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00:00:00 04/19/12
Dishonored Trailer Releases and DBZ Kinect 1st Look - Press Pause Daily
[LESS INFO] 0 VIEWS | ADDED 00:00:00 04/19/12
Bethesda shows off the first trailer for Dishonored and we get our first look at the Dragonball Z Kinect game.
SHOW NOTES:
Story 1:
Tuesday saw the release of a teaser trailer for Bethesda’s first person stealth action game Dishonored, and it’s looking pretty interesting.
The game is a Diesel-punk game being developed by Arcane Studios for the PS3 and Xbox 360.
You play as Corvo, a former Imperial guard who was falsely accused of assassinating the Empress.
You now seek revenge against the Lord Regent, who is the man who framed you.
The game is played in the first person, but there’s an emphasis on stealth.
Corvo has access to many weapons including: swords, daggers, and guns, including powerful but slow pistols and muskets.
He also has some supernatural abilities like the ability to freeze time for a small period and to possess the bodies of small animals.
Because this is a stealth game, it is possible to defeat every enemy in the game, including bosses in a non-lethal fashion.
The game looks intriguing, and Bethesda DOES have a pretty good track record. We’ll have to wait and see if this is one to add to the must buy list.
http://kotaku.com/5902635/see-a-twisted-dystopia-in-the-awesome-first-trailer-for-bethesdas-dishonored
Story 2:
Last week back a story came out that Namco Bandai was working on a new Dragonball Z game for Microsoft’s Kinect, and we now have a first look at the game.
The game will feature 50 characters from the long running anime including favorites like Goku, Vegeta, Krillin, Trunks, and more.
You’ll be able to learn and use over 100 moves to use in many classic battles, including the legendary Kamehameha.
It will also feature brand new animation that will be coming to the US and Europe for the very first time.
The game will also utilize the Kinect sensor will special QR cards that will unlock new characters and power ups.
It will offer gamers a “story mode” with first person battles as well as a “score attack” mode which features one on one battles for points.
If you own a Kinect, and are a fan of the series, then this is probably a game you’ll enjoy. And hey, it’s not this would be the silliest thing gamers have done in front of their TVs.
http://www.joystiq.com/2012/04/11/dragon-ball-z-kinect-powering-up-this-october/
That will do it for your daily dose of Press Pause. You can always find all our episodes over at presspause.mevio.com . You can also check them out over at our Youtube channel: youtube.com/presspausemevio .
1 Views
22:13:02 03/07/12
For the Foxes - The Revolution (Live)
[LESS INFO] 1 VIEWS | ADDED 22:13:02 03/07/12
For the Foxes - The Revolution (Live)
Buy the EP on iTunes here: smarturl.it Buy the EP from Hopeless Records here: hopel.es More from For The Foxes: hopel.es More from Hopeless Records: hopel.es Lyrics: i'm the type of kid to push away girls like you who get too close to me this aint your front porch on division street where you crashed your car and then you blamed it on a sneeze well god bless you darling I mean it you're the type of girl who said she don't believe in god but you believed in me we never missed our opportunity here we just grew up until we found some room to breathe well god bless us darling we need it we need a revolution why else are we standing here yeah take off our gloves put down our guns til' everyone sings yeah we're the type of kids who burned the whole damn forest down we looked like criminals how we got out alive it's biblical and I felt something strange behind my knees well nothing exists til' you see it we can turn back now or we can burn a whole nother town everybody gets out it's just that night we don't talk about I'm sick of life decisions this cut dry life we live in if I did you wrong I'm sorry you're just just so god damn pretty we need a revolution why else are we standing here yeah take off our gloves look towards the sun til' everyone sings yeah if I sang you to sleep would you listen I'd tell you all the things that I've been missing when words flow like river bends I've burned too many cigarettes at home where did you go I hated you for leaving got sick of writing ... From: HopelessRecords Views: 89247 1426 ratings Time: 04:08 More in Music
1 Views
23:24:58 12/10/11
Tampa Police gun buy back holds a deeper message
[LESS INFO] 1 VIEWS | ADDED 23:24:58 12/10/11
Tampa Police gun buy back holds a deeper message
While their goal was to bring in around 500 guns, a police spokesperson said they actually took over 1000 guns off the streets. From: ABCActionNews Views: 7 0 ratings Time: 02:19 More in News & Politics
3 Views
23:45:47 11/06/11
Condi Rice's Warmongering Continues: 'Time To Confront The Iranian Regime'
[LESS INFO] 3 VIEWS | ADDED 23:45:47 11/06/11
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Watch and see how it's done on today's edition of This Week with Christiane Amanpour. Amanpour feeds Condoleezza Rice some softballs that reflect the wise foreign policy agenda of the Beltway bobbleheads, and Condi hits them out of the park by 1) damning Obama's centrist foreign policy decisions with faint praise and 2) pushing the latest neocon agenda of the reasonableness of going to war with Iran. Stop me if any of this sounds familiar: >
AMANPOUR: A deadly morning in Baghdad today, as three bombs exploded in a sprawling market. The attack came as shoppers were preparing for the Muslim festival of Eid. And it comes just hours after Prime Minister Nouri al-Maliki told his security forces to prepare for stepped-up violence. The backdrop, of course, is the U.S. decision to pull out of Iraq by the end of the year. It's a decision that now has some concerned that Al Qaida will re-establish a foothold in the country, all questions for former Secretary of State Condoleezza Rice. She has a new memoir, "No Higher Honor." And I spoke with her earlier.
(BEGIN VIDEOTAPE)
AMANPOUR: Madam Secretary, thank you for joining us.
RICE: It's a pleasure to be with you, Christiane.
AMANPOUR: So you write in your book, obviously, a lot about the Bush administration, the Bush years. You also talk about when you first met the current president, Barack Obama, during a hearing, and you say his questions were sharp, not rude, he actually seemed interested in my answers. And you say you were really impressed. And lot of people questioned whether he had what it took to be commander-in-chief of the lone superpower. Did he prove them wrong?
RICE: Obviously, I think Barack Obama has done a number of things right, particularly in the war on terror. And I think that President Obama has, indeed, carried the war on terror forward in a very effective way.
AMANPOUR: So let me ask you, then, about the most controversial of events of your tenure, and that was the Iraq war. For better or for worse, the United States is in it. President Obama has now decided to call an end and to bring all the troops out, portraying it actually as a triumph. Others are saying it was a defeat. Do you think it was right not to push and keep for -- I mean, at the very least, 10,000 U.S. troops to guarantee some kind of security, to train, and to be there for counterterrorism?
RICE: Frankly, I think it would help the regional balance to have a residual American presence there. We need to find a way to help the Iraqis sustain themselves through this period and to -- to deal with their somewhat meddlesome neighbor in Iran.
AMANPOUR: Of course, the administration says it's because the Iraqis wouldn't agree to immunity. But the real issue is that this administration insisted on it ceding to State Department and Pentagon lawyers' demand that they get this immunity ratified by the Iraqi parliament. You did not do that. You got the agreement without forcing it through the parliament. Why did they have to do that? Was it a mistake for President Obama to do that?
RICE: Well, Christiane, I'm really rather reluctant to criticize negotiations that I didn't participate in. But it would have clearly been better to have a residual force, from my point of view, and perhaps there was a way out of the immunity clause that wasn't taken.
AMANPOUR: So is there a risk now of everything that America paid unraveling?
RICE: Yes. What is at risk here is not just the sacrifice of the United States, which is considerable, but also a pillar of a new kind of democratic stability in the Middle East.
AMANPOUR: And perhaps equally important, if not more, is Afghanistan. The Obama administration sources are telling me are likely to change their role, even before 2014, from a combat to a much lesser role, maybe advisory. Is that safe at this time? Is the Taliban anywhere near being defeated?
RICE: Well, I'm not inside, but I don't see that the Taliban is anywhere near being defeated. And, in fact, if you're looking for some kind of political arrangement, then ultimately there will have to be a political arrangement in Afghanistan, that brings former warring elements in. But if you're looking for that arrangement, you should be in the strongest position, not the weakest. And I don't think that right now the Afghan government and the NATO mission is in a position to make that kind of political deal. So, yes, I think there's a considerable risk in speeding up a timetable for Afghanistan.
AMANPOUR: In your book, you also write about Iran. The IAEA, the nuclear agency of the U.N., this week is about to reveal, apparently, more details showing, apparently, that Iran is trying to weaponize. Do you think the United States, the Obama administration, has to ratchet up the confrontation? You talked this week about confronting Iran. Does that involve military confrontation by the U.S.?
RICE: Well, the United States should certainly make clear that the president of the United States will consider military action, if necessary, because you never want to take that card off the table. I think there are other ways to confront Iran. You can confront Iran through even tougher sanctions. And I also think, Christiane, this is one of the downsides of having our forces out of -- out of Iraq, because we can confront the Iranians in Iraq.
So, yes, I think it's time to confront the Iranian regime, because it's the poster child for state sponsorship of terrorism. It's trying to get a nuclear weapon. It's repressed its own people. The regime has absolutely no legitimacy left. We should be doing everything we can to bring it down and never take military force off the table.
John Amato: >
I had to weigh in here quickly because Condi was so incompetent as President Bush's National Security Advisor during his first term. Condi Rice is famous for saying this about the bogus claims the Bush administration made about those aluminum tubes that Saddam was supposedly trying to acquire so he could nuke the heck out of Cleveland. > > In 2002, Rice had said that the tubes were "only really suited for nuclear weapons programs," adding that "we don't want the smoking gun to be a mushroom cloud."
She absurdly had this to say also to the WaPo: >
But, as reported by The Washington Post more than a year ago, the internal debate among intelligence analysts was intense, with the experts at the Department of Energy who specialize in uranium enrichment adamant that the tubes were not suitable for a nuclear program. They argued that the tubes were intended for Iraqi rockets.
Administration officials at the time did not acknowledge that debate, though Rice acknowledged yesterday she was aware of it. "I knew that there was a dispute," she said. "I actually didn't really know the nature of the dispute."
Here's Condi on Meet The Press (05/20/06) changing the story that was originally given to America for attacking Iraq in the first place since the truth didn't work out too well: >
RICE: I understand that Americans see on their screens violence. They continue to see Americans killed, and we mourn every death. These are very hard things to do. But I would ask that people remember why we are there. We are there because we are trying to--having overthrown a brutal dictator who was a destabilizing force in the Middle East, we're trying to help the Iraqis create a stable foundation for democracy and a stable foundation for peace."
I seem to recall a different rationale for why we're there: >
"Citing Bush administration officials, The New York Times reported Sunday that Iraq tried to buy thousands of high-strength aluminum tubes. The tubes, Rice said, "are only really suited for nuclear weapons programs, centrifuge programs." [CNN, 9/8/2002]
Bob Somerby aptly asked if Condi ever knew anything, anything at all : >
"Does Condi Rice ever know anything back in 2004?
According to the White House, she didn't know about objections to the uranium-from-Africa story because she hadn't read the whole National Intelligence Estimate! And in May 2002, she said she hadn't known that terrorists might use airplanes as missiles—even though intelligence agencies has issued such warnings for years. Now, she says she didn't know something else—she didn't know the state of aa critical, year-long discussion about those aluminum tubes. I didn't know, Rice told [Wolf] Blitzer. And she was singing a sweet old refrain.
7 Views
23:45:47 11/06/11
Condi Rice's Warmongering Continues: 'Time To Confront The Iranian Regime'
[LESS INFO] 7 VIEWS | ADDED 23:45:47 11/06/11
video platform video management video solutions video player
Watch and see how it's done on today's edition of This Week with Christiane Amanpour. Amanpour feeds Condoleezza Rice some softballs that reflect the wise foreign policy agenda of the Beltway bobbleheads, and Condi hits them out of the park by 1) damning Obama's centrist foreign policy decisions with faint praise and 2) pushing the latest neocon agenda of the reasonableness of going to war with Iran. Stop me if any of this sounds familiar: >
AMANPOUR: A deadly morning in Baghdad today, as three bombs exploded in a sprawling market. The attack came as shoppers were preparing for the Muslim festival of Eid. And it comes just hours after Prime Minister Nouri al-Maliki told his security forces to prepare for stepped-up violence. The backdrop, of course, is the U.S. decision to pull out of Iraq by the end of the year. It's a decision that now has some concerned that Al Qaida will re-establish a foothold in the country, all questions for former Secretary of State Condoleezza Rice. She has a new memoir, "No Higher Honor." And I spoke with her earlier.
(BEGIN VIDEOTAPE)
AMANPOUR: Madam Secretary, thank you for joining us.
RICE: It's a pleasure to be with you, Christiane.
AMANPOUR: So you write in your book, obviously, a lot about the Bush administration, the Bush years. You also talk about when you first met the current president, Barack Obama, during a hearing, and you say his questions were sharp, not rude, he actually seemed interested in my answers. And you say you were really impressed. And lot of people questioned whether he had what it took to be commander-in-chief of the lone superpower. Did he prove them wrong?
RICE: Obviously, I think Barack Obama has done a number of things right, particularly in the war on terror. And I think that President Obama has, indeed, carried the war on terror forward in a very effective way.
AMANPOUR: So let me ask you, then, about the most controversial of events of your tenure, and that was the Iraq war. For better or for worse, the United States is in it. President Obama has now decided to call an end and to bring all the troops out, portraying it actually as a triumph. Others are saying it was a defeat. Do you think it was right not to push and keep for -- I mean, at the very least, 10,000 U.S. troops to guarantee some kind of security, to train, and to be there for counterterrorism?
RICE: Frankly, I think it would help the regional balance to have a residual American presence there. We need to find a way to help the Iraqis sustain themselves through this period and to -- to deal with their somewhat meddlesome neighbor in Iran.
AMANPOUR: Of course, the administration says it's because the Iraqis wouldn't agree to immunity. But the real issue is that this administration insisted on it ceding to State Department and Pentagon lawyers' demand that they get this immunity ratified by the Iraqi parliament. You did not do that. You got the agreement without forcing it through the parliament. Why did they have to do that? Was it a mistake for President Obama to do that?
RICE: Well, Christiane, I'm really rather reluctant to criticize negotiations that I didn't participate in. But it would have clearly been better to have a residual force, from my point of view, and perhaps there was a way out of the immunity clause that wasn't taken.
AMANPOUR: So is there a risk now of everything that America paid unraveling?
RICE: Yes. What is at risk here is not just the sacrifice of the United States, which is considerable, but also a pillar of a new kind of democratic stability in the Middle East.
AMANPOUR: And perhaps equally important, if not more, is Afghanistan. The Obama administration sources are telling me are likely to change their role, even before 2014, from a combat to a much lesser role, maybe advisory. Is that safe at this time? Is the Taliban anywhere near being defeated?
RICE: Well, I'm not inside, but I don't see that the Taliban is anywhere near being defeated. And, in fact, if you're looking for some kind of political arrangement, then ultimately there will have to be a political arrangement in Afghanistan, that brings former warring elements in. But if you're looking for that arrangement, you should be in the strongest position, not the weakest. And I don't think that right now the Afghan government and the NATO mission is in a position to make that kind of political deal. So, yes, I think there's a considerable risk in speeding up a timetable for Afghanistan.
AMANPOUR: In your book, you also write about Iran. The IAEA, the nuclear agency of the U.N., this week is about to reveal, apparently, more details showing, apparently, that Iran is trying to weaponize. Do you think the United States, the Obama administration, has to ratchet up the confrontation? You talked this week about confronting Iran. Does that involve military confrontation by the U.S.?
RICE: Well, the United States should certainly make clear that the president of the United States will consider military action, if necessary, because you never want to take that card off the table. I think there are other ways to confront Iran. You can confront Iran through even tougher sanctions. And I also think, Christiane, this is one of the downsides of having our forces out of -- out of Iraq, because we can confront the Iranians in Iraq.
So, yes, I think it's time to confront the Iranian regime, because it's the poster child for state sponsorship of terrorism. It's trying to get a nuclear weapon. It's repressed its own people. The regime has absolutely no legitimacy left. We should be doing everything we can to bring it down and never take military force off the table.
John Amato: >
I had to weigh in here quickly because Condi was so incompetent as President Bush's National Security Advisor during his first term. Condi Rice is famous for saying this about the bogus claims the Bush administration made about those aluminum tubes that Saddam was supposedly trying to acquire so he could nuke the heck out of Cleveland. > > In 2002, Rice had said that the tubes were "only really suited for nuclear weapons programs," adding that "we don't want the smoking gun to be a mushroom cloud."
She absurdly had this to say also to the WaPo: >
But, as reported by The Washington Post more than a year ago, the internal debate among intelligence analysts was intense, with the experts at the Department of Energy who specialize in uranium enrichment adamant that the tubes were not suitable for a nuclear program. They argued that the tubes were intended for Iraqi rockets.
Administration officials at the time did not acknowledge that debate, though Rice acknowledged yesterday she was aware of it. "I knew that there was a dispute," she said. "I actually didn't really know the nature of the dispute."
Here's Condi on Meet The Press (05/20/06) changing the story that was originally given to America for attacking Iraq in the first place since the truth didn't work out too well: >
RICE: I understand that Americans see on their screens violence. They continue to see Americans killed, and we mourn every death. These are very hard things to do. But I would ask that people remember why we are there. We are there because we are trying to--having overthrown a brutal dictator who was a destabilizing force in the Middle East, we're trying to help the Iraqis create a stable foundation for democracy and a stable foundation for peace."
I seem to recall a different rationale for why we're there: >
"Citing Bush administration officials, The New York Times reported Sunday that Iraq tried to buy thousands of high-strength aluminum tubes. The tubes, Rice said, "are only really suited for nuclear weapons programs, centrifuge programs." [CNN, 9/8/2002]
Bob Somerby aptly asked if Condi ever knew anything, anything at all : >
"Does Condi Rice ever know anything back in 2004?
According to the White House, she didn't know about objections to the uranium-from-Africa story because she hadn't read the whole National Intelligence Estimate! And in May 2002, she said she hadn't known that terrorists might use airplanes as missiles—even though intelligence agencies has issued such warnings for years. Now, she says she didn't know something else—she didn't know the state of aa critical, year-long discussion about those aluminum tubes. I didn't know, Rice told [Wolf] Blitzer. And she was singing a sweet old refrain.
21 Views
12:45:29 07/28/11
Fitness #41: Using 2 Dumbbells as One (Freddie's Modern Kung Fu 2010)
[LESS INFO] 21 VIEWS | ADDED 12:45:29 07/28/11
"I came up with this idea on my own. A way to increase weight without having to buy more weight. Freddie has founded Freddies Modern Kung Fu in 2009, an online Martial Arts Academy on YouTube, that expresses his interpretation of Bruce Lees Tao of Jeet Kune Do. His private underground school is located in Chicago, IL. Fitness and Philosophy lessons are open to the public. Survival technique lessons are only open to official disciples. All techniques are scientifically proven to be effective and are aimed towards unarmed street survival combat. Freddie hand selects disciples to personally train that have the proper discipline and compassionate heart to become successful in his art. If you are interested in becoming an online disciple of Freddies Modern Kung Fu, check his playlist Becoming a Disciple and email Freddie at FreddiesModernKungFu@live.com to determine if this art is right for you. Personal and Private instruction for Freddies Modern Kung Fu is available in Chicago, IL. Check out this amazing book that helped me find peace and happiness in life: http://www.amazon.com/Artistic-Wisdom-Enlightened-Meditations-Relationships/d..."
3 Views
09:09:53 09/29/10
RnRTV #211: Bret Michaels Heart Surgery and Parmalee Gun Fight
[LESS INFO] 3 VIEWS | ADDED 09:09:53 09/29/10
Rock n Roll TV gives ya the rock news that shoots like a bullet hosted by Share Ross : Bret Michaels schedules heart surgery ; Gwen Stefani meets her wax double; Parmalee has a shootout ; Rob Zombie new movie Lords of Salem; Jerry Garcia's house for sale.
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"Don't play what's there, play what's not there." ~ Miles Davis
53 Views
10:46:49 04/11/10
Date Night starring - Steve Carell and Tina Fey
[LESS INFO] 53 VIEWS | ADDED 10:46:49 04/11/10
Action-comedy maestro Shawn Levy, the director of the blockbuster “Night at the Museum” franchise, teams up with two of the comedy world’s biggest talents, Steve Carell (“The 40 Year Old Virgin,” “The Office”) and Tina Fey (“Baby Mama,” “30 Rock,” “SNL”) for an adventure that turns a run-of-the-mill married couple’s date upside down – way upside down, in DATE NIGHT.
Phil (Carell) and Claire Foster (Fey) are a sensible, loving couple with two kids and a house in suburban New Jersey. The Fosters have their weekly “date night” – an attempt at re-experiencing the spice of the dates of yesteryear, involving the same weekly night out at the local Teaneck Tavern. Their conversations quickly drift from barely-date talk to the same chore-chat they have at the dinner table at home. Exhausted from their jobs and kids, their dates rarely end in fore- or any other kind of play, let alone romance.
After seeing two of their best friends – another married couple with kids in suburban New Jersey – split apart from living the same life they themselves lead, Phil and Claire begin to fear what may lie ahead: a state of bland indifference and eventual separation.
In an attempt to take date night off auto-pilot, and hopefully inject a little spice into their lives, Phil decides a change of plans is in order: take Claire into Manhattan to the city’s hottest new restaurant. The Fosters, however, don’t have reservations. Hoping to be seated sometime before the clock strikes twelve, they steal a no-show couple’s reservations. What could it hurt? Phil and Claire are now the Tripplehorns.
The real Tripplehorns, however, it turns out, are a thieving couple who are being hunted down by a pair of corrupt cops for having stolen property from some very dangerous people. Forced on the run before they’ve even finished their risotto, Phil and Claire soon realize that their play-date-for-parents has gone hilariously awry, as they embark on a wild and dangerous series of crazy adventures to save their lives. . . and their marriage.
The ritual “date night” dinner is something all too familiar to most married couples – even directors of blockbuster movies. “I was in the process of making the second Night at the Museum film,” recalls filmmaker Shawn Levy, “and, as is kind of our ritual, once a week, my wife and I go out to dinner.”
At one such dinner, the Levys found themselves sitting at the restaurant they frequented, ordering the same food, talking about the kids, what’s coming up that weekend, who’s going to buy the gift for which birthday party, etc., etc. “In the middle of all that, I said to my wife, ‘Wouldn’t it be cool to do a movie about a date night, where you just did one thing differently? And, from there, you have an unraveling of everything, to the point of it threatening your life and your marriage, with all kinds of crazy stuff going on. But, in the midst of all that crazy stuff, you end up recapturing the vitality that date night was invented in the first place to preserve.’”
The next morning, Levy came in to his production company office and told his staff, “Okay, we’re going to do a movie called DATE NIGHT, and here’s what it’s about, and let’s get a writer. Let’s go.”
Levy’s search for a writer didn’t take very long. “I had written a small, quirky film, called ‘(Saint) Peter,’ which Shawn had read and fell in love with, recalls screenwriter Josh Klausner. “Shawn was determined to find something for us to work on together. He very graciously took a big chance and had me fly out, and we started brainstorming.”
Levy and Klausner met at Levy’s bungalow on the Fox lot, where they quickly broke the story. “We are both in the same stage of life,” Klausner says. “We both have children and go out on date nights, knowing what they’re supposed to be, but realizing they never end up being that anymore because there are so many other things that get in the way. So we started talking about those experiences.”
“We talked about our marriages,” Levy adds. “And we found that there are certain commonalities in trying to sustain a vibrant, romantic relationship,” and not simply becoming roommates. “It’s the question of in the midst of grownup life, how do you keep couple-hood fresh?”
DATE NIGHT was originally conceived as more of a suburban story centered around a parent-teacher conference night, but quickly evolved into, as Klausner calls it, “the perfect ‘North by Northwest’ setup” of mistaken identity.
“Shawn and I really wanted what spurs on the evening to be something that we all might do,” Klausner continues. “Phil and Claire simply can’t get a seat at a restaurant, and, since nobody’s answering the call for a reservation, they just decide, ‘What’s the harm in taking it?’ And it leads them down the rabbit hole. From there, they end up on the worst night of their lives, which ends up being the best night for their relationship.”
Levy describes the film as being “in the spirit of action comedies I remember fondly, like ‘Beverly Hills Cop’ or ‘48 Hrs.’ DATE NIGHT has a real hybrid tone, because it’s first and foremost a comedy. It also has a hefty dose of action, as well as a lot of heart, because it’s about the things that people deal with in relationships.”
For Levy, DATE NIGHT is a change from the family-friendly hits he’s helmed, like “Cheaper by the Dozen,” “Pink Panther” and “Night at the Museum.” DATE NIGHT is more of an adult-skewing comedy,” Levy points out. “In a way, it’s the other side of the movies I’ve done, which have been focused on the child-parent relationships. DATE NIGHT is focused on the marriage side – what happens after the children go to sleep.”
Levy was keen to keep the emotional side of the story intact through the mayhem experienced by the characters. “If you’re making a movie about relationships and being a married couple, it must be more than just funny, because life doesn’t work that way,” the director explains. “This movie has some surprising moments of poignancy.”
“A lot of comedies these days feel like a compendium of gags tied together to follow a narrative story,” notes Klausner. “DATE NIGHT, at its heart, is about marriage and being in love with somebody, but at the same time, life gets in the way. It’s honest, which is something Steve and Tina wanted, too. I’m proud that this movie has preserved that soul.”
When Levy learned that Steve Carell and Tina Fey were hoping to find a project on which they could work together, he knew he had found his DATE NIGHT duo. “We got an early draft of the screenplay to Tina and Steve, who always struck me as the dream pairing for a movie about marriage,” Levy says. “They said, ‘Yeah, we relate to this, we want to do an action comedy that’s also honest about relationships.’ So they said they were in.”
While Levy usually takes a break between completing one feature and beginning the next, he found himself prepping DATE NIGHT while editing “Night at the Museum: Battle of the Smithsonian,” in order to take advantage of his stars’ availability. “Steve’s and Tina’s series commitments [on, respectively, “The Office” and “30 Rock”] provides only a limited window for feature film work,” Levy explains. “They told us, ‘Look, we want to do this, but we’re free now, and we’re not going to be free in six months – what do we do?’ I said, ‘Well, we make the movie right now!’ I didn’t get a break between films, but I got a comedy with Steve Carell and Tina Fey, who are two of the most intelligent, interesting people working in comedy today. So a lot of my job was to come up with the idea, get the two perfect actors for the movie, and then get the hell out of the way.”
While slight alterations to the script were made to match the stars’ comedic voices, DATE NIGHT was essentially tailor-made for the pair. “It felt like the film was written for them,” says Klausner. Adds Levy: “Three minutes into this movie, you buy Steve and Tina as a married couple. They have a powerful chemistry together. They clicked completely on screen.”
Phil, says Carell, “feels underappreciated by his friends and family, but he sort of keeps that feeling close to his chest. He’s a very loving guy, but he and Claire have reached a plateau in their relationship. He needs to snap himself out of it, if possible. And the night that he and Claire experience together is a defibrillator for their marriage.”
Carell’s comedic skills, along with his ability to stir audiences’ hearts, made him the perfect choice for the role, Levy says. “Steve is super funny, and his chops as an actor are fantastic. He not only carries entire comedy sequences on his back, but three scenes later, he’s moving you to an emotional place with such sincerity and nuance. There’s no end to what he can do.”
Carell says his own date nights, like Phil Foster’s (and Levy’s and Klausner’s), leave much to be desired. “Sometimes the worst part of date night is actually leaving for the date – when you see your babysitter sitting down, getting all cozy, turning on the TV. That sometimes seems much better than the night that lies ahead.”
Fey, like Carell, has the ability to be riotously funny while still portraying the emotional side of her character realistically – to turn down the volume on jokes and simply allow them to happen. For example, in response to a nudge for sex from her husband, Fey’s Claire offers a very normal, ‘Yeah, hang on a minute” moment as she pulls out her dental mouth guard in preparation for sex with her husband, with enough drool to instantly turn off her mate.
“Besides being obviously really pretty and intelligent, Tina has a complete willingness to make an ass out of herself,” says Levy. She’s completely up for goofing on herself and being the butt of the joke, and that’s very charming.”
Fey describes Claire as “a working mom of two kids, who, like almost everyone I know, is just a little worn out by the day-to-day life of raising your kids, getting them out the door, getting them to school, having a job, keeping a house clean. She’s a good person who is just kind of worn into the ground a little bit. I certainly identify with how just physically tiring it is to be a parent and have a job – sometimes it feels like a real effort to just be present for your spouse.”
So which would be scarier – being in a boring marriage or being chased by the mob (both of which the Fosters experience in the film)? “I would say that being married to a person in the mob would be the scariest,” Fey jokes.
Along their night-from-hell journey, Phil and Claire encounter a cavalcade of characters on both sides of the law. Levy’s casting choices for these roles was sometimes unexpected – and always spot-on. His intent was to provide the story with a “Wizard of Oz”-like experience. “You’re with your heroes, but along the way, they’re being affected and changed by the people they meet, and I just thought wouldn’t it be fun if at every turn of the road, you’re surprised all over again by who has suddenly appeared in this movie. And the cast members fit the roles perfectly.”
The surprise apparently wasn’t limited to the audience. “I read the script,” says Fey,” and I thought, ‘Oh, these are really good parts for somebody.’ I never thought we would get this lucky to have that caliber of people in all these different parts.” Having what otherwise would have appeared to be small roles portrayed by big name actors only helps bring them alive, Carell notes. “When you see them acted out, they’re even better than they were on the page.”
And getting high-powered stars to join the DATE NIGHT team wasn’t just a matter of coincidence. “So many people were so keen to find a way to work with Steve and Tina – they just found a way to make it work,” says Levy.
Mark Wahlberg portrays a former real estate client of Claire’s the pair turns to in the middle of the night. “I play a guy named Holbrooke Grant, who is a security expert who Claire and Phil come to for help,” Wahlberg explains. “They just catch Holbrooke at a bad time – he’s with his beautiful Israeli girlfriend.” The pair ends up turning Holbrooke’s night upside down, as well.
Wahlberg had the simplest costume in the entire cast. “There is no wardrobe – just a pair of silk genie pants,” he recalls, noting that he regularly found himself freezing on the air-conditioned set. That the top half of his costume was missing (except for an ample supply of makeup covering Wahlberg’s countless tattoos), was a fact not lost on the female members of the cast and crew. “Mark was shirtless for three or four days,” Fey says, prompting a noticeable increase in the number of women who suddenly had additional tasks to address on set on the days he was on the job. “I had friends texting me, ‘Can I get on the Fox lot and visit you today?’” Fey laughs.
Also coming to the aid of the beleaguered couple is Taraji P. Henson, an Oscar® nominee for her work in “The Curious Case of Benjamin Button,” who plays NYPD Detective Arroyo, who, though she doesn’t exactly believe the Fosters “chased by bad guys” story, begins to become suspicious of a couple of her colleagues. “She’s sort of a hero,” the actress says.
Playing thugs Collins and Armstrong, who are after the Fosters (whom they believe are the Tripplehorns) are Common and Jimmi Simpson. Common is a familiar face to audiences for his role as a murderous cop in “Street Kings” and for his work as a musical artists (his hits include “Love of My Life” and “Testify”). Simpson has made occasional appearances as Lyle the Intern on “The Late Show with David Letterman.”
Common describes the duo as “one of the many catalysts to get this mundane couple out of their comfort zone – mainly by shooting guns at them.” The two are essentially hunters, he adds, noting, “I’m the muscle.”
Collins and Armstrong’s formidable boss is gangster Joe Miletto, from whom the Tripplehorns have apparently stolen something of importance that he wants back. The casting of acclaimed actor Ray Liotta as Miletto delighted Carell and Fey. “We were shooting a scene with Ray one night,” recalls Carell, “and Tina looked over and said, ‘I feel like I am in a 3D version of ‘Goodfellas. Ray Liotta is actually walking up and talking to me.’ It was like a ride at a theme park.”
Playing a heavy in a comedy, particularly for actors used to appearing in dramatic films, requires a special knack, one which DATE NIGHT’s group of toughs embraced with gusto.
“It’s really in the writing, so it’s dependent on your commitment to it,” explains Liotta. “If the situation’s just a little more heightened, you’re going to laugh.” Common agrees: “Shawn expressed to us from the beginning – you’ve got to keep it real. The more real it becomes – because you’re playing off Steve and Tina – the funnier it becomes.”
Portraying the “real” Tripplehorns – actually a drug dealer named Taste and his wacky stripper girlfriend, Whippit – are James Franco and Mila Kunis. Despite their different life circumstances, the pair has much in common with the Fosters, being in the same spot in their relationship as their clean-cut counterparts. Notes Josh Klausner: “Whether you’re a drug dealer or a suburban husband, you still feel the pangs of ‘You never look at me the way you used to’ and ‘You don’t have time for me.’ What the two couples are going through is exactly the same,” making the exchanges between the two couples both hilarious and poignant at the same time.
Kunis describes the pair as “very passionate – when they’re angry, they’re very angry, and when they’re happy, they’re madly in love.” Whippit, specifically, she describes as a “psycho, who is very up and down. She goes through three different emotions within two and a half script pages.”
The name “Taste,” Franco says, is left over from an earlier concept of the character – a 6 ft. 7 in. bald man with “TASTE” tattooed on his forehead. “So when they asked me to be in the movie, I said, ‘Well, I’m certainly not that.’” The character’s description was then rewritten, but the name stuck. “I was up for facial tattoos, too,” Franco says with a laugh. “We just went for the cheesy ‘Grim Reaper.’”
Kristen Wiig and Mark Ruffalo play the Fosters soon-to-be-splitting couple friends, Haley and Brad Sullivan. “Their parting brings up the question about getting bored with your spouse and moving on, or just sticking it out,” says Wiig. “I think Haley plants the seeds in Claire’s mind.”
Also taking on key roles are “Gossip Girl’s” Leighton Meester as the Fosters’ babysitter Katy, and “The Dark Knight’s” William Fichtner as district attorney Frank Crenshaw.
All the cast members appreciated Levy’s ability to balance action and comedy, which in turn allowed his actors the freedom to come up with their own gags. “That’s the only way you can afford to have time to play around or to improvise and do extra takes,” notes Fey. “That only happens if everyone – especially your director – really knows what they’re doing.”
For Levy, there’s a method to the potential madness of improv. “Sometimes, after we’d get what I want, Steve and Tina would come to me and say, ‘You know what? Could I get one more take? I’ve got an idea that might lead somewhere.’ Sometimes we couldn’t use it, but more often than not, it was gold and it ended up in the movie,” such as the duo’s restaurant shenanigans game of guessing what’s up with the couple sitting across the way.
“Every person in any field wants to go to work and feel respected for what they do,” says the director. “So when you say to an actor, ‘We’re going to do the script that I’ve written for you, but I want to hear what’s in your head. I actually think that the ideas you come up with might be as legitimate or better than what we scripted,’ it makes your actors feel like partners and collaborators, and not mouthpieces. It makes them feel like part of the creative team, rather than a piece of machinery.”
MEET THE TWINS
While attempting to escape their pursuers, the Fosters “borrow” Holbrooke Grant’s car, the much-too-powerful-for-Phil Audi R8. When Phil inadvertently smashes into a taxi cab, the two vehicles’ bumpers become hopelessly locked together. Nonetheless, the chase continues, the conjoined twin automobiles smashing their way down Manhattan streets.
The complicated sequence came about when Levy and Klausner were brainstorming ideas for a chase scene. Concerned about repeating the oft-used, cliché urban car chase, Klausner recalls, “I remember sitting in a room with Shawn, telling him, ‘You know, do we really have to do a car chase, because how many times have we seen a car chase in these movies? How interesting can that be?’”
Levy then related to his writer a story from his teenage years. “He was just learning to drive, and was trying to park, but he ended up smashing into another car in front of him and getting stuck on that car. His father just drove by and shook his head.” Thus was born the idea of conjoined cars.
But just having two cars barreling down the street wasn’t enough. “Shawn wanted to do something that nobody had ever seen before,” says 2nd unit director and stunt coordinator Jack Gill, who planned and executed the sequence. “Once we got the basic idea of conjoining the cars, we began figuring out not only how to build the cars, but how to make it work comically. I then started adding eccentricities, like spinning them around in circles and having characters fire guns at them.”
Besides having six different cars that, each of which handled a specific aspect of the chase stunts, Gill built a 40 foot frame, upon which the Audi and cab bodies were placed. “So there’s just one rigid frame,” he explains. The stunt driver was situated at the leading end of the conjoined vehicles. “So when the cab is facing forwards, with the Audi ahead of it facing the wrong way, the stunt driver is actually driving from inside the Audi’s trunk, looking out the back so he can see where he’s going and drive around corners.” In addition, for most shots, the rig’s rear wheels – those under the rear end of the conjoined vehicles – could also steer, in the same manner as those of a hook-and-ladder fire truck.
Needless to say, don’t try this at home on your own Manhattan street.
New York City ordinances limited the production to the types of stunts that could be filmed on Manhattan streets. So following a week of night work in New York, the stunt team moved to downtown Los Angeles to complete the sequence.
“We had about six blocks to work with on Broadway, which was great,” Gill recalls. “We needed a long stretch locked down, because when you conjoin two cars together, you’ve got a thing that’s forty feet long – getting it up to speed and shutting it all down can be tough. You can’t just do it in two blocks.” The sequence was filmed with up to six cameras, including a special “balloon cam,” with wheeled buoys on each corner, which allowed the camera to be sent into the path of the speeding car pair and getting hit head-on, without damaging expensive camera equipment.
Carell did actually drive the R8 himself for a number of shots. “We wanted the car to have way too much power for a guy like Phil to handle,” says Gill. “So I asked Audi to disconnect the all-wheel drive, which meant putting all 560 horsepower into the rear wheels.” So what was Carell’s impression? “He said it felt like somebody hitting him in the back of the head with a shovel when he stepped on the gas.”
In one shot, Phil must make his way to the cab while Claire is driving the Audi at high speed. “We did all the transfers across the hood with doubles – that was all real,” notes Gill.
Close-ups of Carell and Fey were done against a green screen set at Twentieth Century Fox. Since the chase acrobatics had already been filmed, besides their scripted lines, Carell and Fey filled in the gaps with their gut-busting ad-libs. “I’d show them footage and explain to them, ‘Here’s what we did last week downtown with the real cars – what do you think?’” Gill says. “And we’d bounce off ideas until something really clicked. And then Shawn was always there to say, ‘You’re right on track here – that’s really funny!’ It really helps when you have a collaboration where everybody can talk ideas out.”
Even with all the excitement, Levy kept the scene’s theme on track. “Once we had the concept of having the two cars stuck together, then we could find a way to thematically tie it in to what the movie’s about, which is this couple that has to learn to communicate to survive,” he explains.
Indeed, even with all that happens to them on this fateful night, the Fosters achieve their goal: to reinvigorate their relationship and reconnect with the love and excitement that brought them together in the first place.
“DATE NIGHT is kind of like a fable,” says Levy. “It takes place over a very short period of time, but in some way, it’s timeless, because it’s a story about a journey two people make in their relationship. And we leave the night feeling like they will go back to their lives and no one except for the people involved that night might ever know what happened. We’ve watched them experience this crazy night, but the real adventure of their married life, now that they’ve found each other again, is just about to begin.”
“They’re comfortable enough again with each other to be able to say ‘Knock it off’ and ‘I love you’ within the same five minutes,” says Steve Carell.
Tina Fey has just one last piece of relationship advice: “Go on a date night and see DATE NIGHT.”
ABOUT THE CAST
STEVE CARELL (Phil Foster) has emerged as one of the most sought-after comedic actors in Hollywood. First gaining recognition for his contributions as a correspondent on Comedy Central’s Emmy® Award-winning “The Daily Show with Jon Stewart,” Carell has successfully segued into primetime television and above-the-title status in the film world with equal aplomb.
Carell currently stars as Michael Scott, the pompous and deluded boss of a Pennsylvania paper company, in the Americanized adaptation of Ricky Gervais’ acclaimed British television series “The Office.” Now in its sixth season, the show continues to flourish in ratings and has earned Carell three Emmy Award nominations and four Golden Globe® nominations for his work on the show, and earned the Golden Globe in 2006. In the last two years, the show has won the Screen Actors Guild Award® for Outstanding Performance by an Ensemble in a Comedy Series.
Carell opened his first lead feature, “The 40-Year-Old Virgin,” which he co-wrote with director Judd Apatow, at #1, a spot it remained in for two straight weekends. The surprise hit of 2005 went on to gross more than $175 million worldwide and had #1 openings in 12 countries. The film generated over $100 million in DVD sales in North America alone. On an award level, the film was honored with an AFI Award® named one of 10 Most Outstanding Motion Pictures of the Year and took home Best Comedy Movie at the 11th annual Critics’ Choice Awards®. The film also earned Carell and Apatow a co-nomination for Best Original Screenplay by the Writers Guild Association.
In 2008, Carell starred as Maxwell Smart in the much-anticipated action-comedy “Get Smart,” opposite Anne Hathaway and Alan Arkin. The film grossed over $230 million worldwide. A sequel is due in 2011. He also lent his voice as “The Mayor of Whoville” in Twentieth Century Fox’s animated film “Dr. Seuss’ Horton Hears a Who!” based on the children’s book written by Dr. Seuss. Directed by Jimmy Hayward (“Finding Nemo,” “Monsters, Inc.”), Carell played opposite Jim Carrey, and helped launch the film as an international success earning over $295 million worldwide.
In 2006, as part of an ensemble, he starred in “Little Miss Sunshine,” which earned an Academy Award® nomination for Best Picture and won the SAG Award™ for Outstanding Performance by a Cast in a Motion Picture. The black comedy also starred Greg Kinnear and Toni Collette. Previous film credits for the actor include “Anchorman: The Legend of Ron Burgundy,” “Bewitched, and “Dan in Real Life.” Carell’s feature film breakout role in “Bruce Almighty,” opposite Jim Carrey, led to a sequel starring Carell in 2007, “Evan Almighty.”
Carell recently announced the start of his new production company, Carousel Productions. Carell’s endeavors and successes in acting, writing and producing were an organic segue in the creation of Carousel Productions. Born in Massachusetts, Carell now resides in Los Angeles with his wife, actress Nancy Walls (NBC’s “Saturday Night Live”), whom he met while at the Second City Theater Group in Chicago, where both were members. He is the proud father of a daughter and a son.
TINA FEY (Claire Foster), one of the most visible and popular figures in television today, writes, executive produces and stars in NBC's three-time Emmy Award-winning comedy series “30 Rock,” a workplace comedy which takes place behind-the-scenes of a live variety show. Her performance as head writer Liz Lemon on the fictional “TGS with Tracy Jordan” has earned Fey an Emmy, two Golden Globes, three SAG Awards, and a People’s Choice Award®. This year alone, “30 Rock” won five Emmy Awards and was nominated for many others.
Prior to creating “30 Rock,” Fey completed nine seasons as head writer, cast member and co-anchor of the “Weekend Update” segment on NBC’s “Saturday Night Live.” Fey is an Emmy winner and two-time Writers Guild Award winner for her writing on SNL, also receiving an Emmy for her spoof of vice-presidential candidate Sarah Palin.
Since her transition to being in front of the camera, Fey has won much acclaim, including being named one of Entertainment Weekly’s Entertainers of the Year, People Magazine’s Most Beautiful People (three times), and one of Time magazine’s Prestigious Time 100.
Other awards include, in 2008, a Producers Guild Award and a Writers Guild Award for Outstanding Comedy Series for “30 Rock.” She has also won two Gracie Awards and a Made in New York Award and has been nominated for a People’s Choice Award for Choice Comedy Actress and a SAG Award for Outstanding Performance by an Ensemble in a Comedy Series
Fey expanded to feature films in spring 2004 as both a screenwriter and an actress opposite Lindsay Lohan in the hit comedy “Mean Girls,” which earned her a nomination for a Writers Guild Award for Best Adapted Screenplay. Most recently she starred alongside “Saturday Night Live’s” Amy Poehler in the film “Baby Mama” for Universal Pictures, which exceed the $50 million dollar mark at the U.S. box office. Fey also starred in the Ricky Gervais comedy “The Invention of Lying,” released in 2009.
MARK WAHLBERG (“Holbrooke Grant”) earned Academy Award and Golden Globe nominations for his standout performance in Martin Scorsese’s acclaimed drama “The Departed.”
Wahlberg’s remarkable film career began with Penny Marshall’s “Renaissance Man” and “The Basketball Diaries” with Leonardo DiCaprio, followed by a star turn opposite Reese Witherspoon in the thriller “Fear.” He has enjoyed playing diverse characters for visionary filmmakers such as David O. Russell, Tim Burton and Paul Thomas Anderson.
Wahlberg’s breakout role in “Boogie Nights” established him as one of Hollywood’s most sought-after talents. He later headlined “Three Kings” and “The Perfect Storm” with George Clooney, and “The Italian Job” with Charlize Theron. He followed those with “I ♥ Huckabees,” “Four Brothers” and the football biography, “Invincible.” He then appeared in “Shooter,” based on the best-selling novel Point of Impact. Wahlberg reunited with “The Yards” director James Gray and co-star Joaquin Phoenix in “We Own the Night,” which Wahlberg produced.
In 2008, Wahlberg starred in M. Night Shyamalan’s “The Happening,” and in “Max Payne.” He recently appeared in director Peter Jackson’s adaptation of “The Lovely Bones.” Due out this year is “The Fighter” for director David O. Russell and “The Other Guys,” with Will Ferrell.
Wahlberg is an executive producer on “The Fighter” and “We Own the Night,” as well as on the HBO series “Entourage” and “In Treatment,” which have received six Golden Globe and three Emmy nominations.
Future projects include the new HBO series, “Boardwalk Empire,” with Martin Scorsese and “How to Make it in America,” along with other feature film projects. A committed philanthropist, he founded The Mark Wahlberg Youth Foundation in 2001 to benefit inner city children and teens.
TARAJI P. HENSON (“Detective Arroyo”) earned an Academy Award nomination for Best Supporting Actress portraying Brad Pitt’s mother in David Fincher’s highly acclaimed “The Curious Case of Benjamin Button.” Most recently, she starred in Tyler Perry’s “I Can Do Bad All By Myself,” which opened to number one at the box office.
For three years, Henson starred as Raina Washington, the youngest female detective on Lifetime’s “The Division.” She was also a regular on David E. Kelly’s “Boston Legal” and had a recurring role on ABC’s “Eli Stone.” Henson appeared in featured roles on “ER,” “Strong Medicine,” “CSI,” “House,” among others.
Henson received rave reviews for her role in Focus Features’ “Talk to Me” opposite Don Cheadle. Henson was named Outstanding Supporting Actress in a Feature Film at the 2005 Black Movie Awards and received the Best Actress nod at the 2006 BET Awards for her performance as Shug in the gutsy drama “Hustle & Flow,” produced by Oscar-nominated filmmaker John Singleton. She received two nominations at the 2006 MTV Movie Awards™ including Best Breakthrough Performance.
Upcoming films include “Karate Kid” opposite Jaden Smith and Jackie Chan, which filmed on location in Beijing for Columbia. Henson plays Rainn Wilson’s love interest in the upcoming indie comedy “Peep World,» also starring Sarah Silverman. In the indie drama “Once Fallen,” Henson stars with Ed Harris and Brian Presley. She starred in Sony’s “Not Easily Broken” opposite Morris Chestnut, and opposite Forest Whitaker in “Hurricane Season.” She starred in Tyler Perry’s “The Family That Preys” with Kathy Bates and Alfre Woodard.
Born and raised in Washington, D.C., the Howard University grad has a strong passion for helping disabled and less fortunate children and reveals, “I always stress to kids to have faith in themselves—the greatest recipe for success is self confidence.”
COMMON (Collins), a Grammy Award® winning artist, made his big screen debut as a musical performer in “Dave Chappelle’s Block Party,” in 2006. In January 2007, he made his acting debut co-starring opposite Jeremy Piven, Ben Affleck, Alicia Keys and Ryan Reynolds in “Smokin’ Aces.” Since then he’s co-starred opposite Denzel Washington in “American Gangster,” directed by Ridley Scott; David Ayer’s “Street Kings,” starring Keanu Reeves and Forest Whitaker; and “Terminator Salvation,” directed by McG, starring Christian Bale.
ABOUT THE FILMMAKERS
SHAWN LEVY (Director/Producer) is one of the most commercially successful film directors of the past decade. To date, his films have grossed over 1.5 billion dollars worldwide. Levy has honed his craft, seamlessly weaving comedy and heart into captivating stories that resonate with audiences. His youthfully enthusiastic approach to filmmaking is evident in the storylines and characters he creates – reflecting his joyful intensity for each project at hand.
Levy is currently developing several films to produce through his production company, 21 Laps, which is housed at Twentieth Century Fox. These projects include “The Ten Best Days of My Life” (with Amy Adams), “Neighborhood Watch,” “The Devil You Know” and “How to Talk to Girls” for Fox; “Factracker” for MGM; “The Extraordinary Adventures of Alfred Kropp” and “The Cutlass Islands” for New Regency, “Men of Magic” for Universal; “The Berenstain Bears” for Walden; and “The Spectacular Now” and “Table 19” for Fox Searchlight.
Currently, Levy is in pre-production on the futuristic father-son boxing drama, “Real Steel,” starring Hugh Jackman, for Steven Spielberg’s Dreamworks.
Levy’s 21 Laps recently produced the 2008 comedy «What Happens in Vegas,» starring Cameron Diaz and Ashton Kutcher, which went on to earn over $200 million worldwide.
Levy both produced and directed the blockbuster “Night at the Museum,” starring Ben Stiller, Robin Williams, Owen Wilson, Ricky Gervais, Dick Van Dyke and Mickey Rooney, which grossed over $580 million worldwide and “Night at the Museum: Battle of the Smithsonian,” starring a wide array of today’s most notable comedic talent including Ben Stiller, Amy Adams, Jonah Hill, Bill Hader, Hank Azaria, Owen Wilson, Ricky Gervais and Steve Coogan, which grossed over $400 million worldwide.
He directed the successful 2006 comedy, “The Pink Panther,” starring Steve Martin, Kevin Kline, Beyoncé Knowles, and Jean Reno and served as the executive producer of “Pink Panther 2.” Levy also directed “Cheaper By The Dozen” starring Steve Martin, Bonnie Hunt, Ashton Kutcher and Hilary Duff, which went on to gross more than $200 million worldwide.
In 2002, Levy directed both the hit romantic comedy “Just Married,” starring Ashton Kutcher and Brittany Murphy, which grossed over $100 million and the family comedy “Big Fat Liar,” for Universal Pictures, with Frankie Muniz, Paul Giamatti and Amanda Bynes.
Levy graduated at the age of 20 from the Drama Department of Yale University. He later studied film in the Masters Film Production Program at USC, where he produced and directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film Festival, in addition to being selected to screen at the Director’s Guild of America.
JOSH KLAUSNER (Screenwriter) attended Princeton University, where he was involved in the theater community as an actor, playwright and director, and studied theater luminaries Bobby Lewis and Albert Innaurato. Klausner’s thesis play, “Scratch,” received the Francis LeMoyne Page Prize for Excellence in Theater. After graduation, Klausner co-created the short “Season of the Lifterbees,” which premiered at the Sundance Film Festival in 1992, and won the Time Warner Grand Prize at the Aspen Shortsfest and a regional AMPAS Student Academy Award for Best Dramatic Short.
In 1994, Klausner began working as an assistant to the Farrelly Brothers, on their first film, “Dumb & Dumber,” moving on to work as 2nd unit director on the Farrellys’ hit 1998 film, “There’s Something About Mary” and again in 2001’s “Shallow Hal.”
In 2000, Klausner wrote and directed HBO’s “The 4th Floor,” starring William Hurt, Juliette Lewis, Austin Pendleton and Shelley Duvall. He did additional screenplay work on “Shrek the Third,” and wrote the original screenplay and storyline for DreamWorks
Animation’s upcoming “Shrek Forever After,” to be released later this year.
Klausner is currently working on a number of feature film projects, including a live action adaptation of “Thomas the Tank Engine,” and an adaptation of Adena Hapern’s The Ten Best Days of My Life for Shawn Levy’s 21 Laps, which will star Amy Adams. He is also collaborating with Sir Paul McCartney on “High in the Clouds,” an upcoming animated feature film based on the former Beatle’s children’s book.
JOE CARACCIOLO, JR. (Executive Producer) began his career in film as a production manager on director Sidney Lumet’s “Running on Empty” and “The Verdict.”
Caracciolo executive produced the hit comedies “Marley & Me” starring Owen Wilson and Jennifer Aniston, “What Happens in Vegas” starring Cameron Diaz and Ashton Kutcher (for 21 Laps), and “The Devil Wears Prada” starring Meryl Streep and Anne Hathaway. His other executive producing credits include “Just My Luck,” starring Lindsay Lohan, “Hide & Seek,” a psychological thriller starring Robert De Niro and Dakota Fanning, and “Uptown Girls,” a comedic New York fairy tale starring Brittany Murphy and Dakota Fanning. Additionally, he produced the teen thriller “Swimfan,” directed by John Polson.
Caracciolo’s other feature film credits include James Foley’s “Glengarry Glen Ross,” Jon Amiel’s “Copycat,” and “The Man Who Knew Too Little,” and writer-director John Waters’ “Serial Mom,” “Pecker,” and “Cecil B. Demented.”
JOSH McLAGLEN (Executive Producer) has worked as an assistant director on dozens of blockbuster films alongside some of Hollywood’s top directors. He has been 1st AD on “Tango and Cash,” “Alien 3,” James Cameron’s “Titanic,” “The X-Files,” “Cast Away,” “The Polar Express, and “Beowulf,” the latter three for director Robert Zemeckis, and again for Cameron on “Avatar.”
In 2002, McLaglen began wearing a producer’s hat, working his way from associate producer (“The Polar Express”) to co-producer (“Beowulf,” “Avatar”) to executive producer. In 2006, he began working with director Shawn Levy, as both 1st AD and co-producer on “Night at the Museum,” becoming executive producer for that film’s sequel, “Night at the Museum: Battle of the Smithsonian,” as well as for “Date Night” and the upcoming “Real Steel.”
TOM McNULTY (Executive Producer) is the president of production at 21 Laps, a production company based at Twentieth Century Fox in Los Angeles. McNulty joined 21 Laps at its inception with the company’s principal, director Shawn Levy and has set up over a dozen film projects at Fox, Universal, Warner Brothers and New Line. 21 Laps films include “Cheaper By The Dozen 2,” as well as the hit comedy “What Happens In Vegas” starring Cameron Diaz and Ashton Kutcher, “St. Peter” starring Elizabeth Banks and Sam Rockwell, and “The Rocker,” the latter marking their first producing effort together.
Prior to joining Levy, McNulty was the executive vice president of production at Adam Sandler’s Happy Madison Productions for over six years. There, he oversaw the development of the entire slate of films, notably “Mr. Deeds,” “Anger Management,” “50 First Dates,” “Are We There Yet,” “Click” and “Dickie Roberts Former Child Star.”
Prior to joining Happy Madison, McNulty was an executive at Out Of The Blue Entertainment, where he was an executive on “Big Daddy” and “Deuce Bigalow Male Gigolo.”
McNulty arrived in Hollywood as an actor, appearing in “Boys on the Side” opposite Whoopi Goldberg and “Escape from L.A.” with Kurt Russell. McNulty grew up on Long Island and attended The Catholic University of America in Washington DC.
DEAN SEMLER, ACS/ASC (Director of Photography) began his career in his native Australia, lensing “Mad Max 2” (aka “The Road Warrior” in North America) in 1982 for George Miller, for which Semler received an Australian Film Institute (AFI) nomination. Semler reteamed with Miller for “Mad Max Beyond Thunderdome.” Semler won both the AFI and Australian Cinematographers Society awards for the Aussie thriller “Razorback.”
By the late ‘80s, Semler was serving as director of photography on several U.S. productions, including “Cocktail” with Tom Cruise and Bryan Brown, and the western “Young Guns.” The following year, he returned to Australia for “Dead Calm,” starring Nicole Kidman and Sam Neill, for which Semler won the AFI award.
After filming the “Young Guns” sequel in 1990, Semler shot Kevin Costner’s “Dances With Wolves,” for which Semler received multiple honors, including an Academy Award and American Society of Cinematographers (ASC) Award. He reteamed with Costner in 1995 for “Waterworld.”
Throughout the ‘90s and into the following decade, Semler shot the comedies “City Slickers,” “Nutty Professor II: The Klumps,” “Bruce Almighty,” and “Get Smart.” He also filmed Mel Gibson’s epic “Apocalypto.”
Most recently, Semler was director of photography on Roland Emmerich’s “2012,” and on “Secretariat,” starring Diane Lane and Scott Glenn.
DAVID GROPMAN (Production Designer), after working in television and independent films, designed the studio features “Of Mice and Men,” “Waiting to Exhale,” and “The Cider House Rules,” for which he was nominated for an Oscar.
Gropman received an Art Directors Guild award and BAFTA nomination for his design for “Chocolat.” Gropman worked on John Waters’ “Hairspray,” for which Gropman was nominated for a Satellite Award. The Art Directors Guild once again recognized Gropman with a nomination for period film design for “Doubt,” which takes place in the 1960s.
CHRISTOPHE BECK (Composer) reunites with Shawn Levy, after composing the scores for the Levy-helmed projects “Just Married,” “Cheaper by the Dozen,” “The Pink Panther. Recently, Beck reteamed with director Chris Columbus on “Percy Jackson & The Olympians: The Lightning Thief,” after composing the score for Columbus’ “I Love You, Beth Cooper.”
The Montreal native started piano lessons at age five and was writing music for his first-ever band, Chris and The Cupcakes, before his teen years. During high school, Beck studied flute, saxophone, trombone and drums, and performed in rock bands. While studying music at Yale University, Beck had an epiphany, discovering that his talent for composing exceeded that for performing. He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on The Tell-Tale Heart by Edgar Allen Poe
Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Oscar winner Jerry Goldsmith, among others. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture, and a personal recommendation from the head of the USC Music Department led to his first professional assignment, the Canadian TV series “White Fang.” Soon thereafter, he was asked to score a new TV series (then in its second season), “Buffy, the Vampire Slayer,” based on the 1992 cult classic film, for which he received the Emmy for Outstanding Music Composition during his three seasons with the show.
The prolific talent has scored 40+ feature films and nearly twenty television shows since 1993. His film compositions include a wide array of projects and genres including the action films “The Sentinel” and “Elektra,” the comedies “The Hangover,” “Drillbit Taylor,” “What Happens in Vegas,” “Charlie Bartlett,” “Pink Panther 2,” and “Bring It On,” and the dramas “Under the Tuscan Sun,” “Year of the Dog,” “Phoebe in Wonderland” and the Sundance Film Festival Grand Jury nominee “The Greatest.”
Beck has also composed scores for “The Seeker: The Dark is Rising,” “School for Scoundrels,” “License to Wed,” “Fred Claus,” “We Are Marshall,” “Confidence,” “Yours, Mine and Ours,” “Taxi,” “A Cinderella Story,” “Saved!,” “Garfield” and its sequel, “Garfield: A Tail of Two Kitties” “Cheaper by the Dozen,” “American Wedding,” “Post Grad,” and “All About Steve.”
MARLENE STEWART (Costume Designer) earned her first credits working on music videos, including memorable designs for fashion-forward pop superstar Madonna. Stewart created image-shaping costumes for 11 Madonna videos, including “Vogue,” “Material Girl,” “Like a Prayer” and “Express Yourself.”
Stewart’s film work spans a wide variety of genres, periods and looks. She has collaborated with an intriguing array of directors, ranging from Alejandro González Iñárritu on “21 Grams” to Oliver Stone on “The Doors” and “JFK” to Michael Mann on “Ali” and Beeban Kidron on “To Wong Foo Thanks for Everything, Julie Newmar.”
Most recently, Stewart designed the costumes for Ben Stiller’s “Tropic Thunder,” Nancy Meyers’s romantic comedy “The Holiday” and Kimberly Peirce’s drama “Stop-Loss.”
Her credits also include Andy Tennant’s “Hitch,” James Cameron’s “Terminator 2: Judgment Day” and “True Lies,” Mary Lambert’s “Siesta,” Joel Schumacher’s “Falling Down,” James L. Brooks’s “I’ll Do Anything,” Curtis Hanson’s “The River Wild,” Joe Pytka’s “Space Jam,” Rob Bowman’s “The X Files,” Tony Scott’s “Enemy of the State,” Dominic Sena’s “Gone in 60 Seconds,” David McNally’s “Coyote Ugly,” and Antoine Fuqua’s “Tears of the Sun.”
After earning a degree in History at the University of California, Berkeley, Stewart studied at the Fashion Institute of Design and Merchandising in Los Angeles. She received the Bob Mackie Award for Design for her student work and began her design career by launching her own women’s clothing line, Covers. A Boston native, Stewart designed the costumes for three Madonna tours as well as tours for Cher, Paula Abdul, and Gloria Estefan. She created music video looks for Janet Jackson, Rod Stewart, Bette Midler, Debbie Harry, Smashing Pumpkins, the Bangles, and the Eurythmics, and was the first recipient of the American Music Awards’ Best Costume Design Award for the video “Material Girl.”
0 Views
03:40:15 02/02/10
Mark Thomas Mtp 06 06 Arms Dealing
[LESS INFO] 0 VIEWS | ADDED 03:40:15 02/02/10
* How I became an arms dealer in 8 days o Mark brings on a Heckler and Koch MP5 sub machine gun o Used by the police at airports o Heckler and Koch is a German company owned by Royal Ordinance who are owned by BAE Systems o Britain has sold arms to all sorts of bad regimes and the Labour party in opposition were against it and were going to change things o 7 years later they bring through and arms control bill but it doesn't mention end-use monitoring of arms and it doesn't mention licensed export controls o The license to make Heckler and Koch rifles is licensed to other countries like Turkey and they can sell it wherever they like o Mark set up a font company and started to write to people o Phoned up Brugge and Thomme (sp?) in Switzerland they are an agent and distributor for Heckler & Koch trying to get guns to Algeria which has an arms embargo o They say they will quote but they never did o Tried some other companies but this time asked for export to Zimbabwe o The Turkish company agree at $850 a gun. o Then got a quote from Pakistan Ordinance Company at $550 a gun o And one from the Iranian defence company at $300 a gun o Mark phones the Pakistan company wanting an assurance on quality. They say to talk to their representative at their Embassy in London. o Go over to the embassy who assure them on quality and say they should talk to the export manager directly and they set up the phone call. o Give them a brochure, on the first page of which is an anti-personnel mine. o Phone up the Pakistan Ordinance Factory who say theirs is the best quality. They say there will be no problem exporting to Zimbabwe. o Approval will be a formality. o They ask to make sure the guns are not going to rebels. Mark reassures them they are going to the military, to Robert Mugabe. They say OK, you have to be careful who you sell to. o They say if they sell over 1,000 they could include a free gift of a free holding bag for each gun. o They also ask that not too much mark-up is put on the guns. + "We're looking for people who can promote our products, if you think you've got contacts and you think you'll be strong [in Zimbabwe] we'd be pleased to give you an authorisation in the future. We can also work on a small percentage for you..." o Mark phones the Pakistani Ordnance Factory from the back of a flat bed lorry on 29th April 2002 outside the Pakistan embassy in London. o He admits he is a Channel 4 journalist and confronts them. o They hung up. o Get back to the office and an email has come through from the Swiss company suggesting they get in touch with their agent in Finland. o Phone up Olli Salo of FinnRappel Oy about sending guns to Algeria. He says "not a problem". o Says it would be best to fly them direct to Algeria as then they only need an import permit. + "All the paper we need is an import permit from the country of the destination that's the only paper we want..." o They don't need export paperwork because it's trans-shipment. o They say they are not exporting, just shipping on. o Phoned up Brugger & Thomet to say how impressed they are with the Finnish agent. + "He's our agent for many parts of the world with stuff like this and the fact is that the regulation we have there it's very liberal and it's working very smooth.} o Phone up Olli and say that the client also wants to buy some British sniper rifles. They say not a problem.. + "It has to come from outside the European Union. If it comes from Germany we'd need a license but when it comes outside it doesn't. That's the trick." o Switzerland isn't in the EU. o The Swiss end doesn't know anything about this deal. o Asks them if they can also do the deal to Zimbabwe. "No problem". o Swiss say under current law they are not allowed to export any arms to Zimbabwe. o Finnish say that they abide by any EU sanctions. o Mark phones Olli on 29th April 2002 o Asks about the shipment. He says they'll just change the labels from "import" to "trans-shipment" o Phoned up Olli again from a flat bed outside the DTI and admitted he was a reporter. He denies everything he says "It's a joke". o We found this out in 8 days o Mark takes a stretch limo to BAE systems in Bristol and asks to speak to somebody about the guns he's been buying. Says he has Mr Mugabe in the car and "he's a bit anxious". o Takes a camel up to security and leaves it there while he goes off to get something from the van.
6 Views
01:57:47 09/17/07
Gear: A new section of this website
[LESS INFO] 6 VIEWS | ADDED 01:57:47 09/17/07
NOTE: All future secthis gear reviews will be located at gear.secthis.com - this is a sample.
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As hosts of secthis.com podcast we are always buying new gear - be it tech or firearms - and often we talk about it on the podcast. Well now we are going to add a new section to the website where we post short reviews of this gear - in secthis.com style of first having a drink, then writing a review!
If you think this is a good idea, let us know by emailing Gene. If this is a bad idea then email Mooner! No seriously send any of us mail and let us know what you think.
We have a number of items that we are ready to review for you, so let me start with the first utterly useful item!
Citizen Skyhawk Atomic Eco-Drive
I have been looking at getting a rugged, automatic, more full featured watch for a while. The main objectives that this watch had to fulfill were:
* It needed to be an Automatic - either a self winder of solar
* It needed to show at least 2 time zones
* It needed to have night viewing - whether tritium or back lighting
Watches with dual time zones are generally referred to as GMT models. So while I really like the look of the Rolex GMT Master II, it would not have passed the 'wife' test, nor does it have tritium or back lighting. I did find a KHS Operator Timer, great looking Tritium watch, but it was neither an Automatic nor a GMT.
After doing more research I did find an automatic Tritium watch, but again it was not a GMT. This was the Tracer Classic Auto Pro. If I did not need the GMT capability I would certainly have purchased this watch. It really looks nice and uses the same Swiss Auto mechanism as the Omega watches.
So was there a watch that was Automatic, GMT, and Tritium? Well as it turns out there is one - the Ball Engineer Hydrocrbon GMT - and my finger was on the purchase button when my wife stopped by and convinced me not to buy it. She made me a deal that if I she'd buy it for me as soon as she passed her CISSP.
So I was back to looking for an Automatic, GMT, with Tritium. I expanded my search to include solar watches not just mechanical automatics. I still wanted dual time zones, and either tritium, or some other backlight. I found a few models that seemed to fit the bill until I stumbled on the Citizen Nighthawk . This was a nice solar watch that combined solar power, second time zone and a decent backlight.
Again I was ready to buy, but while doing a price search, I found the Citizen Skyhawk Atomic Eco-Drive - another model that had the same features, but also had a 3 timezone display, and received the radio signal broadcast from the atomic cesium clock in CO. On top of that it had a very nice rotating slide rule. This seemed like it would fit the bill!
So now I have a watch which keeps time as precisely as a GPS, is self-powered even if I am not wearing it, and has amber LED back lighting which won't kill my night vision. If you look at the closeup video you can see that it has a constant UTC (GMT) face, a 24 hour local time zone face, a main 12 hour local time face, and another time zone display is possible in the digital display.
It may not win any style awards at the office, but in the field this is a ruged, completely automatic (it will even switch to daylight savings automatically), and functional watch for anyone who needs more than a basic dress watch. Retail under $600 is well under many of the Swiss watches I looked at. And here is the short closeup video.
Gene Naftulyev , CISSP
