Vishal - From Child Actor to Certified Star

Vishal has had an interesting career in Kollywood. From being a child star to dropping out of law to school to get back into acting at 24; only respond with two bombs in the box office and to now being one of the most sought after actors in Kollywood, pulling off one of the greatest comebacks in Indian entertainment.

Vishal got in the industry like many of his peers in not only kollywood but Bollywood and hollywood as well; his father was a director of Tamil films, and in a famous anecdote got his diapers changed on the set of Jadikketha Moodi, ironically vishal would star in a re-make of that movie 20 years later. He got his first break early in kollywood by being the lovable child everyone knew as samir in the blockbuster hit Chellamae. This instantly made him one of the only child stars in India. He was the first child actors to get a sponsorship for Carvel Ice Cream, making him one of the highest paid actors in India, regardless of age. His father and mother insisted that vishal have a normal childhood, despite the money and fame that came with being a famous actor.

Despite the fact that he was very rich, his parents came through with their promise of him having a normal childhood, and by 18 he was the valedictorian at his school in chennai, and after going to university he got accepted to one of America's most prestigious university; Yale. But as the saying goes, you take the actor off the drug of fame and fortune but eventually they will be back.

So he made the jump into the kollywood industry again with the flop Sandakozhi. It was an absolute disaster in the box office, only to be followed by another bomb at the box office Thimiru. It was a major blow to both his ego and his value as a star actor. It looked like the career was over, but he decided to take some time of and work on his craft. One of the things he did to improve his craft was to

Study Shakespeare in London, and he also did some musicals in England. Eventually after some time off he was ready to make a comeback.

The movie Malaikottai was one o the most successful Tamil films of time, rakin in more than 50 crores on one weekend, a record for comedies at the time. His performance brought him many awards including he Filmfare award for Best Actor in 1998; completing the biggest comeback in the history of this industry. He did a couple more movies after that and he started a production company. He now lives in Goa with his wife, and he is now regarded as one of the greatest actors of his time.

Vishal's greatest moments can be seen here at the best site for Kollywood News and Videos

[http://www.tamilfilmsonline.com]

The Importance of a Film Director

Trying to excel in a particular career or field depends largely on the type of instruction a person has received throughout their life. No matter how much natural talent someone has, reaching the highest potential is largely aided by the quality of mentors a person has had in their life. We have teachers in school, instructors in the arts, and coaches in sports, all types of mentors that help their students succeed. The same thing applies to the arts, particularly film. In the making of a film, the director is a type of creative leader and mentor, not only to the actors or crew, but also to the story. He shapes it and directs its creativity.

Because of all the work that goes into his job, a film director gets most of the creative credit for his finished piece of work. This is largely because he is so intimately involved in all aspects of the film's development. He helps the screenwriter visualize the script. In most cases, what the director says, goes. He also guides the actors and crew into the direction of his creative vision. Because of the amount of influence a director has, the selection of the director is one of the most important decisions a film's producer must make in the early stages of film development. Often the film director and producer must work together to ensure the best possible end results.

Not only is the director heavily involved in the production phase of a film, he is also influential in post-production. The director will work with the film's editor to make sure that the final product of editing results in a cohesive story that adheres to his creative vision. He may also work directly with the sound mixers and film scorer for this reason. In the end, when you see a great film on the big screen, it's creative vision is the result of the hard work of a film director.

The coproducer of Lemon Tree Ira Riklis.

Billings Farnsworth is a freelance writer.

Spy Cams - Bonding Film and Real Life

You know the number. You know the name. It's 007. It's Bond.

Who does not know James Bond? He is the suave spy who goes on secret missions, use high-tech gadgets, uncover elaborate conspiracies, and still find time to chase after beautiful women.

Ian Fleming's fictional British Secret Service agent, James Bond, is not just a movie character. He has become an institution, an icon of spy movies and spy cams. Over the years, 21 Bond films have been produced by EON Productions. This makes the Bond franchise the most successful film series in the spy film genre.

Acting before Spy Cams and Movie Cams

From 1962 to 1967, Sean Connery played the role of Bond. Connery's first film in the 007 series was Dr. No, which was released in 1962. This was followed in succession by From Russia with Love in 1963, Goldfinger in 1964, Thunderball in 1965, and You only Live Twice in 1967.

George Lazenby was cast in the role of the British spy for the 1969 release of On Her Majesty's Secret Service. Lazenby's stint as James Bond was cut short when Connery returned for the next film, which was released in 1971. This film is the now legendary Diamonds Are Forever.

In 1973, Roger Moore debuted as the new Bond in the film, Live and Let Die. Moore would go on to make six other 007 films. This makes him the actor with the longest run in a single role. His last Bond film, a View to a Kill, was released in 1985.

After Moore, Welsh actor Timothy Dalton took on the role for the Bond films The Living Daylights, released in 1987, and License to Kill, shown in 1989.

In 1995, Pierce Brosnan played Bond in GoldenEye. This film became the highest-grossing movie of the 007 series at that time. Brosnan proceeded to star in three more 007 movies, the last one being Die Another Day in 2002.

The latest actor to play James Bond is Daniel Craig. His portrayal in Casino Royale earned the Bond franchise its first Best Actor nomination from the British Academy of Film and Television Arts. A 22nd 007 film is slated for a tentative 2008 release.

Q and the Real Secret Service

Q is responsible for outfitting 007 with the latest in spy gadgetry. Even with the fictional quality of the equipment developed by the Secret Service's Quartermaster, Q, most of the movie's gadgets parallel those used by secret agents in real life.

Examples of gadgetry used both in the 007 films and in real-life espionage are spy cams. Q disguises spy cams as mundane, everyday items. These spy cams can be as small as a coin, yet still be very useful in retrieving information from high-security and restricted areas. In real life, a similar spy cam is used by agents. This spy cam is in the form of a Latvian-manufactured Minox camera. Because it is very small, agents can easily conceal it in the palm of one hand.

Besides spy cams disguised as non-essential objects, weapons concealed in ordinary things such as a pack of cigarettes, an umbrella, or a pen are also used by real-life agents.

The heavy parallelism between real-life use of spy cams and those manifested in Bond films prove that our technology is fast catching up with the imagination of writers and filmmakers. Who knows? Perhaps one day, James Bond, too, would make the leap from fiction to reality.

Wanna learn more about spy cams? Visit our site now for details about wireless security cameras and mini spy cameras.

Timing is Everything - Delivering on Comedy

There is a generation gap that is developing between me and the young people whom I direct. While they are smart, much smarter than I am, or was, or will be, and while they have a vast knowledge of music, including 'classics' that I am very familiar with, we have a big gulf in communication when it comes to what is funny.

I read an interview of Martin Short last week. He said that comedy is generational, and that it has to be... maybe that is true. But how do you explain comic timing to someone who has never seen the old shows that you grew up on? How do you train actors in the history of theatre when they don't even know the recent history of film and television?

My generation had the 'benefit' of less affluent television stations. They could not pay for new movies. We got black and white movies from the stone ages. You know, movies starring Charlie Chaplin, Buster Keaton, or the Keystone Cops. The Little Rascals was a primer for comedy.

Teaching comedic timing is very difficult, but watching it is easy - if you get good comedy. Just as we watch dramatic actors and learn their techniques and methods, we need to be sitting our kids in front of some of the solid comic actors that have come and gone, and learn their lessons.

Try some Laurel and Hardy or Three Stooges, some Carol Burnett or Lucille Ball, some Jackie Gleason, some Jack Benny, some W.C. Fields and Mae West, some Groucho Marx and his brothers.

Didn't they teach us that funny stuff happens in three beats? Didn't we learn from them that if your inflection rises during a line, and you put a beat before the next word, then it's funny?

Mae West's, "Come on up and ... see me sometime."

Don Adams had brilliant delivery in Get Smart, "Aand... llloving it."

Bugs Bunny, "Ehhhhnnnn... what's up, Doc?"

Can you imagine those lines without the build?

Comedy is slow. Anticipation is the most delicious aspect of it. Lucille Ball eating chocolates off of an assembly line is one of the most famous moments of television. The thing that made that a brilliant comedic piece instead of a disgusting show of gluttony or an alarming pathetic tragedy is all in the timing. Compare that to 'Just for Laughs: Gags' and tell me that things have not slid in a downward spiral on the small screen.

More recently (although not yesterday!) Ellen Degeneres and Tea Leone also are excellent comic actors. Bob Newhart... I am trying to name people who are not profane or inappropriate for young people in hopes that they will get seen by actors who can benefit from a good laugh and an entertaining lesson.

Too often, shocking behaviour, creative use of foul language and zany antics are accepted as comedy. There is a pleasant way to learn about comedy. Be a consumer of the 'good stuff'.

Treat your family to some vintage films and watch the masters at work.

Anne Marie Mortensen is a theatre producer, director and teacher in Kingston Ontario. Her business partnership, Bottle Tree Productions, is the Company in Residence at the Wellington Street Theatre.

Bottle Tree Productions
The Wellington Street Theatre

Child's Play (1988)

The killer doll subgenre was rejuvenated in 1988 when Tom Holland (Fright Night) and United Artists unleashed sneering, red-headed Good Guy doll Chucky upon the world in Child's Play. The film reteams director Holland (whose direction here is very solid and stylish) with Fright Night star Chris Sarandon and is based on a Don Mancini script that, like Fright Night's, is scary and funny at the same time and pokes some good-natured fun at '80s horror films in general.

With a $9,000,000 budget, the film was anything but cheap to make but grossed an impressive $44,000,000 theatrically worldwide, marking it as a huge success that has spawned (to date) four direct sequels and a number of imitators like Dolly Dearest, Puppet Master, Demonic Toys and Pinocchio's Revenge. The terrific Stuart Gordon film Dolls actually preceded the release of Child's Play by about a year and wasn't a success with mainstream audiences, but I imagine both Dolls and Child's Play (which are rather different from each other in tone and thematically) nonetheless helped to usher in the popularity of the evil doll subgenre during the late '80s and early '90s.

Child's Play opens with late-night chase and shootout down an empty Chicago alley, with serial strangler Charles Lee Ray (Brad Dourif) being pursued on foot by armed cop Mike Norris (Chris Sarandon), who tries valiantly to pump a few bullets into the notorious murderer from afar and misses at first, but finally manages to lodge one into Ray's back, mortally wounding him. Bleeding Ray shoots through the door of a closed toy store with his own weapon and ducks into the building, weaving surreptitiously between the aisles of merchandise as Norris follows him inside.

Knowing he's dying, Ray grabs the nearest Good Guy doll, a popular talking battery-powered kids doll, and by reciting a macabre incantation transfers his soul into that of the plastic toy just seconds before the occult ritual causes a massive explosion in the store strong enough to bust out the windows and send toys flying in every direction. Norris is unhurt and soon finds Ray's lifeless human body lying next to the cute doll and thinks that the so-called Lakeshore Strangler's reign of murder has been put to rest.

Soon after Ray's "death", hard-working single mom Karen Barclay (Catherine Hicks) buys the very same doll -- from a peddler in an alley behind the mall where she works -- as a birthday present for her 6-year-old son Andy (Alex Vincent), who couldn't be happier when he tears open the wrapped gift and discovers he now has the fantasy of every boy in America -- a Good Guy named "Chucky", a doll with a shock of fire engine red hair and clad in blue overalls that can walk and talk and provide hours of enjoyment for a lonely child. But after Karen has to work late one night and has friend and coworker Maggie (Dinah Manoff) babysit Andy, who winds up mysteriously falling to her death from the top-floor window of the apartment, Andy informs his worried mother and -- by sheer coincidence -- investigating cop Mike Norris that Chucky is alive and capable of human thought.

No one believes him, of course, and the very day after Maggie dies, Andy skips school under the direction of his new plastic friend and takes the city bus into the Chicago ghetto, to an abandoned house where Chucky knows double-crossing ex-cronie Eddie Caputo (Neil Giuntoli) squats. Andy waits outside while Chucky sneaks into the house and turns on the curiously working gas oven on in the rat-infested kitchen while Caputo sleeps upstairs... and next thing you know, the house is in flames with the homeless Caputo roasted inside.

The cops find Andy and his creepy doll at the scene of the fire and take him into custody, and the boy continues babbling his mad stories about Chucky being alive and threatening to kill him if he ever tells anyone the doll is alive. Karen is devastated when Andy is promptly thrown into a psychiatric children's hospital for observation, but she soon discovers for herself when she brings the doll home that Chucky is indeed alive... and to make matters worse, the plastic fiend is determined to transfer his soul into Andy's body before he is trapped in the body of a Good Guy doll forever.

Veteran actress Catherine Hicks makes a smashing horror film debut as sacrificing mom Karen Barclay, and Chris Sarandon is likewise very strong as determined cop Mike Norris. Dinah Manoff proves once again she's a great character actress playing the spirited but ill-fated Maggie. Brad Dourif was already regarded as a terrific actor by the time the film was made, but Chucky became his most famous role nevertheless. Apart from the opening scene, his performance is delivered off-screen, and his work remains some of the most impassioned voice acting in film history right up there with Mercedes McCambridge's stunning voice work on The Exorcist. Jack Colvin of TV's incredible Hulk fame plays Dr. Ardmore, the head psychiatrist at the mental institution where Andy is detained and gets his brains fried by Chucky via electric shock. Kevin Yagher's puppet effects are very cutting edge for their day and breathe life into the frightening Chucky.

Child's Play achieved instant popularity when it came out in 1988 and has since remained a favorite with horror fans. Despite the occasional hokey moment, it manages to be stylish, scary and funny and features one of the most iconic pint-sized villains in horror history. I rate it an 8 of 10 and recommend it to all fans of killer doll movies.

Summer Movies of 1989: The Best Ever!

Here we are once again close to the end of yet another dreadful movie year. Tired sequels that have worn out their welcome a long time ago and comedies that barely result in more than a chuckle are littering our movie screens. 3-D has been giving a new lease on life with very little interest and sadly very little excitement. This tired process was first created to combat television in the 50's and later resurrected in the early 80's. This gimmick only meant we were bored in not only one dimension but three!

Maybe it's the fact that I'm in my mid-forties that causes me to feel disillusioned with the modern pop culture, or that I simply have lived through too many summer movie seasons to get interested anymore. It is after all the 18 to 24 year olds that make up most of the cinema going audience. Perhaps I'm too rooted in my youth to care much about the films of today and their place in history.

I don't think so. Current movie lack everything that films in my era seem to have had in abundance. A magical and exciting mixture of honesty and special effects made the films of the 80's feel like childhood friends. This brings me back to a certain summer movies season that was both amazing in its number of blockbuster hits as well as a healthy dose of quality dramas and comedies. The year was 1989.

First you must understand the main reason why so many big budgeted blockbusters were released in a 4 month period. In late 1987 there was a writer's strike in Hollywood that wreaked havoc on television and feature films. Productions came to a halt on film projects and television was littered with endless reruns. The strike caused many series to prematurely die, such as the popular "Moonlighting" which never saw its audience come back.

However, as a result of that strike the summer movie season of 1989 was being shaped up as a landing strip for so many big movies caught up in the air of production delays. Bad news for the studios but great news for film fans who couldn't imagine what was ahead of them at their local theaters.

The film that led that avalanche of blockbusters was also one of the most anticipated films of the decade. Batman with Michael Keaton and Jack Nicholson as the joker was the film that everyone was talking about. Keaton's casting was puzzling to the fans, but Nicholson as the joker had everyone buzzing with excitement. Not since Marlon Brando in Superman has an actor elevated a film from popcorn cheese to legitimate theatrical excitement.

At the same time several studios had entries of long successful film series waiting in the wings. Indiana Jones and The Last Crusade and Star Trek V were released just a few weeks later, with Lethal Weapon 2 and Ghostbusters 2 right behind them. If that wasn't enough a man by the name of Bond, James Bond showed up just 7 days later in "License to kill". Just think Indiana Jones, Captain Kirk, Batman and James Bond all playing at the same time! If you needed a break from this frenzy Mel Gibson and the Ghost Hunting Boys were just down the corridor.

Outstanding dramas like Spike Lee's "Do the Right Thing" and "Dead Poets Society" provided some welcome seriousness, while the romantic comedy "When Harry Met Sally" had audiences roaring and ordering "what she had".

Some original films also took a bite out of the audience as well. "Honey, I Shrunk the Kids" and Sam Raimi's "Darkman" were surprise hits.

The memory of that movie summer will live on with me for the rest of my life. Not only did I see all the movies on opening night, I had a distinct point of view on the excitement that was going on around me. I was a movie theatre usher at then illustrious now extinct Amboy Cinemas Theatre in Sayreville, New Jersey.

I look back at those three months as a special time not only in terms of box office history, but in the thrill and joy that I shared with my many popcorn sweeping co-stars. There has never been a summer movie season like that since and most likely never will be again. To release all those potential blockbusters in that short amount of time would never fly today.

But back then it did, and I enjoyed every moment of it. I thought I had lived through the most exhausting job I ever had. Every show was a sell-out and hundreds if not thousands of sodas were sold every day. This was the true meaning of show business.

Little did I know that a few months later a studio named Disney would be born again with an obscure movie called "The Little Mermaid". That Thanksgiving I learned the most valuable skill of my adult life; scrapping gummy bears off a concrete floor.

James Campion. Contact me: JCampion14@yahoo.com

Movie Review - American Film Institute Rates Wilder's "Some Like it Hot" As the Best Comedy Ever

Some Like It Hot - 2 Stars (Average)

In its day, "Some Like It Hot" was a hot ticket, being nominated for six Oscars and winning one. Released in 1959, this black-and-white film also served as the greatest comedy platform for its three main characters-Sugar Kane (Marilyn Monroe), Joe as "Josephine" (Tony Curtis) and Jerry as "Daphne" (Jack Lemon). Lemon was the actor, Monroe was the sex symbol, and Curtis was the looker.

The plot found two down-on-their-luck musicians (Joe and Jerry) witness the St. Valentine's Day massacre by the mob gangland-style in 1929 during Chicago's Prohibition Era. Joe and Jerry narrowly escape death, then disguise themselves as women to become "Josephine" and "Daphne", and hook up with an all-girl band headed for a gig in sunny Florida.

Complications set in when the two discover that Sugar Kane is part of the troop. Playboy Curtis falls for Monroe but must deal with his role as Josephine, and Lemon's Daphne must deal with the amorous attentions of Osgood Fielding III (Joe E. Brown), an older millionaire. Things really heat up when mob boss Spats Colombo (George Raft) and his gang show up at the same place for a "convention" of mob bosses.

Billy Wilder directed this film and, while having some fun doing so, also had his patience tested. Apparently Marilyn Monroe gave new meaning to the phrase "dumb blonde". She took 47 takes in one scene to get "It's me, Sugar" correct; after 30 takes Wilder had the phrase written on a blackboard for her.

After 40 takes of her saying, "Where's the bourbon?" when Monroe was rummaging through some drawers, Wilder pasted the correct line in one of the drawers. Monroe was still confused, so Wilder pasted the line in every drawer. It took 59 takes for Monroe to get it right. Tony Curtis said publicly that Monroe was routinely 2 to 3 hours late to the set, and occasionally refused to leave her dressing room.

Despite it all, Some Like It Hot won an Oscar for Best Costume Design by Orry-Kelly, and had Oscar nominations for Best Actor (Jack Lemon), Best Art Direction (Ted Haworth and Edward G. Boyle), Best Cinematography (Charles Lang), Best Director (Billy Wilder) and Best Writing (Billy Wilder and I.A.L. Diamond)-and don't even ask about I.A.L. (a pseudonym for Romanian-born Itec Domnici when he was a student at Columbia University).

When Orry-Kelly was measuring all three stars for dresses, he half-jokingly told Marilyn Monroe that "Tony Curtis has a nicer butt than you." Monroe responded by pulling open her blouse and saying, "Yes, but he doesn't have tits like these!" This was Hollywood in 1959.

Some Like It Hot also won three Golden Globe Awards-Best Motion Picture Comedy, Best Actor (Jack Lemon) and Best Actress (Marilyn Monroe). It is a good thing that the voters were not on the set for the filming.

The American Film Institute voted Some Like It Hot as the Funniest Movie of all time. The film is No. 14 on AFI's List of the 100 Greatest Movies of all time.

At the end of the film, Daphne informs Osgood-"her" future millionaire husband-that she will not be able to have children. "We can adopt," says Osgood. "But you don't understand, Osgood!" replies Daphne, "I'm a man!" Osgood replies, "Well, nobody's perfect!" The line "Well, nobody's perfect" was vote as the 48th most famous quote in movie history by the AFI.

And, in the truth is stranger than fiction category, a California man found a little black dress in his closet (what was it doing there?) and was stunned when appraisers determined that it was worn by Marilyn Monroe in Some Like It Hot and had an estimated worth of $250,000.

Meanwhile, back in Kansas in 1959 (the place made famous by Dorothy and Toto in "The Wizard of Oz"), the film was banned from showing in Kansas because cross-dressing was "too disturbing for Kansans."

I suspect that Some Like It Hot may have been one of the first films with high viewership to include cross-dressing in the script. My, how times have changed. In today's liberal environment, we are exposed to much more much more often.

I personally would not rate Some Like It Hot as the best comedy ever made. In my book of great films, that honor goes to "Waking Ned Devine", which offered superb entertainment and also delivered a very meaningful message about relationships not only among individuals but also an entire village.

Copyright © 2009 Ed Bagley

Read more of my movie reviews on films with a lot of substance, depth and feeling, including:

"A Christmas Story" - "My Big Fat Greek Wedding" - "Secondhand Lions" - "The Chorus (Les Choristes in French)" - "Waking Ned Devine" - "Chariots of Fire" - "Steel Magnolias" - "Chocolat" and "Radio"

These are all excellent films.

Find my movie reviews at:

http://www.edbagleyblog.com

[http://www.edbagleyblog.com/MovieReviews.html]

"Forrest Gump" Teaches Many Lessons, and Tom Hanks Earns Best Actor Oscar

Forrest Gump - 4 Stars (Excellent)

"Forrest Gump" begins with a feather being lifted through the air by a breeze that brings it to the feet of Forrest Gump (Tom Hanks), who is sitting at a bus stop in Savannah (GA). Gump picks it up and puts it in a "Curious George" children's book. He then begins to tell the story of his life to the first of several people who are waiting with him for the next bus.

Some of the people are great listeners and others are not, but make no mistake about it, Gump is a master storyteller. He is simple, unpretentious, honest, not bright and full of integrity. For such a humble person, his story is almost unbelievable.

Forrest wears braces on his legs to walk in childhood, eludes the bullies who taunt him, makes friends with Jenny (Robin Wright Penn) who he will pursue his entire life, meets Elvis Presley, meets three Presidents-John Fitzgerald Kennedy, Lyndon Johnson and Richard Nixon, and receives the Congressional Medal of Honor for service in Vietnam, where he saves Lieutenant Dan (Gary Sinise) and loses his friend, Private "Bubba" (Mykelti Williamson).

At an anti-war rally in Washington, DC he briefly reunites with Jenny, whose life is a mess after searching for fame and pursuing a hippie lifestyle. Forrest starts a table tennis craze and becomes a nationally-known ping-pong whiz, using the money he earns to start a very successful shrimp boat business with Lt. Dan, who invests their money in Apple stock and both become wealthy in the process.

He then inspires people to jog, helps an entrepreneur create the smiley face stickers, and faces the loss of his mother (Sally Field), who tells him he must work out his own destiny. Through it all, Jenny and love eludes him. Forrest lived in turbulent times.

If you are dizzy just imagining all of this, so was I. After seeing Forrest Gump the first time I was appreciative of the film's merit, but overwhelmed by how one person could accomplish so much and be around so many famous people. After watching Forrest Gump 3 more times, I got over it and now only sing its praises.

Eventually Jenny sees Forrest running on television and writes him a letter to come see her. When he does, he discovers that Jenny has a son and is very sick. She asks Forrest to marry her, and soon after he does, she dies. He learns that he is the father of her child, and commits to raising him. When young Forrest gets on the bus for his first day of school, the white feather falls from the Curious George book he is carrying, is caught in the breeze and drifts skyward.

If you are wondering about the feather, it was real, but its performance in the movie was computer-based. The feather is important because it raises the question of whether we are all floating around accidental-like on a breeze, or if we each actually have a destiny. Forrest surmises that perhaps it is both.

Everything that happens to Forrest Gump is worth seeing, and much of what happens teaches us important lessons in life. This is a love story, a story of relationships and the story of one person in a very big world that is sometimes almost impossible to understand. All that is good and much that is bad is covered in the film.

To appreciate where Forrest Gump is coming from, learn from these memorable lines in the film:

1) Lieutenant Daniel Taylor: "Have you found Jesus yet, Gump?" Forrest Gump: "I didn't know I was supposed to be looking for him, sir."

2) Forrrest Gump: (describing Vietnam) "We was always taking long walks, and we was always looking for a guy named Charlie."

3) Jenny Curran: "Have you ever been with a girl, Forrest?" Forrest Gump: (nervously) "I sit next to them in my Home Economics class . . ."

4) Jenny Curran: "His name's Forrest." Forrest Gump: "Like me." Jenny Curran: "I named him after his daddy." Forrest Gump: "He got a daddy named Forrest, too?" Jenny Curran: "You're his daddy, Forrest."

5) Jenny Curran: "Do you ever dream, Forrest, about who you're gonna be?" Forrest Gump: "Who I'm gonna be?" Jenny Curran: "Yeah." Forrest Gump: "Aren't-aren't I going to be me?"

6) Forrest Gump: "I'm not a smart man . . . but I know what love is."

7) Forrest Gump: "Mama always said life is like a box of chocolates. You never know what you're gonna get." This line was voted 40th among the Top 100 Movie Quotes by the American Film Institute. In 2007, The AFI rated Forrest Gump as the 76th Greatest Movie of All Time.

8) Forrest Gump: "Stupid is as stupid does."

Tom Hanks patterned his accent after young Forrest (Michael Conner Humphreys, who actually talked that way).

Forrest Gump was an immensely successful film, with a production cost of $55 million and a worldwide gross of $677+ million. After its release in 1994, it became the fastest grossing Paramount film to reach the $100 million, $150 million and $200 million marks, and passed $250 million in 66 days.

Even more important, Forrest Gump won 6 Oscars at the Academy Awards-for Best Picture, Tom Hanks for Best Actor, Robert Zemeckis for Best Director, Eric Roth for Best Screenplay based on Winston Groom's novel, Arthur Schmidt for Best Film Editing, and Ken Ralston, George Murphy, Stephen Rosenbaum and Allen Hall for Best Visual Effects.

Forrest Gump also picked up another 7 Oscar nominations for Best Supporting Actor (Gary Sinise), Best Original Musical Score (Alan Silvestri), Best Set Decoration, Best Cinematography (Don Burgess), Best Makeup, Best Sound, and Best Sound Effects Editing.

Among its other 32 wins and 38 nominations were 7 Golden Globe nominations and wins for Best Actor, Best Director and Best Picture.

As is true with just about any other award-winning production, many famous professionals passed on the opportunity to be part of the success. Terry Gilliam and Barry Sonnenfeld were offered the chance to direct the film. Bill Murray was considered for the role of Forrest, Chevy Chase turned down the role of Forrest, and three others turned down the role of Bubba-David Alan Grier, Dave Chappelle and Ice Cube.

Tom Hanks said that he would make the film only if all the events that took place were historically accurate. For example, when Gump calls to report the Watergate burglary, the security guard on duty answers the phone by saying, "Security, Frank Willis." Willis was the actual guard on duty that night who discovered the break-in that led to Richard Nixon's resignation from the Presidency.

Tom Hanks is one incredible, bankable actor. While Forrest Gump grossed $677 million and is far and away his biggest box office success, he has been involved in 19 other films grossing $100+ million, and he ranks 3rd among all actors appearing in films with $3.3 billion generated.

Forrest Gump was directed by Robert Zemeckis, with the screenplay written by Eric Roth based on Winston Groom's novel. I really liked Forrest Gump and I think you will too. If you have seen it before, revisit it again and relive the magic moments of hope, courage, patience, love, understanding and compassion-all of which give special meaning to our life.

Copyright © 2008 Ed Bagley

Read more of my movie reviews on families, including:

"A Christmas Story"

"My Big Fat Greek Wedding"

"Secondhand Lions"

"The Chorus (Les Choristes in French)"

"Waking Ned Devine"

These are all excellent films that can make you smile, laugh, cry and feel better for the experience. Don't just live life, experience life!

Find my articles at:

http://www.edbagleyblog.com

[http://www.edbagleyblog.com/MovieReviews.html]

Essential Film Marketing - How to Generate Massive Interest and PR For Your Film on No Budget!

In this film marketing guide What do you do if you have little or no budget to promote the film? Some case studies I'll be using: The Blair Witch Project; Desperado (Robert Rodriguez -Sin City/Spy Kids) which are worth mentioning, and I'll discuss how you can use casting as a PR opportunity. I hope some of these tips will help, both up and coming, established filmmakers, as well as those at film schools. Remember one golden rule, don't be afraid to be pushy and persistent on the self-promotion front!

Rule 1 - You can't PR if the story isn't worth telling

Before we begin I would like to reiterate the above rule because I can't stress it enough. You will never be able to PR something if it does say something worth saying.

PR- The Short Film

I am going to deal with a short film first, and I am going to assume that you have a day job, but film making is your passion. You have assembled a crew and have a script you are happy with, and actors to play the roles. Word of mouth is one of the most effective tools in this whole scenario, so if you are able to invite any of your local press to the set to watch some of the filming, do try. They will generally pop along if there is a local angle for them.

If it is appropriate, and you need 'extras' it might be an idea to approach the local Scout/Girl Guide troupe, or a local Youth Club. Or, if you require older people, don't be afraid to try and recruit your 'crowd' from a Darby and Joan Club/parents' friends, or even your local pub. Something this simple could provide a local angle for your friendly local journalist - and you could even give them a walk on role if it can be written in and make them part of the story.

Quick Tip: Use Casting of your talent as part of the story. Hire (or borrow) a small theatrical venue for a few hours. Invite the journalist along to see some of the talent auditioning. Get some friends around so that the audition queue seems longer than it is, and take some stills of the busy audition room - allow them to interview some of those auditioning who are likely to be on your short-list. Publicize (through an ad in the local paper/ facebook/ twitter/onefatcigar) the audition to get more people along. Immediately your low budget film has budding actors clamoring to be in it, and the journalist has another angle to their story.

Rule 2 - Get local news coverage

I've got news for you - writers and editors of national papers read the local press, and most of these papers have online versions, so this would be a very good place to start. You obviously don't have the money to pay your 'extras' but as long as you promise them endless supplies of hot tea/coffee and sustenance, they will be thrilled and willing to participate. After all, it's something to tell friends and family - again spreading word of mouth.

All films are different, so all PR campaigns will be different. It really is up to you, the producer, to find the angle. I really do believe that a set of stills that grab people's interest is the most important promotional tool. With no or low-budget filmmaking you cannot be expected to hire one of the top UK unit photographers. But you could approach a local University or college to see which students might aspire to shooting film stills. Chances are he or she would jump at the opportunity of coming to your set for the experience, rather than the money.

Quick tip: Facebook is also a great tool for this - I just ran a quick search for 'photographer' and 'photography' and came up with 62,000 results. I'm in London today so I pinged in London and filtered down to over 500 people, finding out that a number had mutual friends. You might ask to see a portfolio from them and perhaps get introduced through a friend.

Rule 3 - Always get a great stills photographer and invite to the most important day of the shoot!

It is vital to choose a key day in the schedule where the photographer can grab as many great shots as possible. You will know what they are, and they should be iconic and not just a picture of an isolated scene. If you are shooting a film about a bank robbery for example, something simple but effective might just be a close up shot of two eyes looking through a balaclava: something stark and eye-catching.

Taking stills is an art in itself. Tell the photographer what you want and how you want to use the images and then leave them to it. If they are good they will give you plenty of options.

Case Study 1

I was reminded while writing this of the brilliant poster for The Blair Witch Project which was so intriguing it had everyone talking about it for weeks before the film actually came out.

Producers of The Blair Witch project succeeded in creating huge pre-hype for their low budget horror flick which centered on students being murdered in a forest. Blurring the boundaries between fact and fiction was key to the early buzz that surrounded the movie. Allegedly the film makers had circulated tapes to colleges which were presented as 'real video diary footage'. Clips that were presented as 'documentary' rather than fiction were shown on the Independent Film Channel. This was one of first feature films to use online and viral PR to build hype. The buzz ensured that Blair Witch was a major success which took over $150 million at the box office.

If your film is in the horror-genre, then go for something a bit edgy and mysterious, rather than an in-your-face close up of a bloody figure. The images must tease and suggest rather than give the whole plot away.

A romance or love story could very simply be a shot of the lovers in an unusual angle. A shot that will make people stop and look, and try to work out what the story might be about.

Tactics and Techniques

Two things to consider: What generates word of mouth? What makes something viral? The answers: Great PR - is about building a backstory of interest; Great Trailers - about visually selling that story.

The Press Release

To start with, write the press release (we'll deal with how to right a great press release in my next article). As mentioned earlier, there is nothing wrong with sending out three releases to cover the one film. Here are my key steps:

1. Build a Database

Start building your database, with friends, family and friends of friends; posting the title and a 'Look out For' and updates posting on Facebook, Twitter, One Fat Cigar.com etc.

2. Get some great still photographs and footage early in the shoot

3. Try to cut a short teaser trailer

If you are able to cut a short teaser trailer early on in filming, post it on You Tube and MySpace and send the link to everyone you know. If it grabs them, whether it shocks them, or makes them laugh or cry, the chances are they will pass it on.....but don't rely on them, make sure they do.

4. Learn to write an engaging press release - aim for 3 press releases:

The first press release will announce the start date, include a short synopsis, and list the actors and their brief credits, the producer and the director. Here you can mention locations if appropriate. The title should be eye-grabbing and short.

The second press release could relate to what I was saying earlier, about hiring 'extras' or 'crowds' from a local organization. This could well make local news, and don't be afraid to call the local TV or radio station either and invite them down. You are now slowly starting to build awareness of your movie, and little by little you will find the word spreading.

Your last press release could be about the completion of filming on time and on budget, and should be sent out with an image. Important to note that some behind-the-scenes pictures - pictures that contain cameras and lighting rig - are the best ones to use here. You may well be limited to the number of actual film stills you have, and you don't want to start using them yet. Save them for when you are promoting the film in earnest. But just keep up the flow of information, in any innovative (and free) way you can.

Case Study 2 - Bend the rules

Desperado by Robert Rodriguez. Having made El Mariachi in 1992 and winning at Sundance with a budget of only $7,000 Rodriguez realized the importance of a good trailer. He had a relatively low budget of $6m, but did some great promotion behind the scenes. His key elements to sell the film:

1. Talented and 'hot' cast in Antonio Banderas and Salma Hayek - made sure there were scenes in the film where they 'looked good' - which he could use as publicity, especially on the back of El Mariachi

2. Attention grabbing Trailer http://www.imdb.com/video/screenplay/vi3315663129/ which although now dated made sure that if you loved action films you would want to see this.

3. Added interesting extras, such as his Robert Rodriguez 10 minute film school to help with the DVD sell - where studios make most of their money - built an immediate affinity with filmmakers

4. Robert Rodriguez told everyone he could find that he was operating outside the Hollywood system - Fantastic PR again, everyone likes a loose cannon, an underdog!

Your angle might be, the studios wouldn't fund it so you mortgaged your house, stole from friends, sold your pet dog on eBay, to make this film happen, because, naturally its a story that just had to be told.

Rule 4 - The most important point of the whole process - you should be thinking all the time about the marketing angle

There has to be an interesting angle somewhere, after all if your film isn't interesting why are you making it? Exploit that.

And if I had only $200 to spend on UNIT PR?

1. Hire the best stills photographer I could afford

2. Design a 'Sell' Poster - don't print the poster and give it out - just use it in emails to journalists (it costs too much to print and look good)

3. Set up a Twitter, Facebook Page and One Fat Cigar Account - invite your friends - and put the poster on the front

4. Get a Business Card, and put your name, telephone number and email on it. You're a Producer.

5. Write attention grabbing press releases and at the bottom direct then to your accounts

6. Get local journalists involved. Give them your business card, an access to the set.

7. Make a trailer that makes people want to know more and do it early as a teaser.

A few quick notes on how to use Twitter/Facebook and One Fat Cigar to PR your film:

Twitter - Tweet from set, what are you doing now? Did something interesting just happen? Tell people. Just done seen our first stills photos, why not come take a look. What do you think of our new trailer? See it here...

Facebook - A more meaningful engagement with the public. At the beginning you're going to know most of your fans, filter your twitter feed into your Facebook fan updates, and upload images and stills, invite people along to screenings or to be extras - you'll soon have more fans and word will spread so that when the film goes out there they can be part of it.

One Fat Cigar - Although very new this site is for everyone like you who loves film or are filmmakers/actors/writers. They're keen to follow your production from day one, and you can cast and crew through the site and build a fan base. Blog about your film here, do video updates from set, release the trailer, exclusive interviews with key team members, engage with fans who can comment and be involved in your production. I recommend signing up to the mailing list if you haven't already to find out more when it launches and reading the blog which has a lot more information about the site.

Three different mechanics- but all equally valuable to build word of mouth.

For a larger scale production/ feature film

Exactly the same rules apply for a short film and for a larger production, it just means that the range and scope of possibilities are different - you can approach more easily national journalists and it is possible to achieve more press with a feature film. PR is, of course only half the battle - the film also has to be good to be a real success.

Susie Tullett is a film marketing specialist and the former head of DDA's Film PR Unit in Cannes having worked with names including Jack Nicholson, Johnny Depp, Jessica Biel, Ed Norton, Robert De Nero and Al Pacino. She is currently a freelance PR specialist and contributor for the film marketing website OneFatCigar.com [http://www.onefatcigar.com/]

Denzel Washington Movies

I love watching Denzel Washington movies. Denzel embraces his talent in becoming whatever role he is given. He can make you love him or hate him. This is the mark of a true actor.

Malcolm X is one of the Denzel Washington movies that almost everyone has heard of and seen. In this biographical motion picture, Denzel portrays the life and death of Malcolm X. If anyone has ever seen old clips of the real Malcolm Little, who became known as Malcolm X, you can see that Denzel truly became Malcolm X. From his appearance, walk, talk and mannerisms, you forget that you are watching a talented actor portray this historical figure. Apparently I'm not the only who thinks so as this compelling film has earned Denzel multiple awards and nominations.

American Gangster is another one of several Denzel Washington movies that portrays a real life individual. In American Gangster, Denzel plays a widely known Harlem gangster by the name of Frank Lucas. This film is not only good to watch because Denzel is in it, but because it includes a high-ranking class of actors including Cuba Gooding Jr., Russell Crowe and Ruby Dee. But once again, as in all Denzel Washington movies, Denzel steals the show.

Lucas comes from humble beginnings and quickly becomes a leader in New York's crime and drug scene. This rise of success leads to a large amount of wealth. But even with the newfound wealth, Lucas remains conservative in dress and style. American Gangster is a tale of organized crime, including the Italian mafia, drugs, violence and police corruption. Eventually, Lucas's successes of being a crime and drug king catches up with him as he watches his empire fall apart. To save himself from a heavy prison sentence he must do the unthinkable.

Fallen has received numerous positive movie reviews. This is a movie that will appeal to audiences who enjoy the supernatural as well as crime dramas. The movie begins with detective John Hobbes, played by Denzel Washington. He has received recognition for capturing psychopath and serial killer Edgar Reese. Reese has been sentenced to death row and everyone thinks that the killing is over. But once it's time for Reese's execution, Detective Hobbes realizes that there may be more to this case than he realized - much more.

Perhaps Reese isn't as evil and bloodthirsty as everyone believed. Maybe the murders were not really committed by him, but by someone or something that took control of him. When Hobbes takes his last walk, he begins singing the Rolling Stones song, "Time Is on My Side." This song will be a new clue in helping Detective Hobbes track down the killer who is committing a new rash of copycat murders. Who's the killer? A demon by the name of Azazel who can body hop into individuals by touch alone. Denzel does a great job portraying a detective in this hard to catch case. Only he and a female theology teacher know the truth of supernatural evil that they are up against. The ending is completely unexpected and Denzel plays the final role of Detective Hobbes flawlessly.

Born to a beauty salon owner and Pentecostal Minister, Denzel has a little something in common with his characters. He came from humble beginnings and look at him now.

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Biographical Films

Biographies are for the most part stories that tell the life stories of an individual. People are interested in biographies for several reasons. Some biographies are about celebrities. People want to know more about the celebrity other than what their PR agents release to the public. People want to know their real names, where they were born or grew up, when they were born, and what their upbringing was like. With regards to celebrities, their fans want to know what their lives were like before they were famous. Fans also want to know what life was like for the celebrity while they were famous. They want to know personal things about them. Biographical movies about celebrities help humanize the celebrity. So much of what makes a person famous, especially in the entertainment industry, is the myth that they are somehow more special or better than the average person. Biography movies help to eliminate the myth, and help the fans realize that their favorite celebrity is just as human as they are.

There have been biographical movies made about people who didn't entertain the masses, but were famous for the impact they made on the world during their lifetime. Some people were civil rights leaders like Gandhi, and Dr. King. Some were pioneers like Amelia Earhart, the Wright Brothers, and Howard Hughes. Some showed great courage despite their circumstances like Helen Hays, and Anne Frank. Some made changes to our everyday life, like union leader James Hoffa. There are many biographical movies about the Presidents of the United States.

There are so many biographical movies in existence. All one has to do to find them is to join an online movie store, and check out their biography section. Online DVD movie rental stores have a wide variety of biographical movies to choose from. In the last 10 years, some great biographical movies include Ali, and The Pursuit of Happiness, both featuring the actor Will Smith. Another movie is El Cantante, starring Marc Anthony, about the life of salsa singer Hector Lavoe. Who can forget the movie Ray, which was about the young life of the singer Ray Charles? That movie came out in 2004, and won the actor Jamie Fox an Oscar award.

One notable exception in this genre, is when a venue or place has so many human characteristics, it becomes the subject of a biographical movie. Such was the case with 1998's movie "54". Like a lot of biographical movies, the film contained fictionalized characters. But some of the characters were very much based on real people. The movie was named "54" because it was about the life at the infamous disco club Studio 54 in New York's late 1970s. The legend of the club was that it was so exiting to experience being in the club, because the club had a pulse, and life of its own.

Biographical movies are a treat to watch. They offer a window into the past, and a commentary on the life we experience in present time.

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Interesting Facts About Alfred Hitchcock and the Movie Psycho

In the 50 years since the film, Psycho has been released it has become on of the most popular and iconic films of all time. The infamous "shower scene" is probably the most recognizable and well known scene in film history. Even those of us who haven't seen the movie can recall the music, the rapid cuts that all made this scene feel so real. There was no nudity and tame violence by today's standards but it really did the illusion of these elements. There has been a lot of secrecy surrounding this particular scene of the film and the whole film in general really.

Supposedly Hitchcock instructed the theaters not to admit anyone after the film had started. He wanted everyone in their seats and watching once the lights dimmed to add to the cinematic experience. Hitchcock also bought up all of the copies of the original novel that the film is based to prevent anyone from learning how the story ended and did not grant the press advanced screenings. But it isn't the twist ending that lead to most of the films controversy. It was the famous shower scene. The rapid cutting and iconic music really made the audience think that the star Janet Leigh was actually in the shower being stabbed. The actress herself even stated how real the whole thing felt whilst filming it.

After the films release both Hitchcock and Janet Leigh maintained that it really was the actress filming the scene, but in reality it wasn't. There was a body double used for the scene. Every time you see Leigh's body but not her face, it was the double. The body was that of model Marli Renfro who was only in one other film after this.

The story gets stranger in 2001 when a 34 year old man was sentenced for murdering her in 1988. Upon investigation the report claimed that the man had killed two women, one being an actress named Marli Renfro whose real name was Myra Davis. Further investigation revealed that Marli Renfro and Myra Davis were two different people. Renfro was Janet Leigh's body double and Davis was Janet Leigh's stand in. Marli Renfro wasn't dead at all, the reports had wrongly reported the body double had been murdered when it was the stand in. The man who killed Myra Davis was so obsessed with that scene and wanted to kill Leigh's body double but because of the confusion and secrecy around the scene, mistakenly killed the wrong person. It is sort of fitting that this iconic, frightening scene has such a macabre true story behind it.

Janet Leigh used to claim how embarrassed she was to shoot the scene and Hitchcock even propagated the lie for her. Supposedly, Janet Leigh was so distraught over people asking her about this one scene that it fueled her drinking habit and ruined her marriage. Had the two been more forthright about the truth of the scene perhaps there would be less of a fascination with it.

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Photo Requirements for Indie Films - Guide to Effective Production Stills

On independent films, production stills are often an after thought and the company allots limited funds and production time to fulfill this requirement. This is most unfortunate, as photos are an integral part of any marketing campaign and the driving force that promotes the film via advertising, print editorials, and on the web. Without vivid and enticing visuals, a good film can falter at the box office because the public is not drawn to its story, the characters, or the players. In addition, without a strong commitment by the producers, the labors of cast and crew go unheralded and the film's true potential unrealized.

Time and cost are the obvious excuses for neglecting photo requirements, but the real culprit is the lack of knowledge about the needs and the opportunities that exist for quality production stills. By clarifying these needs, a budget and schedule can be compiled that will deliver the essential shots and do so in an economical and effective manner. With this commitment, key shots can be pre-determined, and adequate time can be coordinated for their photography. Through this process, production stills become part of overall budget and more importantly, a part of the shooting schedule.

The need for photos covers a wide spectrum. The primary concern is to create awareness for the film. Another objective is to fulfill the distribution deliverables. Other objectives include promoting the talents of participants be they investors, creative team, cast or crew. Other needs include documenting the production, creating reference photos, and creating goodwill with backers, vendors, and dignitaries. Each of these needs comes into play during different phases of the production.

DEVELOPMENT & PRE-PRODUCTION

During pre-production, location photos are most useful in disseminating information to the various department heads. Not everyone on the production team can be involved in scouting process. Location scouts will usually provide photos, but the director may request additional shots with varying perspectives and/or photographed at various times of the day. The production designer may also want reference photos to assess needs in modifying and dressing the location. Early look-see photos help with equipment staging and logistics. Each department head uses these location photos to create their part of the story and a set of prints or a CD can help eliminate costly delays and problems due to miscommunications.

Test photos of special make-up or intricate costumes may also be required. Here again, the production team uses these images to exchange information and ideas. Such photos help solicit articles relating to fashion trends and makeup. Miniatures and special props may also be required for coordination and approval. Reference photos are useful in this respect and intricate lighting and perspectives may require a skilled photographer. These photos are also helpful in generating stories about behind-the-scenes techniques for the industry's numerous tech magazines.

During the development and pre-production phase, new elements come into the mix. People signing investment and distribution deals are good photo ops as are photos of new people added to the creative team. Almost all these newsworthy events involve people and a photo attached to the press release adds strength the news item. These news items may include start of production notices, additions of featured cast members, or an addition to the production team. Being picked up by the trades or by the entertainment-media is greatly improve with a good photo These photos, normally head shots or portraits, should be in color, clear of distracting background, (gray background is preferred) and if digital, provided in a high-resolution (300 dpi or more) jpg format. Poses should reinforce status of position, or role portrayed in the production. Photo identification and captions are an important part of these submittals and include referenced to the title of the news release, and/or the date and writer assigned to the article.

News stories break with little warning so it is imperative to have photos meeting the above criteria on file and ready for quick dissemination. Such news stories have a narrow window of opportunity and if news outlets have to wait for proper photos, it is likely they will go with somebody else's story. Obtaining or shooting these photos after the fact usually interrupts company operation when time is at a premium. Likewise, most company principles see little value in such photos until it is too late and their moment to shine has left them in the dust. Therefore, by scheduling these photo sessions early on, there is little intrusion into their work schedule. In addition, if they are scheduled on the same day, setup time can be reduced and if need be, a makeup artist can be hired.

PRINCIPLE PHOTOGRAPHY

The bulk of the still photographer's work will come during the shoot itself. Photos in this phase fall into the following categories: scenes, behind-the-scenes, marketing shots, editorial, and goodwill. The primary objective of production stills is to promote the film, its stars, and key production people. The methods and target venues will vary depending on the different categories. Here again, planning will reduce costs.

Most of the stills taken during the shoot will be of actors performing various scenes, shots taken during rehearsals or during actual takes. When using a SRL camera, a "blimp" housing is use to silence the sound of the shutter. This housing silences the sound of the mechanical shutter and the advance motor on film cameras. On point & shot digital cameras, there is neither of these devices and thus a blimp is not required. On the more expensive SLR cameras, the mechanical shutter/mirror mechanism, through quiet, still is objectionable and requires a blimp. This is not necessary with digital cameras if the indicator beeps are silenced. These blimps, manufactured by Jacobson Camera in North Hollywood, are the accepted silencing device and can cost as much as professional cameras when including lens housings.

Unit still photographers require reliable camera and equipment to withstand the heavy workload. On an average independent production, let us say twenty days, a still photographer may take 2000 to 3500 pictures of the movie. That is about 100-170 a day or 5-10 per setup. That is lots of wear and tear on a camera.

Scene Stills. The best stills are those that show the actors in dramatic or action oriented shots. Each photo should tell part of the story in such a way that a series of photos would depict key relationships, story elements, as well as plot points. They should sell the film by creating little vignettes that intrigue viewers and pull them into learning more about the film. They tell the story of the film.

However, there is a problem in documenting only the director's vision. Film and video use numerous images, motion, and juxtaposition of cuts to relate the story. A photo must do the same with only one image. The director's blocking and composition do not always bring out the true essence of the scene when relegated to a single frame. In these situations, reposition the actors for true story-telling photos. This requires rearranging the expressions, blocking, and even timing for optimum affect. Thus, a good production still can sometimes be a compilation of a scene rather than an extracted frame from the film. When there is a publicist assigned to the film, he or she can help select and set up these shots. However, such re-staging can often obstruct the flow of the production, both creatively and logistically. Thus, diligently plan and implement these shots with considerable economy. One must always remember that the highest priority for the production phase is to film the director's vision in the most creative and economical way.

In framing and composing these shots, one must consider the end usage. Newspaper and magazine photos of movie action tend to lean more toward the smaller frame sizes. Frame sizes of approximately 1.5 x 2.2, or 3.0 x 4.6 are common, and photos cluttered with too much information will not meet publication standards. Choice photos are those that show motion, emotion, relationships, and clearly depict a vital element of the story. Thus, the majority of photos will be medium or close shots and lesser amount long shots. A mixture of vertical and horizontal framing is advisable to give flexibility to story layouts.

On the set, the still photographer's best vantage point is usually next to the camera. However, this is the nesting area for many production people who include the camera operator, focus puller, director, and script supervisor. The lighting director (gaffer) may also want to see the results of his work. As such, it's a struggle to get a good position, especially if you have to use a tripod. If one gets too far away from the camera, this distorts sight lines and blocking. Wiggling between people, especially those who have no vested role in the scene becomes a constant hassle. The best way to handle this arrangement is to work out an arrangement with the assistant director so that you are assured of a prime spot as close to the camera as possible. Work out this arrangement early in the production and coordinate with the production manager, director and script supervisor. In this way, other cast and crew members know not to encroach on these areas.

Another consideration on the set is adequate and properly balanced lighting. Lighting for print photography differs from motion picture photography in that in print, the lighting ratios are lower and illumination fill lights make the subjects more appealing. Some still photographers use a bounce flash for fill while others position a light with diffusion. Such a light and stand should be on stand by for such uses along with electrical cable and power. By doing so, this minimizes intrusions and delays.

If possible, avoid cluttered or distracting backgrounds. If you cannot, separate the subjects from the background using depth of field. Subjects within the depth of field would be in focus while blurring those outside that range. Use the device where you have scenic backgrounds or a background made up of atmospheric characters. When the entire landscape has to be in sharp focus, a small aperture and longer exposure times may require use of a tripod.

Behind-the-scenes shots are those that tell the story of the production itself. This is the crew in action, the cast preparing, or the logistics of the shoot. It could also include set construction, location dressing, or the mechanics behind a difficult stunt. Photos help illustrate these stories and bring the reader inside the world of filmmaking. These photos are also useful in depicting particularly large set pieces or intricate action sequences.

Film magazines prefer these kinds of shots as they help illustrate the filmmaking process and bring the reader into this magical world. These photos also help feed the curiosity of movie fans wanting to know more about their favorite celebrities or rising newcomers. A named actor relaxing and being himself has considerable promotional capital and by encouraging such coverage, these small investments will pay off later during the film's release cycle.

Another use of behind the scene's photography is to share technical knowledge about the filmmaking process. There are numerous publications devoted to this objective and with photos; such stories have a good chance of reaching the reading public. Web sites and newspapers also fall into this category as possible outlets.

Marketing Stills. To market a film properly, visuals are required and photos are the primary source. Advertising, posters, promotional literature and DVD box covers are the primary uses for these visuals. On low-budget films, photos are the most economical way to create these visuals. Computer graphic programs such as Photo Shop manipulate the photos to fit the needs of the marketing campaign. One problem in this phase of still photography is that at the time when the actors are readily available for such a session, no definitive concept or marketing strategy will be in place. The film may be in post-production or distribution pick-up before marketing strategies are set. By then it would be a prohibited expense to resurrect needed elements.

Usually by then, actors, costumes, locations, and sets will not be available. Thus, it is important to project various strategies that might work for said film and shoot images fulfilling those ideas. The producers, director, and writer, as well as the publicist should have input into what options require coverage. If a distributor has already picked up the film, then their marketing department should also have input.

For easily manipulation, these photos should be shot against a plain background and done in poses and lighting style indicative of the genre of the movie. To enlarge to poster size or if a billboard campaign is planned, a large format film camera or an 10mp or higher digital camera should be used. These photo sessions could be done on the set however; greater control will be possible if done away from the production shoot. One should try for a consensus as to which concepts and strategies to attempt. This will help reduce multiple directives thrown at the actors. Poster photos should represent the project's single most promotable element. They should be photos that quickly tell the story of the film. Single images work best as a cluster or grouping of images is confusing and distracts attention from any one theme. If the movie has major stars, then key art might consist of a "floating-head" design to capitalize on the audience's attraction to the film's leading actor.

Editorials about participates in the film also require photos. Editorials focus more on someone's personal life and the film is only a minor topic. Larger publications normally furnish their own photographer but local magazines and weekly newspapers may not have the budget to hire one. Thus, the unit still photographer supplies the photos for such articles, which will likely be part interview and part expos. The style is similar to fashion and glamour; however, it will depend on the thrust of the piece. Catching the personality of the subject in natural settings lends considerable flavor to such layouts.

Goodwill Photos. In almost every production, companies offer services and products free or well below the going rate. Others grease the wheels and help facilitate the production in some way. Merchants and homeowners inconvenienced, vendors providing cost reducing deals, or local dignitaries opening doors. All these people have helped in some way to make the production move more smoothly. Photos of these people with the stars or crew members are an effective ways of expressing gratitude. Even autographed headshots of the stars can be a nice goodwill gesture.

Unique locations and product placement situations may also require photos. Product manufacturers and the distributor may incorporate these photos into mutual marketing campaigns. Likewise, visiting family members of cast and crew may ask for a few pictures. There will also be a call for "souvenir" and "portfolio" shots by the cast and crew as well as the crew group photo. Normally all photo requests are generally serviced free of charge. However, on low-budget features this expense can easily get out of hand. Thus, establish restrictions or minimums early on such as a two shot minimum.

Goodwill photos can provide considerable PR advantage and while the expense may seem extravagant, it scores points far beyond its cost. By placing this expense in the budget and reproduction limits clearly communicated, then it should not become an issue later on.

Part II, of this article covers items such things as record keeping, photographer rates and expense categories.

Erik Sean McGiven has worked as a publicist and still photographer as well as doing PR on films slated for distribution. His expertise in this area is helpful to filmmakers with limited funds who want to promote their films in effective manner. For other articles on the filmmaking go to http://www.erikseanmcgiven.com/writings/the-biz/. Erik works in the industry as a producer, writer, director, and production designer.

History of Film: Pt 4 - The Birth of Sound

All throughout the silent era, filmmakers were constantly experimenting with sound technology for use in movies. However, there were two hurdles that had to be cleared to make sound possible in film. The first was synchronization between recorded dialogue and the film's subject. The other was proper volume control.

In 1926, movie studio Warner Bros. introduced the 'Vitaphone' method of adding sound to films. The method involved filming live entertainment acts, while recording their sound on a phonograph disc. The disc would then be played in synchronized time along with film. Between 1926 and 1930 Warner Bros. produced about 1,000 short films using the Vitaphone method.

In late 1927, Warners released "The Jazz Singer". Mostly silent, the movie did have some dialogue and singing and is widely considered the first 'talkie', as they would first come to be known. As groundbreaking as it was, the Vitaphone method would soon become obsolete in the face of more advanced methods of combining film and sound. Methods like Fox's 'Movietone', inventor Lee DeForest's 'Phonofilm', and RCA's 'Photophone' were capable of recording sound directly onto the filmstrip. The process and recording systems varied somewhat, but the outcome was the same. Those in the industry who were reluctant about these talkies, were fast becoming convinced that this new innovation was the wave of the future.

The transition from silent to sound was a sweeping one. By 1929, Hollywood was putting out almost all talkies. Around the world the changeover was a slower one. Due to economic and in the case of far eastern countries like China and Japan, cultural preferences were the cause for the slow transition. In fact, in these countries, silent films were being made alongside movies with sound well into the '30's.

The transition to sound, although swift, did have it's difficulties. Early talkies were marred by background static. The limitations of the sound equipment made it difficult for those in front and behind the cameras. Producers frantically searched for writers, directors, and stage performers who had experience with dialogue laced films. It's hard to believe in this day and age that people in the industry had trouble dealing with the medium of sound, but they did. In fact, some filmmakers and actors of the silent era could not make the adjustment and saw their careers fall by the wayside in the face of technological advancement.

Fortunately, this awkward adjustment period would not last long. In 1929, directors that were up to the task began to surface.This new generation of filmmakers wanted to use and experiment with sound rather than work around it. Films like "Chinatown Nights" and "The Man I Love", directed by William Wellman, Roubon Mamoulian's "Applause", and director Alfred Hitchcock's "Blackmail", (Britain's first talkie), were successful achievements in the use of sound in film. Advancements in sound equipment technology was chipping away at that barrier as well. Talkies were here to stay.

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Photo Requirements for Indie Films - Record Keeping, Deliverables, and Media Submissions

RECORD KEEPING

Keeping track of thousands of photos, identifying participates, and writing captions is usually the job of the photo editor and publicist. On a low-budget feature, there may be neither and the responsibility falls, in part, on the still photographer's shoulders. This is a difficult and time-consuming task, yet made easier by date and frame tracking when using a digital camera.

On most photo programs, it is possible to insert information such as to the title, subjects in photo, the photographer, keywords, and captions or comments. By having this pertinent information in the file, the photos can serve the needs of publicity, marketing and distribution, the media, as well as exhibitors. Reference to script scene number is also helpful.

Being able to find a particular photo quickly is essential and it is helpful to establish some sort of filling system. By filing shots according to previous mentioned categories, then folders can be set up for a certain segment of that category. In addition, keep the folder size under the CD or the DVD disc capacity you are using. In this way, it is easy to back up or hand off files in folders once the production is completed. Likewise, a master index indicating type, subject matter, and location is extremely useful for quick and easy retrieval. Three-ring binders containing proof sheets are also a required item at the completion of a film. They serve as a quick reference and useful when photo approval is required. Print digital photos using either the proof sheet or wallet-size computer programs. A commercial lab can also print these digitally.

Archiving photos for retrieval and safekeeping is a major task. First off, digital hi-definition photos take up considerable computer space. Storing them on disk or an external hard drive is one solution and solves the handoff once the film is completed. For the production executive and/or the distribution company, backup files need to be compiled. There is always that likelihood they will be misplaced, lost, or corrupted and having a digital backup file avoids many a problem before the crisis strikes. One can also use one of the many cloud services for storing digital photo files.

Photographic Approvals. Depending on their power, the film's stars may have contractual approval rights on still photos and slides before they go to the photo editor for distribution to the press. If this clause is in their contract, then set up some procedure to get the materials to them and do so periodically throughout the shoot. By waiting too long, you will not have a supply of approved photos for important media contacts during the shoot. In addition, you may loose your actor and have to track him down off the set.

Contracts usually specify approval of a certain percentage of the photos approve, normally 50%. Each studio or independent company may have their own set of rules on this as well as a method to keep track of "kills". In most cases, the actor uses a grease pencil and marks an "X" across the rejected shots on the proof sheet. With slides, it is best to have the actor place a small "x" on the corner of the slide they reject. Provide a loupe (magnifier) for easy analysis of the proof sheets as well as slides.

If you have several actors who have authority to reject photos of themselves, then it is possible to end up with very few usable shots. To overcome this problem, avoid having actors seeing each other's kills by sending each their own set of proof. One might also ask which photos they like very much and would recommend for distribution. This input will be helpful in reducing the thousands of shots to a manageable number.

Some actors will reject excellent photos because it does not suit their self-image or is not an attractive pose. Such photos can have great marketing potential as they capture the true essence of the story, the characters and their emotions. Sometimes it pays to save these shots by arguing their value to the movie and to portraying the stars true dramatic abilities as an actor. The director and publicist may be of help in persuading a change of heart.

Sometimes the actor's headshots are utilizes as publicity photos, especially in development and pre-production. If digital files are available, obtain filled out and signed release forms for their use.

Photo retouching, cropping, color corrections and other manipulations are useful in preparing sent out for publication. This is more a factor when making up sets for soliciting distribution, trades, entertainment media, and reviewers. These photo sets have a definite goal in mind and that is to sell the film and its story. Thus, they should be near publication standards and free of flaws. Photos for the press book and web site should receive the same treatment.

Photo Sets. The publicist and still photographer should work together to come up with sets. A good color set might consist of 6-10 of your best shots, including portraits, action shots and behind-the-scenes photos. There might be several different sets, each tailored to different media outlets. For entertainment magazines, you might emphasize good shots of lead actors and for film magazines more shots of the director in action and technical accomplishments.

Also, compile sets for the advertising department in designing preliminary ads. Licensing and product placement executives will also want sets to send to companies that have tie-ins with the film. Other sets might be made up for foreign sales and marketing executives pitching the film around the world or for allied P.R. entities, such as actor's publicists for their own campaigns. Television programs such as talk and entertainment shows also use graphics in their coverage of the film. Pre-selecting these sets provides many more opportunities to promote the film and its principals.

Hold backs. Publicists and distribution companies normally hold back certain prime photos for special features by leading entertainment magazines. For low-budget features, this is a risky choice as such productions are rarely covered. Only breakout successes have a chance to be included. Such a gamble can leave you with unspent creative capital that decreases rapidly once the film is in distribution.

Exclusivity. On feature films that have celebrity appeals, certain news and entertainment magazines will request exclusive rights to prime photos. These could be the cream of the crop, but they could also be photos with a tabloid appeal. Such withheld photos have enormous value especially if placed in leading entertainment magazines. These could also be photos obtained in the candid papprzrize style.

Deliverables are items required by the distributor to properly service of the picture. These items are subject to negotiation and depend on the distribution company and the designated market, theatre, direct to video, or VOD. Photos are a key deliverable element as they provide the visual materials around which the marketing campaign is structured.

Specific deliverable requirements usually consist of a contractual number of photos, some in black and white and others in color, for use by the distribution company. Expect to furnish at least 100 different black and white contact prints consisting of production, publicity, and portrait photographs in proportions as required by the distributor. From these 100 prints, the distributor will select at least 25 photographs, 8 x 10 prints for delivery to the distributor. The distributor will have access to all negatives or digital files and said photographs will be suitable for preparing advertising, exhibition and publicity materials. Each still photograph will have a title descriptive of the scene depicted and name(s) of the performer(s) shown in the photo. All approvals or other authorizations required for distributor's use will go with the respective photographs.

Color stills follow the same requirements however the numbers are increased. At least 250 original 35mm color negatives or digital photos will be provided of which the distributor will select at least 25.

When providing digital photos, you fulfill deliverables in a similar fashion. Proof sheets serve as the selection prints and CD's or DVD files serve as the original negatives. In all these submittals, it is important to cross-reference each photo with the ID number, descriptive title, names of participates, and if available, caption and script scene number.

Budget figures will vary depending on the extent of photographic coverage and the type photographs. Another factor is whether the still photographer is union or non-union. On big budget films, the still photographer may work the entire shoot while on an ultra-low budget features he may only work 2 or 3 days.

Rates. Usually negotiated rates for still photographers depend on the budget of the film and the applicant's experience. For a union photographer, the minimum daily rate for an 8-hour studio shoot is $344.85. For a 40-hour studio shoot, the weekly rate is $1597.86. Union portrait photographers get $396.70 and $1960.47 weekly. For production budgets under 5 million, there is a low-budget rate of $293.68 daily and $1458.40 weekly. Added to these union rates the production company must also contribute 7.719 % for vacation pay and 16% for Pension, Health and Welfare. For highly regarded still photographers in the union, the negotiated rates will be higher. When the film is produced under an IA contract (International Alliance of Theatrical Stage Employees and Moving Picture Technicians), the still photographer needs to be a union member. Union rates and workweek length may be different for distant location shoots. Contact the International Cinematographers Guild, Local 600 for complete wage scales and working conditions.

For non-union still photographer's rates, the following ranges will give some indication of the likely costs. Non-union daily rates range from $180-280 per day and $900-1400 per week. Additional expense would be payroll deduction for FICA. For highly regarded still non-union photographers rates would be higher.

Many well-qualified non-union photographers seek low-budget feature work to fulfill union acceptance requirements. Non-union salaries should include the same welfare/workman's comp/SDI coverage allowed for other crew members. Normally this coverage is a 15.3% adder.

Expenses must also be included in the budget. They might include film stock, processing, proof sheet, prints, slides, and expendable supplies. If done in digital, expenses might include a means of archiving stills (CD, DVD, memory sticks, or external hard drive), proof sheet, and prints. Other expendables would include archival negative and slide preserver sleeves, 3-ring binders, grease pencils, loupes, mailing fees, cropping slides, and record keeping journals. A kit fee is sometimes a negotiated item and covers usage of cameras, camera accessories, backdrops, and lighting equipment supplied by the still photographer.

In hiring a still photographer, one should look at several photographers' portfolios and obtain their references. This will help assure the highest quality pictures possible for your allotted budget. Work samples and price should not be your only considerations. One should also use careful research, astute observations, and assess the candidates making sure they possess the following abilities:

1. Portfolio samples show the creative ability to capture the vision of the film and key story elements. Do the photos entice you to see the movie or read more about it?

2. Portfolio samples demonstrate technical abilities to acquire photos that are in sharp focus, well-lit, and properly composed.

3. Does the photographer have the necessary equipment to do the job?

4. Has the photographer demonstrated professional business practices with regard to record keeping, photo approvals, and photographic law.

5. Does the photographer have problem solving/logistical planning skills to obtain the necessary stills and ability to set up special photo sessions as required by the producers, publicist, and photo editor?

6. Does the photographer have the managerial skill to work with stylists, makeup artist, wardrobe, and lighting people?

7. Is the photographer well-informed about production issues, the filming process, and the thrust of the story?

8. Do repeat clients in portfolio and references indicate the photographer is dependable?

9. Does this person possess a good-natured pleasant personality, one that will fit into the collaborative mix of the production cast and crew?

10. Does this person exude energy, enthusiasm and excitement for the project?

If the attributes for the above qualifications are positive, then such a photographer is an effective and economical choice. Once you have hired your photographer, you should draft a deal memo specifying rates, number and dates of filming days, along with securing film and processing deals plus allowance for expendable expenses.

If your funds are limited, select the key production days in which scenes and actors will provide the most useful publicity shots. Discuss this with the director and cinematographer to coordinate scheduling as well as input as to likely shots and composition. If name actors are in the film, these days might well have priority. Reimburse purchases or issue petty cash and have receipts returned.

PHOTO SUBMISSIONS

Each media outlet has its own submission policies, but knowing some general requirements will make you better prepared. It is necessary to submit quality high-resolution photos in the proper format. B&W and colored photos should be 8x10 in size, although 5x7 is sometimes acceptable. If digital, they should be hi-resolution, 300dpi or higher, and in the universally accepted jpg format. Clearly label all photos left to right as to participants, and with captions. The same goes for photos placed on the film's web site. When web photos are not hi-resolution, there should be some means must be established how they can be obtained. This could be a second site with a hi-res photo gallery, or the name of the publicist including telephone number and email address to obtain them. By following these simple requirements, there will be more opportunities for placing photos.

A typical photo submission with all-essential labeling should include the production title, file name of jpg photo, pixel dimension, and file size. The caption should include the character's name, the actor's name in parenthesis along with a description of the scene's action. This is information that will fit on the internal data that goes with the photo.

SUMMATION

Independent productions commonly overlooked the impact of production stills, particularly decent action shots. These photos are indispensable in press kits, postcards, posters, festival programs, industry and entertainment magazines, on web sites, and more. Shots in front of the camera should be the mandatory requirement with some emphasis on behind the scene's photos. These images should tell stories and invite the reader into the accompanying copy to learn more about the film. One should also consider publicity portraits of production's principals.

While stills are a minor part of the production, they play an essential role once the film is finished and enters general release. They can likewise garner interest in the industry, particularly distributors and exhibitors, long before the film will be ready for screening. One should not overlook this powerful tool, for images can spread good word of mouth as well as the written word.

Erik Sean McGiven has worked as a publicist and still photographer as well as doing PR on films slated for distribution. His expertise in this area is helpful to filmmakers with limited funds who want to promote their films in effective manner. For other articles on the filmmaking go to http://www.erikseanmcgiven.com/writings/the-biz/. Erik works in the industry as a producer, writer, director, and production designer.

Three Traits of an Actor/Actress

There are many traits of an actor or actress but I would narrow it down to the three main traits one should have as a performer. First off let me start out by saying that actor in the Greek language is one who interprets but in this sense it is one who interprets a dramatic character. The actor acts in dramatic performances and productions. They are involved in screen and off Broadway plays, theatre, film, television, and even radio. Acting is said to derive around 534 BC.

The first known person to get on stage and recite words intended to be someone other than themselves is Thespis. He performed at the theatre Dionysus. Thespis told his narratives in song, third person narrative, and dance. You may have heard of actors being called Thespians and this is mainly because of Thespis.

Unlike in present time were we placed our actors on high pedestals back in the early middle ages actors were not known as a high status. People tended not to put much trust into the traveling actor. But now people have come to almost worship and even being obsessed over actors.

One of the traits an actor must have is technique and discipline. You must learn the ways of the art. You should be well acquainted with different acting styles. There is method acting, presentational and representational acting, and acting as an opposite gender.

You should learn the history to get to know the essence of the art. The second trait you should have is creativity and freedom to express yourself. You must be willing to make a fool of yourself for the art. You have to be able to learn how to let go and be as free as a child while still maintaining that constant control of your craft.

The third technique to possess is the passion and the energy that brings. When you love something and love to do it that in turn comes across in your performance. The feeling that an actor brings to the table is that of real raw sincere emotion and the if you can find your passion for the piece and character you are portraying then you would make a phenomenal performance as an actor.

Learn how to find that inner energy that you need to bring from the inside to the surface of the character. As an actor you should always try to find common ground between you and the character so that your presence is felt as one and not as you playing the part but being the part.

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Movie Review - The Book Thief

She finds her love of reading as a way to shut out the horrors of Nazi Germany. She steals them, shares them, and uses their words and thoughts to nurture those around her. In doing so, she creates a magical world that inspires them all.

Based on Markus Zusak's international best-selling book, "The Book Thief" is about Liesel, an extraordinary and courageous young girl who finds solace in stealing books. Set in 1938, the movie opens with Liesel's mother taking her daughter and son to live with a foster family in a German working-class neighborhood outside Munich. Unable to care for her children, Liesel's mother must give them up. However, on the train ride, Liesel's younger brother dies, and in the snow-covered ground, he is laid to rest. There, at age nine, she steals her first book, "The Gravedigger's Handbook" and thus begins her love affair with books.

She tries to adapt to her new life with the foster parents Hans and Rosa portrayed by Oscar winners Geoffrey Rush and Emily Watson. Hans kindly takes her under his wing, gains her trust and when he discovers she's illiterate, he teaches her how to read. Rosa, the stern one, sees problems with this new addition and questions the decision to take her in. Liesel, played by Sophie Nélisse, at first wants to run away, but then finds a budding friendship with schoolmate Rudy (German youngster Nico Liersch). Over the next six years, the characters are affected by Hitler's rise to power and the war that follows.

Books are at the center of this film, not so much for their physical presence but for their ability to unleash a freethinking society, one that can make up its own mind. When Hitler came to power, Nazi Germany was obsessed in suppressing dissident viewpoints, ideas contrary to their ideologies and the party line agenda. Public book burnings were one way to control the masses and force them to give up the thoughts, the words, and the stories that gave direction to their lives.

The book burning is one of the strongest scenes in this movie because it's a turning point in young Liesel's life. She attends and initially she is caught up in the jubilant celebration. However, her composure slowly changes when she realizes something is shamefully wrong. When pushed to take part in this horrific act, she becomes one of us and we feel her turmoil destroying the very thing she loves. Over the loud speakers, the rantings of German-speaking official combined with the flames of the burning books creates a terrifying scene. It foretells of the tragedies to come and that no one is safe in this warped and misguided world. From this moment on Liesel must live a double life, one seeking truth, the other obeying the Nazi dictates.

In this hostile setting, Liesel steals a book from the bonfire embers hiding it under her coat. The mayor's wife, a compassionate person who likewise loves books, observes this courageous act.

Shortly after Kristallnacht, (night of broken glass) when Jewish shops are vandalized, Hans, Rosa, and Liesel take in Max (Ben Schnetzer) a young Jewish man on the run, one whose family Hans owns a debt of life for saving his life during WWI. Max is near death and the family nurses him back to health. Liesel reads to him and the words somehow nourish him back to life.

Portions of the film are narrated by Death (English actor Roger Allam) and his clever observations bring lightness to the story, one that could easily become bog down in human misery. Here Death handles ones passing with tenderness and moving compassion, almost feeling sorry for what he has to do.

The performances in this film will receive numerous accolades for they are touching, inspiring and compelling. French-Canadian actress Sophie Nélisse delivers a stellar performance as the spirited and courageous book thief. Previously, she gained considerable notoriety for her spot-on-performance as Alice in "Monsieur Lazhar." An aspiring Olympic gymnast, her athletic abilities were quite evident in the film as she raced co-star Nico Liersch (Rudy) to a dead heat. What is most impressive about her portrayals is her ability to articulate what is going on inside. Her facial expressions and especially her eyes bring out the essence of the scene. We feel her fears, her vulnerabilities, as well as the strong affection she has for words and the solace they bring her. I remember a study saying that people who read fiction are more empathetic to human conditions celebrating their successes, comforting their losses. Liesel certainly fits that mold admirably, a trait that is certain to bring nominations in the upcoming award season.

The performances by Australian actor Geoffrey Rush and British actress Emily Watson are equally impressive. Rush is an award-winning actor having won an Oscar for "Shine", plus nominations for three other films. In "The Book Thief", he brings to the screen a character that is kind, loving, and honorable. Yet he has a lazy streak that angers his wife. He doesn't help with her laundry business and is not very ambitious about seeking work as a painter. He plays the accordion, sometimes for himself, sometimes to calm the nerves of those in the air raid shelter. He's a likeable middle-aged man, avoids trouble, yet it finds him when he tries to help others. Above all, he is a loving father whose calling is to protect his daughter Liesel. While flawed, he is lovely flawed. A stupendous performance, to say the least.

Emily Watson, twice nominated for an Oscar, also brings an in-depth portrayal to the screen. She is the pillar of strength in this family and the suppressed emotions churning underneath initially create ambiguity about her character. As the key breadwinner, she provides the necessities of life, and somehow, she makes do with what little money is coming in. With her hair in a bun and her stern demeanor, one might get the impression that she has a cold and calculating heart. Such is not the case, for as the story unfolds, her true nature is revealed and we come to love her. It is an incredible performance with many layers by a truly gifted actor.

Other notable performances come from Nico Liersch (Rudy) as Liesel's friend. They share dreams; his wanting to be a runner like American athlete Jesse Owen. They also share secrets, one being the hiding of Max, young Jewish man in the family's basement. In a breakout performance, Ben Schnetzer portrays this refugee badly in need of help, yet he supplied the tools to nurture Liesel's career as a writer. Liesel gives us a sample during a bombing raid. Sensing the fears of others in the shelter, she starts telling a story. It begins, "There once was a girl, who had a friend that lived in the shadows. She would remind him how the sun felt on his skin and the air felt like to breathe, and that reminded her that she was still alive."

Brian Percival, of "Downton Abbey", directed this film and readers of the book will undoubtedly find gaps. It is difficult to adapt a five hundred and fifty-page book into a two-hour movie. Yet this film holds together nicely and one is drawn into the story by the fascinating characters and their ever-growing predicaments. Percival allows the actors to breathe life into their performances while skillfully controlling the tone and pace. Images, beautifully captured by cinematographer Florian Ballhaus, paint a story that pulls us deeper and deeper into these turbulent times. Music by the legendary John Williams complements the story mixing the themes of pending doom with the spirit of hope. Along with writer Michael Petroni, the creative team has produced a deeply moving film, one that makes us care--about what happen back then and what's happening now.

Tech credits are first-rate, and the production design, wardrobe, and make-up gives us that period you-are-there look. The film was shot at Babelsberg Studio where a small village was constructed for exteriors. Film was reviewed at Fox Studios at a preview screening.

CREDITS: The Book Thief stars Sophie Nélisse, Geoffrey Rush, Emily Watson, Ben Schnetzer, Nico Liersch, Sandra Nedeleff, Kirsten Block, and Joachim Paul Assböck. Editing: John Wilson, Production Design: Simon Elliot, Art Direction: Bill Crutcher, Costume Design: Anna B. Shappard, Music: John Willams, Produced by Ken Blancato and Karen Rosenfelt, Written by Michael Petroni (adapted from Markus Zusak's novel, Cinematography: Florian Ballhaus, Directed by Brian Percival. Limited release: November 8th, 2013, US wide release: Thanksgiving 2013. Foreign release: January/February 2014. Rated: PG-13, 131 Minutes. In English with some subtitles of German dialogue.

In addition to movie reviews, Erik Sean McGiven also writes articles on acting and the entertainment business. Article categories and reviews are listed at http://www.erikseanmcgiven.com/writings/