Montage by LASA Ezine

MONTAGE

Life of a Stuntman

Piracy and The Fall of the American Cinema

Rated “R”

MONTAGE

About Us Name: Jessica S. Age: 14 Hobbies: Watching TV and Reading Interests: Japanese language, Film and TV. Current Favorite Movie: He’s Just Not That Into You Additional Information: I’m very good a procrastination, like Ellen. It’s a skill I’ve pretty much mastered after years of practice.

Name: Alex S. Age: 14 Hobbies: Watching Films, Playing Ultimate, Video Games Interests: Film, Music, News, Comedy Current Favorite Movies: The Lion King, Let The Right One In Additional Information: I’m an overbearing film snob. That’s why I made Montage.

Name: Ellen P. Age: 14 Hobbies: Watching Anime, Reading Manga, Drawing, Playing the violin Interests: Japanese Movies and Music, Mystery novels Current Favorite Movie: Maou Additional Information: I am a lazy little procrastinator whose only interest is to lounge around with my manga in my hand.

Letter From The Editors Dear Readers, This magazine, Montage, offers a variety of stories revolving around the topic of film. Our main goal is to inform our readers about film and its place in the Austin community. The stories in our magazine will provide our readers with information pertaining to the Austin Film community in a way that entertains. Ellen Pong Alex Shultz Jessica Skrobarczyk

Montage 12/10 Evolution of a Class

An interview with a LASA teacher about how her class came to be.

Drafthouse of Austin The Alamo Drafthouse Cinema and its uniqueness in the Austin Community.

Adrenaline Rush

An interview with a stuntman from Austin.

Film Programs

Restricted

Fall of the American Cinema

Opinions about The Messenger, Itâ&#x20AC;&#x2122;s Kind of a Funny Story, and Megamind

Opinions on the anime Hetalia, Angel Beats, Higurashi, and Kanon

Theatre food and what you can risk.

How 3D, Piracy, and pride can cause the downfall of an industry.

Anime Reviews

Costly Concessions

A peice about public school film programs, how theyâ&#x20AC;&#x2122;re precived and what the offer to students.

The consequences of underaged viewers watching R rated movies.

Film Reviews

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Evolution Of A Class O Jessica S.

ver a hundred movie posters adorn the walls. About 10 table sit in the middle of the room, surrounded by tables against the wall, holding around 30 computers. In the back, 10 small camera’s sit in their place, charging. A giant metal gold film reel sits on a table in the back of the classroom. Besides the entrance, there are 3 other doors, one leading to another hallway, one leading to a storage room filled with equipment, and the last leading to a big room with a glass window, currently storing things like props. Vanessa Mokry’s classroom really shows what her class is all about. Ms. Mokry, teacher of the Audio Video Production class at LASA, came to the school a mere 4 years ago. She was searching for work, so when Mr. Sanchez, the principle of the Liberal Art and Science Academy, called her up and offered for her to teach, she gladly accepted. Even though it’s name may not portray it, AVP is essentially what most would consider a film class. Since coming to LASA, Ms. Mokry has started up and shaped the Audio Video Production class. As a kid, Ms. Mokry would watch TV with her dad, and spent more time on her sister’s video camera than her sister. She talks about how watching films and TV where a part of her education. “You really understand how people speak to each other, how they relate to each other.” She says. After graduation collage, Ms. Mokry worked for an Audio Visual company and in the Austin film community. She eventually created her own production company, but mostly ended up filming weddings to make ends meet. Then, she got the job at LASA teaching Audio Video Production. “When I first got here, we had no equipment, we had no computers.” says Ms. Mokry, talking about her first days at LASA. “We had no computers until just about before thanksgiving. Nothing in this room.” In a lot of ways, film-type programs are really new. They haven’t been around for a long time, so teachers don’t have as much guidance when they’re starting off. “We where doing a lot more planning, and story boarding and less technical stuff for a while. And then I started figuring out what I needed to ask for, and then I started to figure out what other teachers where asking for. I figured out that they had a whole lot more [equipment]. So I started asking for these through the roof things that I wouldn’t have even necessarily asked for. I didn’t even know what the limit was, and I was really undershooting myself.” To qualify for the job, she had a degree in education, and experience in the film industry, especially around Austin. “It’s a hard thing [working in the film industry]. It’s a

hard lifestyle, and it’s not very steady income all the time.” Now she has the steady income of a teacher behind her. When asked about what the intro class is all about she said: “To me the intro class is a very basic thing, because all I can hope for at the end is that I’ve kind of just let everyone dip their toe into the whole atmosphere. The ones that have a little more experience will hopefully be able to make of it what they will.” The intro class is only one of the classes she teaches, but they are all film-classes. Currently there are 3 levels at LASA for AVP: Intro, advanced, and practicum. By the time you get to the practicum-level, your mostly doing independent work. For the intro class and even some of the advanced, you really have to work on learning the technical stuff. “It’s hard because it’s a technical course, and it’s also... not a technical course. It has to come together. You have to be able to do the technical before you can do the creative type thing. For the most part the class is do it and you get a grade. As long as you complete things, your getting that much more knowledge and it’s not right or wrong. It’s just completing. As long as they’re doing that their learning.” The classes are jam-packed with information, but even so, Ms. Mokry still says it’s not up to her standards. “Well, I’m still figuring things out. It doesn’t work well enough, at all, to my standards. I’m going to figure things out better each year.” Holding herself to a high standard is probably one of the reasons her class is so good. It’s an exciting thing to know that as time goes on, the program will only get better. Could there be a day when students can make Hollywoodlike full feature films, with just a years work? Only time can tell. “Experience is the only thing that seem to help the most. Because this is a subject that you know, and you can do yourself. Like film making, I can go and make my own film, I know what my strengths are, I know what my knowledge base is, I know how I think, but suddenly when your trying to make this really personal thing, and your trying to teach more than a hundred other kids how to do it themselves, it’s much more difficult. And the range of skill and previous experience is very different too. So some kids are really basic, some kids have some experience. And your trying to get everyone to do something. It’s tough. There’s no real way it could ever really be the same.’ But with only one teacher, and so many students, how far can the program really go? As the success and recognition grows, will the amount of students that want to take it become unmanageable? When asked what an ideal program would look like, she answers: “The ideal program would be a teaching assistant that was actually skilled, a salaried teacher assistant to help

~ “To me film is the most important thing in the world.”

manage some of the everyday stuff. Hopefully we’ll be able to get the lab assistance to do [some of the management].” Film programs can be overlooked and underappreciated very easily. Some people, when they think of film as manipulative media and overpaid actresses and directors. To those people, they might find it hard to recognize what a film program brings to the table, and all it can offer to teach kids. “A film can’t be made by its self. In the end your learning to solve problems and work together with other people.”

Ms. Mokery is a shining example of what we all look for in a teacher. Someone who wants to teach their subject, who thinks it’s important, who can see that kids are different, and is always working towards making their class better. “To me film is the most important thing in the world. To me, an actor, a director, that kind of job is just as important as a doctor. I think film saves lives, just the same.”

Ms. Mokry sits behind her desk, as she watches over the class. Ms. Mokry talks to her student about a film they are shooting, while actors put on makeup with a mirror set up in the hall.

Prepairing to shoot, students put on makeup to look more like zombies.

Ms. Mokry watches her class, while people edit on computers. A group of students eat their lunch, because they where shooting film durring lunch.

The Drafthouse of Austin By Ellen P.

One of the best theaters in this divergent city

ows of about 60 to 200 crimson-colored fabric seats, spaced apart from each other with narrow alleys fill the theater, chatter is heard throughout the room. Suddenly, the lights dim, giving a warm feel to the room as the traditional-style screen illuminates. The chatter dies down to .whispers, which soon disappear. Movie previews fly through the screen with their trailers. The scent of popcorn wafts through the air, as the audience waits in anticipation for their movie to start. This is the typical setting of the Alamo Drafthouse Cinema in Austin. Although there are many theaters in Austin, each has their own characteristics to distinguish them from

Drafthouse to see the new Alice in Wonderland movie by Tim Burton, and I ordered dinner there. The dinner consisted of rabbit [meat] and an unidentified soup that still tasted fine. It is a unique way to incorporate a meal into a movie,” says Catherine Pong. With its service and quality, one would think that a visit to the Alamo Drafthouse would be pricey. But the ticket price at the Alamo Drafthouse is actually very reasonable. An average priced ticket at the Alamo Drafthouse costs about $9.00. Students are eligible to a student discount of $2.50, leaving the ticket price to be $.6.50. The food, however, can get a bit expensive ranging from $2.50 for a salad to $12.00 for a pizza.

the rest. The public opinions on each theater vary depending on factors that grab their attention. Some theaters have more of a modern design than others, some more colorful. Some theaters radiate a “Keep Austin Weird” feel while others do not. The Alamo Drafthouse for one, is a theater unlike many others. With its many different ways of entertaining their audience, the theater is well liked all throughout the community. The Alamo Drafthouse holds special events, showings, and guest visits. It gives the audience entertainment that may or may not be movie-based. “They [The Alamo Drafthouse] held a Beatles singa-long event where everyone would sing, to songs by the Beatles. It was pretty much like a large karaoke party,” says 23-year-old Catherine Pong, whose favorite theater is the Alamo Drafthouse. “The Alamo Drafthouse also has special showings, such as classic ‘old day’ movies that you cannot really find in stores anymore.” The Alamo Drafthouse does not have a concession stand. Instead, it serves full meals to their audience. For this reason, there is a long wooden table that stretches across in front of each row of seats, allowing easy access to food when eating. Some may describe it as a restaurant with a variety of movies for the audience to watch while enjoying their food. “There are waiters and waitresses there that are friendly and give you nice service,” says Aubry Foose, a freshman student at McCallum High School. When buying a full meal, the theater has a unique way of matching the food they serve with the movie the audience is watching. “I went to the Alamo

“The food and service are both worth the price you pay,” Aubry says. For tourists coming to visit Austin, the Alamo Drafthouse is a definite recommendation. Theaters like the Alamo Drafthouse are not very common to come upon, seeing that not many theaters around Austin have what the theater has. The Alamo Drafthouse emphasizes the uniqueness of Austin’s community and more specifically, the uniqueness of entertainment in Austin. Overall, it is amongst the top most unique theaters in Austin. “I always have a good time there,” says Catherine.

“I always have a good time at The Alamo Drafhouse”

Pictures by Catherine Pong 0

The Life of a Hollywood Stuntman By Alex S.

blood covered, muddy body lies dormant in the lush flora of Hawaii. A helicopter swoops in and hovers directly over the disfigured man. As it flies away, the tail rotor dips down, a few feet from ripping his body to shreds. When the shot is over, he jumps up from his position while the helicopter comes around for another take. This is the career of Richard Hancock, danger and nervousness come everyday for a stuntman in Hollywood. Uncertainty is the only thing that’s certain. Hancock is a professional stuntman who lived in Los Angeles during the prime of his work, but now resides in his hometown of Austin, Texas, picking up stunt jobs when he can. His weathered, sturdy face shows he’s been through a lot. When asked about some of his favorite experiences, Hancock exhales and falls into a state of thought, navigating all of the stories he can tell. Like most people in the movie business, Hancock got started by pushing his way on to a movie set and getting his face recognized. After spending the majority of his childhood in gymnastics, stunts

seemed like the easiest and most fun career he could find. Hancock’s parents saw a natural ability in him when he was 9, and it led them to believe gymnastics was the right thing for him. They put him into Crenshaw’s Athletic Center, and urged him to keep with the sport throughout high school. Once he got into college he started thinking about doing stuntwork. “When I started realizing I wasn’t the college student type, I started exploring stunts as a career,” Hancock says. Hancock realized there was no specific way to get into the action, unless you literally squeezed your way onto a movie set uninvited. “[My friend and I] went to go visit [another friend] on the set and we kinda wormed into being an extra in our cars. It was my first taste of being on a movie set and knowing I would like to do that. I realized that I definitely wanted to be a stuntman, and I started pursuing it.” Hancock got a real, paid job soon enough. His friend from the first movie recommended him for a stunt job in Tennessee for a film ironically called The Night the Lights Went Out in Georgia.

Hancock was dedicated to his career; he drove all the way up to the foreign state for the measly part of an extra. But this was not a waste of time. “I started realizing what I needed to do to become a stuntman I needed to learn how to be on a movie set, what kind of etiquette, what kind of protocol, how everything works on a movie set before i even go out and pursue a career in stunts,” Hancock says. People wanting to get into the industry have to know what to do during shooting before they can get a real career seemed to be his mentality. There was no specific, particular way to get a job as an extra. You just have to know the right people. “All of my jobs came from friends that knew me or knew that stunt coordinator that gave me my start. And that’s really where all of somebody’s jobs came from. From recommendations from other people.”He got a job on a film called Split/Image in Dallas because the stunt coordinator of The Night the Lights Went Out in Georgia remembered him and called him up to Dallas.That’s were he became a part of the Screen Actors Guild, an organization like a union.

Getting his SAG card was an important step in his career. Hancock spent two years in Austin bereft of work before realizing he had to move to Los Angeles. Once he got there, ways to get into the business numbered few, so he resorted to passing out his resume to stunt coordinators on any movie set he could find. And he wasn’t the only one with this idea. “You keep seeing the same people passing out their pictures, and you start to become friends with them,” Hancock says. These were the people he spent his time with, dreamers like himself from all around the country who flock to Hollywood in search of a career that can be fun. Hancock is one of the few successful ones that broke into the business. Others just give up. “I’ve known tons of people that want to be screenwriters,want to be directors, want to be producers and it they just never get anywhere with it. They try and try and try for years and nothing ever happens, so they quit. Happens all the time.“I was one of the lucky ones.” Work was difficult in L.A. All of the resumes he passed out and all of the movies he worked in didn’t matter. It all boiled down to having a good stunt coordinator. Hancock was lucky enough to work for one that recognized his talent and perseverance and that coordinated on a lot of pictures. “It’s a tough business, it’s very tight, and the people who are stuntmen don’t want new people coming in, because it takes our work away. That’s what makes it so hard, nobody wants new people because we’re all fighting for the same jobs,” he says. And life doesn’t get easier once you break into the business. Competition runs throughout all ranks of the industry. “....until you’ve been doing stunts enough that you’re a stunt coordinator and then you’re going to producers and hustling that position and there’s still no of official line up. you play this hustle game, this schmoozing who you know

game.” Hancock was good at getting respect and recognition, and he was also good at kissing producers’ and directors’ asses, two excellent skills for getting far in the movie business. And those skilled paid off. Richard Hancock has had an incredible career, coordinating stunts in Robocop 2 and 3, Weekend at Bernie’s, and Superman 3, and performing in The Hitcher, Outlaw Blues, Planet Terror, Alamo, and Predators. He can do any number of stunts, but he loves falling and tumbling off hills and cliffs, getting shot and dramatically crashing into the water, and other dramatic, violent stunts. But after many years of performing these dangerous feats, the adrenaline never wears off. “Every shot, every take I’m a little nervous, you’re on camera, it’s a big deal, there’s hundreds of thousands of dollars riding on your performance. And

when it hurts to get out of bed. Performing does provide adrenaline and praise, but it always has a chance for injury. “Not a lot, not as much as most of my friends,” Hancock responds when asked about his number of injuries as he knocks on his wooden desk prominently. The stuntman has been out of work multiple times due to serious injuries, but sometimes he has continued to work with a minor one. Production will fire you if you have an injury, so hiding it is necessary to stay on the show. “The first scene [in Alamo] I was in I swing my knife at a guy and somehow his gun barrel got stuck on my little finger and just broke my little finger. It went sideways. And so I knew I’d be off the show if I had said anything so I taped it to my other finger. So [the make up department] had to make up my tape every day.” These instances never

“Every shot, every take, I’m a little nervous” if you don’t perform up to snuff you could always get hurt, you’re never sure exactly what’s gonna happen. When you do it it’s exciting, and you hit, and everthing’s okay, there’s a little pain here and there, but you’re not injured, you’ve had your adrenaline rush and now you’re riding on that adrenaline.” This is what Hancock does for a career. This is what he looks forward to doing when he wakes up in the morning. And he loves it. “I enjoy people watching me and saying, wow you’re good at that, I wish I was. It’s just a really good feeling and so I really enjoy performing.” Hancock says. But he also enjoys coordinating, especially now,

stopped Hancock from performing, but coordinating had some great benefits as well. “On Weekend at Bernie’s 2 I saw a sequence that I didn’t really like so I was able to recreate that sequence and I had a lot of creative input.” When working on what the scene is like, production listens to people that have experience.Hancock took great advantage of that, changing up sequences to better work with his style. Hollywood may have provided Hancock with an incredibly fun career, letting him perform and innovate stunt work, but it isn’t a great place to raise a family. Hancock decided to move, so he put his

Richard Hancock as a zombie in Grindhouse, with a flesh wound in The Hitcher, and teaching at Crenshaw’s Athletic Center

house on the market in 1999 and a month later he was living in Austin. “Austin’s a nice place to live, Southern California is a not that nice place to live. So I just wanted to raise my kid’s in a better place with better schools, with a better environment, with more wholesome people. So we moved. And because my mom asked me to.” This move was a big change for the stuntman. Shifting from working 100 days a year in sprawling Los Angeles to 20 days a year in fairly small Austin is significant adjustment, and it made another occupation necessary. Hancock got a job teaching gymnastics at the same place he trained when he was a kid: Crenshaw’s. The job grants enormous satisfaction for him, even if the it’s nowhere near as exciting as stunt work. “I place a great importance on educating children, whether it’s school teachers educating them in school or whether it’s a soccer coach, or whether it’s me in gymnastics,” Hancock says, “When I was growing up I still remember every coach I ever had. And there’s something that they did to make me remember them, there’s at least one moment that each of those coaches had with me, either they beat me, hurt me, belittled me, gave me an epiphany where I realized something about a skill or way to behave or something that they did in my upbringing that sticks with me, that made a change in my life. And I know I’m doing that for every kid whose life I touch. So it’s a pretty good gig.” But stunt work is still a job opportunity for Hancock. He is one of the few “bonafide”, experienced stuntmen in Austin, so he is still called to work whenever there’s a show in town. Age is posing more of a problem for Hancock now than ever before though. At 57, getting out of bed is starting to hurt more and more for him. Although the pain is great, Hancock does not want to quit. He recalls two idols he had when he was new to the stunt business, Harvey Perry and Bob Yuerkes. Perry worked until he was 87 and then died shortly after. Yuerkes is doing stuntwork into his 80s, and still does a backflip every birthday. “I want to do that. I’d like to keep working until, until I die.” Richard Hancock has had an excellent career. He was lucky enough to break into the business of the film industry, where many come looking for excitement and have to give up. Constantly enjoying his work, Hancock either had creative input or an adrenaline rush whenever he came to work. And he still gets to do something he loves, teaching kids and making a change in their lives. This amazing man’s life has been one filled with adventure, invention, impact, and vision. And he plans to continue living it.

Richard Hancock Perfomed in The Hitcher, Sin City, Casino and The Alamo and coordinated Miss Congeniality Weekend at Bernies

Media In School

Jessica S.

Sitting down in a darkened class room, I watch a flickering Another main point of film programs is also to make students image on the wall. All across the room hands scribble across more intelligent media consumers. The film and industry is paper, frantically taking notes. A thick section of a large constantly being criticized for influencing people, whether notebook is already written in, filled up completely. I could it’s influencing their political decisions or getting them to by arguable say that this class is perhaps the class I’ve come the a product. Film programs can be helpful in diminishing false farthest in, it’s destroyed many false illusions I’ve held, and stereotypes about the media, but also making you aware of how opened up a whole new world. I can say with certainty, it’s the they are influencing you. The more you are aware of what is class that I’ve taken the most notes in. There is no doubt in and isn’t true about media, the less vulnerable you’ll be to the my mind: Film has been one of the most pivotal classes in my influence of the media. Under the AISD requirements of what schooling so far. a student is supposed to learn in media classes it states that Film is such a valuable class, but a shockingly low amount of students should be able to “recognize strategies used by the schools offer it. Out of 18 High schools in Austin, Texas, only 5 media to inform, persuade, entertain, and transform transmit”. of them offer film programs. That’s only 36% of schools. With By recognizing how and if media sources are trying to influence, such a small number of high schools offering film programs, and know the ways they influence you, it can help students it seems as though AISD isn’t taking the time to consider how be aware of how the media influences them. This awareness valuable film classes can be to a student. School districts seem can help students in making their own choices without being to be unwilling to put money into film and media classes, even affected by big-source media. The requirements also state that though they are extremely beneficial to students, and popular. students should be able to produce “visual representations that Programs like theater are included at every high school and communicate with others”. So, not only can film programs teach middle school.Yet as you walk around LASA you see posters kids about how they are being influenced, but they can also teach advertising theater, desperately asking how to use those same techniques to do for more performers, while our only They encourage creativity, things like present ideas and situations media class, Audio Video Production, is in an influential and positive manner. In overflowing. Theater, as a class, seems and analytical thinking. a world with technology becoming more outdated, especially when compared to media and film classes. assessable every day, video can be a good way for young people Modern popular theater productions are few and far between, to voice their opinions. With more kids being educated about with the only popular common productions left being on persuasion, we can bring around a generation of kids who are Broadway in New York, traveling Broadway, and a few other aware of how they can be influenced, and how they can use previously established theaters. So, compaired to media and those influential techniques to bring around positive change in film classes which prepair you for a wide range of jobs (screen there community. writing, directing, camera man, story boarder, producer, ext.) Film and media classes can offer to teach a wide range of theater classes don’t offer much to children as far as future skills, most of that can’t be found in most other classes. They careers do. encourage creativity, and analytical thinking. They can make us Adding film and media programs to schools is a great way more around of the media that surrounds us everyday, and how advance in education, because it offers so much information in it influences us. They can teach us a history of one of the biggest a mere semester or year long class.In AISD’s requirements for drivers of pop culture, and of some of the greatest inventions. any visual media elective include being able to identify visual They can help us shape the world around us by presenting ideas representations of media and be able to identify the “historical through visual media, in a way that can’t be done through text. development” of media. In a country where education is They can result in people creating films to inspire and change constantly being criticized for being ineffective or not covering the world, and at the same time make us more aware of all the enough of a subject, film classes can provide to fill in many media around us. From news channels to movies, from T.V. places. Students studying film history can understand one to YouTube, visual media is interconnected into our everyday of the biggest developments in pop culture, and how it came lives. It is a relevant and effective way to move forward with to be. The requirements also state that the student should education. be able to “use a range of techniques to create a media text” and “use various forms and technology’s to communicate a specific message”. In media classes, you learn technical skills such as editing on a computer, and formatting a script. In a world that requires at least a basic knowledge of computers and technology, media classes can be the solution, teaching kids about how to use and create detailed projects on computers. Being experienced in technology can help children long after they have graduated, because many jobs require you to use technology like computers, and in collage it would be rare to find a professor that accepted anything other than typed up papers.

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ESTRICTED

“American theaters need to heighten their guard on kids who try to sneak into R rated films.” Story and Art By Ellen P.

The reason why theaters should make sure that kids go where they are supposed to go.

t is hardly believable thatthere are so many kids who squeeze little bodies through the doors of The Hangover and other movies similar to it. According to Connect with Kids, a company focused primarily on educating and helping children, more than 2.4 million kids, ages ranging from 10 years to 14 years old, have seen movies that are restricted to older teens and adults. It is very simple for kids to walk right into an R Rated film such as Drag Me to Hell at the theaters without a guardian or any parental consent. Theaters need to be more on guard for kids who try to sneak into R rated films. In theaters, no one is there to check whether or not someone goes to the movie that they bought their ticket for. Usually, theaters do not check if a person is old enough to watch certain movies. “My friends and I just buy tickets to a pg-13 movie and walk into the rated R movie that we actually want to watch instead,” says fourteen year old Catherine, a high school freshman at the Liberal Arts and Science Academy. “It’s not hard at all, you just have to look around and make sure that there aren’t any theater workers around and quickly walk through the doors,” says Aubry, a ninth grader at McCallum High School. Believe it or not, it is almost effortless for kids to squeeze their way into a rated R film at the theater without their parent’s consent. Millions of kids have been able to watch R rated movies without parental consent due to the lack of security keeping children from coming within even just a one foot distance of these movies. When a kid sees his/her friends sneak into R rated films, they will want to follow their friends in doing the same thing. For this reason, there should be a higher enforcement of the “17 and older” rule so that kids will not be as tempted to watch rated R films. Some kids can just walk right into an R rated movie without being caught or questioned.

Theaters need to get their act together and find a way to prevent kids from watching movies that are directed towards a more mature audience. The consequences of kids watching Rated R movies include increased chances of under aged drinking and smoking. Although some interviewed parents claim that they only bring their children to R rated movies that do not seem like too much of a negative influence to kids and it is fine to bring kids into an R rated movie that isn’t as violent or mature as other movies, there is still a risk for the under aged children. Other parents may say that their children are smart enough to not give in to the negative influence

of movies directed towards a more mature audience. “The study found that watching R-rated movies affected the level of sensation seeking among adolescents. It showed that R-rated movies not only contain scenes of alcohol use that prompt adolescents to drink, they also jack up the sensation seeking tendency, which makes adolescents more prone to engage in all sorts of risky behaviors” says James D. Sargent, a pediatrician at Dartmouth Medical School. Other researchers from the Dartmouth Medical School have found that there is a possible link between watching R rated movies and unhealthy behavior. This includes experimenting with alcohol and smoking cigarettes at a young age. In order to decrease chances of the under aged consumption of alcohol and under aged smoking of, kids should not be

exposed to R rated films until they are of the minimum age to watch these films. Rated R movies glorify alcohol and cigarettes, creating a positive view of these two harmful substances. Actors randomly pull out cigarettes and start smoking with a grin stretching across their face as if smoking is no big deal. This causes some kids to view alcohol and cigarettes in an “oh, they’re harmless” way and not recognize the consequences of drinking and smoking. Some kids cannot handle the content in R-rated films and cause a disturbance to others watching the movie when they scream or laugh the whole time. “A week ago, my friends and I went to the theater to watch ‘Last House on the Left.’ There was a group of 13-15 year old kids who came in and sat behind us and during the movie, they kept kicking our chairs, laughing, throwing popcorn around, and screaming,” says an anonymous 21 year old. When kids cannot handle the suspense or maturity of an R-rated movie, they may start to cause disturbances to the other viewers. This ruins the movie experience for everyone watching the movie. Although other movie watchers can call for security to escort distracting kids out of R rated movies, it would be less troublesome if kids had not been able to get into the movie in the first place. Theaters need to make sure that visitors are old enough to view into certain movies before they allow entry. At least one or two people should be assigned to the entryways of rated R movies to check audiences for their tickets. Movies are given certain ratings for a reason. If the public chooses to ignore these ratings, then we cannot expect to see “pretty” results. Given the data from the research at Dartmouth Medical School, as long as kids continue to sneak into R-rated films, the public can expect to see a rise in the rate of under aged drinking and smoking. 1

Story and art by Alex S.

he cinema has always been a place of withdrawal for me, an escape from my parents and the stresses of school. I always enjoy settling in to a cushioned chair with my snuck-in candy, waiting to enjoy an over-the-top blockbuster in the huge, dark room. But if current trends continue, the American cinema could become an abandoned pastime. The number of customers who believe 3D is too expensive is growing and so is the speed to illegally download a movie. Theatres believe themselves to be “too big to fail”, but their prideful practices are about to ensure their own demise. Ticket prices are continuing to rise, and the recent 3D price jump is already considered a little too high by some surveys. All around America, moviegoers have been leaving 10 to 20 dollars at the box office, rather than the usual 4 to 5 dollars they paid just around 5 years ago. Some may say that cinema is a recession-proof industry, with ticket sales also rising high in the recent economic decline, but a study by Richard Greenfield of the BTIG, a large trading firm, shows that 77% think the $4 price increase for 3D is too high. At some point in time, the theatre will stop being successful in all periods of time, and many believe that time is coming soon. If 77% in a study say 3D is too expensive, it may only be a matter of time until ticket prices will be too high for a 2D film. And for those that are tech savvy enough, there is one simple solution to their predicament: Piracy. These illegally downloaded films are copied in the P2P format, which costs almost nothing to distribute. More and

more pirated films are in the digital cinema, even if prices are cut. Cinemas format. This can easily reduce physical will never bring a ticket cost down to wear and tear. In addition movies are zero. getting easier to download. It will soon Theatre patrons are also part of the be the case where you can download problem. It doesn’t take much to movies in less than a minute. College ruin a movie experience. Tall people, students have already resorted to texting kids, bawling babies, excessive piracy. Even though many have no jobs commercials, overpriced snacks, the and little disposable income, they still people who scream at the movie screen, watch a large amount of movies. Some and couples who don’t realize making of these kids’ viewing can be done out is for the back row. There have through theatres and DVDs, but most of been few attempts made by theatre it is done through illegal downloading. companies to stop loud audience At the moment, the problem of piracy members. Some theatres prohibit over the internet is hidden. The true outside food, forcing you to by their problem will show itself when the expensive (and unhealthy) snacks. This generation that has grown up with the only adds to the alienation. internet, my generation, starts to value The business of making and money. Right now, kids’ income comes distributing films is an immensely from their parents’ bottomless wallets. profitable one. The idea that customers Once we grow up and have to pay for will keep coming back to the cinema rent, electricity, and food, we will after prices are raised slightly ever understand how free movies on a small so often is a common and believable screen are better than idea. Customers have expensive movies on a big acted this way before, but one. I’ve experienced this conditions have never first hand; as I have spent “It will soon be been like this. Clear away a fair amount of cash alternatives to going to the case where theatre are more present on movie tickets. This dilemma of piracy is what you can download now than ever before, makes today’s situation movies in less and as this tech savvy very different from that generation grows up than a minute.” production companies of past trials of the movie industry. NPR’s report on and studios will continue the Great Depression describes how to lose money to piracy. But the the filmmakers cut prices as soon as the cinema can adapt, all businesses do. economy turned dour, bringing in more With slashed prices, ad campaigns customers than many other industries. that induce nostalgia, Hollywood Supporters of the film industry often can and will make changes to keep refer to their ability to adapt to a bad people coming back. I believe many economy. These claims are true, but the generations will find withdrawal and film industry has never faced piracy. It escape in the American cinema in the is a clear alternative to heading to the future. 1

The Messenger Directed by Oren Moverman Starring: Woody Harrelson Ben Foster Samantha Morton Films like The Messenger are often ignored at the box office, limited to release at small art house theatres like the Arbor at Great Hills or the Alamo Drafthouse. This isn’t surprising, the film is a slow moving, sad drama about two soldiers. Not two soldiers blowing up the Taliban or defusing bombs, but two soldiers on a mission just as difficult: casualty notification. They are required to intrude on a family and tell them that their son, daughter, or spouse has died while serving his country. Woody Harrelson expertly portrays the commanding officer who served in Desert Storm and Desert Shield, playing opposite to Ben Foster, a veteran from Iraq. The two men are brought together despite different views and experiences on war. The story is detailed, slowly revealing the events in each characters past that lead to their joining of the army and placement in casualty notification. Much of the content in the picture can move you, the shaky, handheld scenes where families burst into tears at the news of their son’s death, as well as the parts where Foster’s character vividly describes combat. Surprisingly, the character development in the film would seem cheesy, but the dull lighting and minimal editing throughout make every scene seem serious and important. Even when the soldiers drunkenly sing “Home on the Range” together or kill each other in pretend combat in the parking lot of a country club, the audience feels like every moment of it is moving. The film may focus on just two soldiers out of combat, but it brings to light more worldly issues. Woody Harrelson’s character comments on how foolish families are when they send their children off to war, making a big show of how they serve their country, then acting surprised when they hear news of their death. It’s a part of war, he says. The Messenger is an excellent film, albeit slow at times. It shows real emotion as two lonely people are brought together, but also highlighting the modern issue of war. 1

Woody Harrelson and Ben Foster bear some bad tidings in The Messenger.

REVIEW By Alex S. Megamind Directed by Tom McGrath Starring: Will Ferrell Tina Fey Brad Pitt Reviewers may disagree on many things when it comes to films, but I believe there is now something we can all agree on: there are too many blue people in the movies. Megamind, voiced by Will Ferrell is the latest blue character and the incompetent villain of his own movie. Vowing to fight against Metro Man, Megamind attacks the city in a number of absurd ways only to be shut down by his rival. The plot gets interesting when Megamind succeeds in killing his enemy.

I’ts Kind of a Funny Story Directed by Anna Boden Ryan Fleck Starring: Keir Gilchrist Zach Galifianakis Emma Roberts

Keir Gilchrist and Zach Galifianakis hang out in the pyschiatric ward in It’s Kind of a Funny Story.

WS With nothing to do, Megamind begins to contemplate his existence and purpose. I thought that maybe the characters could briefly discuss themes of purpose, meaning, and the human experience, but it ended up just being some good versus evil B.S. It was probably too much to expect from a non-Pixar film, and it’s just a kids’ movie. It was entertaining though and funny at some times, but overall it was kind of stupid. My message to anybody over age 10 seeing this movie: It’s not Pixar, it’s not special.t rem

It’s Kind of a Funny Story is exactly what the title says it is: A funny story. Kind of. There are some humorous bits in the movie, but it ends up being more sentimental than funny. Craig Gilner (Keir Gilchrist) checks into the mental wing of a hospital after seriously contemplating suicide. He meets all sorts of quirky, interesting patients, including Bobby (Zach Galifianakis) and another teenager Noelle (Emma Roberts). Over the week that he stays there he grows close to his new friends, while trying to balance all of the stuff going on outside his protected little world. I was surprised by how easy it was to relate to the characters, especially the protagonists and his friends, who are overworked, stressed out crazies like us LASA kids. I’m sure there are plenty of kids at this school at would find this film touching, especially if they’ve even contemplated suicide. Craig ends up changing his mind about what’s important to him, which is a nice ending, but it seems to be done with extra cheese. After making a long term patient get up and dance, the protagonists begins to narrate a quickly edited montage of what he does after he leaves the mental wing. His ideas cover so many things that I forgot what the movie was about for a second. The film has a good message for kids like us, but it could’ve been organized better.

Megamind and his minion “Minion” wreck havoc in Metro City

Anime

Rev

Angel Beats! -

Written By: Maeda Jun (Last Name, First Name) Directed By: Seiji Kishi Genre: Action, Comedy, Drama, Fantasy, Romance Status: Completed Description: High school student Otonashi wakes up

with anemia in a strange place that he has never seen before. He soon finds out that he has been “transported” to a high school that acts as a purgatory for its students. Otonashi meets various students who had also been sent to the mysterious school and learns more of what this purgatory really is about.

Review: Angel Beats! is an anime that will grab its

Axis Powers Hetalia -

audience through twists and turns throughout its writing. The personalities of each character affect the mood and tone of the anime greatly. This anime is recommended for those who like mysterious stories about worlds apart from our Earth.

Written By: Himaruya Hidekaz Directed By: Bob Shirohata Genre: Comedy, Historical Status: Ongoing

Description: Hetalia portrays a comical anime

version of the events running from World War I and World War II. Each country is represented by a character with a set personality that contrasts with the stereotypes of the country.

Review: Although it may give history a twist, Hetalia is an amusing way to learn about the past. Many Hetalia fans wish that our history classes teach from Hetalia instead. Other people may mark Hetalia as a “racist” anime due to the many stereotypes found throughout the story.

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By Ellen P.

Higurashi no Naku Koro Ni Written By: Ryukishi Directed By: Chiaki Kon Genre: Drama, Horror, Mystery Status: Completed

Description: Higurashi no Naku Koro Ni is the first season

of its series. Maebara Keiichi and his parents move to a small town known as “Hinamizawa.” At first, things seem normal, Keiichi makes new friends at his new high school and becomes more adjust to his new home. Unfortunately for Keiichi, Hinamizawa is not as friendly of a town as it may seem. Horrific beliefs within the town haunt all of its citizens, causing people to shiver in fear under the murders and disappearances that occur yearly.

Kanon -

Written By: Shimizu Mariko Directed By: Takamichi Ito Genre: Drama, Fantasy, Romance Status: Completed

Review: A single word to describe Higurashi is “gorey.” This

anime is filled with blood and murder, thus making it a horror movie. Higurashi would go well with the “psychological” genre too. This is the perfect anime for people who like gorefilled horror stories.

Description: Aizawa Yuichi, a high school Junior,

moves in with his Aunt and cousin, their house located in the city that the story takes place. Yuichi befriends four girls, each of whom have some sort of past relation to him. As time progresses, Yuichi, his cousin, and his friends deal with both tragic and joyous.

Review: In my opinion, Kanon is a very cute anime.

The only unliked aspect of Kanon was its slow start. Once the story starts its formation, the anime becomes very interesting. It is difficult to not cry when watching Kanon. 1

Costly Concessions

How movie theater food can end up burn a hole in your wallet, and cost you your health. By: Jessica S.

Popcorn

Average Calories: 400 to 1,200 Average Movie-Theater Price: $4.75 Average Store-Bought Price: $3.00 for 3 bags. What Its Costing You: Not only can movie theater popcorn cost you more in money, it can be hard on your body. If you get the large popcorn that about 1,200 calories. But it doesn’t stop there. Popcorn at the movie theater ushally contains one to three days worth of saturated fat, and up to 1,500

Soda

Average Calories: 353 Average Movie-Theater Price: $4.00 Average Store-Bought Price: If you buy a 12-pack, one can cost about $0.20. What Its Costing You: A 20 oz Coke contains 15 teaspoons of sugar. When your watching a movie, and drinking a soda at the same time, you really can’t comprehend how many calories and how much sugar your really downing.

Candy

Average Calories: 750 to 1200 Average Movie-Theater Price: $3.00-$4.00 Average Store-Bought Price: $1.00 What Its Costing You: Candy has lots of sugar, it’s common knowledge. But it can also have a huge amount of sugar. On top of that, it’s costing you $2 or $3 more than you would pay if you were at the grocery store! A huge amound of people opt to sneak in candy, even though it is against most movie theaters rules.

Nachos

Average Calories: 1100 Average Movie-Theater Price: Average Store-Bought Price: $1-2 for a bag of chips, and about $1.30 for a block of cheese. What Its Costing You: Not only do consession-stand style nachos have tons of calories, they also have on average 60 grams of fat, and most of its saturated. Even though nachos can fill you up more than popcorn and soda, you could still have 2 big macs and be under the calorie equivilent. 2

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