people who lived through the 80’s, people who were teenagers then, like Gregor and me.”

Whether one is talking about 1983 or today, ‘The Informers’ is still relevant. “I don’t think anything has changed,” says Weber “not with respect to how people deal with each other, how parents and kids misunderstand each other, and how parents are responsible for what kind of people their kids become—a responsibility that has not changed in the last 25 years. This may be a period piece, but it is probably the most modern period piece you could imagine.”

Jordan seconds this notion saying that, “now that Bush is gone” audiences should be eager for a film like ‘The Informers.’ “In a sense,” he observes, “this kind of film harks back to the 70’s, another reactionary, post-conservative era. It was a time that greatly influenced me as a person and a filmmaker, a time when films were not necessarily pleasant, but were challenging and thought-provoking. The appreciation of art, music, literature and film is definitely cyclical, and my hope is that this movie will tap into a new movement of expression that seems to have already started since the election.”

Queer Lounge @ Sundance 2009

(Los Angeles, CA, January 9, 2009)–Queer Lounge, a program of the Gay & Lesbian Alliance Against Defamation (GLAAD) has announced its panels, events and programs for this year’s Sundance and Slamdance film festivals in Park City, Utah. Presented by ABSOLUT® VODKA, Queer Lounge will be open from January 15-21, 2009 to raise visibility for the lesbian, gay, bisexual and transgender (LGBT) films and filmmakers in Park City.

Now in its sixth year in Park City, Queer Lounge has become the hub for activity surrounding LGBT films, where LGBT and LGBT-friendly filmmakers, professionals and audiences convene and network. Festival-goers will be offered unique amenities including a comprehensive printed guide to the festivals’ films by LGBT filmmakers or featuring LGBT content, online access through HP computers and free Wi-Fi, entry to Queer Lounge panels and networking events, and a hospitality lounge where journalists can blog and conduct interviews. Queer Lounge returns to its prime location at 608 Main Street in Park City and will be open daily to the public from 11AM-7PM, with invitation-only events at night.

The program’s comprehensive listing of more than 40 films by LGBT filmmakers and films featuring LGBT content that will be shown at the Park City film festivals is also available here.

This year Queer Lounge has expanded its panels on LGBT films to address film’s role in issues facing the LGBT community, including a panel on the cultural aftermath of California’s anti-gay Proposition 8.

“By hosting Queer Lounge at such a major industry event, we will connect LGBT filmmakers with leaders in the entertainment industry and provide a unique opportunity for them to make our stories heard and enhance the visibility of our community,” said Neil G. Giuliano, President of GLAAD. “Some LGBT advocates have called for withdrawing involvement from these film festivals in the wake of Proposition 8 but we believe we must be there, be visible, and ensure the LGBT community has a place to come together. To not do so would render the LGBT community invisible at this critical entertainment industry gathering, and nothing would make our adversaries happier.”

Launched during the 2004 Sundance Film Festival, about 6,000 people attend Queer Lounge each year. It has quickly become a Sundance phenomenon, producing some of the festival’s most talked-about events and attracting celebrities and leaders in the film community from Naomi Watts and Toni Collette to John Cameron Mitchell and Gus Van Sant. The program works year-round to build mainstream audiences and boost box office for LGBT films and filmmakers.

“Our presence in Park City plays an important role in raising visibility for films by LGBT filmmakers and featuring LGBT content,” says Ellen Huang, the founder and program director of Queer Lounge. “These works have the potential to spark dialogue and highlight issues important to the LGBT community. The stories have a ripple effect far beyond the border of Park City and give film audiences a window into the common ground we all share.”

HIGHLIGHTS OF THE 2009 QUEER LOUNGE WILL INCLUDE:

** Panel discussion open to the public on film’s role in the reaction to Proposition 8 with John Cooper (Director of Programming, the Sundance Film Festival®), Rob Epstein, (Oscar®-winning Director of the documentary ‘The Times of Harvey Milk’) and moderator culture critic B. Ruby Rich (Professor, UC Santa Cruz).

** ‘I Love You Phillip Morris’ press conference with cast members Jim Carrey, Ewan McGregor, Rodrigo Santoro, producer Andrew Lazar and writer/directors Glenn Ficarra and John Requa.

** La MISSION panel with star Benjamin Bratt, producer Peter Bratt, consulting producer John Amaechi and other cast members on homophobia in communities of color.

** GLAAD’s launch of the 2009 “Thank GLAAD It’s Friday” TGIF networking series for young LGBT professionals on January 16, featuring DJ Randi Bettis.

** Queer Lounge’s opening weekend party, “Glamdance,” with performances by Richie Rich, Tokyo Diiva and DJ Kevin Haskins of Love and Rockets.

** Viewing party of the inauguration of President-elect Barack Obama.

** Queer Lounge closing night party, “Homos Away from Home.”

** Sponsored parties by Film Independent, Regent Media, Swedish Consulate, Alliance of Women Directors and Fund for Women Artists, Visual Communications, Cape Cod Cinema and Chamber of Commerce and “Toe to Toe,” a Sundance Dramatic Competition film.

** Photos, video and highlights of Queer Lounge panels and events will be available daily at www.glaadBLOG.org.

2009 QUEER LOUNGE PANELS & PANELISTS:

** TRYING TIMES: THE FUTURE OF LGBT FILM FESTIVALS
Saturday, January 17, 2009, 12:00PM
Panelists: Kirsten Schaffer (Outfest), Jennifer Morris (Frameline), Orly Ravid (New American Vision, Senator Entertainment), and Paul Rachman (Slamdance). Moderator: Lesli Klainberg (Newfest)

While film festivals face an uncertain future in the current economic climate, LGBT film festivals face even more significant challenges as they struggle to hold onto sponsors, attract younger audiences, and face competition from increasingly LGBT-inclusive mainstream festivals. So what must LGBT festivals do to adapt and thrive?

** SHORT FILMS – YES, THERE IS A MARKET!
Saturday, January 17, 2009, 3:00PM

Panelists: Maria Wolfe (Wolfe Video), Tiffany Shlain (Dir., The Tribe), Joe Wilson (Prod/Co-Dir., Out in the Silence), other panelists TBA. Moderator: Roberta Marie Munroe (author, How NOT To Make a Short Film: Secrets From a Sundance Programmer)

Short films saw a resurgence following the dot-com boom, but few filmmakers have figured out the best ways to utilize or market them. How can shorts be used to raise capital for feature films, or even turn a profit all on their own?

** LGBT CIVIL RIGHTS, FILM ACTIVISM & PROPOSITION 8
Sunday, January 18, 2009, 2:30PM

Panelists: John Cooper (Sundance Film Festival®), Rob Epstein (Oscar® Winning Dir., The Times of Harvey Milk, Celluloid Closet), Rashad Robinson (GLAAD), Matt Coles (ACLU), Dayna Frank (HOMOtracker, F.A.I.R.). Moderator: B. Ruby Rich (Cultural Critic; Professor UC Santa Cruz)

The passage of California’s anti-gay Proposition 8 was one of the most galvanizing moments in the history of the LGBT movement, prompting swift public outcry and rallying a new generation of activists, but what role will film and filmmakers have to play?

** BEHIND-THE-SCENES TO THE SCREEN: NAVIGATING HOLLYWOOD WITH LGBT CONTENT
Monday, January 19, 2009, 3:00PM

Panelists: Christine Vachon (Prod., Boys Don’t Cry, Motherhood), Ryan Werner (VP of Marketing, IFC), David Permut (Prod., Prayers for Bobby, Face/Off), and Daniel Sladek (Prod., Prayers for Bobby). Moderator: Kyle Buchanan (Film Critic, The Advocate, Defamer.com)

Despite the critical and box office success of films like Brokeback Mountain and Transamerica, LGBT projects must be carefully shepherded through Hollywood’s cautious system to get made, and not every one emerges unscathed. Hear from some filmmakers skilled at navigating the system.

** La MISSION: A STORY OF CULTURE, CLASS AND INTOLERANCE
Tuesday, January 20, 2009, 1:00PM

Panelists: Peter Bratt (Writer/Director) and cast members Benjamin Bratt, Erika Alexander, Jeremy Ray Valdez, Jesse Borrego and John Amaechi (Consulting Producer). Moderator: Mike Goodridge

Director Peter Bratt and brother Benjamin Bratt tackle the issue of homophobia in communities of color and machismo culture in La MISSION, the story of a man entrenched in the old world culture of his Latino and Native American communities struggling with his son’s sexuality.

** ROAD TO PARK CITY AND BEYOND: LAUNCHING YOUR FILM CAREER
Tuesday, January 20, 2009, 3:00PM

Panelists: Steak House (Prod., Weather Girl), Morgan Stiff (Prod., Mississippi Damned), Tina Mabry (Dir., Mississippi Damned), Cherien Dabis (Dir., Amreeka), Tze Chun (Dir., Children of Invention), Glenn McQuaid (Dir., I Sell the Dead). Moderator: Josh Welsh, (Dir. of Talent Development, Film Independent).

From film festivals to production courses and labs, to online and viral marketing, to TV and commercials, there are many ways to get a film career off the ground, but not every plan works for every person. So how do you know what the right path is for you?

** THE OUTSIDERS: FORMING IDENTITIES FROM THE MARGINS
Wednesday, January 21, 2009, 12:00PM Noon

Panelists: David Brind (Co-Producer/Writer, Dare), Mary Jane Skalski (Prod., Dare, Mysterious Skin), Lee Daniels (Dir., Push, Shadow Boxer), Gabourey Sidibe (Actor, Push), and Steve Kelly (Dir., City Rats). Moderator: TBA.

One of the most important social contributions of film has been to expose audiences to life experiences that may be far removed from their own, and to celebrate the common ground we all share. This year’s festival films continue that great tradition with stories of young people discovering themselves on their own terms.

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Queer Lounge 2009 Sponsors:

Presenting Sponsor, ABSOLUT® VODKA; Official Airline Sponsor, Southwest Airlines; Major Sponsors: Green Lab, MPicardi Custom Fine Furnishings; and Project Sponsors, Abreva, Wolfe Video and Foundation Support from the Bastian Foundation.

Doubt

John Patrick Shanley’s seminal play ‘Doubt’ has finally been adapted for the big screen by the playwright himself. While several critics have taken Shanley to task (unfairly) for his adaptation and direction, I’m here to tell you that ‘Doubt’ is without doubt one of this year’s finest film experiences. Everything that was brilliant and relevant with the off-Broadway debut of ‘Doubt’ in 2004 is still as vital and electric as the stage production.

When your source material has won the New York Drama Critics Circle Award, the Lucille Lortel Award, the Outer Critics Circle Award, the Drama League Award, the Drama Desk, the Tony and the Pulitzer, it’s very hard to imagine it not making a successful transition to the big screen. In the hands of the man who created the bristling dialog and layered moral constructs of the drama’s carcass, it would seem virtually indestructable. Yet, Shanley has taken some risks. Transfering a dramatic piece specifically created for the stage to the open-ended world of film is a trickier task than some give Shanley credit for.

To that end, and with the expert eye of Director of Photography Roger Deakins, Shanley has infused the film version of his play with a dazzling use of color and the elements of Mother Nature. Nowhere is that dramatic intent as poignantly visible as during the “pillow sermon” which is later echoed by the stunning confrontation of Sister Aloysius and Mrs. Miller (more on that in a bit) and a whirl of autumn leaves. Scenes bookended with streaming sunlight, pitch blackness, pouring rain, splashes of unexpected color, open windows, drawn blinds–all serve as flawless and metaphoric punctuation to the performances of the actors and the exposition of the story.

At its very core, ‘Doubt’ is a story with not-so-pat answers to questions that have shadowed man from his creation. When is one man’s truth more correct than another? When do one’s beliefs and guiding principles blind us from the truths in front of us? Can truth ultimately be more dangerous than what one’s mind can concoct? These are but few of the questions that Shanley and ‘Doubt’ challenge us with. So when the first black student is accepted into St. Nicholas in the Bronx, a duel between Father Flynn (Philip Seymour Hoffman) and Sister Aloysius Beauvier (Meryl Streep) is sparked when the priest takes a special interest in Donald Miller’s education–an interest Sister Beauvier fears is unhealthy and inappropriate.

The moral dilemma is set into motion when a hapless innocent, Sister James (Amy Adams), hears and sees too much–or has she? Not quite sure of what to make of the situation, she naturally turns to Sister Aloysius for guidance. What results is a showdown between these three characters and their truths over young Donald Miller. While the obvious issues raised–including racism, homosexuality, pedophilia, religious dogma, religious hierarchy and politics–all provide jumping off points for the drama and the catharsis to follow, the real jolt to the system comes with the appearance of Donald Miller’s mother at the behest of Sister Aloysius.

In one superbly shot and brilliantly acted scene, Viola Davis (who appears only once in the film) gives a tour de force performance that will be talked about for ages. Not only does Davis bring an unexpected humanity and vulnerability to her character, but she basically upends the seeming conclusion the pathos was driving for with a bombshell revelation. So vital and heartwrenching is this scene, that it will literally take the audience aback and make them rethink any preconceived notions they may have fostered of our main players. In many ways, Mrs. Miller proves to be the one vulnerability in Sister Aloysius’ steely armor of truths. Viola Davis not only deserves an Academy-Award nomination as Best Supporting Actress, she deserves the prize with this unforgettable performance. (At a later date, I want to revisit the mechanics of this scene–and their consequences.)

To say that ‘Doubt’ is loaded with a talented cast is perhaps the understatement of the year. The indescribably brilliant Meryl Streep gives an assured and haunting performance as Sister Aloysius. Watching Streep’s eyes dart and chin tighten as she passes Sister Aloysius’ judgements is a study in acting on its own. She inhabits this character with such fervor and committment, it’s quite easy to forget that she is Meryl Streep, actress. Ms. Streep will rightly collect her fifteenth Oscar nomation. Philip Seymour Hoffman’s turn as Father Flynn is much more nuanced than Streep’s. His character is painted in broad strokes with careful shading (unlike Sister Aloysius). Hoffman’s Flynn is at his best when he’s locked one-on-one with Streep’s Beauvier. These scenes crackle with an intensity that literally makes your heart race faster. Amy Adams’ Sister James is the buffer to Flynn and Beauvier’s battle. She brings an innocence that is deeply needed in the murky clouds of suspicion. Together, with Ms. Davis, the quartet are assuredly the best film ensemble of the year.

‘Doubt’ will affect you on a very deep and personal level if you allow it to. There are no easy answers–and the questions themselves may be wrong. As a morality play, ‘Doubt’ is brilliant in its set-up and execution. It asks you to examine your truths and question your doubts. Neither Shanley nor the film answer the audience’s questions–and in doing so create the ultimate questions about faith and fate.

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SYNOPSIS:

John Patrick Shanley brings his play DOUBT to the screen, in a story about the
quest for truth, the forces of change, and the devastating consequences of blind justice in an age defined by moral conviction.

It’s 1964, St. Nicholas in the Bronx. A vibrant, charismatic priest, Father Flynn (Philip Seymour Hoffman), is trying to upend the school’s strict customs, which have long been fiercely guarded by Sister Aloysius Beauvier (Meryl Streep), the iron-gloved Principal who believes in the power of fear and discipline. The winds of political change are sweeping through the community, and, indeed, the school has just accepted its first black student, Donald Miller. But when Sister James (Amy Adams), a hopeful innocent, shares with Sister Aloysius her guilt-inducing suspicion that Father Flynn is paying too much personal attention to Donald, Sister Aloysius is galvanized to begin a crusade to both unearth the truth and expunge Flynn from the school. Now, without a shred of proof or evidence except her moral certainty, Sister Aloysius locks into a battle of wills with Father Flynn, a battle that threatens to tear apart the church and school with devastating consequences.

DOUBT was written for the screen and directed by John Patrick Shanley. The film stars Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis. The film is produced by Scott Rudin and Mark Roybal, with Celia Costas as Executive Producer. Director of Photography is Roger Deakins, ASC, BSC; Production Designer is David Gropman; Editor is Dylan Tichenor, ACE; Costume Designer is Ann Roth; Music is by Howard Shore; Casting is by Ellen Chenoweth; Sound Mixing is by Danny Michael, CAS, Lee Dichter, CAS and Ron Bochar, CAS; Sound Editing is by Ron Bochar.

ABOUT THE PRODUCTION:

From the opening moments of John Patrick Shanley’s DOUBT to its powerful conclusion, uncertainty hangs in the air, drawing the audience into a provocative mystery in which two nuns, a priest, and the mother of a young boy – as well as the audience itself — are forced to confront their core beliefs as they struggle with judgment and verdict, conviction and doubt. In the battle of wills that ensues, DOUBT raises probing questions about the challenges of navigating a world increasingly confronted by sweeping changes and moral dilemmas.

It was the very word “doubt” that first inspired Shanley to write what would become the most acclaimed play of the last decade, and now, to adapt the story into a screenplay that enlarges the play’s world and uses the fluidity of cinema to plant new seeds of uncertainty. At the time he began writing, Shanley recalls vast numbers of polarized political pundits literally shouting at each other on television. “I felt surrounded by a society that seemed very certain about a lot of things. Everyone had a very entrenched opinion, but there was no real exchange, and if someone were to say ‘I don’t know,’ it was as if they would be put to death in the media coliseum. There was this mask of certainty in our society that I saw hardening to the point that it was developing a crack – and that crack was doubt,” Shanley explains.

“So I decided to write a play that celebrated the fact that you can never know anything for certain. I wanted to explore the idea that doubt has an infinite nature, that it allows for growth and change, whereas certainty is a dead-end. Where there is certainty, the conversation is over, and I’m interested in the conversation, especially because another word for that conversation is ‘life.’ We’ve got to learn to live with a measure of uncertainty. That’s the silence under the chatter of our time.”

For Shanley, the overriding challenge was incorporating not just the theme but also the very mechanism of doubt into the fabric of his story, unraveling facts and truths the audience might think are clear at the outset, and leaving the audience finally to explore these loose ends in their own way. Throughout, Shanley’s one incontrovertible dictum was to never lead the audience to any one individual conclusion. “What was always important to me,” he explains, “is that the sense of doubt belongs to the audience. I’m not going to tell them what’s right and wrong. I wanted to simply make them think and feel something, rather than tell them what to think and feel.”

Once Shanley knew he wanted to write about doubt and the necessity of weathering the inevitable challenges to one’s beliefs, he began to ponder the setting for such a tale. “I wanted to apply the way I see things to a situation that was very fraught and seemingly insoluble,” he says, “and this led to a parish priest accused of taking advantage of a member of his flock. I wasn’t interested in the church scandals themselves, but I was looking for a polarizing situation, one in which most people would brook no hesitation in condemning a person – and then throwing those assumptions back at the audience in a different light.”

Having decided on setting the story’s battleground issues of principle and compassion in a religious school, Shanley’s play took on a rich personal depth, transporting him back to his own childhood growing up in a strict Catholic school in a predominantly Irish Catholic workingclass Bronx neighborhood. “I knew those people,” he says. “Sister Aloysius is certainly based on nuns I experienced firsthand, and she is also someone I relate to – there is a certain sadness I share with her about things that are gone now from the world, like silence and ball point pens and students reading Plato.”

Drawing further on his resonant memories, Shanley set the clash between Sister Aloysius and Father Flynn against the volatile atmosphere of 1964, just after the Kennedy assassination and on the cusp of the civil rights movement of the late 60s. “That was a pivotal time of going from complete faith in establishments and hierarchies, to questioning those establishments and hierarchies — like the military, and organized religion,” he says.

It was also a time of sweeping changes for the Catholic Church. The establishment of Vatican II by Pope John XXIII in 1962 ushered in a series of considerable reforms designed to make the church more modern, more diverse and more accessible to a changing laity. By the mid-‘60s, the face of the church would be quite different, with nuns no longer required to wear the habit and with much less formality between priests and their parishioners.

“I wanted to capture something about that lost moment,” says Shanley. “Walking around the Bronx in 1964, you’d see nuns in their bonnets and habits, but you didn’t realize that within just a few years, they wouldn’t be wearing them anymore and that time would be gone forever. I also think that Father Flynn is very much a product of the early ‘60s in the way he is questioning institutions as they stand, while still working within the system. He wants to make the church that he loves viable in a changing world.”

Race, too, was woven into the story through the character of Donald Miller, the black child whose unusually close relationship with Father Flynn spurs Sister Aloysius’ crusade. Shanley has vivid memories of attending a school with just a single black student in the early, tension-filled days of school integration. “When you have only one black student in school, you really start to notice that person and think, what does it feel like to be that guy? It made me see myself and my social context in a more complex way and made me start to question those things on a deeper level,” he comments.

Throughout, Shanley avoided taking sides with any of his characters – and he admits that he relates to elements of both Father Flynn and Sister Aloysius. “I have a tendency to agree with every one of my characters while they are talking,” he confesses. “But that’s my experience of life. Human beings are contradictory and paradoxical and mysterious, and they remain that way.”

All of this builds to the story’s crucible moment, when Sister Aloysius finally admits she herself has – for the first time – doubts. Her certainty has been eroded by her growing compassion and even empathy for Donald Miller, his mother, the other students, and Sister James. She finds community in doubt, and thus is humanized and changed. The audience is left to reconcile what they just experienced in terms of their own beliefs and emotions. This was essential to Shanley’s vision for Doubt.

He says: “For more than a hundred years, filmmakers have tended to ask a question and at the end of the movie, they answer it. With Doubt, I wanted to leave the audience at the end not with an answer, but saying rather: ‘What a beautiful question.’ In that way, it becomes the audience’s story.”

Shanley’s play, given its world premiere off-Broadway in the fall of 2004, was swept onto Broadway via an avalanche of rave reviews. It opened at the Walter Kerr Theater in 2005 and remained there for a total of 25 previews and 525 performances, which then led to a lengthy national tour and numerous international productions.

In the wake of the play’s international success, Shanley came to believe that Doubt, with its ability to provoke and move audiences around the world, could inevitably do the same for movie audiences. Shanley had been writing screenplays for two decades, and had won an Oscar® for penning the romantic comedy “Moonstruck.” Adapting Doubt, he says, would be the most difficult screenwriting experience of all. The challenge at hand was to completely reenvision his play and allow it to become a different creature on the screen: more visceral, more dynamic, more open to the vibrant, burgeoning working class neighborhoods of 1960s New York.

“This story started with memories of growing up in the Bronx and then those memories became a play, and I used the stage and all the materials it had to offer to tell the story that way; and now, as a film, it has a profoundly different character,” Shanley says. “The kind of specificity you get in filmmaking — from the real air, the real buildings, the real things all around you — brings a verité to the story that the actors use to find a different level of performance. Theatre is very organized and real life is disorganized, so part of the process was shattering the story back into pieces and making it more like those original memories.”

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‘Doubt’ is 104 minutes, Rated PG-13 for Thematic Material
Release Date: December 12, 2008 Limited; Miramax Films

CIAO: Goodbye, Hello, Goodbye

[***NOTICE: The following entry contains key plot details, review information and production details from the upcoming film 'CIAO'. If you do not wish to have an advance notice, please skip this entry. Thank you.***]

‘Ciao’ is a film about death, loss, pain and mourning. ‘Ciao’ is also a film about discovery, hope and the capacity of the human spirit. It is at once haunting and heartbreaking, profound and illuminating.

If that seems in the least bit contradictory, it’s part of what makes the film such a genuinely beautiful constructed ode to loss. I had the immense privilege to watch an advance screener of the Regent Releasing film last night. Writers Yen Tan (also the Director) and Alessandro Calzo (also co-star) have written one of the most beautiful films about loss that I have ever seen.


Mr. Alessandro Calza

From the opening minutes which are framed by repeated shots of e-mail compositions and a man’s day-to-day routine, the sense of quiet and powerful discovery is set in motion. Tan’s choice to use his actor’s silence as part of the dialog is a brilliant choice. We are forced to watch more closely and keenly. The two leads are amazing beautiful–and talented–men. In the faces of Jeff (Adam Neal Smith) and Andrea (Alessandro Calza), the director has two expressive canvases–and I was riveted by every flick of an eye, strained neck muscle and delicate nuance of two men who come to know one another in the most difficult of circumstances.


Mr. Adam Neal Smith

The story is beautifully told, superbly acted and brilliantly filmed. There are some gloriously beautiful framing shots in this film. A special mention must be made of the work of Director of Photography Michael Victor Roy’s work–it’s truly sublime. The words of Tan and Calza are sparse, yet powerful in resonance. The acting of Smith and Calza is first-rate. I could not give a bigger recommendation to see this film as soon as you can.

‘Ciao’ will open on a staggered schedule beginning December 5, 2008 in New York City at the Landmark Sunshine. It will roll out through January and beyond. You’ll probably have to a bit of work to find, but do NOT miss this one. Currently the film is scheduled to play:

December 5th–New York City, Landmark Sunshine
December 12th–San Francisco, Landmark Lumiere
December 19th–Boston, Landmark One Kendall Square
December 19th–Denver, Starz Film Center
December 26th–Los Angeles, Laemmle’s Sunset 5
January 2nd–Ft. Lauderdale, Sunrise Gateway
January 9th–San Diego, Landmark Hillcrest
January 16th–Portland, Living Room Theaters
January 30th–Philadelphia, Landmark Ritz at the Bourse
February 13th–Atlanta, Landmark Midtown Art Cinema

SHORT SYNOPSIS:

‘CIAO’ beautifully explores the difficult path to accepting loss amidst the hope of new beginnings. This somber and touching modern love story focuses on the incidental friendship between two strangers living in two different parts of the world. Their connection is sparked by the unexpected loss of a mutual friend, Mark. When Jeff (Adam Neal Smith) is left in charge of handling Mark’s possessions and tying up loose ends he stumbles upon one of Mark’s email conversations with Mark’s online Italian romance, Andrea (Allesandro Calza, who also co-wrote the screenplay) and must tell him the bad news. With a trip already booked, Andrea decides to come and learn more about his recently departed friend. What begins as a tragedy that links two strangers from different ends of the world becomes a deeply realized friendship that may change their lives forever.

DIRECTOR’S STATEMENT:

In May of 2003 I received an email from Alessandro, a web designer in Genoa, Italy. He wanted to tell me how much he enjoyed my first feature film ‘Happy Birthday.’ This sparked off a series of long, platonic correspondence that continues to this day. It all seemed rather “84 Charing Cross Road;” the Helene Haniff true-life novel that was then adapted into a film starring Anne Bancroft as the book-loving writer in New York City whose letters with a bookseller in London, played by Anthony Hopkins, spanned over two decades. Like Ms Haniff and Frank Doel (albeit cruder and gayer), the emails between Alessandro and I seemed endless; conversations went on and on about everything and nothing. We were like two friends chatting non-stop from dusk till dawn, occasionally sharing a favorite song via MP3 attachment.

It wasn’t long before the idea struck me: a simple story about two people who eventually meet after corresponding with each other over a period of time. There’s an Italian (Andrea) and an American (Mark). They write each other. They meet. They have witty conversations over candlelight dinners. A romantic comedy ensues? Something about this set-up bugged me: it was too superficial, too lighthearted, too gag-inducing for my taste. But what if something happened to the American prior to their meeting? Like he died in a tragic car accident? Yes! Exit Mark, enter Jeff. Jeff was good friends with Mark and has no idea that Andrea, the foreigner, is coming to visit. We now have intrigue in the premise.

I bounced the initial draft off Alessandro. After all, I had based Andrea on him and I wanted to avoid the Oliver Martinez cliché: the American’s eroticized idea of the passionate European with an accent who can kiss like there’s no tomorrow. Which, in retrospect, was exactly the kind of Italian I presented in the first draft. As I got to know Alessandro better on a more personal level and spoke to him on the phone several times, I gradually refined the character, which consequentially made me define the gist of the story even more. I came to realize that the film is about grief. It is about the birth of a relationship upon the death of another.

Two years and ten drafts later, ‘Ciao’ has been shaped into an emotionally astute screenplay about the incidental friendship between two strangers living in two different parts of the world. Their connection is linked by the unexpected loss of a mutual friend. One has been with him for many years; the other has never even met him, but may have gotten to know him on a more intimate level through the emails exchanged. How would these two people behave when they met? What would they say to each other? In which ways do they mourn?

I’ve been meaning to keep a daily journal through production but alas, physical and mental exhaustion have prevented me from partaking in the ritual. There was a tad of laziness involved, also, but hey, a man can only work so hard. Returning to the day job after the shoot was difficult and surreal. Difficult because life doesn’t feel the same anymore. Surreal because everything that happened before feels like a distant dream.

We wrapped on a Friday morning, shooting a pivotal love scene between Jeff and Andrea that turned out marvelously. I won’t go into details about what took place but I was quite enamored and entranced by what I witnessed. The moment I recalled vividly occurred right after we rolled on the first take and before I yelled “Action!” I had requested that we play a two minute excerpt from Aphex Twin’s “Nanou 2”, with the idea of setting a tone for the actors. Adam had his eyes closed; Alessandro was watching him. At one point, Alessandro reached over to fix a crease in Adam’s tank top. It was an unexpectedly maternal gesture that accentuated what followed. I was profoundly moved.

Over the weekend, I went back to unit 7, the condo we rented to shoot a majority of the film in, for some cleaning and tidying before we turned the keys back to the landlord. Alessandro assisted me later to take out bags of trash that had accumulated over the past three weeks. We sat in the living room after and talked. Everything we said boiled down to “this is sad”. It was sad. Production was over. People had gone back home. All there was left was emptiness.

One of the unexpected stylistic elements that I discovered in the course of filming was my fascination with negative space. It was very Ozuesque: a sense of not wanting to leave the environment we were in. I did this in numerous scenes; requesting the actors delay their action in entering the frame at the beginning of the shot or not cutting the end of it until the actors have cleared the frame for several seconds after. None of this really caught up to me emotionally until I returned to unit 7 again. That was when it all clicked. The theme of the film became crystal clear: it was about our yearning to stay. To remain. To never part.

As much as I thought I was gonna collapse in the strenuous midst of production, I didn’t really want this whole experience to end. Something about the idea of moving on really disturbs me now. One morning in week two, I woke up with a pillow held tightly in my arms. I believe I cried in my sleep the night before. I still don’t know what I was holding on to.

CAST:

ADAM NEAL SMITH
Focusing primarily on sports through his teenage years, Adam’s interest in film and the craft of acting did not develop until adulthood. As a history major at the University of North Texas, Adam took an introductory acting class to meet the requirement for a fine arts credit. He was hooked immediately. Within a year after graduation from UNT, Adam relocated to Los Angeles and formed a band, The Ethels. He then joined The 68 Cent Crew Theater Company, where he performed as Billy D. during a six-month run of Samuel Shem’s Bill W. and Dr. Bob and co-wrote the play, “On the Brink.” Additionally, Adam signed on to take the role of Homer Morris in the traveling children’s show “The Morris Brothers.” The show sparked an interest in improvisation, which he nurtured by enrolling at Los Angeles’ Second City conservatory. Meanwhile, he and his friend Gordon Bash composed the score for Eric Wolfson’s feature film, “Callback.”

ALESSANDRO CALZA
Alessandro is a prolific new media designer based in Genoa, Italy. He has produced websites and print materials for Nokia, KLM, Bausch & Lomb, Motorola, and Lionsgate Films. Prior to that, his interest in costume design led him to an acting audition at Teatro Stabile, where he was chosen as one of the twenty finalists to be considered for admission at the distinguished acting school.

CHARLES W. BLAUM
Charles was discovered by Yen in a newspaper article about the Dallas Diablos, a gay rugby league he co-founded. He remains an active member of the organization and is also an avid karaoke singer.

ETHEL LUNG
Ethel had a lead role in Yen’s award-winning “Happy Birthday.” She has since been working in Los Angeles and is a member of the 68 Cent Crew Theater Company. Ethel has also appeared in a series of international commercials for Nokia and Allianz Insurance.

FILM MAKERS:

YEN TAN (CO-WRITER/DIRECTOR)
Born and raised in Malaysia, Yen’s first short film, “Love Stories” had a successful run at North American film festivals and was voted one of the six “Best of Fest” selections at the Dallas Video Festival. His debut feature, “Happy Birthday”, screened at numerous film festivals worldwide. The film also won the Grand Jury Prize for Best Feature at the Philadelphia Gay and Lesbian International Film Festival, and Yen was subsequently awarded the New Directors Showcase at the Portland GLBT Film Festival. Happy Birthday was acquired by TLA Releasing. Yen contributed a segment to the acclaimed omnibus film “Deadroom,” which premiered at the South by Southwest Film Festival, then played the Cleveland International Film Festival and the Philadelphia Film Festival. The directorial joint venture was given a Director’s Award for Best Narrative Feature at the Texas Film Festival. Concurrently, Yen was featured as one of the “20 Great Dallasites” in the 20th anniversary edition of the Dallas Voice. He has earned praises from esteemed author and critic Michael Bronski, who considered “Happy Birthday” “a work of intelligence and deep emotional sensibility.” “Trick” and “Queer as Folk” screenwriter Jason Schafer also commended Yen for having “a recognizable voice and a developed style this early in his career.” In addition to “Ciao,” Yen also wrote the Sundance Screenwriting Lab semi-finalist, “Pit Stop.”

JIM McMAHON (PRODUCER)
Jim met Yen while working on the set of the feature drama “Wedded Bliss?” where he worked as a Gaffer and Yen was an Assistant Director. Since then, they have built a close friendship and professional bond. Intensely focused, Jim has produced two feature films in the past three years while building strong relationships in all aspects of production, distribution, and exhibition. Currently working as a Post-Production Producer for a successful ad agency in Los Angeles, he frequently works on commercial projects with a total production budget of $500,000-$1,000,000. His directorial debut, a thriller entitled “Bloodshed,” premiered at the Dead by Dawn Film Festival in Scotland and subsequently gained immediate sales representation through Strategic Film Partners and Spotlight Pictures. It has done quite well at the European Film Market and is expected to gross 500% over the initial production budget. Also an accomplished Director of Photography, Jim has shot three feature films: “Deadroom” (which he also Executive Produced), “Mere Acquaintance”, and “Prison-A-Go-Go!”

JAMES M. JOHNSTON (CO-PRODUCER)
James has been making independent films for about eight years, primarily as a writer, producer, and director. His works include “Mere Acquaintance,” “Deadroom,” “GDMF,” and his latest, “Merrily, Merrily.” He did not attend film school and took his first fateful step towards filmmaking by volunteering to work on an ultra low-budget film. From there, he kept working on films in various roles and this is how he collected a great group of friends and collaborators that he works with on a regular basis. When not working on films, he is Executive Chef for his wife Amy McNutt’s award-winning vegan restaurant, Spiral Diner & Bakery.
MICHAEL VICTOR ROY (DIRECTOR OF PHOTOGRAPHY)
Michael graduated from the USC School of Cinema and Television Production and has been working as both a Gaffer and a Chief Lighting Technician of independent film productions. With over twenty feature credits, including Adrienne Shelly’s “Waitress” and “An American Crime” with Catherine Keener, Michael has begun to concentrate his efforts on cinematography. In addition to “Ciao,” his current projects include “Mortals,” an intimate drama based on the writings of celebrated author Tobias Wolfe, and “Waste Land,” a feature length documentary film addressing the ramifications of a “throwaway” society.

CLARE FLOYD DEVRIES (PRODUCTION DESIGNER)
Winner of several Column Awards for her theater set designs; Clare was honored with the Dallas Theater League’s Leon Rabin Award for Watertower Theatre’s acclaimed “Sweeney Todd.” Since then, she’s been nominated for four shows: “Enchanted April,” “It Ain’t Nothin’ But the Blues,” “The Crucible,” and “Urinetown: the Musical;” where she won for “Enchanted” and “Urinetown.” The Dallas Morning News singled her out for an Arts Day profile, calling her “arguably Dallas’ best set designer.” More recently, she was interviewed as part of the National Public Radio series: “American Stages: Flexible Theater Design and Audience Intimacy.”

DAVID LOWERY (CO-PRODUCER/EDITOR)
A TFPF recipient for his short film “The Outlaw Son” and upcoming feature, “St. Nick,” David is primarily a writer and director who is equally passionate about film editing. He has edited James M. Johnston’s “Mere Acquaintance” and “Deadroom,” where he worked closely with Yen. David was also a finalist for the Sundance Screenwriting Lab and participated in the Berlinale Talent Campus.

SAMUEL CASAS (SOUND DESIGNER)
Samuel is a professional sound mixer at Lime Studios in Santa Monica. He has worked on commercials for Volkswagen, American Express, Ford, and USA Networks.

STEPHAN ALTMAN (COMPOSER)
Stephan is lead composer and creative director at Venice Beach, CA-based Mophonics, a boutique music production house creating original music for brands, artists, and film. His first feature film score was for Alejandro Gomez Moneverde’s “Bella,” winner of the People’s Choice Award at the Toronto International Film Festival. He has also composed music for many national and international TV campaign spots for Apple, Visa, Verizon Wireless, Adidas, and Pepsi.

GLEN WALSH (MUSIC SUPERVISOR)
During his volunteer tenure at KCRW, Glen co-promoted a successful and long-running progressive dance music night in Los Angeles’ Westside. As a music supervisor with an encyclopedic knowledge of contemporary music, he has worked on several commercials for Apple, Visa, Adidas, and Nike. Born and raised in the south side of Santa Monica (otherwise known as Dogtown), Glen is also a seasoned surfer fond of executing complex longboard tricks through shark-infested waters.

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‘CIAO” Running Time: 87 minutes, in color, 35mm aspect ratio 1.85, U.S. theatrical exhibition formats: HDCam, Digital Betacam, aspect ratio 1.78 (16×9), in English, Rated R for language including sexual references

Project Spotlight: Little Ashes

[***PLEASE NOTE: This entry contains key plot information and behind-the-scenes production notes from the upcoming March 2009 film 'Little Ashes'. Some may consider this information "spoiler-ish".***]


Three rebels willing to take on the world. Two lovers risking it all. One story, untold until now.

Though the film ‘Little Ashes’ will not hit theatres in the United States until March 2009, the film is already stirring a wave of positive reaction and impressive word of the performances of the film’s trio of principals–Javier Beltrán, Robert Pattinson and Matthew McNulty. The three actors star in this period piece amidst the repression and political unrest of pre-Spanish Civil War.

SYNOPSIS:

Madrid 1922. A city wavering on the edge of change as traditional values are challenged by the dangerous new influences of Jazz, Freud and the avant-garde. Salvador Dalí (Pattinson) arrives at university at the age of 18 years old and determined to become a great artist. His bizarre blend of shyness and rampant exhibitionism attracts the attention of two of the university’s social elite – Federico García Lorca (Beltrán) and Luis Buñuel (McNulty).


Mr. Javier Beltrán

Salvador is absorbed into their decadent group and for a time Salvador, Luis and Federico becomes a formidable trio, the most ultra-modern group in Madrid. However, as time passes, Salvador feels an increasingly strong pull towards the charismatic Federico – who is himself oblivious of the attentions he is getting from his beautiful writer friend, Magdalena (Marina Gatell). Finally, in the face of his friends’ preoccupations – and Federico’s growing renown as a poet – Luis sets off for Paris in search of his own artistic success.


Mr. Robert Pattinson

Federico and Salvador spend the holiday in the sea-side town of Cadaqués. Both the idyllic surroundings and the warmth of the Dalí family sweep Federico off his feet. Salvador and he draw closer, sharing their deepest beliefs, inspirations and secrets, convinced that they have found a kind of friendship undreamt of by others. It is more than a meeting of the minds; it is a fusion of souls. And then one night, in the phosphorescent water, it becomes something else.

A seemingly innocent kiss throws Federico and Salvador into the realms of the taboo. In the world of Spanish Catholicism, homosexuality is an affront against God and man. On their return to Madrid the two embark on an unspoken, secret relationship. When Luis visits, he is appalled to realize that Federico is apparently in love with Salvador. He leaves the city in shock rather than confronting his one-time friend.


Mr. Matthew McNulty

Salvador visits Luis in Paris and returns determined to separate himself from both Federico and Madrid–Luis has convinced him that both are proving detrimental to his career. Federico, increasingly fearful of his emotions, now becomes terrified of the thought of losing Salvador. One fateful afternoon the situation escalates as, frustrated and manipulated, Federico has sex with Magdalena while Salvador watches. The episode leaves Federico distraught as Salvador becomes colder than ever, leaving for Paris.

Alone in Madrid, Federico struggles against his psyche, tortured by the damning implications of his own religious beliefs and the undeniable voice of his flesh. He is haunted by news of Salvador who is collaborating on a Surrealist film with Luis and has embarked on an affair with a married woman – Gala.
Finally, Magdalena forces Federico come to terms with his sexuality and carry on with his life.

By 1936, while Spain is teetering on the precipice of civil war, Federico, now a highly acclaimed and controversial playwright, receives an invitation to dinner from Salvador and Gala. But the hosts have a rather unusual agenda and the evening is a disaster. A week later, Salvador is hosting a party when he discovers that Federico has been assassinated in the outbreak of war. The walls of self-denial that surround the artist come crashing down as he realizes, too late, the depth of his love for Federico.


Mr. Javier Beltrán and Mr. Robert Pattinson

HISTORICAL CONTEXT:

By the 20th century, Spain had devolved from being one of the most powerful countries in the world, to a poor and backward country where corruption was rife. It had lost nearly all of its overseas territories such as Cuba and the Philippines and the extreme classes of wealth and poverty caused severe social tensions. Industry was limited and the power and wealth of the Catholic Church was greatly resented by many and seen as an enemy of change. Although the majority of Spaniards did not go to mass, the Church had a strong following in the countryside where religious devotion was strong and had a virtual monopoly on education.

With an army consisting of too many officers and poorly equipped soldiers, economic depression led to strikes and unrest and the emergence of a right-wing military dictatorship, but that too failed and King Alfonso XIII abdicated the following year. A republic was declared with Alcala Zamora as provisional prime minister. The Republican government brought in a series of anti-Church measures. The measures against the church alienated the right wing of Spanish society who saw the Catholic Church at the heart of Spanish civilization. Zamora resigned in protest and the new prime minister was the anti-clerical liberal, Manuel Azana.

These on-going polarizing measures led to the foundation of the right-wing and Catholic CEDA party led by Gil Robles. At the same time a fascist party led by the son of Primo de Rivera, Jose Antonio was set up. It was called the Falange (Phalanx). In 1934 a general strike opposing the government was called and an anarchist miners’ revolt was crushed by General Franco. Mass arrests followed and left wing newspapers were closed. the monarchist politician, Calvo Sotelo was assassinated by Republican police in revenge for the murder of one of their men by a Falangist. The military had found a reason to revolt. About half of the army remained loyal to the government and the revolt failed in Madrid, Valencia, Barcelona and the Basque country. Workers and peasants militias were formed to defend the government.

Crucially the elite army of Morocco supported the revolt, led by General Franco. By August the rebels held most of the North and North West while the government controlled the South and the North Coast.


Ms. Marina Gatell

DIRECTOR’S STATEMENT:

For me, ‘Little Ashes’ is first and foremost a love story, moving and tender. This is a forbidden love between two men that moves from a silent, aching longing to one incandescent and glorious moment of promise, only to end in rejection and disillusionment. Lorca’s love for Dalí gives the movie its shape, its dramatic spine. This is first and foremost an actor’s movie, truthful and beautiful, intimate and spare. The performances dominate.

The audience, with Lorca, will fall in love with the shy and brilliant Dalí, and be captivated by his sensitivity and vulnerability, hidden behind his poses and charades. We admire and fear for him in his outrageousness. Later, we fear more for Lorca as we realize that Dalí’s masks have become his face; that he has begun to believe in his act, and that Lorca and his love are becoming the victims of Dalí’s narcissism and ambition.

So this is also a film about integrity. Encouraged by Magdalena, Lorca keeps faith with his beliefs, his roots, his work, and- eventually- his sexuality. Dalí chooses notoriety and success and a fantastic kind of elitism over deeper values. Dalí became an early exponent and manipulative genius of the culture of celebrity. Philippa’s screenplay is thus both of its time and incontrovertibly fresh and modern.

These are universal themes, which a wide audience can understand and identify with. This is a film about artists but not a film about art. It is beautiful, funny, moving and thoughtful, one which looks beyond an “art film” audience. Ironically, Dalí’s very notoriety, in America as well as in Europe, may help us to find this wider audience.

This is also a film about a moment in time, about a political and personal change in a period of upheaval and reaction. This generation of young artists- Buñuel, Lorca, Dalí- were viscerally in revolt against the forces of bourgeois conformism- church, state, army, landed aristocracy- that they were born into, and which surrealism aimed to subvert. They allied the wild joy and exuberance of youth to the transformative role of the artist and they worked alongside the tremor of the political and social movements sweeping through Spain. Their rebellion and the wider fight for freedom and justice that followed were eventually brutally crushed from without and subverted from within. The film follows this movement into freedom and back into repression. The film vibrates with the fun and humor and anarchic excitement of their early lives and moves with them to a deep kind of knowledge, despair, beauty, and eventually death; yet a legacy that lives on. The ending should not be without hope, for we know that Lorca’s poems live on.

The film is not a conventional period drama. The issues these men were confronting are incontestably modern.


Mr. Robert Pattinson

THE PRODUCTION:

We are excited about the new Hi-def Sony DVcam, which implies both an aesthetic and a way of working. It has exceptional flexibility and fluidity, and at the same time allows us a high-contrast “film” look, enabling us to achieve the deep shadows, bleached out highlights and acute and abnormal angles of vision found in Man Ray and other photographers of the time. Backgrounds are simple and plain: whitewashed walls; brickwork; stone; fabric; earth, cobbles, water. Like Lorca’s poetry, both simple and rich at the same time. This is a sensual film with luminous, magical and spacious landscapes, such as Dalí painted and Lorca wrote about and was rooted in.

Interspersed through the film is treated archive material and specially shot material which echoes the inner lives and obsessions of our characters, and which gives the movie breadth and space. The symbols of Lorca’s obsession: earth, moon, flowers, death, crucifixion. The images of a country in revolt: people swarming on the streets, flags, army, guns, blood. A kind of incidental imagery sparsely utilized that will feel as far as possible unconstructed. Shooting on DV gave us a much easier route to integrating this material in post-production. Modern editing systems and programs mean that simple compositing can be done in the edit suite.

Costumes were designed to be simple and stylish and reflect the uncluttered aesthetic of the film. We worked with a small crew and chose locations carefully to maintain the unfussy visual aesthetic without major construction or dressing, and minimize the number of sites to maintain a compact, focused way of working. Our lightweight crew also meant we could be mobile around more inaccessible locations, like the rocks at Cadaquès.

The fine screenplay shifts rapidly in tone from playful exuberance and fun, to longing, to tender beauty and to despair. The film follows these rapid movements of mood, yet is not overly intense; it felt important to retain a lightness of touch, not to overplay the fine hand we had been given, and let this wonderful story do the work.


Mr. Matthew McNulty and Mr. Javier Beltrán

ABOUT THE ARTISTS:

Salvador Dalí:

Salvador Dalí was born in Catalonia, Spain in 1904. He was named after his father and deceased brother and was told by his parents that he was a reincarnation of his brother. Salvador worshipped his mother and was devastated when she died from breast cancer when he was 16.

He attended the Residencia de Estudiantes where he met poet Federico García Lorca and filmmaker Luis Buñuel. Although he and Buñuel would later go on to work on the film “Un Chien Andalou” together it was García Lorca that he was truly close to. They two maintained a special friendship that had many elements of passion the whole time they were students.

Dalí’s time at school ended when he was expelled for telling his professors that none of them were good enough to judge and grade him. He was thrown out of the university. However, Dalí’s growing fame in the artistic community inspired him to try new ventures, leaving his old friends behind. Soon, Dalí was caught up in the world of celebrity, especially after he met his wife, Gala. The two were the tabloid couple of their time.

Dalí continued to work and paint throughout his life, although he was shunned by the surrealists for his political views. However, this did not affect the flamboyant Dalí. In his opinion, he was the reason for the surrealist movement.

By the time he died in 1989, Salvador Dalí and his art were known the world over. He achieved great fame during his Surrealist period, during which he created some of his most well know works, including “Persistence of Memory” and “The Ghost of Vermeer of Delft Which Can Be Used as a Table.”

Dalí is often credited with being one of the most well known members of the surrealist movement, although it has been said that he is also the one that sought out fame the most.

Federico García Lorca:

Federico García Lorca was born to an upper class family in 1898. When García Lorca was a child, the family relocated to Granada, Andalusia and it was there that García Lorca became involved in the local artist community. By the time he began attending the Residencia de Estudiantes in Madrid in 1919 he had already published his first book, entitled “Impresiones y paisajes.”

García Lorca befriended filmmaker Luis Buñuel and artist Salvador Dalí. The three remained close during school and García Lorca and Dalí began a romantic affair that would last throughout their years as students. However, García Lorca’s growing depression and angst about his homosexuality soon caused a riff between himself and his friends. The debut of Dalí and Buñuel’s film “Un Chien Andalou,” which García Lorca determined to be about him, marked the end of their closeness.

García Lorca’s fame continued to grow. He became an accomplished poet and playwright. However, the Spanish Civil War loomed on the horizon and the military government did not appreciate García Lorca’s liberal way of thinking.

García Lorca returned to his family’s home in Andalusia only three days before the Spanish Civil War broke out in 1936, despite the fact that the area was known for being one of the regions most conservative. He and his brother-in-law were soon captured by the new regime and executed. Their bodies were dumped in an unmarked grave.

Although no mention of García Lorca’s work was allowed in Spain until 1953, today García Lorca is one of the country’s most beloved poets. A statue of him stands in Madrid’s Plaza de Santa Ana.

Luis Buñuel:

Luis Buñuel was born in 1900 in Aragón, Spain. He attended Madrid’s Resedencia de Estudiantes, where he met Federico García Lorca and Salvador Dalí. The three became close, but it was with Dalí that Buñuel collaborated to make his famous film “Un Chien Andalou.” The film—known primarily for the opening scene that simulates a human eyeball being slit by a razor—was considered groundbreaking in that it put the Surrealist movement on film and exposed it to a wide audience.

After the Spanish Civil War, Buñuel was exiled from Spain and went to work in Hollywood for a short time. He also worked at the Manhattan Museum of Modern Art, but was fired from that job after Salvador Dalí revealed that Buñuel was a Communist and an atheist. Buñuel never forgave Dalí for this and rebuffed all attempts at reconciliation.

Buñuel eventually settled in Mexico, where he continued to direct films. He is considered one of the most influential filmmakers in history and Alfred Hitchcock called him “the best director ever.” Luis Buñuel died in 1983 in Mexico City.

BIOGRAPHIES:

Javier Beltrán:

Javier Beltrán makes his feature film debut with ‘Little Ashes.’ Javier Beltrán continues his growing career on the Spanish television series ‘Zoo’ starring with veteran Spanish actress Mónica López.

Robert Pattinson:

Heartthrob Robert Pattinson started acting on the stage at the age of 15. He first gained recognition as Cedric Diggory, the young man who woos the object of Harry Potter’s affection in the immensely popular ‘Harry Potter and the Goblet of Fire.’ From there he was cast as another literary cult figure, the iconic vampire Edward Cullen in ‘Twilight’, the movie based on the acclaimed best-selling book series. With ‘Little Ashes,’ Robert continues to prove he is an actor not fearful of challenge. Robert’s films also include the comedy ‘How to Be.’ In 2005, at the age of twenty, Robert was named the British Star of Tomorrow by Times Online.

Matthew McNulty:

British actor Matthew McNulty has had a very diverse career since coming on to the acting scene in 2001. He appeared in the films ‘Love + Hate,’ ‘Control,’ and ‘Mark of Cain’ before starring in the comedy series ‘Honest.’ Matthew can be seen in ‘The Shooting of Thomas Hurndall,’ heard as the voice of Alex in ‘A Fox’s Tale,’ and 2009 also sees Matthew starring in ‘Looking for Eric’ a drama based on the life of soccer legend Eric Cantona.

Marina Gatell:

Most famous in Spain for her work in the hit series ‘Majora Absoluta,’ based on her movie of the same name, Marina shared the small screen with Javier Beltrán in the Spanish television series ‘Zoo’ and starred in the series ‘Lalola.’ She can be seen in the feature films ‘The Perfect Witness,’ ‘God’s Forgetten Town,’ ‘The Ungodly,’ and ‘Nosotros.’

Paul Morrison (Director):

Paul Morrison has a distinguished track record as a film-maker. His first feature film, ‘Solomon and Gaenor,’ was nominated for an Oscar and his second film ‘Wondrous Oblivion’ was released widely across the UK to much critical acclaim in the Spring of 2004. His other work as a director includes ‘Without Walls,’ ‘The Night Show–A Midsummer Night’s Dream,’ ‘Degas and Pissaro Fall Out,’ ‘From Bitter Earth,’ and ‘Unstable Elements.’

‘Little Ashes’ — Credits:

Directed by Paul Morrison
Written by Philippa Goslett
Produced by Carlo Dusi, Jonny Persey and Jaume Vilalta
Co-Producers: Philippa Goslett, Stewart Le Maréchal
Executive Producers: Stephen P. Jarchow, Paul Colichman, Debra Stasson, Luke Montagu
Director of Photography: Adam Suschitzky
Editor: Rachel Tunnard
Original Music by Miguel Mera
Production Designer: Pere Francesch
Costume Designer: Antonio Bellart
Make-Up & Hair Designer: Patricia Reyes
Casting by Mercé Espelleta
Sound Recordist: Juame Meléndez
Line Producer: Fernando Bofill

Running Time: 112 min. – 35mm film, in color, country of Origin: UK, filming location: Spain, the film’s spoken language: English, Rated R for sexual content, language and a brief disturbing image

Obama Has 65 Point Lead over McCain among GLBT Likely Voters

(ROCHESTER, N.Y. – October 30, 2008) Over 8 out of 10 likely voters (81%) who self-identify as gay, lesbian, bisexual and transgender (GLBT) favor Senator Barack Obama for President over Senator John McCain. Only 16% of GLBT likely voters expressed a preference for John McCain. In August, when registered voters were asked the same Presidential preferences, 68% of GLBT voters favored Obama with 10% expressing support for McCain.

Among all likely voters Senator Barack Obama continues to lead Senator John McCain by six percentage points. This lead has not changed since The Harris Poll®, conducted one week earlier.

These are some of the results of The Harris Poll, a new nationwide survey of 2,303 U.S. adults, of whom 1,695 are likely voters, surveyed online between October 20 and 27, 2008 by Harris Interactive®. A separate oversample of 231 GLBT likely voters was also conducted.

This new poll shows Obama leading McCain by 50% to 44% of likely voters with 2% supporting Ralph Nader and 1% supporting the Libertarian candidate, Bob Barr.

Other interesting results of this new Harris Poll include:

  • Among those who have already voted (12% of likely voters), Obama leads McCain by 9 points – 51% to 42%;
  • 15% of those who voted for George W. Bush in 2004 are likely to vote for Obama, compared to 11% of those who voted for John Kerry who are now likely to vote for McCain;
  • Among those likely voters who voted in a primary or caucus, half (51%) are likely to vote for Obama while 44% are likely to vote for McCain. McCain edges Obama, 45% to 44% among those likely voters who did not vote in a primary or caucus;
  • While most of those who supported Hillary Clinton in the primary election support Obama, 18% are likely voters for McCain;
  • Obama voters are more likely (by 51% to 47%) than McCain supporters to say they are “absolutely certain” of how they will vote; and,
  • Obama voters are more likely than McCain supporters (by 73% to 65%) to be “extremely interested” in the presidential election.
  • So What?
    As the countdown to the election gets closer, the likelihood of John McCain closing the gap gets smaller by the day. If there is any good news for McCain it is that Obama has not been able to widen his lead, and that very large numbers of likely voters are not “absolutely certain” of their current preferences. But, there is also the interest factor and, if those who are extremely interested do come out and vote, this again tilts the race in Obama’s favor.

    Write To Marry Day

    “Marriage is the most enduring and important human institution, honored and encouraged in all cultures and by every religious faith. Ages of experience have taught us that the commitment of a husband and a wife to love and to serve one another promotes the welfare of children and the stability of society. Marriage cannot be cut off from its cultural, religious, and natural roots without weakening this good influence on society. Government, by recognizing and protecting marriage, serves the interests of all.”

    “Unfortunately, activist judges and some local officials have made an aggressive attempt to redefine marriage in recent years. Since 2004, state courts in Washington, California, Maryland, and New York have overturned laws protecting marriage in those states. And in Nebraska, a federal judge overturned a state constitutional amendment banning same-sex marriage.”

    “An amendment to the Constitution is necessary because activist courts have left our Nation with no other choice.”—President George W. Bush, weekly radio address 2006

    Imagine if you will a place and time: Continuing military invasion of Iraq, Financial Markets In Crises; Government Bailouts On A Bursting National Debt; Sarah Palin, The Greenhouse Effect, Poverty, Election Fraud, Socialism & Marxism As Political Fear Tactics, FEMA Failure, Arctic Drilling, Oil, U.S. Military Genocide, Border Fences, Immigration, Terrorism, Trade Imbalance, Inflation, Unemployment, Medicare Bureaucracy, Nuclear Proliferation, AIDS, Wiretapping, Racism, Hate Crimes and Proposition 8. I guess it’s not too hard to imagine since it’s a cursory look at a complex snapshot in time of our country at present.

    On November 4th, not only will this country pick a new leader, but Californians will make a major statement about hate and discrimination against LGBT individuals when they cast their ballots on the fate of Proposition 8. A “yes” vote on Proposition 8 will basically eliminate a fundamental right of same-sex marriage.

    Where do I even begin? I’ve said in the past that I personally do not have a strong stance on gay marriage as it applies to me. Some find that strange and others feel betrayed. Do I hope to find love? Do I want to spend the rest of my life with the right man? Most assuredly. Do I want to get married? I’m not so sure. However, I will fight for that right for any man or woman (regardless of sexual orientation) who wishes to recognize their union in such a manner. Love is love. If a man loves a woman or loves a man, it makes him no less of a man–and certainly no less of a human being. The same is true of women.

    I’m completely prepared to accept the fact that there are people in this country who do not like me solely based on the fact that I am homosexual. Your right to hate is as legitimate as my right to be. How you choose to manifest that hate is a completely different proposition.

    I am a gay man. I am a gay man who is a citizen of this wonderful, if flawed, country. With that citizenship and the power of the United States Constitution I am embued with certain rights. I have the freedom of conscience, religion, thought, belief and opinion. I have inherent dignity and the right to have my dignity respected and protected. I am to understand that everyone is equal before the law and has the right to equal protection and benefit of the law. I should be able to believe that the state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, color, sexual orientation, age, disability, religion, conscience, belief, culture, language and birth.

    Is that really too much to ask for? Does who I love negate my rights? Does who I love diminish your rights? Does my homosexuality threaten the institution of marriage? If I were to ask a state for legal recognition of my love and partnership–something that wouldn’t raise an eyebrow if I were heterosexual–do I violate the ’sanctity’ of the institution of marriage?

    In my mind, it seems so simple. Perhaps it is a self-indulgent myopia. But, I can’t help but think of the outrage my fellow citizens would have if Congress suddenly decided that a woman should no longer have the right to vote. Or Jews were no longer able to travel from state to state. Or if African Americans were no longer able to own property. Rights denied by the virtue of who the beholder is….be it sex, religion, race. Many will cry foul. They will say these examples are not the equivalent of the gay marriage issue. But, stop and ask yourself, what is the difference? The fact is that the woman, Jew, African American and homosexual are all human beings who simply wanted to be treated and afforded protections their fellow citizens take for granted.

    I am alternately embarrassed and appalled that the country I live in so threatened by what happens in the privacy of my own bedroom and home. I only seek the respect I reserve for every single person I call fellow citizen. Nothing More. Nothing Less.

    I will close with one last indulgence. If I may, for the moment, bastardize the words of William Shakespeare’s Shylock:

    “I am a homosexual. Hath not a homosexual eyes? hath not a homosexual hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a heterosexual is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that.”

    ===============

    Please consider providing your monetary support to the effort to defeat Proposition 8 on the California ballot. It is an issue that affects us all–not just Californians. To defeat this push for legalized discrimation, the campaign against the proposition needs to give the facts to the voters of California via print, radio and television. That is where you can help. Please visit the Act Blue Page.

    For those of you who vote in California: Don’t Stop at the Top! Propositions are at the bottom of the ballot; Also consider volunteering to help with Get Out The Vote efforts on the No On 8’s Netroots page.

    MILK Premiere

    Academy Award-nominated director Gus Van Sant’s ‘MILK’, starring Academy Award winner Sean Penn as gay rights icon Harvey Milk, had its world premiere at San Francisco’s historic Castro Theatre (at 429 Castro Street) last night. The evening benefited multiple charities supporting LGBT (Lesbian, Gay, Bisexual, and Transgender) youth. Dinner and dancing followed at City Hall.


    Focus’ Mr. Andrew Karpen, Ms. Jennifer Siebel Newsom, San Francisco Mayor Mr. Gavin Newsom and Focus’ Mr. James Schamus

    The city’s mayor, Gavin Newsom, and his wife Jennifer Siebel Newsom were honorary co-chairpersons of the event. All proceeds will benefit the Hetrick-Martin Institute, home of the Harvey Milk High School, in New York City; Larkin Street Youth Services, in San Francisco; The Point Foundation, the national scholarship-granting organization; and San Francisco’s LGBT Community Center.


    Director Mr. Gus Van Sant, Mr. Sean Penn and Mr. Diego Luna

    CEO of Focus Features James Schamus commented, “Tonight, as San Francisco remembers one of its heroes, we also honor his intention to give hope to new generations who aspire to make a difference in the world.”


    Ms. Diane Lane and Mr. Josh Brolin

    In addition to Mayor Newsom and his wife, Mr. Van Sant, and Mr. Penn and Mrs. Robin Wright Penn, attendees included ‘MILK’ stars Emile Hirsch, Josh Brolin, Diego Luna, Alison Pill, and James Franco; Joseph Cross, Stephen Spinella, Kelvin Yu, Brandon Boyce; ‘MILK’ screenwriter and executive producer Dustin Lance Black; ‘MILK’ producers Dan Jinks and Bruce Cohen; ‘MILK’ executive producer Michael London; Harvey Milk’s friends and colleagues Cleve Jones, Anne Kronenberg, Danny Nicoletta, and Frank Robinson; Focus Features CEO James Schamus and president Andrew Karpen; Diane Lane; Casey Affleck; T.R. Knight; Lars Ulrich and Connie Nielsen; Diane Baker; Peter Coyote; David LaChapelle; Chris Columbus; Armistead Maupin; Stuart Milk; James Hormel, The Honorable Bevan Dufty, Senator Barbara Boxer, Assemblyman Mark Leno, Treasurer Jose Cisneros, and Supervisor Tom Ammiano; Oregon Gov. Ted Kulongoski; Universal Studios president and COO Ron Meyer; Universal Pictures chairman Marc Shmuger and co-chairman David Linde; Universal Pictures vice chairman and Universal Studios EVP Rick Finkelstein; Levi’s Strauss America president Robert Hanson, Levi’s Strauss & Co. president and CEO John Anderson, Levi’s Brand Marketing vice president Robert Cameron; and close to 1,400 San Franciscans.


    Ms. Robin Wright Penn and Mr. Sean Penn

    The benefit event was held in the city where Harvey Milk (1930-1978) lived, loved, and changed the very nature of what it means to be a fighter for human rights. ‘MILK’, a biographical drama, was filmed entirely on location in San Francisco earlier this year, including at the Castro movie house itself.

    Mr. Milk was an activist and politician, and the first openly gay man to be elected to major public office in America; in 1977, he was voted to the city supervisors’ board of San Francisco, representing the Castro District.


    Mr. James Franco

    From an original screenplay by Dustin Lance Black, ‘MILK’ is produced by Dan Jinks and Bruce Cohen, the Academy Award-winning producers of ‘American Beauty’, through The Jinks/Cohen Company. Groundswell Productions and Focus Features co-financed ‘MILK’, which is a Focus Features presentation in association with Axon Films of a Groundswell production and a Jinks/Cohen Company production. Executive producers of ‘MILK’ are Groundswell CEO Michael London (an Academy Award nominee for ‘Sideways’), Mr. Black, Groundswell’s Bruna Papandrea, Barbara Hall, and William Horberg.

    ‘MILK’ will be distributed worldwide by Focus; the film’s domestic theatrical run commences on Wednesday, November 26th in select cities (including New York, Los Angeles, and San Francisco) before expanding in December 2008.

    Write To Marry…

    (BOSTON, MA, OCTOBER 24, 2008): Bloggers around the country will participate in “Write to Marry Day” on October 29, 2008, posting on their blogs in support of marriage equality for same-sex couples and against California’s Proposition 8. Prop 8 is a measure on California’s November ballot that would take away the right of same-sex couples to marry.

    The event will give bloggers a chance to voice their opposition to Prop 8 and highlight what they may have already done, online or off, to stop the measure. The campaign will also educate California voters of the need to “go all the way” down the ballot to vote on the proposition.

    “Bloggers have proven themselves an effective political force,” said Mike Rogers, one of the event organizers, who runs the popular site PageOneQ and is Director of the National LGBT Blogger Initiative. “They have already helped raise awareness and money to stop Prop 8. In this last week before the election, they will play a crucial role in motivating others to take action.”

    “Prop 8 is an unfair and unnecessary measure that would eliminate equal protections for same-sex couples and write discrimination into the California state Constitution,” adds co-organizer Dana Rudolph, founder of LGBT-parenting blog Mombian. “As marriage equality spreads throughout the country, people in all states have a vested interest in making sure this hard-won right is protected.”

    To participate, bloggers should post on their own blogs against Prop 8 on or before October 29, 2008, then visit Mombian.com to submit the links to their posts. Links to people’s own videos on YouTube or other video sites are also accepted.

    All bloggers who are against Prop 8 are welcome to contribute posts, regardless of where they live or whether they are LGBT or not. Mombian will showcase the full list of participants on October 29.

    People can track this event by joining the Write to Marry event on Facebook or MySpace, or by following Mombian on Twitter.

    Assistance with the event is being provided by Renna Communications and Witeck-Combs Communications, corporate sponsors of the program.

    Nolle prosequi

    Ladies and Gentlemen of the jury, the last ten days have been trying on several levels–and extremely rewarding on others. I feel I owe you an apology for the lack of new content. Yes, I have viable excuses. However, I really do feel as if I have been neglectful in my duties here at the cyber homestead.

    It began with some difficulties on the technical side as I had several issues with the FTP (File Transfer Protocol) client I use to update the site with. Those took a couple of days to sort out. In the interim, my services were called back into use on the political front.

    It’s no secret that I was a huge Hillary Clinton supporter at the beginning of this arduous political season. With the stakes involved in this election, I think it’s safe to say that I have never been as personally involved in working on Democratic campaigns in my life. It’s been an eye-opening experience–but one that I would not give back a second of. Obviously, I’ve now been working for the Obama/Biden campaign–and I do believe in this ticket to my core.

    As the race has winded down, the state of New Mexico and its piddly five electoral college votes have become supremely important. Over the next few days, our state is expecting visits from Senators Obama, Biden, Clinton and McCain. These last two weeks are critical ensuring a disaster of consequential proportion (that being the election of a McCain/Palin ticket). So, I’ve been away doing all that I can–and I urge you to do the same. If you have any free time–or can make time–between now and Election Day, I urge you to get involved with your local and state campaigns (regardless of your political affiliation).

    These days are crucial to the direction this great country will take in the next years. Some things are much too important to cede the power of your vote. Yes, my friends, one vote can and will make a difference.