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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.

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

A New Day Has Come

I have voted in every election that I have been eligible to vote in since I earned the right. No election night has ever been as exciting or fulfilling for me as November 4, 2008.

The announcement of President-Elect Barack Obama’s victory as I watched the returns on CNN is a moment I am sure will stay with me until the day I die. It was a moment that saw the path of a personal journey intersect with a historical and political crossroad.

On a personal level, I have never been as involved or invested in a political journey. As a life-long Democrat, it’s not always been easy to be at the losing end of some very complicated and controversial campaigns. As someone who grew so disillusioned after eight years of the Bush Administration, I began this cycle staunchly supporting Senator Hillary Rodham Clinton for this Land’s highest office. As that possibility faded, I felt compelled to join the Obama camp and put as much effort as I could into believing in the change he promised. For over a year, I’ve devoted time and resources to doing what I can to be a spoke in the wheel of change. It’s been exhilarating. It’s been terrifying. It’s been a white-knuckle, thrill-a-minute ride.

Last night, that prelude to a new journey came to a conclusion with a memorable speech delivered by President-Elect Obama in Grant Park in Chicago. Listening to his measured and comforting words, I couldn’t help but be choked with emotion and filled with a belief that things like hope and change are still possible in a cynical and bitter world. It was a moment, I had hoped and prayed for. At the same time, it was a moment I had a slight fear would never come to fruition. When he spoke of Ann Nixon Cooper, the tears finally came.

What an Obama victory means in terms of the promise of a new direction for this country is truly exciting. My faith in his sincerity and dedication to duty has only been shored by his conviction and calm nature. It’s as if we are starting a new chapter in the history of this country. A chapter that has yet to be written–but a chapter that is not shackled to special interests or a singular segment of the population. It’s a story that we are all going to have a hand in crafting. A new journey that will be led by a man who will be the catalyst of change that he has promised.

I am excited. I am truly filled with hope. I feel a renewed faith in my country that has long been missing–a fact that has truly saddened me. Words like “change” and “yes we can” suddenly seem to have renewed meaning. They hold a promise of a future that many of us had hoped for, but never let ourselves dream of.

Yet, on November 5, 2008, that dream has dawned with a new day.

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.

Stop! You’ll Go Blind!

Stop! You’ll Go Blind!

It’s amazing the topics that can be discussed when a group of friends and acquaintances get together. This weekend I was involved in a lengthy discussion about masturbation. After I cleared the first thought out of my head (that I really need to get some new friends), it turned out to be a very interesting–and at times scholarly–discussion.

One part of the discussion focused on an argument by Immanuel Kant (Metaphysics Of Morals) that masturbation was an unnatural use of one’s sexual attributes and a violation of one’s duty to onself. The crux of his argument was that immorality lay in the fact that man gives up his personality by using himself to gratify an animal drive. Of course, one has to realize that this was posited in 1797.

The first recorded and repeated reference to masturbation as onanism occured in 1716 in a pamphlet distributed in London entitled “Onania”. In the build-up to the Victorian Era, the themes of sin and vice were loudly debated. “Onania” basically argued that indulging in masturbation would lead to such varied conditions as impotence, epilepsy and gonorrhea. (An interesting side note: “Onania” also shilled ’strengthening tinctures’ and ‘prolific powders’ that could be purchased at local shops as effective remedies to combat onanism.)

Somewhere in the midst of the discussion, the whole list of possible maladies that could be inflicted upon the sinning masturbator (as opposed to the singing masturbator) was enumerated–and everyone’s favorite side effect was blindness. After I took note of how many people in the room were wearing glasses, I wondered exactly where such a story originated. (Yes, I know my mind works in a very sick and twisted way.)

As best as I can tell, we can all blame Dr. Samuel-Auguste Tissot. The Swiss physician published a medical treatise entitled L’Onanisme in 1760. In cross-your-legs detail, he sited case studies of his male patients in Lausanne and their ill-effects from masturbation. Tissot argued that semen was an “essential oil” and “stimulus” that was too valuable to be squandered. It was his theory that when semen was lost from the body in great amounts it led to “a perceptible reduction of strength, of memory and even of reason; blurred vision, all the nervous disorders, all types of gout and rheumatism, weakening of the organs of generation, blood in the urine, disturbance of the appetite, headaches and a great number of other disorders.” Tissot’s work would eventually influence thinkers like Kant and Voltaire on the subject.

For the next two centuries, Western medicine would turn masturbation into a debillitating illness.

Meanwhile–and despite the embarrassment of hair on my palms and the frequent bouts of double vision–I touch myself.

Planet In Peril

Planet In Peril

“The environment is more than just a niche news story; it is an issue that affects every living being and warrants greater attention in the press. Our goal was to report not only on individual issues but to examine the interconnectivity of environmental changes. Instead of simply delving into academic theories, we set out to document the actual changes taking place that affect the way we live our lives and the choices we make.”—Mr. Anderson Cooper

Mr. Anderson Cooper

This week, one of the most sweeping and important documentary investigations of our time will be shown in two parts on CNN. Entitled ‘Planet In Peril’, the four hour presentation helmed by anchor Anderson Cooper–along with chief CNN medical correspondent Dr. Sanjay Gupta and Animal Planet wildlife biologist Jeff Corwin–is visually stunning and arresting in its scope and impact. What is perhaps most important about this groundbreaking effort is that it takes the viewer past tenuous concepts like “greenhouse effect” and “global warming” and show the real-time impact such scientific concepts are having on our planet at this very moment.

Anderson Cooper & Jeff Corwin

‘Planet In Peril’ tackles four main issues that threaten the planet and its inhabitants: climate change, deforestation, species loss and overpopulation. Filmed across four continents and 13 countries, ‘Planet In Peril’ airs over two nights on CNN/U.S. on Tuesday, Oct. 23, and Wednesday, Oct. 24, from 9 p.m. to 11 p.m. (ET/PT) and globally on CNN International. ‘Planet in Peril’ was shot and produced using state-of-the-art high-definition equipment and comes on the heels of the Fall 2007 launch of CNN-HD, the network’s high-definition news channel. Crews for Anderson Cooper 360°, an in-depth, comprehensive news program that takes a full 360-degree look at the world’s events, produced ‘Planet in Peril’. Don’t miss it.

Mr. Anderson Cooper

**************

Mr. Anderson Cooper

Anderson Cooper, who joined CNN in December 2001, has reported diverse and powerful stories from around the world including the Mideast turmoil from Lebanon and Israel in July 2006; Hurricane Katrina and its aftermath from New Orleans and along the Gulf Coast; the Sago Mine tragedy in West Virginia; the war on terrorism from Afghanistan and Iraq; famine and disease from The Congo and across Africa; and environmental issues from South America. Cooper and Anderson Cooper 360° have won several awards, most recently three Emmy awards in 2006 for reports about famine in Niger, Charity Hospital in New Orleans and black market infertility. Cooper is also a National Headliners Award and Peabody Award winner.

Dr. Sanjay Gupta

Dr. Sanjay Gupta is chief medical correspondent for the health and medical unit at CNN. Gupta plays an integral role in the network’s medical coverage, which includes daily packages, the half-hour weekend show House Call with Dr. Sanjay Gupta and coverage of breaking medical news. A Peabody and Emmy Award-winning journalist, Gupta’s reporting has taken him to Kuwait and Iraq, where he was embedded with the U.S. Navy’s medical unit the “Devil Docs” and performed neurosurgery in the field, as well as to Bangkok, Thailand, Sri Lanka and New Orleans.

Mr. Jeff Corwin

Animal Planet host and wildlife biologist Jeff Corwin has been working for the conservation of endangered species and ecosystems around the world since he was a teenager. Animal Planet viewers best know Corwin as host of The Jeff Corwin Experience and for the Discovery Kids series Jeff Corwin Unleashed, which won him an Emmy as “Outstanding Host” and nominations in three other categories. Since 2000, Corwin has partnered with Animal Planet and Discovery Communications as host and executive producer of The Jeff Corwin Experience and Corwin’s Quest.

*************

International Airtime Information:

Tuesday 10/23/07
9pm-11pm ………. ALL REGIONS ……. Planet in Peril (part 1)

Wednesday 10/24/07
9am-11am ET ….. ALL REGIONS ……. Planet in Peril (part 1)
3pm-5pm ET ……. ALL REGIONS ……. Planet in Peril (part 1)
9pm-11pm ET ….. ALL REGIONS ……. Planet in Peril (part 2)

Thursday 10/25/07
9am-11am ET …… ALL REGIONS ……. Planet in Peril (part 2)
3pm-5pm ET …….. ALL REGIONS ……. Planet in Peril (part 2)

Saturday 10/27/07
5am-7am ET …….. ALL REGIONS ……. Planet in Peril (part 1)
5pm-7pm ET …….. ALL REGIONS ……. Planet in Peril (part 1)

Sunday 10/28/07
6am-8am ET …….. ALL REGIONS ……. Planet in Peril (part 2)
5pm-7pm ET …….. ALL REGIONS ……. Planet in Peril (part 2)

Out, Damned Spot! Out, I Say!

OUT!

“Being brave doesn’t mean that you’re not scared. It means that if you are scared, you do the thing you’re afraid of
anyway. Coming out and living openly as gay, lesbian, bisexual, transgender or as a straight-supportive person is an act of bravery and authenticity. Whether it’s for the first time ever, or for the first time today — coming out may be most important thing you will do all day. Talk about it.”
–from the Human Rights Campaign ‘A Resource Guide To Coming Out

Today is National Coming Out Day. It seems humans love to have a day for everything–and most of them pass unnoticed. I suppose if you are not gay, lesbian, bisexual, or transgender, today may not carry as much significance for you. As someone who struggled to accept my sexuality (a part of the whole sum of who I am), the year I turned 29 was a watershed event in my life. It was the year I finally accepted who and what I was. It was also the year I learned to live without regret and the fear of not being accepted. I’m not sure I remember the exact day any more…but the year, I’ll never forget. By sharing the words “I’m gay” with another human being, a freedom I could never have dared imagine was born and changed my life in ways to vast to count.

National Coming Out Day!

With the many pressures that a society, family, culture, religion, morality, and work environ place upon us, it’s not easy being different. It’s even harder to accept being different. For all the fears I had–and that I let trap me in a proverbial closet–it would be a revelation that the biggest hurdle I had to overcome was self-acceptance. That’s not to say the rest of it was an uneventful and harmonious journey. Yet, for a man who prides himself on a logical and mathematical reality of the world around him, the hardest equation to solve was:

XY = Me = Gay = Okay.

As much as the world changes around us each day, so many things stay the same–or change at the pace of a polar ice floe. Hatred and discrimination are still alive in the hearts of men. It gets better–and it’s getting better. And we are the agents of change in that betterment. So, maybe it’s not today per se. Maybe it’s tomorrow…or next month. Just know the day is coming. Know your day is coming.

Happy National Coming Out Day!

*************

I am coming in
And out
Of my life…

At turns,
I leap.
I crawl.
I am shoved.
I am pushed.
I am dragged.
I am screaming.
To get out…

I am stepping
Into the person
I was meant to be
I am finding a new skin
My body, my heart, and my mind
Demand that I occupy
I am becoming comfortable
With who I am
I am integrating that person
And this persona
Into my everyday world…

I am realizing.
I am acclimating.
To my new skin
The process of going
From a mental closet
Into the orbits
That create my world
Is fully underway…

From the circles
That comprise
My private life,
My family life,
My career life––
The entire world
Around me
Is falling into place…

I am a planet.
On an elliptical orbit
Waiting to crash
Into other objects
I am leaving
My center…My closet
Traveling forth
Into the real world…

With this new skin
A brilliant armor
I am venturing forth
To slay my dragons
To claim my domain…

I am comfortable.
Being who I am.
I am validating
My own existence
The many parts
Of my life
Are now being filtered
Through the cognizance of
And the embrace of
my sexual orientation…

Whether I look
From a perspective
Of coming out or coming in–
Or perhaps a hybrid of both
I am achieving an inner peace
That’s been missing far too long.

Balance.
Acceptance.
Courage.

The overwhelming
Desire
To be
Who I am.
The authentic me.

Come Out,
Come Out…
Whoever You Are…

**************

confessions on a foucaltian dance floor

The life and times of French thinker, philosopher and historian Michel Foucault were nearly as amazing as the written works he left behind. Foucault was a lightning rod for controversy–and I very much believe he would not have had it any other way. The list of subjects that Foucault’s work touched and changed is truly mind-boggling. I’m not sure that I agree with all of his declarations and hypotheses. But, I must say that he is an inspiration and example to the ideals of free-thinking.

Recently, I re-read Foucault’s seminal three-part treatise on human sexuality. Starting with ‘A History of Sexuality: An Introduction (and continuing with ‘A History of Sexuality: The Use of Pleasure’ and ‘A History of Sexuality: The Care of Self’), I was struck by how much of Foucault’s writing seemed fresh and relevant–as opposed to when I had last read it during my days of higher education. I think much of my surprise has to do with the fact that I am now older and have a richer history of experiences to draw upon and relate to in regards to my own sexuality.

Foucault (who himself was homosexual) is often credited as the father of ‘queer theory’. That may or may not be an important distinction in his vast body of work. Nonetheless there is a definite school of thought that Foucault developed in regards to homosexuality. Starting with the bigger picture of human sexuality, one of Foucault’s tenets in his historical review of sexuality is that Western society has always repressed sexuality.

The human view of sexuality is delineated by Foucault into two distinct separations: “ars erotica” and “scientia sexualis”. Foucault argues that China, Japan, India and the Roman Empire have embraced sexuality as “ars erotica” (erotic art). To that end, sex is seen as an art and a special experience and not something dirty or shameful. It is something to be kept secret–but only because of the view that it would lose its power and its pleasure if spoken about. In Western society, Foucault says that sexuality is viewed as “scientia sexualis” or the science of sexuality. The platform of “scientia sexualis” was diametrically opposed to “ars erotica” because of being built upon a 17th century construct: the confession.

Foucalt states that it is not merely a question of the Christian confession–but more generally the all-consuming urge to talk about it. Foucault argues that Western culture has long been fixated on sexuality. This fixation became a repression. Rather, the social convention, not to mention sexuality, has created a discourse around it, thereby making sexuality ubiquitous. This would not have been the case, had it been thought of as something quite natural. The concept of “sexuality” itself is a result of this discourse. And the interdictions also have constructive power: they have created sexual identities and a multiplicity of sexualities that would not have existed otherwise. Therefore, Western society developed a fixation with finding out the “truth” about sexuality, a truth that was to be confessed. It is as if sexuality did not exist unless it is confessed. Foucault wrote:

“We have since become an extraordinarily confessing society. Confession has spread its effects far and wide: in the judicial system, in medicine, in pedagogy, in familial relations, in amorous relationships, in everyday life and in the most solemn rituals; crimes are confessed, sins are confessed, thoughts and desires are confessed, one’s past and one’s dreams are confessed, one’s childhood is confessed; one’s diseases and problems are confessed;…”

Following his logic, Foucault was highly critical of psychoanalysis–which he saw as nothing more than a modern, scientific form of confession. Foucault saw psychoanalysis as a legitimization of sexual confession. In it, everything is explained in terms of repressed sexuality and the psychologist becomes the sole interpreter of it. Sexuality is no longer just something people hide, but it is also hidden from themselves, which gives the theological, minute confession a new life.

What becomes of interest for me is Foucault’s theory in application to homosexuality and the process we call “coming out”. (I should note here that I have some major problems with this school of thought–but it is nonetheless worthy of inspection.)

The actual concept of “coming out” did not exist at the time Foucault’s first volume on sexuality appeared in 1976. But some theorists and thinkers have applied Foucault’s writings to say that the process of confessing one’s homosexuality (i.e., coming out) can be interpreted as a validation of this innate urge to confess. This school of thinking finds what it calls a compulsion to reveal one’s sexuality to confirm its existence in our society. By contrast, in ars erotica, a very different view is held and people are content to let it remain a secret in the positive sense of the word.

Here is where the worlds of religion and sexuality finding a prickly intersection. The reason sexuality should be confessed is to be found in the Christian view of it. It was not, as it is today, seen as a strong, obvious force, but as something treacherous, something only to be found by careful introspection. Therefore every detail had to be laid forth in confession; every trace of pleasure experienced had to be examined to find the traces of sin.

In this attention to details, the reason sexuality is given such importance in our society is to be found: Making sexuality something sinful did not make it disappear. Quite the contrary, it was reinforced and became something to be noticed everywhere.

There seems to be some kind of disconnect within the LGBTQ community when it comes to the notion of “coming out”. I think for most, it is safe to say that it is seen as a healthy ritual of acceptance and expression of individuality. Yet, there are many who find conflict in this public acknowledgement of their homosexuality. It also brings to mind the idea of “gay pride”–and why there is such a strong division of opinion on its relevance and importance to the LGBTQ community as a whole–and to the individual.

In my own personal experience, “coming out” was a very difficult journey. At the end of that journey, I realized that my biggest challenge to acceptance came not from those around me–but from me. It was nothing short of an internal struggle to accept who I was (and am). For me, the process was educational and critical. I think it is very important to stress that whatever process or form “coming out” may take, I do not believe that it is a generic or universal construct. Just as people are different in many ways, sexuality is but one factor that determines an individual.

Which brings up another intriguing–and much debated–question. There are those who would argue some variation of the following : “Okay, fine. You’re gay. Now do you have to rub it in everyone’s face?”. The answer to that question, my friends, is not so simple. I would argue that I see both the positive and negative in such a qualification.

Is it really all about confession? Or is it a more complicated form of acceptance? When all is said and done, I imagine the answer depends on…you.

“Homosexuality appears as one of the forms of sexuality when it was transposed from the practice of sodomy onto a kind of interior androgyny, a hermaphroditism of the soul. The sodomite had been a temporary aberration; the homosexual was now a species.”

—Foucault, Michel (1976) History of Sexuality: Volume I: An Introduction. NY: Pantheon. Translated from French by Robert Hurley. (Page 43)

Stunningly Elizabethan

Here’s a first look at some of the breathtaking imagery from the highly-anticipated film ‘Elizabeth: The Golden Age’ which is scheduled to hit theatres on October 12, 2007. Ms. Blanchett is as scintillating as ever and the period costuming, hair, set and art direction are not to be missed. It’s a sinful feast for the eyes. Mr. Owen as Sir Walter Raleigh is a feast unto his own.

Ms. Cate Blanchett in Elizabeth: The Golden Age
Ms. Cate Blanchett in Elizabeth: The Golden Age
Ms. Cate Blanchett in Elizabeth: The Golden Age
Ms. Cate Blanchett in Elizabeth: The Golden Age
Ms. Cate Blanchett and Mr. Clive Owen in Elizabeth: The Golden Age

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

Release Date: October 12, 2007

Genre: Historical thriller

Cast: Cate Blanchett, Geoffrey Rush, Clive Owen, Rhys Ifans, Jordi Molla, Abbie Cornish and Samantha Morton

Directed by: Shekhar Kapur

Screenplay by: William Nicholson and Michael Hirst

Producers: Tim Bevan, Eric Fellner, Jonathan Cavendish

Executive Producers: Debra Hayward, Liza Chasin, Michael Hirst

Reprising the roles they originated in seven-time Academy Award®-nominated Elizabeth, Cate Blanchett and Geoffrey Rush return for a gripping historical thriller laced with treachery and romance–Elizabeth: The Golden Age. Joining them in the epic is Clive Owen as Sir Walter Raleigh, a dashing seafarer and newfound temptation for Elizabeth.

Elizabeth: The Golden Age finds Queen Elizabeth I (Oscar®-winner Cate Blanchett) facing bloodlust for her throne and familial betrayal. Growing keenly aware of the changing religious and political tides of late 16th century Europe, Elizabeth finds her rule openly challenged by the Spanish King Philip II (Jordi Molla)–with his powerful army and sea-dominating armada–determined to restore England to Catholicism.

Preparing to go to war to defend her empire, Elizabeth struggles to balance ancient royal duties with an unexpected vulnerability in her love for Raleigh. But he remains forbidden for a queen who has sworn body and soul to her country. Unable and unwilling to pursue her love, Elizabeth encourages her favorite lady-in-waiting, Bess (Abbie Cornish), to befriend Raleigh to keep him near. But this strategy forces Elizabeth to observe their growing intimacy.

As she charts her course abroad, her trusted advisor, Sir Francis Walsingham (Academy Award® winner Geoffrey Rush), continues his masterful puppetry of Elizabeth’s court at home–and her campaign to solidify absolute power. Through an intricate spy network, Walsingham uncovers an assassination plot that could topple the throne. But as he unmasks traitors that may include Elizabeth’s own cousin Mary Stuart (Samantha Morton), he unknowingly sets England up for destruction.

Elizabeth: The Golden Age tells the thrilling tale of an era…the story of one woman’s crusade to control love, crush enemies and secure her position as a beloved icon of the western world.

Tudor Me…Please!

The Tudors

Start marking your calendars. On April 1st, Showtime, the network that dares, continues to push boundaries with its unveiling of ‘The Tudors’ which promises to be nothing if not scandalous. While it has all of the hallmarks of the typical period-piece costume drama, ‘The Tudors’ will take a decided bent by focusing on the rarely dramatized, tumultuous early years of King Henry VIII’s nearly 40-year, omnipotent reign of England.

Headlined by the magnificently beautiful Johnathan Rhys Meyers in the lead role, the cast is filled with a cadre of superlative players in the likes of Sam Neill, Jeremy Northam, Gabrielle Anwar, Callum Blue, Henry Cavill, Henry Czerny, Natalie Dormer, Maria Doyle Kennedy, Nick Dunning, James Frain, Kris Holden-Reid and Steven Waddington.

Mr. Jonathan Rhys Meyers as King Henry VIII
Mr. Jonathan Rhys Meyers as Henry VIII

Johnathan Rhys Meyers gives a deliciously indulgent performance as King Henry VIII. It’s a Henry you’ve probably not envisioned heretofore, as the story begins shortly before a meeting with King Francis at Calais and the debut of the charismatic Anne Boleyn. Needless to say, sex and beheadings (two words I’d never thought I’d write in the same sentence) have never been more seductive and excessive. ‘The Tudors’ promises to have something for everyone–adult everyones that is.

In this teaser clip, Lord William Compton (Kris Holden-Reid) seduces Thomas, a young male singer in the dark, winding hallways of an English castle. (By the way, if Holden-Reid looks familiar, you may have seen him in 2004’s gay romantic comedy ‘Touch Of Pink’.)

Showtime is making the first two episodes of ‘The Tudors’ available for on-line viewing if you are not already a subscriber (and if your not, you should be).

The Golden Age

Elizabeth--Cate Blanchett

In 1998, the enchanting Cate Blanchett burned up movie screens with her fiery Oscar nominated performance in Elizabeth. The sumptuous film would earn seven Academy Award nominations, on its way to a modest $30 million box office in the U.S. Though the film went on to earn a worldwide boxoffice take of $64 million against an estimated $25 million dollar budget, the prospects for a planned sequel looked rather gloom.

It may have taken a few years, but I’m happy to say that sequel is currently shooting on location in the U.K. and is currently slated for an October 5, 2007 premiere. Reunited with director Shekhar Kapur, Cate Blanchett and Geoffrey Rush both return to reprise their roles. The Golden Age is based on a script by William Nicholson and Michael Hirst. Joining Blanchett and Rush in this historical thriller is Clive Owen, who will play Sir Walter Raleigh, a dashing seafarer and newfound temptation for Elizabeth.

The Golden Age finds Queen Elizabeth I (Cate Blanchett) facing bloodlust for her throne and familial betrayal. Growing keenly aware of the changing religious and political tides of late 16th century Europe, Elizabeth finds her rule openly challenged by the Spanish King Philip II (Jordi Molla)–with his powerful army and sea-dominating armada–determined to restore England to Catholicism.

Preparing to go to war to defend her empire, Elizabeth struggles to balance ancient royal duties with an unexpected vulnerability in her love for Raleigh. But he remains forbidden for a queen who has sworn body and soul to her country. Unable and unwilling to pursue her love, Elizabeth encourages her favorite lady-in-waiting, Bess (Abbie Cornish), to befriend Raleigh to keep him near. But this strategy forces Elizabeth to observe their growing intimacy.

As she charts her course abroad, her trusted advisor, Sir Francis Walsingham (Geoffrey Rush), continues his masterful puppetry of Elizabeth’s court at home–and her campaign to solidify absolute power. Through an intricate spy network, Walsingham uncovers an assassination plot that could topple the throne. But as he unmasks traitors that may include Elizabeth’s own cousin Mary Stuart (Samantha Morton), he unknowingly sets England up for destruction.

The Golden Age tells the thrilling tale of an era–the story of one woman’s crusade to control love, crush enemies and secure her position as a beloved icon of the western world.

I, for one, will be waiting in line.