H mag - october 2010 by The H magazine

H mag

Publication Director Davide Russo Editor in Chief Elisabetta Colli Art Director David Holsen Executive Editor MariaTeresa Belli Fashion Director Melissa Tozzi Managing Editor Alex Censi Senior Features Editor Amanda Rosental Graphics Jonathan Galli Melinda Broson

One more Time! Our previous issue reached 2 MLNs visitors and our servers recorded downloads for 580,765 copies. On september 2010 we also published our magazine on ISSUU and we received the best stats ever in only 15 days: 80,000 readers! We are out again with a new issue. October 2010 would like to introduce Galen Gering, previously seen on Days of our Lives, then online (this is the right word) with the new generation format: Venice the series. There’s also a stunning Vanessa Paradis in this issue. As always: enjoy!

MY VENICE

HBOne Media Rome Roma Eur V.le Europa Rome / Italy Fax: +39.178.608.8838 info@thehmag.com

Paris Faubourg St. Honore’ Paris / France info@hbonemedia.com

Executive Contributors New York Mark Segrat Paris Gerard Bergen

Warning: all images and texts are copyright protected. Every reproduction is not permitted without our special agreement signed.

London Mortimer Ashler Los Angeles Clarissa Mondi Advertising Corinthia Helgar Public Relations Samantha Rusconi

October, 2010 Year IV - Issue n. 21

Galen Gering photograped by Joey Shaw Santa Monica, California

““I was born when you kissed me. I died when you left me. I lived a few weeks while you loved me.”” Humphrey Bogart

4 - Editorial 10 - GALEN GERING Interview 24 - RED Movie 30 - PIRANHA 3D Making of 42 - STONE Movie

48 - VANESSA PARADIS Spotlight 60 - THE GRADUATE Soundtrack 64 - LET ME IN Movie

70 - AWAKENINGS Books

72 - HUMPHREY BOGART Legends

80 - SECRETARIAT Movie

86 - DIRTY DANCING Cult 96 - VALENTINE’S DAY Script

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98 - RELEASES Cool Stuff

104 - GLEE Television

Ryan Reynolds stars as ‘Paul Conroy’ in BURIED. Photo courtesy of Lionsgate

Written by Rose Hamilton

INTERVIEW

GALEN GERING “The stress associated with being an actor is pretty intense at times. Sometimes you’re faced with an overwhelming amount of dialogue to remember and you’re on a set with a lot more people.”

VENICE

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photos by Joey Shaw

H: How do you like “Venice the series” and your character Owen Brogno? G: It’s been an incredible collaborative effort with Crystal Chappell and Kim Turrisi. They’re quick witted and flexible and make the process fun and easy. Additionally, since it’s the internet there’s a lot of freedom and fortunately my schedule at Days is fantastic which allowed me to do the project. And playing an out of work actor in La? Classic. H: Can you tell us something about the second season? G : Owen gets himself in stuck in a number of difficult situations; a budding romance and a lie that threatens to sink him.

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INTERVIEW H: What would you like to get from this character? G: It’s been really freeing as an actor. He’s a pretty lose. My goal was to make other people around him smile. H: And what would you like to bring into this character from your point of view? G: An open world view. He’s pretty tolerant. H: What kind of music you like? I grew up in LA at a great musical time with Janes Addiction, the Red Hot Chili Peppers, Rage Against the Machine and the Beastie Boys playing weekly at my usual haunts. So I was clearly influenced by their music. I’m a big fan of alternative rock but also like hip hop. Artists like mos-def, Common, The Fugees, Tribe…God there are so many. But I also dig classical, jazz, blues. So, I guess nearly everthing. H: Do you have a favorite place in LA where you can really take some rest? G: Usually in the garden. I’m into landscape design so I’ll usually immerse myself in some sort of project. When I’m diggin’ in the dirt I’m not usually concerned with a lot of other b.s. H: We know you’ve been traveling a lot like a male model before you started the acting career; what’s your preferred town in this world? G:Well, I love Paris. It’s such an amazing city. I lived there for about a year on this old market street just down from Hemmingway wrote, ‘A Moveable Feast.’ My buddy lived at the corner. Every day was chess, cheese and wine. And… more wine. Goodtimes. H: What’s in common between the fashion business and the movie business? G: I’ve been blessed to work with some very talented and creative people in both. H: And what’s completely different? G: Modeling dosent require much memorization. Ahhhh, that was nice. H: Was it harder to be a model or it’s much harder to be an actor?

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INTERVIEW G: The stress associated with being an actor is pretty intense at times. Sometimes you’re faced with an overwhelming amount of dialogue to remember and you’re on a set with a lot more people. So it’s a natural pressure cooker. I don’t remember experiencing anything like that as a model; except for this one time that I had to jump naked on a trampoline. But that was different. H: What do you really hate in this business? and what you really love? G: Being an actor is a great job when you’re working on projects you love with people you like. In fact, outside of being a professional athlete it’s pretty much the best. But obviously it’s a very superficial business and sometimes you just don’t wanna be in front of the camera. H: How do you prepare yourself for a role? G: Who is this guy? What does he like? Dislike? How does he look at the world? Where did he grow up? Whats he do for a job? Once you start answering those questions the character naturally starts to take shape. H: The script you are waiting for? Drama, Thriller, Comedy? G: Probably, a thriller that ecncompasses all of those qualities. A movie like Fargo for instance. I’m a big fan of dark comedies. H: What sports do you like? G: I still play beach volleyball usually at least twice a week. Most of the guys I play with are semi-pro guys who’ve had some success on tour. It’s a pretty competitive bunch to say the least. Years ago I had dreams of going pro myself. As a native Angelino however, the Lakers are my team. I’m hoping for a threepeat this year. H: What’s your daily style when you are not working? G: Comfortable and casual. H: Love is for life or life is for love? G: Exactly

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INTERVIEW

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Color info: Color Sound mix: DTS / Dolby Digital Negative format: 35 mm Process: Digital Intermediate (master format) / Super 35 (source format) Printed format: 35 mm (anamorphic) / D-Cinema Aspect ratio: 2.35 : 1

Techs

rank (Bruce Willis), Joe (Morgan Freeman), Marvin (John Malkovich) and Victoria (Helen Mirren) used to be the CIA’s top agents – but the secrets they know just made them the Agency’s top targets. Now framed for assassination, they must use all of their collective cunning, experience and teamwork to stay one step ahead of their deadly pursuers and stay alive. To stop the operation, the team embarks on an impossible, cross-country mission to break into the top-secret CIA headquarters, where they will uncover one of the bigges conspiracies and cover-ups in government history.

R E D Writer Warren Ellis

John C. Reilly was set to be in the movie but dropped out and was replaced by John Malkovich.

irren was born Ilyena Vasilievna Mironov in a corridor of the maternity wing of Queen Charlotte’s Hospital, Chiswick, in West London. Her father, Vasiliy Petrovich Mironov (1913–1980), was of Russian origin, and her mother, Kathleen Alexandrina Eva Matilda (née Rogers; 1909–1996), was English. Mirren’s paternal grandfather, Pyotr Vassilievich Mironov, a Russian nobleman, tsarist colonel and diplomat, was negotiating an arms deal in Britain and was stranded there, along with his family, during the Russian Revolution. Her father called himself Basil and changed the family name to Mirren in the 1950s. He played the viola with the London Philharmonic before World War II and later drove a cab and was a driving-test examiner, before becoming a civil servant with the Ministry of Transport. Mirren’s mother was from West Ham, London, and was the thirteenth of fourteen children born to a butcher whose

Helen Mirren

Written by Matt Hines

MOVIE

Starring

Director Robert Schwentke

Morgan Freeman, Bruce Willis, Helen Mirren, Karl Urban, John Malkovich

Release Date October 15th, 2010

• • • • • • • • • • •

1507 Magazine Street, New Orleans, Louisiana, USA 2 Church Street, Toronto, Ontario, Canada Brampton, Ontario, Canada Cambridge, Ontario, Canada Conti St & N Peters St, New Orleans, Louisiana, USA Cruickston Park, Cambridge, Ontario, Canada France Rd & France Rd Pkwy, New Orleans, Louisiana, USA Harahan, Louisiana, USA Mississauga, Ontario, Canada New Orleans, Louisiana, USA Toronto, Ontario, Canada

Locations

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MOVIE

rebuke of the RSC. father had been the butcher to Queen Victoria. Mirren considers her upbringing to have been “very anti-monarchist”. The first house she remembers living in was in Westcliff-on-Sea, Essex, when she was two or three years old, after the birth of her younger brother, who was named Peter Basil after his grandfather and great-greatgrandfather. Mirren was the second of three children, born two years after her older sister Katherine (“Kate”).

Mirren attended a Catholic girls’ school, St Bernard’s High School for Girls, in Southend-on-Sea, where she acted in school productions, and subsequently a teaching college, the New College of Speech and Drama in London “housed within Anna Pavlova’s old home, Ivy House” on the North End Road, which leads from Golders Green to Hampstead, N. London. At age eighteen, she auditioned for the National Youth Theatre and was accepted. By the time she was 20, she was Cleopatra in the NYT production of Antony and Cleopatra at the Old Vic, which led to her signing with the agent Al Parker.

er work for the NYT led to Mirren joining the Royal Shakespeare Company (RSC), playing Castiza in Trevor Nunn’s 1966 staging of The Revenger’s Tragedy, Diana in All’s Well That Ends Well in 1967, Cressida in Troilus and Cressida and Phebe in As You Like It in 1968, Julia in The Two Gentlemen of Verona in 1970, and Tatiana in Gorky’s Enemies at the Aldwych and the title role in Miss Julie at The Other Place in 1971. In 1970, Director/producer John Goldschmidt made the documentary film ‘Doing her own Thing’ about Mirren at the Royal Shakespeare Company. The film was made for ATV and shown on the ITV Network in the UK.[citation needed] In 1972–73, Mirren worked with Peter Brook’s International Centre for Theatre Research, and joined the group’s tour in North Africa and the US which created The Conference of the Birds. Returning to the RSC she played Lady Macbeth at Stratford in 1974 and at the Aldwych Theatre in 1975. As reported by Sally Beauman in her 1982 history of the RSC, Mirren, while appearing in Nunn’s Macbeth (1974) and in a highly publicised letter to The Guardian newspaper, attacked both the National Theatre and the RSC for their lavish production expenditure, declaring it “unnecessary and destructive to the art of the Theatre,” and adding, “The realms of truth, emotion and imagination reached for in acting a great play have become more and more remote, often totally unreachable across an abyss of costume and technicalities...” There were no discernible repercussions for this

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At the Royal Court in September 1975 she notably played rock star Maggie in Teeth ‘n’ Smiles, a musical play by David Hare, which was revived at Wyndham’s Theatre in May 1976 winning her the Plays & Players Best Actress award, voted by the London critics. From November 1975 Mirren played in West End repertory with the Lyric Theatre Company as Nina in The Seagull and Ella in Ben Travers’ new farce The Bed Before Yesterday (“Mirren is stirringly voluptuous as the Harlowesque goodtime girl”: Michael Billington, The Guardian, 10 December 1975). At the RSC in Stratford in 1977, and at the Aldwych the following year, she played a steely Queen Margaret in Terry Hands’ production of the three parts of Henry VI, while 1979 saw her ‘bursting with grace’ with an acclaimed performance as Isabella in Peter Gill’s otherwise unexceptional production of Measure for Measure at Riverside Studios. In 1981 she returned to the Royal Court for the London premiere of Brian Friel’s Faith Healer. In the same year she also received acclaim for her performance in the title role of John Webster’s The Duchess of Malfi, a production of Manchester’s Royal Exchange Theatre which transferred to The Roundhouse in Chalk Farm, London. Reviewing her portrayal for The Sunday Telegraph, Francis King wrote: “Miss Mirren never leaves it in doubt that even in her absences, this ardent, beautiful woman is the most important character of the story.”

er performance as Moll Cutpurse in The Roaring Girl at the Royal Shakespeare Theatre in January 1983, and at the Barbican Theatre April 1983), “swaggered through the action

While filming in Toronto, the police received several phone calls reporting machine gun fire after local residents mistook the movie’s gunshot effects for the real thing. H mag -

MOVIE with radiant singularity of purpose, filling in areas of light and shade that even Thomas Middleton and Thomas Dekker omitted.” – Michael Coveney, Financial Times, April 1983. After a relatively barren sojourn in the Hollywood Hills, she returned to England at the beginning of 1989 to co-star with Bob Peck at the Young Vic in the London premiere of the Arthur Miller double-bill, Two Way Mirror, performances which prompted Miller to remark: “What is so good about English actors is that they are not afraid of the open expression of large emotions” (interview by Sheridan Morley: The Times 11 January 1989). In Elegy for a Lady she played the svelte proprietress of a classy boutique, while as the blonde hooker in Some Kind of Love Story she was “clad in a Freudian slip and shifting easily from waif-like vulnerability to sexual aggression, giving the role a breathy Monroesque quality” (Michael Billington, The Guardian).

stage career breakthrough came in 1994, in an Yvonne Arnaud Theatre production bound for the West End, when Bill Bryden cast her as Natalya Petrovna in Ivan Turgenev’s A Month in the Country. Her co-stars were John Hurt as her aimless lover Rakitin and Joseph Fiennes in only his second professional stage appearance as the cocksure young tutor Belyaev. “Instead of a bored Natalya fretting the summer away in dull frocks, Mirren, dazzlingly gowned, is a woman almost wilfully allowing her heart’s desire for her son’s young tutor to rule her head and wreak domestic havoc.... Creamy shoulders bared, she feels free to launch into a gloriously enchanted, dreamily comic self-confession of love.” (John Thaxter, Richmond & Twickenham Times, 4 March 1994). Mirren was twice nominated for Broadway’s Tony Award as Best Actress (Play): in 1995 for A Month in the Country, now directed by Scott Ellis (“Miss Mirren’s performance is bigger and more animated than the one she gave last year in an entirely different London production”, Vincent Canby in the NY Times, 26 April 1995). Then again in 2002 for August Strindberg’s Dance of Death, co-starring with Sir Ian McKellen, their fraught rehearsal period coinciding with the terrorist attacks on New York on September 11, 2001.

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Written by Matt Hines

MAKING OF

PIRANHA 3D

rom director Alexandre Aja (The Hills Have Eyes) comes the new action thriller Piranha. Every year the population of sleepy Lake Victoria explodes from 5,000 to 50,000 for Spring Break; a riot of sun and drunken fun. But this year, there’s something more to worry about than hangovers and complaints from local old timers; A new type of terror is about to be cut loose on Lake Victoria. After a sudden underwater tremor sets free scores of the prehistoric man-eating fish, an unlikely group of strangers must band together to stop themselves from becoming fish food for the area’s new razor-toothed residents. The films stars Jessica Szohr (Gossip Girl), Steven R. McQueen (The Vampire Diaries), Elisabeth Shue, Jerry O’Connell, Ving Rhames, Richard Dreyfuss and Christopher Lloyd.

isherman Matthew Boyd (Richard Dreyfuss) is fishing in Lake Victoria, AZ when a small earthquake hits, splitting the lake floor and causing a whirlpool. Boyd falls in and is ripped apart by a school of piranhas that emerge from the chasm and ascend the vortex. Jake (Steven R. McQueen) is admiring attractive tourists as Spring Break begins. He reunites with his old crush, Kelly (Jessica Szohr) and meets Derrick Jones (Jerry O’Connell) an eccentric pornographer, as well as Danni (Kelly Brook), one of his actresses. Derrick convinces Jake to show him good spots on the beach for filming a pornographic movie. That night, Jake’s mother, Sheriff Julie Forester (Elisabeth Shue), searches for

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Alexandre Aja planned to have Joe Dante (director of the original Piranha) and James Cameron (director of Piranha Part Two: The Spawning) play boat captains who give safety lessons to the teens. Dante wanted to do it but Cameron was too busy.

the missing Matthew Boyd with Deputy Fallon (Ving Rhames), who has found Boyd’s boat. They find his mutilated body and contemplate closing the beach down. The next morning, a lone cliff diver is attacked and consumed by the marauding fish. Jake bribes his sister and brother, Laura (Brooklynn Proulx) and Zane (Sage Ryan), to stay home alone so that he can show Derrick around the beach. After Jake leaves, Zane drafts Laura to go fishing on a small sandbar island. They forget to tie the boat down and are stranded in the middle of the lake. Meanwhile, Jake goes to meet with Derrick and runs into Kelly, who invites herself onto Derrick’s boat, The Barracuda. Jake meets Crystal (Riley Steele), another of Derrick’s actresses, and cameraman Drew (Paul Scheer).

ulie takes a team of seismologist divers — Novak (Adam Scott), Sam (Ricardo Chavira), and Paula (Dina Meyer) — to the fissure. Novak speculates that the rift leads to a buried prehistoric lake. Paula and Sam scuba dive to the bottom and discover a large cavern filled with large egg stalks. Both are killed before they can escape and alert the others to the discovery. Novak and Julie find Paula’s corpse and pull it onto the boat, capturing a lone piranha. They take the fish to Henry Goodman (Christopher Lloyd), a marine biologist. He explains that the piranhas are a prehistoric species, long believed to be extinct, which must have been trapped underground for over two million years. Julie, Novak, and Fallon try to evacuate the beach, but their warnings are ignored until the piranhas attack the tourists. Novak boards a jet-ski with a shotgun to help while Fallon ushers people to shore and Julie tries to get swimmers into the police boat. A floating stage set up in the water collapses from the weight of all the panicking guests and the wet T-shirt contest host (Eli Roth) is killed.

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MAKING OF Meanwhile, Jake spots Laura and Zane on the island, and forces Derrick to rescue them. Derrick crashes into some rocks, flooding the rooms below deck. Kelly is trapped in in the kitchen while Derrick, Crystal, and Drew are thrown from the boat. Crystal and Drew are devoured while Danni manages to get a partially eaten Derrick back on board. Jake calls Julie for help. Julie and Novak commandeer a boat and take it to the sinking Barracuda. Fallon stays behind to fight off the piranhas; seizing the motor off a speedboat, he turns it on and shreds much of the swarming school with it, sacrificing himself but giving more swimmers a chance to get out of the water.

The character Matt Boyd (played by Richard Dreyfuss) in the boat in the opening scene is not only the same actor that played Matt Hooper in Jaws, but he also singing the same song (Show Me The Way To Go Home by Irving King) that the Jaws characters Hooper, Quint and Brody are singing in the cabin of the Orca.

Techs

ulie and Novak reach Jake and attach a rope to his boat. Julie, Danni, Laura, and Zane start crossing the rope but the piranhas latch onto Danni’s hair and pull her into the water, devouring her. The others make it to safety but Jake breaks the rope. Using Derrick’s corpse as both distraction and bait, Jake ties the line to himself and goes to save Kelly. He ties Kelly to him and lights a flare after releasing the gas in a pair of stored propane tanks. Novak starts the boat and speeds away just as the piranhas surround Kelly and Jake. They are dragged to safety and the propane tanks explode, destroying the boat and killing most of the piranhas. Mr. Goodman calls Julie on the radio, Julie tells him that they killed most of the

Alexandre Aja ... producer Martin J. Barab ... associate producer Steve Barnett ... executive producer Mark Canton ... producer Scott Fischer ... executive producer Louis G. Friedman ... executive producer J. Todd Harris ... executive producer David Hopwood ... associate producer Ryan Kavanaugh ... executive producer Andrew G. La Marca ... executive producer Chako van Leeuwen ... executive producer Grégory Levasseur ... producer Vincent Maraval ... executive producer Justine Raczkiewicz ... associate producer Alix Taylor ... executive producer Marc Toberoff ... producer Bob Weinstein ... executive producer Harvey Weinstein ... executive producer

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Producers

Cast

• • • • • • • • • • • • • • • • • •

Elisabeth Shue as Sheriff Julie Forester Adam Scott as Novak Radzinsky Steven R. McQueen as Jake Forester Ving Rhames as Deputy Fallon Jerry O’Connell as Derrick Jones Jessica Szohr as Kelly Driscoll Kelly Brook as Danni Riley Steele as Crystal Christopher Lloyd as Henry Goodman Richard Dreyfuss as Matthew Boyd Cody Longo as Todd Dupree Ricardo Chavira as Sam Paul Scheer as Drew Dina Meyer as Paula Montellano Jason Spisak as Deputy Taylor Roberts Eli Roth as contest emcee Brooklynn Proulx as Laura Forester Sage Ryan as Zane Forester

Locations

Lake Havasu, Arizona, USA

Color info: Color Sound mix: Dolby / DTS Camera: Arriflex 35-III, Cooke S4 Lenses / Arriflex 435, Cooke S4 Lenses / Panavision Panaflex Cameras, Panavision Primo, C-, E-Series and Angenieux Lenses Laboratory: Technicolor, Los Angeles (CA), USA Negative format: 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219) Process: Digital Intermediate (2K) (master format) / Panavision (anamorphic) (source format) / Super 35 (source format) (underwater scenes) Printed format: 35 mm / D-Cinema (3-D version) Aspect ratio: 2.35 : 1

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MAKING OF

LLC. “Show Me The Way To Go Home” Written by Irving King and Hal Swain Performed by Mitch Miller & The Gang Courtesy of Columbia Pictures By Arrangement with Sony Music Licensing “Get U Home” Written by Cisco Adler and Aaron Smith Performed by Shwayze Courtesy of Suretone/Geffen Records Under license from Universal Music Enterprises “Shake Shake” Written by Emmanuel Duncan and Leviticus Martin Performed by Envy featuring Leviticus Courtesy of 210 Inc, license arranged by Fine Gold Music “I Am Not A Whore” Written by Stefan Gordy and Skyler Gordy Performed by Lmfao (as LMFAO)

Courtesy of Interscope Records Under license from Universal Music Enterprises “Here She Comes” Written by Geoff Siegel and Nik Frost Performed by Flatheads Courtesy of Fundamental Music

k c a r uo ndt

“Fetish” Written by James Roh, Jae Choung, Kevin Nishimura, Jeremy Reeves, and Jonathan Yip Performed by Far East Movement Courtesy of Catch Music Group, LLC. “Bring The Noise Remix” Written by Chuck D, Eric Sadler and Hank Shocklee Performed by Public Enemy vs. Benny Benassi Courtesy of Ultra Records and Reach Global, Inc. “Girls On The Dance Floor” Written by Kevin Nishimura, James Roh, Jae Choung, Jeremy Reeves, Jonathan Yip, Ray Romulus and Bruno Mars Performed by Far East Movement Courtesy of Catch Music Group,

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“She Moves” Written by Jason O’Bryan, Barry Ashworth, Ter K. Lawrence Performed by Dub Pistols Courtesy of 2009 Sunday Best Recordings By Arrangement with Fine Gold Music. “Lakme - Flower Duet” Written by Léo Delibes Performed by Adriana Kohutova and Denisa Slepkovska The Slovak Radio Symphony Orchestra conducted by Johannes Wildner Courtesy of Naxos By Arrangement with Source/Q “Nadas Por Free” Written by Willy “Wil-Dog” Abers, Ulises Bella, Ral Pacheco, Justin Pore, Asdru Sierra and Jiro Yamaguchi Performed by Ozomatli Courtesy of Mercer Street Records “Come And Get It” Written by Eli Samuel Husock, Ryan Spraker, and Michael Montgomery Performed by Eli “Paperboy” Reed Courtesy of Capitol Records Under license from EMI Film & Television Music “M.A.D.” Written by James Smith, Alice Spooner, Daniel Rice, Nick Rice and Chris Purcell Performed by Hadouken! Courtesy of Nettwerk Music Group “Now You See It” Written by Armando C. Perez, Justin Roman, Vince Garcia, Tony Arzadon and Richard Bailey Performed by Honorebel featuring Pitbull & Jump Smokers Produced by Jump Smokers Courtesy of Ultra Records, Inc. Pitbull appears courtesy of Mr. 305 and Famous Artist Music “Make It Take It” Written by Amanda Blank, Mario Andreoni, Alex Epton, Tyler Pope and Santi White Performed by Amanda Blank Courtesy of Downtown Records “I’m In The House” Written by Steven Aoki, William Adams and Justin Bates Performed by Steve Aoki featuring [[[zuper blahq]]] Courtesy of Thrive Records, LLC and the Island Def Jam Music Group H mag -

The film was actually shot on Lake Havasu, Arizona, a popular place for real spring breakers, not on Lake Victoria where the movie takes place. Lake Victoria officials worried that the film would ruin tourism if moviegoers figured out where the film was set and not come there. piranhas, but thinks there still more of them out there. Terrified, Goodman tells her that the glands on the piranha they obtained were not mature. As Novak wonders aloud where the parents are, a fully grown piranha leaps out of the water and attacks him.

ichard Dreyfuss said that he accepted the role only after Bob Weinstein persuaded him by offering the actor a larger salary which Dreyfuss later generously uses to donate it to charity. Dreyfuss also stated that the ill-fated character he plays is a parody and a near-reincarnation of Matt Hooper, the character he portrayed in the 1975 film Jaws. Jaws later served as inspiration for the parody film entitled Piranha. The song the character in Piranha 3-D listens to on the radio on his boat is “Show Me the Way to Go Home”, which Richard Dreyfuss, Roy Scheider and Robert Shaw sing together in Jaws. Pornographic actresses Ashlynn Brooke and Gianna Michaels make cameos in the movie as partygoers who meet extremely gruesome, piranha-related demises.

This movie is a remake of Piranha and not a second sequel to it. However, this film is the third Piranha movie made and the number 3 in its promotional title Piranha 3-D nonetheless suggests that this is the third film in a series. 36 - H mag

huck Russell was originally scheduled to direct the film, and made uncredited rewrites to the script by Josh Stolberg and Peter Goldfinger, as well as incorporating the original John Sayles script that Joe Dante directed the first time around. Alexandre Aja was selected to direct the film instead. Production on the film was scheduled to begin late 2008, but was delayed until March 2009. In October 2008, Aja stated filming would begin in the spring. He further stated “it’s such a difficult movie, not only because of the technicality of it and the CGI fish, but also because it all happens in a lake. We were supposed to start shooting now, but the longer to leave it the colder the water gets. The movie takes place during Spring Break and, of course, the studio wanted it ready for the summer, but if you’ve got 1,000 people who need to get murdered in the water, you have to wait for the right temperature for the water, for the weather, for everything.” Shooting took place in June 2009 at Bridgewater Channel in Lake Havasu, located in Lake Havasu City, Arizo-

Richard Dreyfuss was paid $50,000 for his cameo in the film. He donated all of the money to charity.

Howard Berger ... special makeup effects David A. Brooke ... special makeup effects artist Jake Garber ... key on-set makeup effects artist Kerrin Jackson ... special makeup effects artist Loretta James-Demasi ... key makeup artist Katherine James ... makeup department head Carey Jones ... special makeup effects artist Gregory Nicotero ... key special makeup effects supervisor Jeffrey Sacino ... hair department head Henry Soyos ... key hair stylist

Make up

MAKING OF

Chuck Russell was originally going to direct. He did however help rewrite the script with Josh Stolberg and Pete Goldfinger, as well as incorporating the original John Sayles script that Joe Dante directed the first time around H mag -

MAKING OF na. Much of one end of the channel was blocked off for boats, some flipped over and some covered in blood. The water was also dyed red for the shooting. Aja cast for his film project Wild Wild Girls, which played bikini starlets on Lake Victoria. Because of constraints with 3D camera rigs, Aja shot Piranha in 2D and converted to 3D in post production using the reali-D conversion process developed by the company, Inner-D.

nlike other 3D converted films released in 2010, Piranha’s conversion was not done as an afterthought, and it represents the first postconversion process to be well received by critics.

Special Effects Lisa Catizone Heslop ... special effects production assistant Donnie Dean ... special effects technician Jonathan Dunn ... underwater special effects diver Edward Gettis ... special effects technician Joe Giles ... special makeup effects crew: mold department K.N.B. EFX Group Brian Goehring ... special makeup effects crew: mold department K.N.B. EFX Group Grady Holder ... special effects makeup: K.N.B. EFX Group Matt Kutcher ... special effects supervisor Caius Man ... special effects coordinator Michael O’Brien ... sculptor: KNB Effects Group Inc. Joel Silverstein ... underwater diving rig fabricator Cory R. Starr ... special effects gang boss Cory R. Starr ... special effects technician Kyle A. Wasserman ... special effects technician Robert G. Willard ... special effects foreman

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“Girls Gone Wild” mogul Joe Francis wrote a letter to producers saying he was angry at the film because of Jerry O’Connell’s character who owns a site called “Wild Wild Girls” which is a spoof of the adult video line and that he might take legal

Scott Buckwald ... property master Craig Cheply ... lead scenic Sage Emmett Connell ... leadman Toby Cook ... propmaker Vicki Dittemore ... set dresser JorDan Fuller ... art department assistant JorDan Fuller ... graphic designer Kenneth Heimer ... propmaker Becky Herron ... art department coordinator Bill Holmquist ... construction coordinator Benjamin Ireland ... props Austin M. James ... props Terry Kempf ... propmaker Brandon Kihl ... on-set dresser Brandon Kihl ... sculptor Ronnie Lombard ... greens coordinator Reimar Montgomery ... scenic foreman Aaron Newton ... propmaker John M. Oswald ... on-set dresser Neville Page ... creature designer Mark Richardson ... prop assistant Zack Shisslak ... gangboss Kristen Spinning ... graphic designer Sarah Sprawls ... set decoration buyer Karl Swauger ... propmaker

Art Department

action if “any defamatory or disparaging statements, or depictions, in the media or in the film itself, or other statements that portray Mr. Francis in a false light, will be met with swift litigation.”. After seeing the movie Francis went on saying “I appreciate a good parody as much as the next guy, but to associate me with drugs and the filming of underage girls crosses a definite line,” Francis said. “Jerry O’Connell has repeatedly and emphatically stated on the public record that he is ‘playing Joe Francis,’ not a fictional character based on me. Mr. O’Connell has done this despite having been warned by his own lawyers not to admit this.” In response O’Connell said “I get to play Joe Francis! Oh, wait. For legal reasons I’m supposed to say, ‘I play someone loosely based on Joe Francis.’” H mag -

Written by Matt Brady

MOVIE MOVIE

he film is based on a play by Junebug screenwriter Angus MacLachlan. De Niro will play a parole officer who develops a friendship with a teaching assistant. Stone is about a convicted arsonist (Norton) who looks to manipulate a parole officer (De Niro) into a plan to secure

STONE

As parole officer Jack Mabry (De Niro) counts the days toward a quiet retirement, he is asked to review the case of Gerald “Stone” Creeson (Norton), in prison for covering up the murder of his grandparents with a fire.

ow eligible for early release, Stone needs to convince Jack he has reformed, but his attempts to influence the older man’s decision have profound and unexpected effects on them both.

Stone skillfully weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. The film’s superb ensemble

his parole by placing his beautiful wife (Jovovich) in the lawman’s path. More » Academy Award® winner Robert De Niro and Oscar® nominee Edward Norton deliver powerful

features Milla Jovovich (The Fifth Element) as Lucetta, Stone’s sexy, casually amoral wife, and Golden Globe® winner Frances Conroy (Six Feet Under) as Madylyn, Jack’s devout, long-suffering spouse.

performances as a seasoned corrections official and a scheming inmate whose lives become dangerously intertwined in Stone, a thought-provoking drama directed by John Curran (The Painted Veil, We Don’t Live Here Anymore) and written by Angus McLachlan (Junebug). Starring

Writer Angus MacLachlan

Director John Curran

Robert De Niro, Edward Norton, Milla Jovovich, Frances Conroy

Release Date October 8th, 2010

Set against the quiet desperation of an economically ravaged community and the stifling brutality of a maximum security prison, this tale of passion, betrayal and corruption examines the fractured lives of two volatile men breaking from their troubled pasts to face uncertain futures. H mag -

Mil a Jovovich

MOVIE

Color info: Color Camera: Panavision Cameras and Lenses Negative format: 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219) Process: Digital Intermediate (master format) / Super 35 (source format) Printed format: 35 mm (anamorphic) Aspect ratio: 2.35 : 1

Techs

ovovich began modeling at eleven, when Richard Avedon featured her in Revlon’s “Most Unforgettable Women in the World” advertisements, and she continued her career with other campaigns for L’Oréal cosmetics, Banana Republic, Christian Dior, Donna Karan, and Versace. In 1988, she had her first professional acting role in the television film The Night Train to Kathmandu, and later that year she appeared in her first feature film, Two Moon Junction. Following more small television appearances such as the “Fair Exchange” (1989) and a 1989 role as a French girl (she was 14 at the time then) on a Married with Children episode and film roles, she gained notoriety with the romance film Return to the Blue Lagoon (1991). She appeared in 1993’s Dazed and Confused alongside Ben Affleck and Matthew McConaughey. Jovovich then acted alongside Bruce Willis in the science fiction film The Fifth Element (1997), and later played the title role in The Messenger: The Story of Joan of Arc (1999). In 2002, she starred in the video game adaptation Resident Evil, which spawned three sequels: Resident Evil: Apocalypse (2004), Resident Evil: Extinction (2007) and Resident Evil: Afterlife (2010). In addition to her modeling and acting career, Jovovich released a music album, The Divine Comedy in 1994. She continues to release demos for other songs

Directed by

on her official website and contributes to film soundtracks as well; Jovovich has yet to release another album. In 2003, she and model Carmen Hawk created the clothing line Jovovich-Hawk, which ceased operations in early 2008. In its third season prior to its demise, the pieces could be found at Fred Segal in Los Angeles, Harvey Nichols, and over 50 stores around the world. Jovovich also has her own production company, Creature Entertainment.

Locations • 15 E Michigan Ave, Ypsilanti, Michigan, USA • Ann Arbor, Michigan, USA • Detroit, Michigan, USA • Dexter, Michigan, USA • Southern Michigan Correctional Facility, Blackman Township, Michigan, USA (prison scenes) • Ypsilanti, Michigan, USA

Milla

was born in Kiev, Ukrainian SSR, Soviet Union, the daughter of Bogdan Bogdanović Jovović (Богдан Богдановић Јововић), a Serbian pediatrician, and Galina Loginova (Галина Логинова), a Russian stage actress. Milla’s paternal family’s estate was in Zlopek near Peja in the northwestern part of Dukagjini Valley. Her paternal great-grandfather, Bogić Camić Jovović, was a flag-bearer of the Vasojevići clan and an officer in the guard of King Nicholas I of Montenegro; his wife’s name was Milica, after whom Milla got hers. Her paternal grandfather, Bogdan Jovović, was a commander in the Pristina military area, and later investigated finances in the military areas of Skopje and

The prison scenes were filmed at the State Prison of Southern Michigan. At one time this was the world’s largest walled prison. Since its closure the site has become a popular filming venue, having also served as the prison location for ‘Hillary Swank’’s Conviction. 44 - H mag

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MOVIE Sarajevo, where he uncovered massive gold embezzlement. He was punished for refusing to convict a friend of the crime. Later, the government briefly imprisoned him in Goli otok for refusing to testify. When he feared that he could be arrested again, he escaped to Albania and later moved to Kiev. A different version of the story claims that he was the one who took the gold. Milla’s father, Bogich, later joined Bogdan in Kiev, where he and his sister graduated in medicine. In 2000, her grandfather, Bogdan Jovović, died in Kiev. In 1981, when Milla was five years old, her family left the Soviet Union for political reasons and moved to London. They subsequently lived in Sacramento, California before settling in Los Angeles seven months later; Milla’s parents divorced soon after. In 1988, as a result of her father’s relationship with a woman from Argentina, Milla’s half-brother Marco Jovovich, was born. Milla’s mother attempted to support the family with acting jobs, but found little success, and eventually resorted to cleaning houses to earn money. Both her father and mother provided house cleaning services for director Brian De Palma. Milla’s father was incarcerated for participating in an illegal operation concerning medical insurance; he was given a 20-year sentence in 1994, but was released in 1999 after serving five years in an American prison. According to Milla, “Prison was good for him. He’s become a much better person. It gave him a chance to stop and think.” Milla attended public schools shortly after arriving in the United States, and learned fluent English in three months. During school, many of the students had teased her because she had immigrated from the Soviet Union during the Cold War : “I was called a commie and a Russian spy. I was never, ever, ever accepted into the crowd.” At age 12 in seventh grade, Milla left school to focus on modeling. She claims to have been rebellious during her early teens, engaging in drug use, shopping mall vandalism, and credit-card fraud.

At the age of nine, she began going to modeling auditions, and was signed by Pri-

ma modeling agency. At eleven, Jovovich was noticed by the photographer Richard Avedon. Avedon was head of marketing at Revlon at the time, and chose Jovovich to appear with models Alexa Singer and Sandra Zatezalo in Revlon’s “Most Unforgettable Women in the World” advertisements. In 1987, photographers Gene Lemuel and Peter Duke took polaroids of the twelve year old Jovovich, and Lemuel later showed the photographs to Herb Ritts. Impressed, Ritts re-shot the polaroids for the October 1987 cover of the Italian fashion magazine Lei; this was the first of her many cover shoots. In 1988, she made her first professional model contract. Jovovich was among other models who gained controversy for becoming involved in the industry at a young age.

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“‘There’s something magic in this wonderful french ac-

tress; she’s got a special power and energy inside, and she has her own law: never give up in this life. ” “

PARADIS

VANESSA

Written by Emma Fueler

SPOTLIGHT

anessa Paradis was born on 22 December 1972 at Saint-Maur-des-Fossés, near Paris. Vanessa Paradis spent her childhood in Villiers-sur-Marne with her parents, André and Corinne Paradis. Vanessa Paradis was attracted to cinema early on. Her admiration for Marilyn Monroe led her to take dance and piano lessons. She spent a lot of time with her uncle, Didier Pain, and his musician friends.

lthough “La Magie des surprises-parties” was not a hit, it paved the way for the song with which she would become internationally famous, “Joe le taxi”, in 1987, while she was still only 14 years old.

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pow

Her first TV appearance was on the show L’École des fans in 1981. She recorded her first single, “La Magie des surprises-parties”, in 1983 and performed it in an Italian festival in 1985 but lost the first prize.

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SPOTLIGHT

* M&J (1988) * Variations sur le même t’aime (1990) * Vanessa Paradis (1992) * Live (1994) * Bliss (2000) * Au Zénith (2001) * Divinidylle (2007) * Divinidylle Tour (2008) * Best of Vanessa Paradis (2009) * Vanessa Paradis - Concert acoustique à l’Opera Royal de Versailles (2010)[9]

Discography

It was #1 in France for 11 weeks and, unusually for a song sung in French, was released in the United Kingdom the following year (25 January), where it reached #3. It was taken from her first album M&J (it stands for Marilyn & John) which, although it gained a number 13 placing in France, drew little attention in the UK and did not chart. In March 1989, aged 16, she decided to drop out of high school in order to pursue her career. She then released Variations sur le même t’aime in 1990, containing a remake of the Lou Reed song “Walk on the Wild Side”. The album was written by acclaimed French composer Serge Gainsbourg, whom she met when she received the best singer award at Les Victoires de la Musique, on February, 4th 1990. In 1990, Paradis won the 1990 César Award for Most Promising Actress for her role in Noce Blanche.

n 1991, Paradis promoted a fragrance for Chanel, titled Coco. In the advertisement, she was dressed in all black and feathers, portraying a bird swinging in a cage. The advert was shot by Jean-Paul Goude. Paradis spoke of her continued admiration of Chanel in 2010 saying, “The more I know them, the more I love Chanel.” In 1992, she moved to the United States, to work with rock musician Lenny Kravitz. Paradis started working on a new album in English, a language in which she was now fluent. Written and produced by Kravitz, the album, titled Vanessa Paradis, topped the French chart and briefly made the UK listings (number 45). One of the singles from it was “Be My Baby”, which made number 5 in France and gave her another Top 10 UK hit (number 6). In March 1993, Paradis started her first international tour, the “Natural High Tour”; she performed in France, England and Canada. The tour was canceled before she could perform in Japan and in the United States, for health reasons.

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51 51

SPOTLIGHT In February 1994, Live was released in France.

n April 1994, Paradis filmed Élisa, under the direction of Jean Becker.”Elisa” was a big success in France, and was released internationally. In 1996, Paradis played in Un amour de sorciere with Jeanne Moreau and Jean Reno, before filming 1 chance sur 2, with Alain Delon and Jean-Paul Belmondo. In March 1999, La fille sur le Pont, by Patrice Leconte was released. This movie was shot and released in black and white. In 2004, she promoted Chanel’s new handbags called Ligne Cambon. In 2005 she modeled for Chanel again for The New Mademoiselle handbag. In 2008 she modeled for Miu Miu. On the musical side, she is included in the French children’s album and concert Le Soldat Rose in 2006. Paradis released a new album (Divinidylle) in 2007 which was released in the UK on December 11 (September in France). There are three versions (regular, limited edition, and the Christmas edition). She started the Divinidylle tour in October. Some concerts were filmed and a DVD/CD of the tour was released. Her latest film DVD release is La Clef. Also, Vanessa won two ‘Les Victoires de la Musique’ awards for this album in February 2008. Some of her later projects include a greatest hits CD (Best of Vanessa Paradis) which includes the commercial jingle “I love Paris in the Springtime”; she will also star in the animated film Un monstre à Paris, due to be released in 2010.

er latest film in theatres is the romantic comedy Heartbreaker alongside Romain Duris and Andrew Lincoln, which grossed over €30 million in France and has also been performed strongly with critics. It was released in the UK in July 2010. The Young Victoria director, Jean-Marc Vallée recently cast Paradis in a starring role in his new film, Café de flore. Paradis will play a mother in the 1960s with a down syndrome child. The title is slated for release in 2011. She is set to release an acoustic album in November entitled Vanessa Paradis - Concert acoustique à l’Opera Royal de Versailles. The album was recorded at L’Opéra of the Palace of Versailles during her Vanessa Paradis Concert Acoustique Tour.

Vanessa Paradis has been in a relationship with American actor Johnny Depp since 1998. They have a daughter, Lily-Rose Melody Depp (born 27 May 1999 ), and a son, John Christopher “Jack” Depp III (born 9 April 2002).

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A RT BR E

KE R

SPOTLIGHT

A terrifically entertaining new romantic comedy from first time director Pascal Chaumeil, may just be the answer to all of your summer blockbuster woes. Reenvigorating an often tiresome formula as only the French can, this effortlessly charming romp stars the suave Romain Duris (The Beat that My Heart Skipped) as Alex, a globe-trotting playboy ingenue with a business all his own - heâ&#x20AC;&#x2122;s hired by friends, family or jealous lovers to break up relationships. But when this professional casanova meets his toughest mark yet in the gorgeous Juliette (Vanessa Paradis), will his game finally change?

hey divide their time among houses in the Hollywood Hills and their farm in Plan-de-la-Tour, South of France, a house in the village of Timsbury, Somerset, and also own apartments in Paris, Manhattan and an island in the Bahamas. Paradisâ&#x20AC;&#x2122; 2000 album Bliss, another French chart topper, was dedicated to Depp and their daughter. Paradis has a sister, actress Alysson Paradis, who is younger by 10 years and has starred in many French horror films. The actor and film producer, Didier Pain, is their uncle.

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SPOTLIGHT

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GRADUATE

THE

Written by Catherine Basso

SOUNDTRACK

he soon-to-be 21 year-old Benjamin Braddock flies back to his parents’ house in Southern California after graduating from a college on the East Coast. At his graduation party, all his parents’ friends want to know about what he is going to do next, something Benjamin is clearly uncomfortable and anxious about. His parents ignore this and are only interested in talking up his academic and track successes and their plans for him to go to grad school. Mrs. Robinson, the wife of his father’s business partner (they are law partners), asks him for a ride home from the party. She invites the nervous Benjamin in and attempts to seduce him, removing her clothing. Mr. Robinson arrives home but does not see or suspect anything. A few days later Benjamin contacts her and clumsily organizes a tryst at a hotel beginning their affair. A now confident and relaxed Benjamin spends the summer drifting around in the pool by day and seeing Mrs. Robinson at the hotel by night. Benjamin discovers that they have nothing to talk about but he does learn that Mrs. Robinson was forced to give up college and marry someone she didn’t love when she became pregnant with Elaine.

r. Robinson tells Benjamin he should relax and enjoy himself while he is young. Benjamin’s parents however are keen for him to get on with his life. Both they and Mr. Robinson keep trying to set Benjamin up with Elaine, while Mrs. Robinson makes it clear that she wants him to stay away from Elaine. Benjamin eventually gives into the pressure from his parents and takes Elaine out but intentionally upsets her by taking her to a strip club. After seeing her crying, he relents and explains

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he was mean only because his parents forced him to ask her out. He awkwardly kisses her to try and cheer her up and they go and get a burger at a drive-in. He then proceeds to take her home where she offers to take him in for a cup of coffee and he states that he wouldn’t want to wake anybody up. Benjamin says he would like to get a drink and Elaine proclaims that they have a bar at the Taft Hotel. When they arrive at the Taft Hotel Benjamin is uneasy as everyone recognizes him as Mr. Gladstone. Benjamin discovers that Elaine is someone he is comfortable with and that he can talk to her about his worries. Mrs. Robinson threatens to reveal their affair to destroy any chance Benjamin has with Elaine so Benjamin rashly decides he has to tell Elaine first. An upset Elaine returns to UC Berkeley, refusing to speak with Benjamin. Benjamin decides he is going to marry Elaine and goes to Berkeley and stalks her. Side one 1. “The Sounds of Silence” – 3:06 2. “The Singleman Party Foxtrot” (Dave Grusin) – 2:52 3. “Mrs. Robinson” – 1:12 4. “Sunporch Cha-Cha-Cha” (Dave Grusin) – 2:53 5. “Scarborough Fair/Canticle (Interlude)” – 1:41 6. “On the Strip” (Dave Grusin) – 2:00 7. “April Come She Will” – 1:50 8. “The Folks” (Dave Grusin) – 2:27 Side two 1. “Scarborough Fair/Canticle” – 6:22 2. “A Great Effect” (Dave Grusin) – 4:06 3. “The Big Bright Green Pleasure Machine” – 1:46 4. “Whew” (Dave Grusin) – 2:10 5. “Mrs. Robinson” – 1:12 6. “The Sound of Silence” – 3:08

e contrives a meeting on a bus while she is on her way to a date with her classmate Carl. An angry Elaine later demands to know what he is doing in Berkeley after he raped her mother by taking advantage of her while she was drunk. Benjamin tells her it was her mother who seduced him, something Elaine doesn’t want to hear... H mag -

LET ME IN

Techs

Written by Elle Porter

MOVIE

Color info: Color Sound mix: Dolby Digital

n alienated 12-year-old boy befriends a mysterious young newcomer in his small New Mexico town, and discovers an unconventional path to adulthood in Let Me In, a haunting and provocative thriller written and directed by filmmaker Matt Reeves (Cloverfield). Twelve-year old Owen (Kodi SmitMcPhee) is viciously bullied by his classmates and neglected by his divorcing parents. Achingly lonely, Owen spends his days plotting revenge on his middle school tormentors and his evenings spying on the other inhabitants of his apartment complex. His only friend is his new neighbor Abby (Chloe Moretz), an eerily self-possessed young girl who lives next door with her silent father (Richard Jenkins). A frail, troubled child about Owens’s age, Abby emerges from her heavily curtained apartment only at night and always barefoot, seemingly immune to the bitter winter elements. Recognizing a fellow outcast, Owen opens up to her and before long, the two have formed a unique bond.

hen a string of grisly murders puts the town on high alert, Abby’s father disappears, and the terrified girl is left to fend for herself.

Starring

Writer Matt Reeves

Director Matt Reeves

Richard Jenkins, Kodi Smit McPhee, Chloe Moretz, Jimmy Pinchak

Release Date October 1st, 2010

Producers Still, she repeatedly rebuffs Owen’s efforts to help her and her increasingly bizarre behavior leads the imaginative Owen to suspect she’s hiding an unthinkable secret.

he gifted cast of Let Me In takes audiences straight to the troubled heart of adolescent longing and loneliness in an astonishing coming-ofage story based on the bestselling Swedish novel Lat den Ratte Komma In (Let the Right One In) by John Ajvide Lindqvist, and the highlyacclaimed film of the same name.

The Morse code message shown at the end of the official trailer spells out the words “Help Me”.

Tobin Armbrust ... executive producer Alexander Yves Brunner ... producer Guy East ... producer Philip Elway ... executive producer Donna Gigliotti ... producer Jillian Longnecker ... associate producer Fredrik Malmberg ... executive producer Carl Molinder ... producer John Nordling ... producer Simon Oakes ... producer John Ptak ... executive producer Vicki Dee Rock ... co-producer Nigel Sinclair ... producer

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MOVIE

Costumes

Melissa Bruning

Locations •

• •

Albuquerque Studios 5650 University Boulevard SE, Albuquerque, New Mexico, USA Los Alamos, New Mexico, USA New Mexico, USA

Sound Department

Antony Bayman ... adr mixer Will Files ... sound re-recording mixer Will Files ... supervising sound designer Kim Foscato ... sound editor Goro Koyama ... foley artist Andy Malcolm ... foley artist Douglas Murray ... sound re-recording mixer Douglas Murray ... supervising sound designer Kurt Peterson ... boom operator Edwardo Santiago ... sound utility Clint Smith ... sound recordist Ed White ... sound mixer

Special Effects Werner Hahnlein ... special effects coordinator Daniel Holt ... special effects technician Ryan Roundy ... special effects technician Arthur G. Schlosser ... snow effects technician Michael S. Walter ... special effects crew

Make Up Department Andy Clement ... special makeup effects designer/creator Tarra D. Day ... makeup department head Jake Garber ... special makeup effects artist Jennifer McDaniel ... key makeup artist Bart Mixon ... special makeup effects artist Sheila Trujillo ... assistant makeup artist Chad Washam ... special makeup effects technician

Stunts Castings

Jo Edna Boldin Avy Kaufman

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Art Director Guy Barnes

Emily Brobst ... stunt double Bobby Burns ... stunt fire safety Bobby Burns ... stunt rigger Deborah L. Mazor ... stunt performer Angelique Midthunder ... stunt double Ashton Moio ... stunt player Rowbie Orsatti ... stunts John Robotham ... stunt coordinator Roger Stoneburner ... stunt double H mag -

MOVIE

Matt Reeves

eeves was born in Rockville Centre, New York, and raised in Los Angeles, California. He began making movies at eight years old, directing friends with a wind-up camera. Reeves met J.J. Abrams when both were 13 years old, and both were having their short films aired on a cable access channel. Reeves and Abrams became friends and eventually co-created the TV series Felicity. Reeves attended the University of Southern California. There, he produced an award-winning student film titled “Mr. Petrified Forest”, which helped him acquire an agent, and also co-wrote a script that eventually became Under Siege 2: Dark Territory.

fter graduating, he co-wrote The Pallbearer, which also became his professional directorial debut. In addition to co-creating Felicity and directing a handful of that series’ episodes, including the pilot, Reeves has helmed the occasional episode of other TV series, including Homicide: Life on the Street and Relativity. More recently, Reeves directed the Abrams-produced monster movie, Cloverfield

• • • • • • • •

Filmography

Future Shock (1993), director, “Mr. Petrified Forest” segment Under Siege 2: Dark Territory (1995), writer The Pallbearer (1996), director and writer Felicity (1998-2002), co-creator and writer The Yards (2000), writer Cloverfield (2008), director Let Me In (2010), director and writer The Invisible Woman (TBA), director and writer

and will produce the sequel of the film. He also wrote and directed Let Me In, a remake of the Swedish film Let the Right One In, which will be released on October 1, 2010 from Paramount pictures. Reeves is in talk to direct the fifth Final Destination movie, 5inal Destination.

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Written by Nadja Goering

BOOKS

the catatonic patients can receive the L-Dopa medication and experience “awakenings” back to reality.

WAKENINGS

Paperback: 464 pages Publisher: Vintage (October 5, 1999) Language: English ISBN-10: 0375704051 ISBN-13: 978-0375704055 Product Dimensions: 7.9 x 5.1 x 1 inches Shipping Weight: 1 pounds

n 1969, Dr. Malcolm Sayer (Robin Williams) is a dedicated and caring physician at a local hospital in the New York City borough of The Bronx. After working extensively with the catatonic patients who survived the 1917-1928 epidemic of encephalitis lethargica, Sayer discovers certain stimuli will reach beyond the patients’ respective catatonic states; actions such as catching a ball thrown at them, hearing familiar music, and experiencing human touch all have unique effects on particular patients and offer a glimpse into their worlds. Leonard Lowe (Robert De Niro) proves elusive in this regard, but Sayer soon discovers that Leonard is able to communicate with him by using a Ouija board. After attending a lecture at a pub on the subject of the L-Dopa drug and its success with patients suffering from Parkinson’s Disease, Sayer believes the drug may offer a breakthrough for his own group of patients. A trial run with Leonard Lowe yields astounding results as Leonard completely “awakens” from his catatonic state; this success inspires Sayer to ask for funding from donors so that all

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Meanwhile, Leonard is adjusting to his new life and becomes romantically interested in Paula (Penelope Ann Miller), the daughter of another hospital patient and begins spending time with her when she comes to the hospital to visit her father. Leonard also begins to chafe at the restrictions placed upon him as a patient of the hospital, desiring the freedom to come and go as he pleases and stirs up a bit of a revolt in the process of arguing his case repeatedly to Sayer and the hospital administration. Sayer notices that as Leonard grows more agitated battling administrators and staff about his perceived confinement, a number of facial and body tics are starting to manifest and Leonard has difficulty controlling them.

hile Sayer and the hospital staff continue to delight in the success of L-Dopa with this group of patients, they soon find that it is a temporary measure. As the first to “awaken,” Leonard is also the first to demonstrate the limited duration of this period of “awakening.” Leonard’s tics grow more and more prominent and he starts to shuffle more as he walks, and all of the patients are forced to witness what will eventually happen to them. He soon begins to suffer full body spasms and can hardly move. Leonard, however, puts up well with the pain, and asks Sayer to film him, in hopes that he would some day contribute to research that may eventually help others. Leonard acknowledges sadly what is happening to him and has a last lunch with Paula where he tells her he cannot see her anymore. Leonard and Dr. Sayer reconcile their differences, but Leonard returns to his catatonic state soon after. The other patients’ fears are similarly realized as each eventually returns to catatonia no matter how much their L-Dopa dosages are increased. Sayer tells a group of grant donors to the hospital that although the “awakening” did not last, another kind — one of learning to appreciate and live life — took place. The film ends with Sayer standing over the once againcatatonic Leonard behind a Ouija board, with his hands on Leonard’s hands which man the planchette. “Let’s begin,” Sayer says. H mag -

Hmphrey

BOGART

“

Written by Elizabeth Collins

LEGENDS

I came out here with one suit and everybody said I looked like a bum. Twenty years later Marlon Brando came out with only a sweatshirt and the town drooled over him. That shows how much Hollywood has progressed.

ogart was born on Christmas Day 1899 in New York City, the first child of Belmont DeForest Bogart (July 1867, Watkins Glen, New York – September 8, 1934, Tudor City apartments, New York, New York) and Maud Humphrey (1868– 1940). Belmont and Maud were married in June 1898. His father’s ancestors were of Dutch, English, and Spanish origin. Bogart is a Dutch name meaning “orchard”. His mother’s family were largely of English descent and to a lesser extent Welsh. Bogart’s father was a Presbyterian, while his mother was an Episcopalian. Bogart was raised in his mother’s faith. Bogart’s birthday has been a subject of controversy. It was long believed that his birthday on Christmas Day 1899, was a Warner Bros. fiction created to romanticize his background, and that he was really born on January 23, 1899, a date that appears in many references. However, this story is now considered baseless: although no birth certificate has ever been found, his birth notice did appear in a New York newspaper in early January 1900, which supports the December 1899 date, as do other sources, such as the 1900 census.

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Bogart’s father, Belmont, was a surgeon specializing in heart and lungs. His mother, Maud Humphrey, was a commercial illustrator, who received her art training in New York and France, including study with James McNeill Whistler, and who later became artistic director of the fashion magazine The Delineator. She was a militant suffragette. She used a drawing of baby

Humphrey in a well-known ad campaign for Mellins Baby Food. In her prime, she made over $50,000 a year, then a vast sum, far more than her husband’s $20,000 per year. The Bogarts lived in a fashionable Upper West Side apartment, and had an elegant cottage on a fifty-five acre estate in upstate New York on Canandaigua Lake. As a youngster, Humphrey’s gang of friends at the lake would put on theatricals.

umphrey was the oldest of three children; he had two younger sisters, Frances and Catherine Elizabeth (Kay). His parents were very formal, busy in their careers, and frequently fought—resulting in little emotion directed at the children, “I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn’t glug over my two sisters and me.” As a boy, Bogart was teased for his curls, his tidiness, the “cute” pictures his mother had him pose for, the Little Lord Fauntleroy clothes she dressed him in—and the name “Humphrey.” From his father, Bogart inherited a tendency for needling people, a fondness for fishing, a life-long love of boating, and an attraction to strong-willed women. The Bogarts sent their son to private schools. Humphrey began school at the Delancy School until fifth grade, when he was enrolled in Trinity School. He was an indifferent, sullen student who showed no interest in after-school activities. Later he went to the prestigious preparatory school Phillips Academy, in Andover, Massachusetts, where he was admitted based on family connections. They hoped he would go on to Yale, but in 1918, Bogart was expelled. The details of his expulsion are disputed: one story claims that he was expelled for throwing the headmaster (alternatively, a groundskeeper) into Rabbit Pond, a man-made lake on campus. Another cites smoking and drinking, combined with poor academic performance and possibly some intemperate comments to the staff. It has also been said that he

“I don’t approve of the John Waynes and the Gary Coopers saying ‘Shucks, I ain’t no actor -- I’m just a bridge builder or a gas station attendant.’ If they aren’t actors, what the hell are they getting paid for? I have respect for my profession. I worked hard at it.”

LEGENDS was actually withdrawn from the school by his father for failing to improve his academics, as opposed to expulsion. In any case, his parents were deeply dismayed by the events and their failed plans for his future.

aggravated by morphine addiction), his medical practice was faltering, and he lost much of the family’s money on bad investments in timber. During his naval days, Bogart’s character and values developed independent of family influence, and he began to rebel somewhat from their values. He came to be a liberal who hated pretensions, phonies, and snobs, and at times he defied conventional behavior and authority, traits he displayed in life and in his movies. On the other hand, he retained their traits of good manners, articulateness, punctuality, modesty, and a dislike of being touched. After his naval service, Bogart worked as a shipper and then bond salesman. He joined the Naval Reserve.

oming up with no other career options, Bogart followed his love for the sea and enlisted in the United States Navy in the spring of 1918. He recalled later, “At eighteen, war was great stuff. Paris! French girls! Hot damn!” Bogart is recorded as a model sailor who spent most of his months in the Navy after the Armistice was signed, ferrying troops back from Europe. It was during his naval stint that Bogart may have gotten his trademark scar and developed his characteristic lisp, though the actual circumstances are unclear. In one account, during a shelling of his ship the USS Leviathan, his lip was cut by a piece of shrapnel, although some claim Bogart did not make it to sea until after the Armistice was signed. Another version, which Bogart’s long time friend, author Nathaniel Benchley, claims is the truth, is that Bogart was injured while on assignment to take a naval prisoner to Portsmouth Naval Prison in Kittery, Maine. Supposedly, while changing trains in Boston, the handcuffed prisoner asked Bogart for a cigarette and while Bogart looked for a match, the prisoner raised his hands, smashed Bogart across the mouth with his cuffs, cutting Bogart’s lip, and fled. The prisoner was eventually taken to Portsmouth. An alternate explanation is in the process of uncuffing an inmate, Bogart was struck in the mouth when the inmate wielded one open, uncuffed bracelet while the other side was still on his wrist. According to Darwin Porter’s Humphrey Bogart: The Early Years, the scar was caused by his father, Belmont, during a terrible argument. By the time Bogart was treated by a doctor, the scar had already formed. “Goddamn doctor,” Bogart later told David Niven, “instead of stitching it up, he screwed it up.” Niven says that when he asked Bogart about his scar he said it was caused by a childhood accident; Niven claims the stories that Bogart got the scar during wartime were made up by the studios to inject glamour. His post-service physical makes no mention of the lip scar even though it mentions many smaller scars, so the actual cause may have come later. When actress Louise Brooks met Bogart in 1924, he had some scarred tissue on his upper lip, which Belmont Bogart may have partially repaired before Bogart went into films in 1930.[20] She believes his scar had nothing to do with his distinctive speech pattern, his “lip wound gave him no speech impediment, either before or after it was mended. Over the years, Bogart practiced all kinds of lip gymnastics, accompanied by nasal tones, snarls, lisps, and slurs. His painful wince, his leer, his fiendish grin were the most accomplished ever seen on film.” Bogart returned home to find Belmont was suffering from poor health (perhaps

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More importantly, he resumed his friendship with boyhood mate Bill Brady, Jr. whose father had show business connections, and eventually Bogart got an office job working for William A. Brady Sr.’s new company World Films. Bogart got to try his hand at screenwriting, directing, and production, but excelled at none. For a while, he was stage manager for Brady’s daughter’s play A Ruined Lady. A few months later, in 1921, Bogart made his stage debut in Drifting as a Japanese butler in another Alice Brady play, nervously speaking one line of dialog. Several more appearances followed in her subsequent plays. Bogart liked the late hours actors kept, and enjoyed the attention an actor got on stage. He stated, “I was born to be indolent and this was the softest of rackets”. He spent a lot of his free time in speakeasies and became a heavy drinker. A barroom brawl during this time might have been the actual cause of Bogart’s lip damage, as this coincides better with the Louise Brooks account. Bogart had been raised to believe acting was beneath a gentleman, but he enjoyed stage acting. He never took acting lessons, but was persistent and worked steadily at his craft. He appeared in at least seventeen Broadway productions between 1922 and 1935. He played juveniles or romantic second-leads in drawing room comedies. He is said to have been the first actor to ask “Tennis, anyone?” on stage. Critic Alexander Woollcott wrote of Bogart’s early work that he “is what is usually and mercifully described as inadequate.” Some reviews were kinder. Heywood Broun, reviewing Nerves wrote, “Humphrey Bogart gives the most effective performance...both dry and fresh, if that be possible”. Bogart loathed the trivial, effeminate parts he had to play early in his career, calling them “White Pants Willie” roles.

arly in his career, while playing double roles in the play Drifting at the Playhouse Theatre in 1922, Bogart met actress Helen Menken. They were married on May 20, 1926 at the Gramercy Park Hotel in H mag -

LEGENDS New York City, divorced on November 18, 1927, but remained friends. On April 3, 1928, he married Mary Philips at her mother’s apartment in Hartford, Connecticut. She, like Menken, had a fiery temper and, like every other Bogart spouse, was an actress. He had met Mary when they appeared in the play Nerves, which had a very brief run at the Comedy Theatre in September 1924. After the stock market crash of 1929, stage production dropped off sharply, and many of the more photogenic actors headed for Hollywood. Bogart’s earliest film role is with Helen Hayes in the 1928 two-reeler The Dancing Town, of which a complete copy has never been found. He also appeared with Joan Blondell and Ruth Etting in a Vitaphone short, Broadway’s Like That (1930) which was rediscovered in 1963. Bogart then signed a contract with Fox Film Corporation for $750 a week. Spencer Tracy was a serious Broadway actor whom Bogart liked and admired, and they became good friends and drinking buddies. It was Tracy, in 1930, who first called him “Bogey”. (Spelled variously in many sources, Bogart himself spelled his nickname “Bogie”.) Tracy and Bogart appeared in their only film together in John Ford’s early sound film Up the River (1930), with both playing inmates. It was Tracy’s film debut. Bogart then performed in The Bad Sister with Bette Davis in 1931, in a minor part. Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, suffering long periods without work. His parents had separated, and Belmont died in 1934 in debt, which Bogart eventually paid off. (Bogart inherited his father’s gold ring which he always wore, even in many of his films. At his father’s deathbed, Bogart finally told Belmont how much he loved him.) Bogart’s second marriage was on the rocks, and he was less than happy with his acting career to date; he became depressed, irritable, and drank heavily.

John Golden Theatre, in 1934. The producer Arthur Hopkins heard the play from off-stage and sent for Bogart to play escaped murderer Duke Mantee in Robert E. Sherwood’s new play, The Petrified Forest. Hopkins recalled: When I saw the actor I was somewhat taken aback, for he was the one I never much admired. He was an antiquated juvenile who spent most of his stage life in white pants swinging a tennis racquet. He seemed as far from a cold-blooded killer as one could get, but the voice (dry and tired) persisted, and the voice was Mantee’s. The play had 197 performances at the Broadhurst Theatre in New York in 1935. Leslie Howard though, was the star. A critic for the New York Times Brooks Atkinson said of the play, “a peach... a roaring Western melodrama... Humphrey Bogart does the best work of his career as an actor.” Bogart said the movie “marked my deliverance from the ranks of the sleek, sybaritic, stiff-shirted, swallowtailed ‘smoothies’ to which I seemed condemned to life.” However, he was still feeling insecure. Warner Bros. bought the screen rights to The Pet-

“A hotdog at the ballpark is better than a steak at the Ritz.”

auren Bacall, Humphrey Bogart and Henry Fonda in the 1955 television broadcast of Petrified Forest. Bogart starred in the Broadway play Invitation to a Murder at the Theatre Masque, now the

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rified Forest. The studio was famous for its socially-realistic, urban, low-budget action pictures; the play seemed like the perfect property for it, especially since the public was entranced by real-life criminals like John Dillinger and Dutch Schultz. Bette Davis and Leslie Howard were cast. Howard, who held production rights, made it clear he wanted Bogart to star with him. The studio tested several Hollywood veterans for the Duke Mantee role, and chose Edward G. Robinson, who had greater star appeal and was due to make a film to fulfill his expensive contract. Bogart cabled news of this to Howard, who was in Scotland. Howard cabled reply was, “Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.”. When Warner Bros. saw that H mag -

LEGENDS

trenched, usually restricted actors to one studio, with occasional loan-outs, and Warner Bros. had no interest in making Bogart a top star. Shooting on a new movie might begin days or only hours after shooting on the previous one was completed. Any actor who refused a role could be suspended without pay.

“The trouble with the world is that it’s always one drink behind.” Howard would not budge, they gave in and cast Bogart. Jack Warner, famous for butting heads with his stars, tried to get Bogart to adopt a stage name, but Bogart stubbornly refused. Bogart never forgot Howard’s favor, and in 1952 he named his only daughter, Leslie, after Howard, who had died in World War II. Robert E. Sherwood remained a close friend of Bogart’s.

he film version of The Petrified Forest was released in 1936. His performance was called “brilliant”, “compelling”, and “superb.” Despite his success in an “A movie,” Bogart received a tepid twenty-six week contract at $550 per week and was typecast as a gangster in a series of “B movie” crime dramas. Bogart was proud of his success, but the fact that it came from playing a gangster weighed on him. He once said: I can’t get in a mild discussion without turning it into an argument. There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. Nobody likes me on sight. I suppose that’s why I’m cast as the heavy. Bogart’s roles were not only repetitive, but physically demanding and draining (studios were not yet air-conditioned), and his regimented, tightly-scheduled job at Warners was not exactly the “peachy” actor’s life he hoped for. However, he was always professional and generally respected by other actors. In those “B movie” years, Bogart started developing his lasting film persona — the wounded, stoical, cynical, charming, vulnerable, selfmocking loner with a core of honor. Bogart’s disputes with Warner Bros. over roles and money were similar to those the studio had with other lessthan-obedient stars, such as Bette Davis, James Cagney, Errol Flynn, and Olivia de Havilland. Bogart with James Cagney and Jeffrey Lynn in The Roaring Twenties (1939), the last film Bogart and Cagney made together. The studio system, then at its most en-

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ogart disliked the roles chosen for him, but he worked steadily: between 1936 and 1940, Bogart averaged a movie every two months, sometimes even working on two simultaneously, as movies were not generally shot sequentially. Amenities at Warners were few compared to those for their fellow actors at MGM. Bogart thought that the Warners wardrobe department was cheap, and often wore his own suits in his movies. In High Sierra, Bogart used his own pet dog Zero to play his character’s dog Pard. The leading men ahead of Bogart at Warner Bros. included not just such classic stars as James Cagney and Edward G. Robinson, but also actors far less wellknown today, such as Victor McLaglen, George Raft and Paul Muni. Most of the studio’s better movie scripts went to these men, and Bogart had to take what was left. He made films like Racket Busters, San Quentin, and You Can’t Get Away With Murder. The only substantial leading role he got during this period was in Dead End (1937), while loaned to Samuel Goldwyn, where he portrayed a gangster modeled after Baby Face Nelson. He did play a variety of interesting supporting roles, such as in Angels with Dirty Faces (1938) (in which his character got shot by James Cagney’s). Bogart was gunned down on film repeatedly, by Cagney and Edward G. Robinson, among others. In Black Legion (1937), for a change, he played a good man caught up and destroyed by a racist organization, a movie Graham Greene called “intelligent and exciting, if rather earnest”. In 1938, Warner Bros. put him in a “hillbilly musical” called Swing Your Lady as a wrestling promoter; he later apparently considered this his worst film performance. In 1939, Bogart played a mad scientist in The Return of Doctor X. He cracked, “If it’d been Jack Warner’s blood...I wouldn’t have minded so much. The trouble was they were drinking mine and I was making this stinking movie.”

“I

hate funerals. They aren’t for the guy who’s dead. They’re for the guys who are left alive and enjoy mourning.”

Written by Oliver Hanson

MOVIE

SECRETARIAT T

he film is based on “Secretariat,” the 1973 Triple Crown-winning racehorse and its owner, Penny Chenery (Diane Lane). Chenery was a mother and housewife who knew little about horses when she was pressed to take over her ailing father’s horse farm in Virginia. Though Secretariat came along and began to take shape as a potential champion, Chenery was pressured to sell the farm after her father died and she was hit with a multimillion-dollar inheritance tax.

grandson of Nearco) and foaled to Somethingroyal. He was foaled at Meadow Farm in Caroline County, Virginia. Like the equally famous horse Man o’ War, Secretariat was a large chestnut colt and was given the same nickname, “Big Red.” Owned by Penny Chenery (aka Penny Tweedy), he was trained by Lucien Laurin and mainly ridden by fellow Canadian jockey Ron Turcotte, along with apprentice jockey Paul Feliciano (first two races), and veteran Eddie Maple (last race). He raced in Penny Chenery’s Meadow Stable’s blue and white checkered colors and his groom was Eddie Sweat. Secretariat stood approximately 16 hands 2 inches (170 cm) tall, and weighed 1,175 pounds (533 kg), with a 75 inch girth, in his racing prime.

• • • • •

Churchill Downs - 700 Central Avenue, Louisville, Kentucky, USA Evangeline Downs, Carencro, Louisiana, USA Keeneland Racetrack - 4201 Versailles Road, Lexington, Kentucky, USA Kentucky, USA Louisiana, USA

She saved both the farm and the horse, and watched as Secretariat became the first thoroughbred to win the Triple Crown in 25 years, taking the Kentucky Derby, Preakness and Belmont Stakes in dominating fashion. Chenery became known as the “first lady of racing.”

he story of Secretariat began with the toss of a coin in 1968 between Christopher Chenery of Meadow Stables and Ogden Phipps of Wheatley Stable. The idea of a coin toss came from Phipps, the owner of Bold Ruler, and Bull Hancock of Claiborne Farms

ecretariat (March 30, 1970 – October 4, 1989) was an American Thoroughbred racehorse, who in 1973 became the first U.S. Triple Crown champion in twenty-five years, setting new race records in two of the three events in the Series—the Kentucky Derby (1:59 2/5), and the Belmont Stakes (2:24)—records that still stand today. Secretariat was sired by Bold Ruler (a

Starring

Writer Mike Rich

Director Randall Wallace

Diane Lane, John Malkovich, Scott Glenn, James Cromwell, Dylan Walsh

Release Date October 8th, 2010

Locations

as a way to get the very best mares for Bold Ruler, and when the toss went their way, to add well-bred fillies to their own broodmare band. Bold Ruler wasconsidered one of the important stallions of his time. He had a fine balance between speed and stamina, having had a frontrunning style but the stamina to go 1 1/4 miles; he finished 3rd in H mag -

MOVIE the 1957 Kentucky Derby. After his racing career, Bold Ruler was retired to Claiborne Farms but still was controlled by the Phipps family. This meant he would be bred to mainly Phipps’ mares and not many of his offspring would find their way to the auction ring. Phipps and Hancock agreed to forgo a stud fee for Bold Ruler in exchange for getting to keep one of two foals produced by the mare he bred in successive seasons or two mares he bred in the same season. Who obtained which foal or even received first pick would be decided by a flip of a coin.

n 1968, Chenery sent two mares named Hasty Matelda and Somethingroyal to Bold Ruler, and in 1969, a colt and filly were the result. In 1969, Hasty Matelda was replaced by Cicada, but she did not conceive. Only one foal resulted between Bold Ruler and Somethingroyal. As stated in the original agreement, the winner of the coin toss could pick the foal he wanted but could only take one, while the loser would get the other two. Both parties assumed Somethingroyal would deliver a healthy foal in the spring of 1970. The coin toss between Penny Chenery and Ogden Phipps was held in the fall of 1969 in the office of New York Racing Association Chairman Alfred Vanderbilt II, with Hancock as witness. Phipps won the toss and took the weanling filly out of Somethingroyal, leaving Chenery with the colt out of Hasty Matelda and the unborn foal of Somethingroyal. On March 30, at 12:10 a.m., Somethingroyal foaled a bright red chestnut colt with three white socks and a star with a narrow blaze. By the time the colt was a yearling, he was still unnamed. Meadow Stables’ secretary, Elizabeth Ham, had submitted 10 names to the Jockey Club, all of which were denied for various reasons. Approval finally came with the 11th submission, a name Ham herself picked from a previous career association, Secretariat. On July 4, 1972, Secretariat finished fourth, beaten 1 1/4 lengths, in his first race

Producers Jayne Armstrong ... associate producer Mark Ciardi ... producer Pete DeStefano ... producer Gordon Gray ... producer Bill Johnson ... executive producer Todd Y. Murata ... production executive Andrew Wallace ... associate producer

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at Aqueduct Racetrack when he was impeded at the start, forced to take up on the backstretch and then could not make up the ground. After that loss, Secretariat then won 5 races in a row, including three important twoyear-old stakes races, the Sanford Stakes and Hopeful Stakes at Saratoga Race Course, and the Futurity Stakes at Belmont Park. In the Hopeful, he made a huge move, passing 8 horses in 1/4 mile to take the lead and then drawing off to win by 5 lengths. He then ran in the Champagne Stakes at Belmont, where he finished first but was disqualified and placed second for bearing in and interfering with Stop the Music, who was declared the winner. Secretariat avenged that loss in the Laurel Futurity, winning by 8 lengths over Stop the Music, and completed his season with a win in the Garden State Futurity. Secretariat won the Eclipse Award for American Champion Two-Year-Old Male Horse, and, in a rare occurrence, two two-year-olds topped the balloting for 1972 American Horse of the Year honors with Secretariat edging out the filly, La Prevoyante. Secretariat received the votes of the Thoroughbred Racing Associations of North America and the Daily Racing Form, while La Prevoyante was chosen by the National Turf Writers Association. Only one horse since then, Favorite Trick in 1997, has won that award as a two-year-old.

ecretariat started off his three-year-old year with an easy win in the Bay Shore Stakes at Aqueduct. In his next start, the Gotham Stakes, Secretariat led wire-to-wire for the first time in his career. He ran the first 3/4 of mile in 1:08 3/5 and finished the one mile race in 1:33 2/5, equalling the track record. However, in his next start, he finished third in the Wood Memorial to his stablemate Angle Light and Santa Anita Derby winner Sham, in their final prep race for the Kentucky Derby. Despite the loss in the Wood Memorial, Churchill Downs bettors made Secretariat the 3–2 favorite over Sham in the 1973 Kentucky Derby. Secretariat broke last but gradually moved up on the field in the backstretch, then overtook Sham at the top of the stretch, pulling away to win the Derby by 2 1/2 lengths. Our Native H mag -

MOVIE finished third. On his way to a still-standing track record (1:59 2/5), Secretariat ran each quarter-mile segment faster than the one before it. The successive quarter-mile times were 25 1/5, 24, 23 4/5, 23 2/5, and 23. This means he was still accelerating as of the final quarter-mile of the race. It was 28 years before any other horse won the Derby in less than 2 minutes (Monarchos in 2001). In the Preakness Stakes, Secretariat broke last but then made a huge, last-to-first move on the first turn. After reaching the lead with 5 1/2 furlongs to go, he was never challenged and won by 2½ lengths, again with Sham finishing second and Our Native third. The time of the race was controversial. The infield teletimer displayed a time of 1:55. The track’s electronic timer had malfunctioned because of damage caused by members of the crowd crossing the track to reach the infield. The Pimlico Race Course clocker, E.T. McLean Jr., announced a hand time of 1:54 2/5. However, two Daily Racing Form clockers claimed the time was 1:53 2/5, which would have broken the track record (1:54 by Cañonero II). Tapes of Secretariat and Cañonero II were played side by side by CBS, and Secretariat got to the finish line first on tape, though this is not a reliable method of timing a horse race. The Maryland Jockey Club, which managed the Pimlico racetrack and is responsible for maintaining Preakness records, discarded both the electronic and Daily Racing Form times and recognized 1:54 2/5 as the official time. However, the Daily Racing Form, for the first time in history, printed its own clocking of 1:53 2/5 next to the official time in the chart of the race. Written by Mike Rich Book “Secretariat: The Making of a Champion” William Nack ubsequently, Tank’s Prospect (1985), Louis Quatorze (1996), and Curlin (2007) have all run 1:53 2/5, equaling the time attributed to Secretariat by the Daily Racing Form. Farma Way won the 1991 Pimlico Special in 1:52 2/5, setting the current track record.

As Secretariat prepared for the Belmont Stakes, he appeared on the covers of three national magazines.

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Written by Oliver Hanson

CULT “Originally a low-budget film by a new studio and with no major stars (except Broadway legend Jerry Orbach in a supporting role), Dirty Dancing became a massive box office hit. As of 2009, it earned over $214 million worldwide.”

n the summer of 1963, 17-year-old New Yorker Frances “Baby” Houseman (Jennifer Grey) is vacationing with her affluent Jewish family at Kellerman’s, a resort in the Catskill Mountains. Baby is planning to attend Mount Holyoke College to study economics of underdeveloped countries and then enter the Peace Corps. She was named after Frances Perkins, the first woman in the U.S. Cabinet. Baby’s father, Jake (Jerry Orbach), is the personal physician of the resort owner Max Kellerman (Jack Weston).

Dancing

Baby develops a crush on the resort’s dance instructor Johnny Castle (Patrick Swayze), part of the working-class entertainment staff. When Baby, while carrying a watermelon, is invited to one of their secret after-hour parties, she observes for the first time the “dirty dancing” that the staff enjoys. She is intrigued by the sexy dancing, and receives a brief lesson from Johnny. Later, Baby discovers that Johnny’s dance partner Penny Johnson (Cynthia Rhodes) is distraught over being pregnant by Robbie Gould (Max Cantor), the womanizing waiter who is dating and cheating on Lisa, Baby’s sister. Baby learns that Robbie plans to do noth-

Dirty

ing about the pregnancy as he says “Some people count, some people don’t,” so she secures the money from her father to pay for Penny’s illegal abortion. Baby’s father

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The lake practice scene was filmed at Lake Lure in the mountains of North Carolina in October. There are no close-ups because the actors were so cold that their lips were blue. agrees to give her the money despite her secrecy regarding what it will be used for, because of the trust he holds in his daughter. In her efforts to help, Baby also becomes Penny’s fillin for a performance at the Sheldrake, a nearby resort where Johnny and Penny perform annually. This upcoming show requires Johnny to train Baby to become a better dancer and learn the required routine. As Baby becomes Johnny’s pupil in dance, tempers flare and a romance begins to develop. Their performance at the Sheldrake goes reasonably well, though Baby is too nervous to accomplish the dance’s climactic lift. When they return to Kellerman’s, they learn that Penny’s backstreet abortion was botched, leaving Penny in agonizing pain. Baby brings her father to help, but he assumes that the pregnancy was caused by Johnny, and forbids Baby to have anything to do with him or his friends. He is furious at Baby for lying to him and betraying his trust. Baby, however, defies her father and goes to visit Johnny in his room that very night, where they begin an affair. Their relationship is eventually revealed after Johnny is accused of stealing a wallet from one of the resort guests and is unable to provide a verifiable alibi; to save him from being fired, Baby confesses that he could not have been responsible as she was with him in his cabin that night. Johnny is eventually cleared of the theft charge, but is still fired for having a relationship with a guest. However, Baby’s selfless act inspires Johnny to realize that “there are people willing to stand up for other people no matter what it costs them.”

scene from the dancing finale, as Baby overcomes her fears, and trusts both in Johnny, and in herself, to allow him to lift her high in the air. This has been described as “the most goosebump-inducing dance scene in movie history,” and the pose is one of the most recognizable images of the film. In the film’s climactic scene, Johnny, even though he has been fired, returns to the resort to perform the final dance of the season with Baby. Excoriating the Housemans for their choice of Baby’s seat, he utters the film’s most famous line, “Nobody puts Baby in a corner,” as he pulls her up from the family’s table. Johnny leads Baby onto the stage, interrupting the show that is already in

CULT progress. After a brief speech, Johnny and Baby dazzle the audience with a stunning dance performance to the song “The Time of My Life” which ends with Baby completing the lift for the first time. Dr. Houseman learns that the true culprit in Penny’s pregnancy was Robbie, not Johnny, and he apologizes (Robbie having accidentally confessed to his deed earlier in the scene, while talking to Dr. Houseman). The film ends as the dance sequence continues and the room is transformed into a nightclub where everyone, staff and patrons, dances together.

irty Dancing is in large part based on screenwriter Eleanor Bergstein’s own childhood: She is the younger daughter of a Jewish doctor from New York, spent summers with her family in the Catskills, participated in “Dirty Dancing” competitions, and was herself called “Baby” as a girl. In 1980, Bergstein wrote a screenplay for the Michael Douglas film, It’s My Turn. However, the producers cut an erotic dancing scene from the script, much to her dismay. She then conceived a new story, focused almost exclusively on dancing. In 1984, she pitched the idea to MGM executive Eileen Miselle, who liked it and teamed Bergstein with producer Linda Gottlieb. They set the film in 1963, with the character of Baby based on Bergstein’s own life, and the character of Johnny based on the stories of Michael Terrace, a dance instructor whom Bergstein met in the Catskills in 1985 while she was researching the story. She finished the script in November 1985, but management changes at MGM put the script into turnaround, or limbo. Bergstein then shopped the script around to other studios, but was repeatedly rejected until she showed it to Austin Furst, president of Vestron Pictures, a new studio in Century City. Vestron’s vice-president Mitchell Cannold

The very famous scene where Johnny and Baby are practicing their dancing and they are crawling towards each other on the floor wasn’t intended to be part of the film; they were just messing around and were warming up to do the real scene, but the director liked it so much he kept in the film.

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liked the story, as he too had spent some of his own childhood in the Catskills. He and fellow vice-president Dori Berinstein agreed to seek financing for the film, if an appropriate director could be found. Gottlieb and Bergstein chose Emile Ardolino, who had won the 1983 Academy Award for the documentary, He Makes Me Feel Like Dancin’. Ardolino had never directed a feature film, but was extremely passionate about the project, even sending a message from where he was sequestered in jury duty, insisting that he was the best choice as director. The film was approved, and budgeted at the relatively low amount of $4 million, at a time when the average cost for a film was $12 million. For choreographer, Bergstein chose Kenny Ortega, who had been trained by the legendary dancer Gene Kelly. For a location for the film, they did not find anything suitable in the Catskills (as many of the resorts had been shut down at that point), so they decided on a combination of two locations: Lake Lure in North Carolina, and the Mountain Lake Hotel near Roanoke, Virginia, with careful editing making it look like all of the shooting was done in the same area. Director Ardolino was adamant that they choose dancers who could also act, as he did not want to use the “stand-in” method that had been used with the 1983 Flashdance. For the female lead of Frances “Baby” Houseman, Bergstein chose the 26-year-old Jennifer Grey, daughter of the Oscar-winning actor and dancer Joel Grey of the 1972 film Cabaret who, like her father, was also a trained dancer. They then sought a male lead, initially considering 20-year-old Billy Zane, who had the visual look desired (originally the Johnny character was to be Italian and have a dark exotic look) but initial dancing tests when he was partnered with Grey did not meet expectations. The next choice was 34-year-old Patrick Swayze, who had been noticed for his roles in The Outsiders and Red Dawn, in which he had co-starred with Grey. Swayze was a seasoned dancer, with experience from the Joffrey Ballet. The producers were thrilled with him, but Swayze’s agent was against the idea. However, Swayze read the script, liked the multi-leveled character of Johnny, and took the part anyway and Johnny was changed from being Italian to Irish. Grey was not happy about the choice, as she and Swayze had had difficulty getting along on Red Dawn. However, the two of them met, worked things out, and when they did their dancing screen test, the chemistry between them was obvious. Bergstein described it as “breathtaking”.

ther casting choices were Broadway actor Jerry Orbach as Dr. Jake Houseman, Baby’s father; and Jane Brucker as Lisa Houseman, Baby’s older sister. Bergstein also attempted to cast her friend, sex therapist Dr. Ruth Westheimer to play Mrs. Schumacher, and Joel Grey as her husband. However, Westheimer backed out when she learned the role involved being a thief. The role H mag -

CULT

Soundtrack

Color info: Color Sound mix: DTS (re-release) / Dolby Digital (re-release) / Dolby (original release) / SDDS (re-release) Camera: Panaflex Camera and Lenses by Panavision Negative format: 35 mm Process: Spherical Printed format: 35 mm Aspect ratio: 1.85 : 1

Techs

part went instead to 79-year-old Paula Trueman, and Joel Grey was not cast. Another role went to Bergstein’s friend, New York radio personality “Cousin Brucie”. Bergstein initially wanted him to play the part of the social director, but then later asked him to play the part of the magician. The part of the social director went to the then unknown Wayne Knight (of later Seinfeld and 3rd Rock from the Sun fame). The part of Baby’s mother was originally given to Lynn Lipton, who is briefly visible in the beginning when the Houseman family first pulls into Kellerman’s (Lipton is in the front seat for a few seconds; her blonde hair is the only indication). But Lipton became ill during the first week of shooting and was replaced by actress Kelly Bishop, who had already been cast to play Vivian Pressman, the highly sexed resort guest. Bishop moved into the role as Mrs. Houseman, and the film’s assistant choreographer Miranda Garrison took on the role of Vivian.

he tight schedule allowed only two weeks for rehearsal, and 44 days for filming as it was already the tail end of summer. The cast stayed in the same hotel at Mountain Lake Resort in Pembroke, Virginia, and rehearsals quickly turned into disco parties involving nearly every cast member, even non-dancers such as Jack Weston. The dancing and drinking went on almost non-stop and, immersed in the environment, the lead actors, Grey and Swayze, began identifying with their characters. Bergstein built upon this, encouraging the actors to improvise in their scenes. She also built the sexual tension by saying that no matter how intimate or “grinding” the dance steps, that none of the dancers were to have any other kind of physical contact with each other for the next six months. Filming started on September 5, 1986, but was plagued by the weather ranging from pouring rain to sweltering heat. The outside temperature rose to 105 °F (41 °C), and with all the additional camera and lighting equipment needed for filming, the temperature inside could be as high as 120 °F (49 °C). According to choreographer Kenny Ortega, on one day ten people passed out within 25 minutes of shooting. The elderly Paula Trueman collapsed and was taken to the local emergency room to be treated for dehydration. Patrick Swayze also required a hospital visit; insisting on doing his own stunts, he repeatedly fell off of the log during the “balancing” scene and injured his knee so badly he had to have fluid drained from the swelling. Delays in the shooting schedule pushed filming into the autumn, which required the set decorators to spray-paint the autumn leaves green. The uncooperative

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1. “Be My Baby” (The Ronettes) 2. “Where Are You Tonight” (Tom Johnston) 3. “Stay” (Maurice Williams & The Zodiacs) 4. “Hungry Eyes” (Eric Carmen) 5. “Overload” (Zappacosta) 6. “Hey Baby” (Bruce Channel) 7. “Love Is Strange” (Mickey & Sylvia) 8. “You Don’t Own Me” (The Blow Monkeys) 9. “Yes” (Merry Clayton) 10. “In The Still Of The Night” (The Five Satins) 11. “She’s Like The Wind” (Patrick Swayze) 12. “(I’ve Had) The Time Of My Life” (Bill Medley & Jennifer Warnes) 13. “Big Girls Don’t Cry” (The Four Seasons) 14. “Merengue” (Michael Lloyd & Le Disc) 15. “Some Kind of Wonderful” (The Drifters) 16. “Johnny’s Mambo” (Michael Lloyd & Le Disc) 17. “Do You Love Me” (The Contours) 18. “Love Man” (Otis Redding) 19. “Gazebo Waltz” (Michael Lloyd) 20. “Wipe Out” (The Surfaris) 21. “These Arms of Mine” (Otis Redding) 22. “De Todo Un Poco” (Michael Lloyd & Le Disc) 23. “Cry to Me” (Solomon Burke) 24. “Trot The Fox” (Michael Lloyd & Le Disc) 25. “Will You Love Me Tomorrow” (The Shirelles) 26. “Kellerman’s Anthem” (The Emile Bergtein Chorale) 27. “I’ve Had The Time Of My Life” weather then took a different turn, plunging from oppressive heat to down near 40 °F (4 °C), causing frigid conditions for the famous swimming scene in October. The crew wore warm coats, gloves and boots. Swayze and Grey stripped down to light summer clothing, to repeatedly dive into the cold water. Despite her character’s enjoyment, Grey later described the water as “horrifically” cold, and she might not have gone into the lake, except that she was “young and hungry”.

elations between the two main stars varied throughout production. They had already had trouble getting along in their previous project, Red Dawn. They worked things out enough to have an extremely positive screen test, but initial coH mag -

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Locations * Appalachian region, Virginia, USA (Catskill Mountains) * Asheville, North Carolina, USA * Grove Park Inn - 290 Macon Avenue, Asheville, North Carolina, USA * Lake Lure, North Carolina, USA * Lure Woods, Lake Lure, North Carolina, USA * Mountain Lake Resort - 115 Hotel Circle, Pembroke, Virginia, USA * Mountain Lake, Virginia, USA * North Carolina, USA * Pembroke, Virginia, USA * Rutherford County, North Carolina, USA operation soon faded, and they were soon “facing off” before every scene. There was concern among the production staff that the animosity between the two stars would endanger the filming of the love scenes. To address this, producer Bergstein and director Ardolino forced the stars to re-watch their initial screen-tests—the ones with the “breathtaking” chemistry. This had the desired effect, and Swayze and Grey were able to return to the film with renewed energy and enthusiasm.

and could not stop giggling each time Swayze tried it, no matter how many takes Ardolino asked for. Swayze was impatient to finish the scene, and found Grey’s behavior annoying. However, the producers decided that the scene worked as it was, and put it into the film complete with Grey’s giggling and Swayze’s annoyed expression. It became one of the most famous scenes in the film, turning out, as choreographer Kenny Ortega put it, “as one of the most delicate and honest moments in the film.”

he shooting wrapped on October 27, 1986, both ontime and on-budget. No one on the team however liked the rough cut that was put together, and Vestron executives were convinced that the film was going to be a flop. Thirty nine percent of people who viewed the movie did not realize abortion was the subplot. In May 1987, the film was screened for producer Aaron Russo. According to Vestron executive Mitchell Cannold, Russo’s reaction at the end was to say simply, “Burn irector Ardolino encouraged the actors to the negative, and collect the insurance.” improvise, and often kept the cameras rolling even if actors went “off script”. One Further disputes arose over the question of whether a corporate sponsor could be example of this was the scene where Grey was to stand in front of Swayze with her found to promote the film. Marketers of the Clearasil acne product liked the film, back to him, and put her arm up behind his head while he trailed his fingers down seeing it as a vehicle to reach a teen target audience. However, when they learned her arm (similar to the pose that is seen in the movie poster). Though it was writthat the film contained an abortion scene, they asked for that part of the plot to be ten as a sericut. As Bergstein refused, the Clearasil promotion was dropped. Consequently, ous and tender Vestron promoted the film themselves and set the premiere on August 16, 1987. moment, Grey The Vestron executives had planned to release the film in theaters for a weekend, was exhaustand then send it straight to home video, since Vestron had been in the video dised, found the tribution business before film production.[1] Considering how many people dismove ticklish, liked the film at that point, producer Gottlieb’s recollection of her feelings at the time was, “I would have only been grateful, if when it was released, people didn’t yell at me.” For the film’s opening, the August 16, 1987 edition of The New York Times The dancing that Patrick Swayze and Jennifer Grey published a major review, with a headline reading, “Dirty Dancing do during the love scene was actually the same Rocks to an Innocent Beat.” The dance that they did for the screen tests. It was Times reviewer called the film “a not originally supposed to be in the film. metaphor for America in the summer of 1963.

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Written by Mortimer Lorenz

SCRIPT

Starring

Valentine’s Day

Writer Katerine Fugate

Director Garry Marshall

Jessica Alba, Bradley Cooper, Jessica Biel, Eric Dane

Release Date February 12th, 2010

INT. REED BENNETT’S HOUSE - MIDWILSHIRE - 5 A.M. REED BENNETT (late 20s) wakes up easily, naturally. Handsome, rugged. Smile on his face, happy to be alive. He looks at the clock beside him. 5 a.m. Softly, he turns his head. MORLEY CLARKSON (late 20s), lays sound asleep beside him.

he film is a comedy about 10 people in Los Angeles whose lives intersect on the romantic holiday. The film is being fasttracked with hopes for a release on Valentine’s Day 2010.

FADE IN: EXT. FLOWER MART - DOWNTOWN L.A. - 4:30 A.M.

Reed gets up. Pulls on pajama bottoms. Then reaches under the bed, and pulls out a small box. Opens it. The perfect engagement ring inside. He sits on the bed, looking at her sleeping face. Softly pulls her left hand out from under the pillow. Reed now holds her naked left hand. When Morley wakes up. Catches the scene. She starts to say something, but:

The sun isn’t even up yet, but a sea of Amazonian red roses shine under the lights of the downtown flower mart. More than 80 VENDORS begin their day, readying their stalls at the downtown flower mart where Angelenos come to buy the freshest, most extravagant flora in town. It’s always springtime here.

get the script

[Taylor Swift] Felicia has the number 13, Swift’s lucky number, drawn on her hand.

mushy,

REED I know you don’t like a big,

romantic scene. No skywriting. No writing your name in flower petals.

She laughs. REED (CONT’D) Just you and me. Together. And frankly, that’s all I want. That’s all I need. I love you Morley. Will you marry me?

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Written by Matte Sjoberg

STUFF Gianfranco Ferre retro, Versace, Moschino geometry MILAN, Italy (AFP) – Gianfranco Ferre’s macrame and wide black trim had a 1960s feel while Versace and Moschino brought geometry to the equation Friday at Milan Fashion Week. Gianfranco Ferre kept the colours simple -black, white and nude -- but the textures rich with a collection exuding cool elegance for spring/summer 2011. Stylists Tommaso Aquilano and Roberto Rimondi used wide bands around the midriff to show off macrame work or set off the poitrine or a flirty fan-pleated skirt for an empire effect, while white dresses bordered with black bands recalled the 1960s. A femme fatale black leather minidress had a more innocent variation in white crepe de chine. A sudden burst of colour came in the form of a platinum blonde sporting a shocking pink jacket and miniskirt. For evening, the pleats fell to the floor while the decollete swooped to the navel, and the palette turned metallic in party ensembles using solid coppers, greens and purples. The designers also played with tuxedo lapels and restrained Jetsons shoulders trimmed with satin. Meanwhile Women’s Wear Daily reported Friday that New York-based merchant bank Prodos Capital Management was part of a consortium that will acquire Gianfranco Ferre, which has been under bankruptcy protection for the past 19 months. Back on the catwalks, Moschino stylist Rossella Giardini’s show was infused with colour and high energy, managing to be both bubbly and chic. Reds, electric blues and egg yolk orange were arrayed in geometric motifs and clean graphic features. Hairdos peeked out under heavy turbans or panama hats held down with scarves. Adding punch were clicking necklaces and large earrings while tiny handbags came with gold chains.

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STUFF

Skinovations Hey honey, fall is in the air and it’s the perfect time to rethink skin care routines. While we were playing in the sunshine (wearing sunblock of course) the scientists at Guerlain were buzzing about their labs and creating the new Abeille Royale Serum. Its key ingredient is honey, actually many varieties of the best ones from New Zealand along with Royal Jelly from France. Honey, well known for its healing properties is even used for healing wounds in traditional medicine practices. The Abeille Royal Serum is composed of a pure royal concentrate which stimulates the healing process and repairs the micro-damage done to our skin that forms wrinkles. After using the serum for a month my skin looks smoother and plumper, and it’s become a daytime and nighttime addiction for me!

My Choice Josie Maran is a favorite brand among BN editors, especially me. The model’s GOGO (Get One Give One) Natural Volume Argan Mascara is one of the most glossifying and volumizing mascaras on the market; it’ll create black-as-midnight, dewy eye fringe with its compact brush. It’s uber cute, too, with hearts drawn on the wand. Even better, for every tube sold, Maran will donate a mascara to City of Hope cancer patients and survivors.

Best bets If you desire an angelic whisper of pink color on your cheeks and one that you can also apply to your lips, I suggest Becca Lip & Cheek Crème. It’s dewy and soft and you’ve never looked so pretty in pink during the transition from Summer to Fall; it looks breathtaking on bronzed goddesses as well as those of us with porcelain complexions. Swipe on your apples and dab a touch on the center of your lips, right under your cupid’s bow, for barely there glow. Petal and Tuberose are my faves.

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STUFF

The Death of the Silent Majority

daq: MSFT) software.

From Russia, where winters are cold and vodka is the best-known potato product, came news earlier this month that authorities there had cracked down on an environmentalist group, Baikal Environmental Wave, on the pretext of searching for pirated Microsoft (Nas-

The Putin government -- which is apparently unfamiliar with the concept of Glastnost, or openness, introduced by then-head of state Mikhail Gorbachev in the mid1980s -- has reportedly been using the excuse of concern about software piracy to attack outspoken advocacy groups and opposition newspapers over the years. Microsoft lawyers in Russia had apparently backed the authorities. As technology spreads across the world, so does it raise new political problems and change the face of political involvement. Here, There, Everywhere In China, the government has cracked down on Internet access and has decreed that all new computers sold in the country be equipped with the Green Dam Webfiltering software package to protect children from online pornography, a move that, together with Beijing’s blocking of access to Google (Nasdaq: GOOG) in the country, sparked a war of words with Washington. In the United States, travelers crossing the U.S. border can have the contents of their electronic devices, including laptops, dumped into Federal databases for scrutiny. Further, Google reports that the number of U.S. government agencies’ requests to the Internet giant for data between January and June totaled almost 4,300 -- 20 percent more than the nearly 3,300 requests they made between July and December 2009. The Google figures don’t include information on how much data the U.S. government forces Google to turn over on individuals outside of the U.S., or requested through National Security Letters, or national security wiretap and data request warrants to combat spies and threats to national security, known as FISA warrants. Governments can, and do, use digital data that’s been collected to monitor and spy on their own citizens, and where they don’t it’s because of strong opposition from members of society. Take a Walk on the Bright Side Technology doesn’t just expose us to greater harassment or political oppression, however; it can also be highly liberating. The world learned about protests against the 2009 election of Iranian president Mahmoud Ahmadinejad from Tweets and online videos, despite Teheran’s insistence that everything was hunky-dory.

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Written by Vittoria Martinelli

gLee

Glee is a musical comedy-drama television series that airs on Fox in the United States. It focuses on a high school show choir (a modern glee club) called “New Directions”, at the fictional William McKinley High School in Lima, Ohio.

he pilot episode of the show was broadcast after American Idol on May 19, 2009, and the first season began airing on September 9, 2009. On September 21, 2009, Fox officially gave the series a fullseason pick-up. Glee aired its midseason finale on December 9, 2009 and returned from a four-month hiatus on April 13, 2010, picking up

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the remaining nine episodes of the season. The spring premiere had an estimated 13.7 million viewers, nearly doubling in followers on its return. It was renewed for a second season, which began on September 21, 2010, and featured three new cast members. On May 23, 2010, it was announced that Glee had been picked up for a third season.

he show’s creators, Ryan Murphy, Brad Falchuk and Ian Brennan, first conceived Glee as a film. Murphy selects the series’ music, aiming to maintain a balance between show tunes and chart hits. Songs covered in the show are released through the iTunes Store during the week of broadcast, and a series of Glee albums has been initiated by Columbia Records, beginning with Glee: The Music, Volume 1, which was released on November 2, 2009. The music of Glee has been a commercial success, with over seven million digital sales. The show has received mostly positive reviews from critics and viewers. The series won the 2010 Golden Globe Award for Best Television Series—Musical or Comedy and received three additional nominations for Best Actress (Lea Michele), Best Actor (Matthew Morrison), and Best Supporting Actress (Jane Lynch). The show won a People’s Choice Award for Favorite New TV Comedy in 2010. Its first season also earned a Peabody Award. It received a comedy writing award at the Just for Laughs conference in Montreal in July 2010. It won four Emmy Awards including Outstanding Supporting Actress for Jane Lynch, Outstanding Guest Actor for Neil Patrick Harris and Outstanding Direction of a Comedy Series for Ryan Murphy’s direction of the pilot episode. It was also nominated for 15 other Emmy Awards, including Outstanding Comedy Series, Outstanding Actress for (Lea Michele), Outstanding Actor for (Matthew Morrison), Outstanding Supporting Actor for (Chris Colfer), Outstanding Guest Actress for Kristin Chenoweth, and Outstanding Guest Actor for Mike O’Malley. It also received one writing nomination and one other nomination for directing. Ian Brennan conceived Glee based on his own experience as a member of the Prospect High School show choir in Mount Prospect, Illinois. He initially envisioned Glee as a film, rather than a television series, and wrote the first draft in

On the day of her audition, Lea Michele was in a car accident right outside of the studio. She came in literally still pulling glass from her hair. H mag -

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The restaurant the characters frequent is called “Breadsticks”. The show creator, Ryan Murphy, previously made a high-school themed show called “Popular” which featured the students congregating at a restaurant called “Croutons”.

August 2005 with the aid of Screenwriting for Dummies. He completed the script in 2005, but could not generate interest in the project for several years. Mike Novick, a television producer and a friend of Brennan’s from Los Angeles, was a member of the same gym as Ryan Murphy, and gave him a copy of Brennan’s script. Murphy had been in a show choir in college, and felt he could relate to the script. Murphy and his Nip/Tuck colleague Falchuk suggested that Glee be produced as a television show.

he script was entirely rewritten, and was picked up by Fox within 15 hours of being received. Murphy attributed that, in part, to the network’s success with American Idol. “It made sense for the network with the biggest hit in TV, which is a musical, to do something in that vein”, he said. Murphy and Falchuk became the show’s executive producers and showrunners, while Brennan is a co-executive producer and Novick is a producer. Brennan, Falchuk and Murphy write all of the show’s episodes. Glee is set in Lima, Ohio. Murphy chose a Midwest setting as he himself grew up in Indiana, and recalled childhood visits to Ohio to the Kings Island theme park. Although set in Lima, the show is filmed at Paramount Studios in Hollywood. Murphy has said that he has never seen a High School Musical film, to which Glee has been compared, and that his interest lay in creating a “postmodern musical,” rather than “doing a show where people burst into song,” drawing more heavily on the format of Chicago.

urphy intended the show to be a form of escapism. “There’s so much on the air right now about people with guns, or sci-fi, or lawyers running around. This is a different genre, there’s nothing like it on the air at the networks and cable. Everything’s so dark in the world right now, that’s why Idol worked. It’s pure escapism,” he

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said. Murphy intended to make a family show to appeal to adults as well as children, with adult characters starring equally alongside the teenage leads. Murphy has mapped out plans for the series covering a three years of broadcast.

ain articles: List of songs in Glee (season 1), List of songs in Glee (season 2), and Glee Cast discography The series features numerous song covers sung onscreen by the characters. Murphy is responsible for selecting all of the songs used, and strives to maintain a balance between show tunes and chart hits, as: “I want there to be something for everybody in every episode. That’s a tricky mix, but that’s very important — the balancing of that.” Song choices are integral to script development, with Murphy explaining: “Each episode has a theme at its core. After I write the script, I will choose songs that help to move the story along.” Murphy was surprised at the ease with which use of songs was approved by the record labels approached, and explained: “I think the key to it is they loved the tone of it. They loved that this show was about optimism and young kids, for the most part, reinterpreting their classics for a new audience.” A minority of those approached refused to allow their music to be used, including Bryan Adams and Coldplay, however in June 2010, Coldplay reversed their decision, allowing Glee the rights to their catalog. Composer and musician Billy Joel offered many of his songs for use on the show, and other artists have offered use of their songs for free. A series of Glee soundtrack albums have been released through Columbia Records. Songs featured on the show are available for digital download through iTunes up to two weeks before new episodes air, and through other digital outlets and mobile carriers a week later. Glee is choreographed by Zach Woodlee, and features five to eight production numbers per episode. Once Murphy selects a song, rights are cleared with its publishers by music supervisor P. J. Bloom, and music producer Adam Anders rearranges it for the Glee cast. Numbers are pre-recorded by the cast, while Woodlee constructs the accompanying dance moves, H mag -

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TV which are then taught to the cast and filmed Studio recordings of tracks are then made. The process begins six to eight weeks before each episode is filmed, and can end as late as the day before filming begins. Each episode costs at least $3 million to produce, and can take up to 10 days to film as a result of the elaborate choreography.

promotional balloon for Glee in New York City. Prior to the premiere of the second episode, the cast of Glee went on tour at several Hot Topic stores across the nation. The cast sang the U.S.A. national anthem at the third game of the 2009 World Series. They were invited by Macy’s to perform at the 2009 Macy’s Thanksgiving Day Parade, but host broadcaster NBC rejected the plan due to Glee airing on a rival network. Co-creator Ryan Murphy commented on the cast’s exclusion: “I completely understand NBC’s position, and look forward to seeing a Jay Leno float.” Due to the success of the show, the cast went on a concert tour following first season wrap up, visiting Phoenix, Chicago, Los Angeles and New York. In addition, the cast recorded a cover of Wham!’s “Last Christmas”, which was released as a single without featuring in the show. Matthew Morrison, Lea Michele, Cory Monteith and Chris Colfer will reprise their roles as Will, Rachel, Finn and Kurt respectively for a cameo appearance in an upcoming episode of The Cleveland Show. Lea Michele, Cory Monteith and Amber Riley will also be appearing as campers in the twenty-second season premiere of The Simpsons. Jane Lynch, Chris Colfer, Cory Monteith, and Amber Riley appeared at the 2010 MTV VMAs on Sept. 12, 2010. Morrison was cast after Murphy spent three months observing actors on Broadway. In casting Glee, Murphy sought out actors who could identify with the rush of

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Original Audition Songs: Matthew Morrison sang and played Somewhere Over the Rainbow on the ukulele. Lea Michele sand On My Own from Les Miserables. Chris Colfer sang Mr. Cellophane from Chicago. Jenna Ushkowitz sang Waiting for Life to Begin from Once on this Island. ‘Kevin McHale’ sang Let it Be by The Beatles. Amber Riley originally sang a pop song for her audition, but the producers asked her to sing And I Am Telling You from Dreamgirls. Jayma Mays sang Toucha Toucha Touch Me from Rocky Horror Picture Show. Although many people believe Cory Monteith sang Can’t Fight This Feeling for his audition, but he really sang Honesty by Billy Joel, which he revealed on the Canadian radio show Q. By the end of season 1, Matt, Lea, Chris, and Amber had performed the same song on the actual show. starring in theatrical roles. Instead of using traditional network casting calls, he spent three months on Broadway, where he found Matthew Morrison, who had previously starred on stage in Hairspray and The Light in the Piazza; Lea Michele, who starred in Spring Awakening; and Jenna Ushkowitz, who had been in the Broadway revival of The King and I. Chris Colfer had no previous professional experience, but Murphy wrote in the character Kurt Hummel for him to play.

uditioning actors with no theatrical experience were required to prove they could sing and dance as well as act. Jayma Mays auditioned with the song “Touch-a, Touch-a, Touch-a, Touch Me” from The Rocky Horror Show, while Cory Monteith initially submitted a tape of himself acting only, and was requested to submit a second, musical tape, in which he sang “a cheesy, ‘80s music-video-style version” of REO Speedwagon’s H mag -

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TV “Can’t Fight This Feeling”. Kevin McHale came from a boy-band background, having previously been part of the group Not Like Them. He explained that the diversity of the cast’s backgrounds reflects the range of different musical styles within the show itself: “It’s a mix of everything: classic rock, current stuff, R&B. Even the musical theatre stuff is switched up. You won’t always recognize it.” Jane Lynch was originally supposed to have a recurring role in the show, but became a series regular when a Damon Wayans pilot she was working on for ABC fell through. The cast is contracted for a potential three Glee films, with their contract stating that “hereby grants Fox three exclusive, irrevocable options to engage in up to, respectively, three feature length motion pictures.” Though as yet, no films have been planned.

onteith plays glee club member Finn Hudson. Glee features twelve main roles with star billing. Morrison plays Will Schuester, McKinley High’s Spanish teacher who becomes director of the glee club, hoping to restore it to its former glory. Lynch plays Sue Sylvester, head coach of the “Cheerios” cheerleading squad, and the Glee Club’s arch-nemesis. Mays appears as Emma Pillsbury, the school’s mysophobic guidance counselor who has feelings for Will, and Jessalyn Gilsig plays Terri Schuester, Will’s wife of five years. Michele plays Rachel Berry, talented star of the glee club who is often bullied by the Cheerios and football players. Monteith plays Finn Hudson, star quarterback of the school’s football team who risks alienation by his friends to join the glee club. Also in the club are Amber Riley as Mercedes Jones, a fashion-conscious diva who resents having to sing back-up; Colfer as Kurt Hummel—a gay male countertenor; McHale as Artie Abrams, a guitar player and paraplegic; and Ushkowitz as Tina CohenChang, an Asian American student with a fake speech impediment. Mark Salling plays Noah “Puck” Puckerman, a friend of Finn’s on the football team who at first disapproves of Finn joining the glee club, but later joins the glee club himself. Dianna Agron plays Quinn Fabray, Finn’s cheerleader girlfriend, who also later joins the glee club. Naya Rivera and Heather Morris, who portray Cheerios and Glee club vocalists Santana Lopez and Brittany respectively, were originally recurring actors, but starting in the second season were promoted to series regulars. Mike O’Malley plays Kurt’s father Burt Hum-

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mel, also became a series regular from season two. The first season of Glee consists of 22 episodes. The pilot episode was broadcast on May 19, 2009. The series returned on September 9, 2009, airing on Wednesdays in the 9:00 p.m. timeslot until December 9, 2009 for a total of thirteen episodes. On September 21, 2009, nine more episodes were ordered for the first season by Fox, with the first of these episodes airing on April 13, 2010. These episodes aired on Tuesday evenings at 9:00 p.m. On January 11, 2010, it was announced that Fox had commissioned a second season of the show. The second season began production in June 2010. Season two is scheduled to begin on September 21, 2010, initially airing in the 8 p.m. time slot on Tuesdays, then moving to the 9 time slot on Wednesdays after a special episode following the 2011 Super Bowl. A third season was ordered by Fox on May 23, 2010. The early renewal of the show will allow the production team to cut costs and to plan ahead when writing scripts. In June 2010, it was announced that Oxygen would host a reality series set to air in June 2011, featuring performers competing for a spot on Glee. On June 10, 2010, Twentieth Century Fox Consumer Products unveiled plans for a line of Glee–related merchandise, including games, apparel and stationery. Robert Marick, executive vice president of Fox Consumer Products, stated: “Glee has hit a high note as one of the most attractive entertainment properties in the market today and ‘Gleeks’ are embracing the show into all aspects of their lives. The merchandise launch will allow fans to continue to engage and express themselves in ways that are core to the essence of the show.” The line will include Karaoke Revolution Glee, a Wii game produced by Konami Digital Entertainment, a Glee karaoke machine, boom box and other electronic devices produced by Griffin International, and board games, trivia games and puzzles produced by Cardinal Industries. Hallmark Cards will introduce a line of Glee greeting cards, and various partners will launch bags, holiday gift sets and school stationery. Macy’s will carry a line of Glee–related clothing, and Claire’s will stock accessories.

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he first Glee soundtrack album, Glee: The Music, Volume 1, was released on November 3, 2009. Glee: The Music, Volume 2 was released on December 4, 2009, and Glee: The Music, Volume 3 Showstoppers was released on May 18, 2010. An extended play (EP) of songs from the Madonna episode, Glee: The Music, The Power of Madonna, was released on April 20, 2010, and an EP of songs from the season one finale episode, Glee: The Music, Journey to Regionals, was released on June 8, 2010. Glee: The Music, The Complete Season One, a compilation album featuring all 100 studio recordings from the first season, was released on September 14, 2010 exclusively to the iTunes Store. For the second season, two EPs will be released: one entitled Glee: The Music, The Rocky Horror Glee Show will be released on October 19, 2010 to accompany the Halloween episode, and the other to feature songs from the Super Bowl tribute episode.

Cast members Matthew Morrison, Lea Michele, and Jenna Ushkowitz are all Broadway alums. Morrison was the original Link in ‘Hairspray’ and Fabrizio in ‘Light in the Piazza’. Michele was the original Wendla in ‘Spring Awakening’. Ushkowitz also appeared in ‘Spring Awakening’ with Michele. Many guest stars have also been well known as Broadway stars: Kristen Chenoweth (April Rhodes) won a Tony for “You’re a Good Man, Charlie Brown” and played the original Glinda in “Wicked;” Idina Menzel (Shelby Corcoran) won a Tony as the original Elphaba in “Wicked” (in which she was Chenoweth’s co-star) and was also in the original Broadway cast of “Rent;” Jonathan Groff (Jesse St. James) was the original Melchior in “Spring Awakening” (and a co-star to Lea Michele and Jenna Ushkowitz); Neil Patrick Harris (Bryan Ryan) was a replacement MC in the most recent Broadway revival of “Cabaret” and was the original Broadway Lee Harvey Oswald/Balladeer in “Assassins;” Victor Garber (Will’s father) played Anthony in the original Broadway cast of “Sweeney Todd” and many other Broadway roles, as well as Jesus in the movie version of Godspell: A Musical Based on the Gospel According to St. Matthew; Debra Monk (Will’s mother) has performed in numerous Broadway musicals and plays, and also co-wrote the musical “Pump Boys and Dinettes.”

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