Barry Idmess Darkroom Equipment

Film Changing

The Game Of Film Reviews

F FILM REVIEWS

Critics and their reviews pervade many industries and are supposed to be particularly important in the entertainment industry. However, are the critics really the know-all and be – all of cinema? Do these critics play favorites? Is there a lobby? Does money play a part?

I may not be able to answer all the questions posed  above here in my article, at least not today but want to share a few thoughts about the much valued film reviews and the critics who write them.

Largely I abstain from writing on films and the film industry but today morning as I read the review of “JAIL” in the Mumbai mirror, I felt it to be biased against it, as my eyes scanned the page they rested on the picture of the critic who wrote the review. My mind started to sluggishly work and I remembered seeing him in  Bhandarkar Entertainments office trying to meet up with Madhur Bhandarkar. . He was trying to pitch some script of his to the celebrated maker of reality based films.

Yes, this critic is Minty Tejpal , the writer of “BLUE UMBRELLA” a film which except the censors nobody saw.

Critic Minty Tejpal does rightly point out some drawbacks of the film but he is totally off the mark when he says that Madhur Bhandarkar take on reality has turned in to a formula. Madhur may have made a mistake in choosing not the best of scripts in his latest hard-hitting film “JAIL” but in spite of that, he has the viewers glued to their seats only on the basis of his own innovative style of direction. The real fact is that some critic’s style of writing reviews has become like the ‘hallmark greeting card’, which feigns superiority.

Mel Brooks once likened film critics to ‘eunuchs at an orgy’

A critic can look as long as he likes, but cannot participate. A critic can deconstruct all the seventy odd scenes of a film but cannot create any thing worthwhile himself even if given a chance to. A not so recent journalist turned film director – turned editor … yet again trying to turn film director, is the best example of vaccum-filled brains trying to impose his flawed thoughts on to the gullible cinema loving Indians in the form of a film.

I can only advise cinema lovers to avoid reading any professional film reviews; people could feel intimidated by critics, which may churn their minds in to a conflict situation. Some movie goers who read a four or five star rated review of a film may come away confused as to what the hype was all about. ‘KAMINEY’ had got four and five star ratings, all the critics were raving about it but the movie goers who saw the film could not even understand what the story was all about.

Critics are not the end-all and be-all of cinematic opinion, they also may have an axe to grind, just like our corrupt politicians, police, babus etc. they are strange men in strange jobs.

But just passing comments on others creativity is not a job, critics need to have work of their own to be judged before they can be allowed to start dissecting the work of others. If others start scrutinizing them, their own lives could turn in to a can of worms.

Coming back to ‘JAIL’ and its director, let us not forget that Madhur Bhandarkar very first film had flopped miserably, nevertheless he rose from the ashes to be the only director in India to be awarded the most coveted National Award three times. I distinctly remember a few critics had given Bhandarkar’s films like Corporate, Page 3, Traffic Signal and Chandni Bar , one and one and a half stars, yet these films went on to become the biggest grosser at the box office. Talking about ‘Chandni Bar’ I don’t think any film could come near it in terms of content and execution in the last seven years since it was released. Today the name ‘Madhur Bhandarkar’ guarantees a decent initial to his film, which most so-called stars just dream of and not all other directors can even dream of it.

It goes without asking that whenever Mr. Bhandarkar makes his next film the masses and the classes will be eagerly awaiting it, in this lies the curiosity, the charisma, the magic of Madhur Bhandarkar. A game, which the almighty God has set, and no critic can change.

Varon B K Sharma

Author of “Assassination of George Bush”

http://www.varonbksharma.com

F FILM REVIEWS

Critics and their reviews pervade many industries and are supposed to be particularly important in the entertainment industry. However, are the critics really the know-all and be – all of cinema? Do these critics play favorites? Is there a lobby? Does money play a part?

I may not be able to answer all the questions posed  above here in my article, at least not today but want to share a few thoughts about the much valued film reviews and the critics who write them.

Largely I abstain from writing on films and the film industry but today morning as I read the review of “JAIL” in the Mumbai mirror, I felt it to be biased against it, as my eyes scanned the page they rested on the picture of the critic who wrote the review. My mind started to sluggishly work and I remembered seeing him in  Bhandarkar Entertainments office trying to meet up with Madhur Bhandarkar. . He was trying to pitch some script of his to the celebrated maker of reality based films.

Yes, this critic is Minty Tejpal , the writer of “BLUE UMBRELLA” a film which except the censors nobody saw.

Critic Minty Tejpal does rightly point out some drawbacks of the film but he is totally off the mark when he says that Madhur Bhandarkar take on reality has turned in to a formula. Madhur may have made a mistake in choosing not the best of scripts in his latest hard-hitting film “JAIL” but in spite of that, he has the viewers glued to their seats only on the basis of his own innovative style of direction. The real fact is that some critic’s style of writing reviews has become like the ‘hallmark greeting card’, which feigns superiority.

Mel Brooks once likened film critics to ‘eunuchs at an orgy’

A critic can look as long as he likes, but cannot participate. A critic can deconstruct all the seventy odd scenes of a film but cannot create any thing worthwhile himself even if given a chance to. A not so recent journalist turned film director – turned editor … yet again trying to turn film director, is the best example of vaccum-filled brains trying to impose his flawed thoughts on to the gullible cinema loving Indians in the form of a film.

I can only advise cinema lovers to avoid reading any professional film reviews; people could feel intimidated by critics, which may churn their minds in to a conflict situation. Some movie goers who read a four or five star rated review of a film may come away confused as to what the hype was all about. ‘KAMINEY’ had got four and five star ratings, all the critics were raving about it but the movie goers who saw the film could not even understand what the story was all about.

Critics are not the end-all and be-all of cinematic opinion, they also may have an axe to grind, just like our corrupt politicians, police, babus etc. they are strange men in strange jobs.

But just passing comments on others creativity is not a job, critics need to have work of their own to be judged before they can be allowed to start dissecting the work of others. If others start scrutinizing them, their own lives could turn in to a can of worms.

Coming back to ‘JAIL’ and its director, let us not forget that Madhur Bhandarkar very first film had flopped miserably, nevertheless he rose from the ashes to be the only director in India to be awarded the most coveted National Award three times. I distinctly remember a few critics had given Bhandarkar’s films like Corporate, Page 3, Traffic Signal and Chandni Bar , one and one and a half stars, yet these films went on to become the biggest grosser at the box office. Talking about ‘Chandni Bar’ I don’t think any film could come near it in terms of content and execution in the last seven years since it was released. Today the name ‘Madhur Bhandarkar’ guarantees a decent initial to his film, which most so-called stars just dream of and not all other directors can even dream of it.

It goes without asking that whenever Mr. Bhandarkar makes his next film the masses and the classes will be eagerly awaiting it, in this lies the curiosity, the charisma, the magic of Madhur Bhandarkar. A game, which the almighty God has set, and no critic can change.

Varon B K Sharma

Author of “Assassination of George Bush”

http://www.varonbksharma.com

F FILM REVIEWS

Critics and their reviews pervade many industries and are supposed to be particularly important in the entertainment industry. However, are the critics really the know-all and be – all of cinema? Do these critics play favorites? Is there a lobby? Does money play a part?

I may not be able to answer all the questions posed  above here in my article, at least not today but want to share a few thoughts about the much valued film reviews and the critics who write them.

Largely I abstain from writing on films and the film industry but today morning as I read the review of “JAIL” in the Mumbai mirror, I felt it to be biased against it, as my eyes scanned the page they rested on the picture of the critic who wrote the review. My mind started to sluggishly work and I remembered seeing him in  Bhandarkar Entertainments office trying to meet up with Madhur Bhandarkar. . He was trying to pitch some script of his to the celebrated maker of reality based films.

Yes, this critic is Minty Tejpal , the writer of “BLUE UMBRELLA” a film which except the censors nobody saw.

Critic Minty Tejpal does rightly point out some drawbacks of the film but he is totally off the mark when he says that Madhur Bhandarkar take on reality has turned in to a formula. Madhur may have made a mistake in choosing not the best of scripts in his latest hard-hitting film “JAIL” but in spite of that, he has the viewers glued to their seats only on the basis of his own innovative style of direction. The real fact is that some critic’s style of writing reviews has become like the ‘hallmark greeting card’, which feigns superiority.

Mel Brooks once likened film critics to ‘eunuchs at an orgy’

A critic can look as long as he likes, but cannot participate. A critic can deconstruct all the seventy odd scenes of a film but cannot create any thing worthwhile himself even if given a chance to. A not so recent journalist turned film director – turned editor … yet again trying to turn film director, is the best example of vaccum-filled brains trying to impose his flawed thoughts on to the gullible cinema loving Indians in the form of a film.

I can only advise cinema lovers to avoid reading any professional film reviews; people could feel intimidated by critics, which may churn their minds in to a conflict situation. Some movie goers who read a four or five star rated review of a film may come away confused as to what the hype was all about. ‘KAMINEY’ had got four and five star ratings, all the critics were raving about it but the movie goers who saw the film could not even understand what the story was all about.

Critics are not the end-all and be-all of cinematic opinion, they also may have an axe to grind, just like our corrupt politicians, police, babus etc. they are strange men in strange jobs.

But just passing comments on others creativity is not a job, critics need to have work of their own to be judged before they can be allowed to start dissecting the work of others. If others start scrutinizing them, their own lives could turn in to a can of worms.

Coming back to ‘JAIL’ and its director, let us not forget that Madhur Bhandarkar very first film had flopped miserably, nevertheless he rose from the ashes to be the only director in India to be awarded the most coveted National Award three times. I distinctly remember a few critics had given Bhandarkar’s films like Corporate, Page 3, Traffic Signal and Chandni Bar , one and one and a half stars, yet these films went on to become the biggest grosser at the box office. Talking about ‘Chandni Bar’ I don’t think any film could come near it in terms of content and execution in the last seven years since it was released. Today the name ‘Madhur Bhandarkar’ guarantees a decent initial to his film, which most so-called stars just dream of and not all other directors can even dream of it.

It goes without asking that whenever Mr. Bhandarkar makes his next film the masses and the classes will be eagerly awaiting it, in this lies the curiosity, the charisma, the magic of Madhur Bhandarkar. A game, which the almighty God has set, and no critic can change.

Varon B K Sharma

Author of “Assassination of George Bush”

http://www.varonbksharma.com

About the Author

Author of the hard hitting book of fiction "ASSASSINATION OF GEORGE BUSH"
Story writer of the critically acclaimed film "BLACK & WHITE" made in India (Bollywood)

Film $40.22 The film industry today faces many challenges. Filmmakers and other film professionals must be prepared to adapt to changing technology, international influences, and shifting audience trends. Career opportunities exist in many different branches of the business and at many different levels, from creating independent documentaries to big studio blockbusters. A wide variety of jobs exists in this field from directing, producing, and editing to sound engineering, marketing, and publicity. Film helps professionals understand how the various jobs in the industry work together. With an insider's perspective, this new resource features an overview of the current state of the film industry, as well as a variety of fast facts, tips, and other information to help professionals navigate a path to career success.

The Changing Face of Evil in Film and Television $74.2 The popular media of film and television surround us daily with images of evil - images that have often gone critically unexamined. In the belief that people in ever-increasing numbers are turning to the media for their understanding of evil, this lively and provocative collection of essays addresses the changing representation of evil in a broad spectrum of films and television programmes. Written in refreshingly accessible and de-jargonised prose, the essays bring to bear a variety of philosophical and critical perspectives on works ranging from the cinema of famed director Alfred Hitchcock and the preternatural horror films Halloween and Friday the 13th to the understated documentary Human Remains and the television coverage of the immediate post-9/11 period. The Changing Face of Evil in Film and Television is for anyone interested in the moving-image representation of that pervasive yet highly misunderstood thing we call evil.

The Changing Dynamics in Tanzania Film Industry $113.11 The question of reception and its application to thechanging dynamics of media industries has often beenpresented in various contexts. In Tanzania, fordecades, there is an occurring neo liberal economy.This type of economy demonstrates the availability ofevery type or genres of films for film audiencesconsumption. In such a situation, therefore, onewonders what do the Tanzanian film audiences chooseto watch. This study used structured and unstructuredinterviews, observations, and survey as methods ofresearch. Questionnaire were also used in collectingdata. The study analyzes film receptions centered onthe following demographics; age, gender, educationallevel, occupation and income level and regions wherefilm audiences are found. The study put forward Dares Salaam film audience as a group of populationwhere such differences are a phenomenon. The study was able to reveal that the dynamism thatis taking place in Tanzania film industry at bothlevels of operations, that of production, distribution and exhibition, is caused also by theaudiences choice of films that they watch. Author: Athumani, Issa Binding Type: Paperback Number of Pages: 112 Publication Date: 2011/06/14 Language: English Dimensions: 9.02 x 5.98 x 0.27 inches

Exhausted Press Photographer Changing Film in Camera During Watergate Hearings; Washington $79.99 Gjon Mili Exhausted Press Photographer Changing Film in Camera During Watergate Hearings; Washington - Premium Photographic Print

The changing Face of Evil in Film and Television $75.08 No Synopsis Available

Changing Table Paper Roll $27.75 Sanitary roll of paper for covering a changing table pad. Ideal for day care centers. Each roll is individually film wrapped. Recyclable.

The Film Book $9.16 Lights, camera, action...enter The Film Book, stage left Step into the world of cinema with The Film Book - the films, the directors, the genres and the styles. Profiling 100 of the world's most influential directors and 100 key cinematic works, the book will take you through the changing experience of cinema from the earliest silent movies to the modern 3D cinematic phenomenon. Covering every national school of film-making from Hollywood to Bollywood the book is a great browse bible with "Top 10" and "What to Watch" feature boxes. Test your knowledge with the essential trivia section - how much do you know about Oscar winners, biggest flops, banned films and more? From the birth of cinema right up until the present day, The Film Book is a cinematic masterpiece, bursting with interesting stats, facts and figures and is essential for any film buff.

The Film $6.99 The Film

This is Not a Film $13.99 This is Not a Film

Film Festivals $28.95  Film Festivals offers the first comprehensive overview of the history, people, films, and multiple functions of the festival world. Cindy Hing-Yuk Wong situates festivals within changing global practices of film, including their important ties to both Hollywood and independent cinema. She explores how these events have become central in the construction of cinema knowledge as well as the behind-the-scene mechanics of finance, distribution, and evaluation. By linking general structures and connections to specific films and auteurs, Wong addresses the components and creation of film festivals that continue to reshape filmmaking as art and business.

America on Film : Modernism, Documentary, and a Changing America $101.4 No Synopsis Available

Changing Images of Law in Film and Television Crime Stories $29.2 No Synopsis Available

Screening Morocco : Contemporary Depictions in Film of a Changing Society $28.23 No Synopsis Available

The Evolution of Film: Rethinking Film Studies $21.41 How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies. When the common frameworks for studying film - the nation, identity, representation, Hollywood industry - have ceased to yield explanatory power, how do we conceive of film's doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts isomorphically, showing us how the world works. Film here is action, energy, matter, moving across space to forge connections, provide encounters, and create schisms in our knowledge of others. The book brings together key thinkers of the contemporary in an innovative exchange between film and theory. Marc Auge's concept of 'non-place' is brought to bear on, and disrupt, the category of national cinema. Manuel DeLanda's notion of morphogenesis frames an understanding of film as a process of constant evolution, in which the terms of change are immanent to matter itself. And the concept of inertia, from Paul Virilio's work, allows us to comprehend the different energies of film. Arguing that there is no higher position from which to view the present, either in theory or in film, we move blindly and yet with faith, discovering the present frame by frame. The Evolution of Film demonstrates how this is an intangible yet critical medium in the contemporary, mediating relationships to place, technology and thought itself. The Evolution of Film will be essential reading for students and scholars of film at all levels.

Changing $10 Changing - Saosin

Changing Grooms $10.9 Strapping bachelors, juicy secrets and swooning first love. Welcome to the village of Appleton Take a gorgeous country pile much in need of funds. Add a glamorous film-star couple planning the Wedding of the Year. Sprinkle a host of unforgettable characters, each with a juicy secret. Result: one long, hot summer of very, very bad behaviour... Meet the Forbes-Henry family of Appleton Manor. Aristocratic, attractive and decidedly down on their luck. When eldest son Will decides to turn the Manor into a luxury wedding venue, he hopes to attract the rich and famous and save his family from financial ruin. But has he put the family in more danger than ever?

Changing Direction $24.95 The approach presented in this book, honed after years of on-set experience and from teaching at UCLA, NYU, and Columbia, and endorsed by many in the industry, including director Ang Lee (Brokeback Mountain and Crouching Tiger, Hidden Dragon) and producer/actor Edward Asner, aims to provide a helpful reference and resource for directors and actors alike. It combines underlying theory with dozens of exercises designed to reveal the actor's craft. There is material on constructing the throughline, analyzing the script, character needs; the casting and rehearsal processes, film vs. theater procedures as well as the actor and the camera. Distilling difficult concepts and a complex task to their simplest form, the author explains how to accurately capture and portray human behavior. The author's discussion of creative problems she has encountered or anticipated after years of experience, and her suggested solutions and exercises, are immediately useful. Additionally, hear what the actors have to say in excerpts from interviews with acclaimed actors such as Meryl Streep, Denzel Washington, Glenn Close, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to name a few) who discuss their work with directors, what inspires them, and what they really want from the director. * A well-known director and coach shares her secrets on getting great performances from actors * Hands on; loaded with exercises * Relevant to film, TV, and theater directors * Foreword written by Ang Lee, Oscar-winning director of Brokeback Mountain and a student of DeKoven's

Teen Film (Paperback) $63.9 "What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family and experiments in sexual development and identity formation. But not every film featuring these components is a teen film and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, Teen Film presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films includingThe Wild One, Heathers, Donnie Darko and Buffy the Vampire Slayer, the book`s central focus is on what kind of adolescence teen film represents, and on teen film`s capacity to produce new and influential images of adolescence"--

Teen Film: A Critical Introduction $28.33 What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family and experiments in sexual development and identity formation. But not every film featuring these components is a teen film, and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, "Teen Film" presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including "The Wild One," "Heathers," "Donnie Darko" and "Buffy the Vampire Slayer," the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence.

Changing Direction: A Practical Approach to Directing Actors in Film and Theatre $23.73 The approach presented in this book, honed after years of on-set experience and from teaching at UCLA, NYU, and Columbia, and endorsed by many in the industry, including director Ang Lee (Brokeback Mountain and Crouching Tiger, Hidden Dragon) and producer/actor Edward Asner, aims to provide a helpful reference and resource for directors and actors alike. It combines underlying theory with dozens of exercises designed to reveal the actor's craft. There is material on constructing the throughline, analyzing the script, character needs; the casting and rehearsal processes, film vs. theater procedures as well as the actor and the camera. Distilling difficult concepts and a complex task to their simplest form, the author explains how to accurately capture and portray human behavior. The author's discussion of creative problems she has encountered or anticipated after years of experience, and her suggested solutions and exercises, are immediately useful. Additionally, hear what the actors have to say in excerpts from interviews with acclaimed actors such as Meryl Streep, Denzel Washington, Glenn Close, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to name a few) who discuss their work with directors, what inspires them, and what they really want from the director. * A well-known director and coach shares her secrets on getting great performances from actors * Hands on; loaded with exercises * Relevant to film, TV, and theater directors * Foreword written by Ang Lee, Oscar-winning director of Brokeback Mountain and a student of DeKoven's

Changing Direction: A Practical Approach to Directing Actors in Film and Theatre (Paperback) $31.75 This approach, honed after years of on-set experience and from teaching at UCLA, NYU, and Columbia, and endorsed by many in the industry, including director Ang Lee (Brokeback Mountain and Crouching Tiger, Hidden Dragon) and producer/actor Edward Asner, aims to provide a helpful reference and resource for directors and actors alike. It combines underlying theory with dozens of exercises designed to reveal the actor`s craft. There is material on constructing the throughline; analyzing the script; character needs; the casting and rehearsal processes; film vs. theater procedures as well as the actor and the camera. Distilling difficult concepts and a complex task to their simplest form, the author explains how to accurately capture and portray human behavior. The author`s discussion of creative problems she has encountered or anticipated after years of experience, and her suggested solutions and exercises, are immediately useful. Additionally, hear what the actors have to say in excerpts from interviews with such acclaimed actors as Meryl Streep, Denzel Washington, Glenn Close, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to name a few) who discuss their work with directors, what inspires them, and what they really want from the director.* A well-known director and coach shares her secrets on getting great performances from actors* Hands on; loaded with exercises* Relevant to film, TV, and theater directors* Foreword written by Ang Lee, Oscar-winning director of Crouching Tiger, Hidden Dragon and a student of DeKoven`s

Changing Lanes (DVD) $11.3 Two cars collide on the FDR expressway. Their drivers--two seemingly opposite men--are Gavin Banek (Ben Affleck), a young white partner in a powerful law firm, and Doyle Gipson (Samuel L. Jackson), a meek, working-class black man. At the scene of this fender bender, Gavin, who is busy trying to make a business appointment on his cell phone, offers Doyle a blank check to cover damages. Doyle, wanting to properly exchange information, declines, causing Gavin to flee the accident site. In his haste, Gavin leaves behind an important legal file which Doyle uses to his advantage, setting off a brutal cycle of revenge between these two men who began this Good Friday as strangers.A class commentary that is decidedly different from director Roger Michell`s previous film, NOTTING HILL, CHANGING LANES provides very little information about its two central characters before the moment of their car accident. Michell introduces them by crosscutting between both men speaking publicly--Gavin is lecturing to a charitable foundation, Doyle is talking at an AA meeting. These techniques of crosscutting and mirror imaging are used effectively throughout the film to underscore that the obvious social and economic differences between the two men doesn`t disguise the dark and angry nature that exists in both of these men, and potentially in all of humanity.

I Am Changing $4.99 "By Tom Eyen, Dreamgirls (Musical), and Dreamgirls (Movie). For piano, voice, and guitar (chords only). Broadway; Film/TV; Musical/Show; Pop. Piano/Vocal/Guitar. 6 pages. Published by Hal Leonard - Digital Sheet Music"

Laconia: 1,200 Tweets on Film $9.99 If the sound bite is the new order, then how do we make every word count? In today's surplus world of communication overload and cultural clutter, writer and cultural critic Masha Tupitsyn turns to the media matrix of Twitter to explore the changing ways that we construct and consume narrative. Loosely applying the discerning aphorism?a compressed genre in itself?to a 21st century context, LACONIA: 1,200 TWEETS ON FILM offers meditations on film and popular culture that resonant with laconic meaning and personal insight while getting to the heart of the matter. Inspired by Chris Marker's free-associative film impressions in La Jet e and Sans Soleil, LACONIA is part film diary, part cultural inventory, and part mashup. Pulling from an array of film, popular culture, books, and mainstream news, it offers penetrating critical commentary on an increasingly muddled virtual world. LACONIA consists of brick by brick prose, as Tupitsyn thinks in sentences and lines that culminate in an architecture of thin

Pacon Corporation PAC1615 Changing Table Paper Roll $21.24 Sanitary roll of paper for covering a changing table pad. Ideal for day care centers. Each roll is individually film wrapped. Recyclable.The roll is 14.5 X 225 1 roll.

Speed Racer (Film) $68.51 High Quality Content by WIKIPEDIA articles Speed Racer is a 2008 American live action film adaptation of Tatsuo Yoshidas 1960s Japanese anime series of the same name, produced by Tatsunoko Productions. The film, an AngloBritishGerman coproduction, made by a partnership between Velocity Productions Limited and Sechste Babelsberg Filmgesellschaft mbH, is written and directed by the Wachowski brothers. The film had been in development since 1992, changing writers and directors until producer Joel Silver and the Wachowski brothers collaborated to begin production on Speed Racer as a family film. Actor Emile Hirsch was cast as Speed, the hero of the animated series, and Christina Ricci portrays Speeds girlfriend, Trixie. Speed Racer was shot between early June and late August 2007, at Studios Babelsberg in Potsdam, and in and around Potsdam and Berlin, Germany at an estimated budget of 120,000,000. Speed Racer premiered on May 3, 2008 as the closing film at the Tribeca Film Festival, and was released on May 9, 2008. The film has earned 17,968,063 in DVD sales making 114,997,404 in its total film gross. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 92 Publication Date: 2010/08/23 Language: English Dimensions: 6.00 x 9.02 x 0.22 inches

Game-Changing Life Strategies $20.01 "Tony, Dan and Sam could rename this book "Game-Winning Life Strategies " Put this book at the top of your reading list and prepare to win " - Harvey Mackay, author of the New York Times #1 bestseller, Swim With The Sharks Without Being Eaten Alive"This book is loaded with powerful, practical, proven strategies and ideas for success that you can apply to every area of your life. If you want to earn more money, get promoted faster, and achieve all your goals, get and read this book as fast as you can " -Brian Tracy, author of numerous books including, No Excuses : The Power of Self-Discipline and also Reinvention: How to Make the Rest of Your Life the Best of Your Life"Game-Changing Life Strategies provides an in-depth look at the traits and habits of highly successful people - traits and habits that anyone can adopt. A must read for people who want to make powerful, positive changes in their life." - Alex Mandossian, CEO of Heritage House Publishing and Founder of the Electronic Marketing Institute"Anyone who follows the blueprint for success that is detailed in this book should reach heights they never thought possible." - John Assaraf, featured expert in the hit film and book, The Secret, and author of The Answer"If you are serious about achieving your goals, Game-Changing Life Strategies is the book you need to read-period. It is a practical, powerful, and timeless manual which outlines the traits and habits ingrained in highly successful people, and leaves you with no question as to the clear path to success." Ivan Misner, NY Times Bestselling author and Founder of BNI and Referral Institute"One of the most practical "self-help" books I have ever had the pleasure of reading Tony, Sam and Dan have removed the mystery of why some people achieve all their dreams and others always come up short." - Jack Canfield, Co-author of The Success Principles and the Chicken Soup for the Soul series

Changing Times (DVD) $49.46 4.5 stars out of 5 -- "Director Andre Techine`s affinity with his two leads has given his film two memorable characterizations that add some intriguing twists to the actors` established images."