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Post by artemis on Dec 24, 2012 5:34:13 GMT -5
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Post by beatlies on Dec 27, 2012 21:52:14 GMT -5
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Post by beatlies on Feb 12, 2013 19:43:22 GMT -5
1977 Paul Simon Special. Imposter-replacement clues at 2:28, 3:00 and toward the end: "This is Paul." "Hi Joe." "My stand-in got trampled." "I didn't know you use a stand-in." "Oh yeah." "The Dolphins.... They don't lip synch. They actually sing like the Bee Gees, but higher." www.youtube.com/watch?v=GkUWL8biV9g |
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Post by artemis on Feb 14, 2013 16:00:28 GMT -5
"Orphan Black Teaser Takes A Look At Cloning Orphan Black has been gearing up to air on BBC America for a while now. The new science fiction-based program signed on Tatiana Maslany as a woman who takes on the identity of another woman who looks just like her, as well as Maria Doyle Kennedy, Dylan Bruce, and Jordan Gavaris, getting production for the series underway in October. Now, BBC America has announced a release date of March 30 for the new series and has also put out the very first teaser trailer, which takes a look at Sarah and some cloned variations of her. As the trailer shows, clones will be a predominant part of the series, and should fit pretty well into BBC America’s Supernatural Saturday lineup, which also boasts the sci fi program Doctor Who. In the trailer we get to see the many faces of Sarah, the aforementioned woman who takes on a new identity, only to unravel a cloning mystery that will have larger ramifications. The short teaser is thrilling and a little frightening, with many versions of the same clone asking questions, leaving us with the note, “When did I become us?†Executive producer David Fortier recently spoke out about the project, stating he has been excited to create a project that touches on self-identity. If the strange mystery and thriller sound up your alley, you’ll be able to catch Orphan Black when it premieres on BBC America beginning on March 30 at 9 p.m. ET." www.cinemablend.com/television/Orphan-Black-Teaser-Takes-Look-Cloning-50761.html |
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Post by beatlies on Jul 7, 2013 18:18:58 GMT -5
Tuttle (M*A*S*H)
From Wikipedia, the free encyclopedia
"Tuttle"
M*A*S*H episode
Episode no. Season 1
Episode 15
Directed by William Wiard
Written by
Bruce Shelly
David Ketchum
Production code J315
Original air date January 14, 1973
Guest actors
Dennis Fimple
Mary-Robin Redd
James Sikking
Herb Voland
Episode chronology
← Previous
"Love Story" Next →
"The Ringbanger"
List of M*A*S*H episodes
"Tuttle" is an episode from the television series M*A*S*H. It was the 15th episode broadcast and aired on January 14, 1973. It was written by Bruce Shelly and David Ketchum and directed by William Wiard. Due to its bizarre storyline, it is one of the best-known episodes of the show. This episode was nominated for a Writers Guild Award.[1]
Guest cast is Dennis Fimple as Sergeant "Sparky" Pryor, Mary-Robin Redd as Sister Theresa, Herb Voland as Brigadier General Crandell Clayton, and James Sikking as a finance officer.
Overview[edit]
To get some additional supplies for the local orphanage, Hawkeye and Trapper invent a fictional Captain Tuttle (based on Hawkeye's imaginary friend from childhood). The deception slowly grows until everyone at the 4077th believes Tuttle to be a real person, and the situation worsens when General Clayton decides to award Tuttle a medal and put his picture in the newspaper. Hawkeye and Trapper end their problems by faking Tuttle's death and claiming that he had asked for all of his back pay to be donated to the orphanage. As the episode ends, they joke with each other about where they got a pair of boots they used for the faked death - from the equally fictional Major Murdock.
Captain Tuttle is a parody of Lieutenant Kijé, the subject of a novella by Soviet author Yury Tynyanov. Kijé, who existed only on paper, was a supposed soldier in the Czar's army. As with Captain Tuttle, the paperwork edifice begins to collapse when Lieutenant Kijé must make a personal appearance. The novella was made into a film, famous for its music by Sergei Prokofiev.
Notes[edit]
This is the only episode of the series in which the normally unseen character of Sparky actually appears.
In the closing credits, "Captain Tuttle" is credited for playing himself.[2]
References[edit]
^ Wittebols, James H. (2003). Watching M*A*S*H, Watching America. Jefferson, North Carolina: McFarland. p. 36. ISBN 0-7864-1701-3. Retrieved May 16, 2009.
^ "Tuttle" at the Internet Movie Database
[hide] v t e
M*A*S*H
Novels
MASH: A Novel About Three Army Doctors M*A*S*H Goes to Maine M*A*S*H Mania
Film
MASH
Music
"Suicide Is Painless"
Television
Episodes
Season 1 2 3 4 5 6 7 8 9 10 11
Writers Guest stars Characters Trapper John, M.D. AfterMASH W*A*L*T*E*R
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Post by beatlies on Aug 12, 2013 20:54:09 GMT -5
www.avclub.com/articles/billy-eichner-to-play-donnas-doppelganger-in-the-p,101204/
NEWSWIRE
Billy Eichner to play Donna's doppelgänger in the Parks And Recreation episode with all the doppelgängers
By Marah Eakin August 5, 2013
Parks And Recreation’s bizarro Donna has been perfectly cast. Billy On The Street host and comedian Billy Eichner will play Eagleton’s “Treat Yo’ Self” expert and cigar-smoking player. Eichner will pop up in the episode of Parks’ second episode, alongside Kristen Bell and Sam Elliott as Leslie and Ron’s respective doppelgängers.
Parks creator Mike Schur calls Eichner “one of the funniest human beings I have ever seen in my entire life,” which says something, and says that he’s still looking for an April Ludgate equivalent. Might we suggest Daria? Schur also says that Tom Haverford’s doppelgänger has been cast but will remain a secret not because of who the actor is, but because of “the concept behind it.” So, Mark Brendanawicz?
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Post by beatlies on Sept 10, 2013 18:01:34 GMT -5
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Post by beatlies on Sept 30, 2013 18:00:29 GMT -5
Looker
From Wikipedia, the free encyclopedia
For the DC Comics character, see Looker (comics).
Looker
original film poster
Directed by Michael Crichton
Produced by Howard Jeffrey
Written by Michael Crichton
Starring Albert Finney
James Coburn
Susan Dey
Leigh Taylor-Young
Music by Barry De Vorzon
Cinematography Paul Lohmann
Editing by Carl Kress
Distributed by Warner Bros.
Release date(s) October 30, 1981
Running time 94 min.
Country United States
Language English
Looker is a 1981 science fiction film written and directed by Michael Crichton. It starred Albert Finney, Susan Dey, and James Coburn. Former NFL linebacker Tim Rossovich[1] was featured as the villain's main henchman.
The film is a suspense/science fiction piece which comments upon and satirizes media, advertising, TV's effects on the populace, and ridiculous standard of beauty.
Though spare in visual effects, the film is notable for being the first commercial film to attempt to make a realistic computer generated character, for the model named "Cindy." It was also the first film to create 3D shading with a computer,[2] months before the release of the better-known Tron.
Contents [hide]
1 Plot
2 Versions
3 MPAA rating
4 See also
5 References
6 External links
Plot[edit source]
Dr. Larry Roberts (Albert Finney), a Beverly Hills plastic surgeon, is puzzled when four beautiful models working in television commercials request cosmetic surgery to make changes so minor as to be imperceptible to the naked eye. When these models later start dying under mysterious circumstances, he discovers they are all linked to the same advertisement research firm.
The Digital Matrix research firm rates advertising models using a scoring system to measure the combined visual impact of various physical attributes in television commercials. In an experiment to increase their scores, some models are sent to Dr. Roberts to get cosmetic surgery to maximize their visual impacts. Though the models are physically perfect after the surgeries, they still are not as effective as desired, so the research firm decides to use a different approach. Each model is offered a contract to have her body scanned digitally to create 3D computer-generated models, then the 3D models are animated for use in commercials. The contract deals seem to be incredibly lucrative for the models: once their bodies are represented digitally, they get a paycheck for life, never having to work again, since their digital model is used for all their future work in commercials.
However, when these same models start dying under mysterious circumstances, Roberts becomes suspicious and decides to investigate Digital Matrix. He has a strong interest in investigating the deaths: he is considered a prime suspect by the police (from evidence planted at the scene of one of the murders) and his most recent patient, Cindy (Susan Dey), is the last of the models to be digitally scanned.
During his investigation, Roberts discovers some advanced-technology devices the Digital Matrix corporation is using to hypnotize consumers into buying the products they advertise. He also discovers the Light Ocular-Oriented Kinetic Emotive Responses (L.O.O.K.E.R.) gun, a light pulse device that gives the illusion of invisibility by instantly mesmerizing its victims into losing all sense of time.
Versions[edit source]
There appear to be two versions of the film.
The original theatrical cut is what appeared in theaters in 1981 and is what has appeared on most video releases, including the 2007 region 1 DVD release.
TV airings have been of a slightly different edit, containing a sequence in which Reston, after detaining Roberts and Cindy in his mansion, explains why he had the other models murdered (the reason for the killings is a plot hole in the theatrical film). He says the models were the 'measurements' and that it was corporate policy to 'shred old documents' that competitors might use. After Reston leaves to attend a dinner party, Roberts and Cindy are able to escape.
On the DVD commentary track, Crichton alludes to the difficulty of editing Looker, which perhaps accounts for why the TV version contains more exposition.
Another change is during the ending walkaway. In the original release, a voiceover by Reston details the chillingly powerful influence of television on the American viewers, from part of a speech he makes earlier in the film. The voiceover in the newer version of the film is a public relation piece for the Reston company.
The Vivaldi music chosen by the doctor is: Flute concerto in G minor Op 10 No 2 RV439 la notte IV allegro.
MPAA rating[edit source]
The film contains female nudity, though none of it is explicitly sexual in nature. Despite these graphic depictions, the film was re-rated PG, although originally rated R.
See also[edit source]
Timeline of CGI in film and television
References[edit source]
Jump up ^ Tim Rossovich at the Internet Movie Database
Jump up ^ Visual and Special Effects Film Milestones from Filmsite.org
External links[edit source]
Looker at the Internet Movie Database
Looker at AllRovi
Looker at Rotten Tomatoes
[hide] v t e
Works by Michael Crichton
Novels
The Andromeda Strain (1969) The Terminal Man (1972) The Great Train Robbery (1975) Eaters of the Dead (1976) Congo (1980) Sphere (1987) Jurassic Park (1990) Rising Sun (1992) Disclosure (1994) The Lost World (1995) Airframe (1996) Timeline (1999) Prey (2002) State of Fear (2004) Next (2006) Pirate Latitudes (2009) Micro (2011, with Richard Preston)
Novels written
under pseudonyms
Odds On (1966) Scratch One (1967) Easy Go (1968) A Case of Need (1968) Zero Cool (1969) The Venom Business (1969) Drug of Choice (1970) Dealing (1970) Grave Descend (1970) Binary (1972)
Non-fiction
Five Patients (1970) Jasper Johns (1977) Electronic Life (1983) Travels (1988)
Film
adaptations
The Andromeda Strain (1971) Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues (1972) The Carey Treatment (1972) The Terminal Man (1974) The First Great Train Robbery (1979) Rising Sun (1993) Jurassic Park (1993) Disclosure (1994) Congo (1995) The Lost World: Jurassic Park (1997) Sphere (1998) The 13th Warrior (1999) Timeline (2003) The Andromeda Strain (2008)
Film writer
or director
Pursuit (1972) Westworld (1973) Coma (1978) The First Great Train Robbery (1979) Looker (1981) Runaway (1984) Physical Evidence (1989) Jurassic Park (1993) Rising Sun (1993) Twister (1996)
TV series
Beyond Westworld (1980) ER (1994–2009)
Categories: 1981 films1980s science fiction films1980s thriller filmsComputer-animated filmsPsychological thriller filmsTech noir filmsScreenplays by Michael CrichtonFilms directed by Michael CrichtonWarner Bros. filmsMind control in fiction
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Post by beatlies on Mar 10, 2014 18:42:47 GMT -5
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Post by beatlies on Mar 31, 2014 1:43:59 GMT -5
The Serpent's Egg (1977) directed by Ingmar Bergman m.youtube.com/watch?v=R2nIe1G6R1sSynopsis: "In November of 1923, in a Berlin where a pack of cigarettes costs four million marks and people has lost faith in the present and future days, the alcoholic and unemployed American acrobat Abel Rosenberg loses his brother Max, who has just committed suicide after feeling depressed for a period. Seeing the modifications in the behavior of people, but without clearly understanding the reasons, Abel moves to the room of his former sister-in-law Manuela Rosenberg, who works in a cabaret in the night and in a whorehouse in the morning. Together, they move to a small apartment near to the clinic of their acquaintance, Professor Hans Vergerus, who gives a job opportunity to Abel in his clinic. While working in the place, Abel discloses the evil truth behind the researches of Hans. - Claudio Carvalho, Rio de Janeiro, Brazil. " |
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Post by beatlies on Apr 28, 2014 15:20:07 GMT -5
"Orphan Black Teaser Takes A Look At Cloning Orphan Black has been gearing up to air on BBC America for a while now. The new science fiction-based program signed on Tatiana Maslany as a woman who takes on the identity of another woman who looks just like her, as well as Maria Doyle Kennedy, Dylan Bruce, and Jordan Gavaris, getting production for the series underway in October. Now, BBC America has announced a release date of March 30 for the new series and has also put out the very first teaser trailer, which takes a look at Sarah and some cloned variations of her. As the trailer shows, clones will be a predominant part of the series, and should fit pretty well into BBC America’s Supernatural Saturday lineup, which also boasts the sci fi program Doctor Who. In the trailer we get to see the many faces of Sarah, the aforementioned woman who takes on a new identity, only to unravel a cloning mystery that will have larger ramifications. The short teaser is thrilling and a little frightening, with many versions of the same clone asking questions, leaving us with the note, “When did I become us?†Executive producer David Fortier recently spoke out about the project, stating he has been excited to create a project that touches on self-identity. If the strange mystery and thriller sound up your alley, you’ll be able to catch Orphan Black when it premieres on BBC America beginning on March 30 at 9 p.m. ET." www.cinemablend.com/television/Orphan-Black-Teaser-Takes-Look-Cloning-50761.htmlThere are posters advertising "Orphan Black" now posted in many places throughout New York City. The show is basically a rip-off (clone) of the 1983 American movie Anna to the Infinite Power, which has been discussed in this forum. From the Guardian: Orphan Black: the myriad faces of Tatiana Maslany As the hit sci-fi series returns to BBC3, the chameleonic lead actor tells us how she prepares to play its many parts Share 128 inShare 1 Email Priya Elan The Guardian, Friday 25 April 2014 Jump to comments (93) Orphan Black is the sci-fi series that seriously messes with your head. Lead actor Tatiana Maslany plays eight (and counting) cloned versions of herself, flitting seamlessly between characters including a cop, a Ukrainian sociopath, and an uptight soccer mom with a drink problem. At the centre of it all is Sarah Manning, a petty criminal who takes her style cues from The Girl With The Dragon Tattoo. She witnesses the suicide of a woman who looks exactly like her, leading her to discover a conspiracy and a mini-army of lookalikes. Not only does Canadian newcomer Maslany perform a kind of acting heptathlon to inhabit all the roles, but Orphan Black hurdles multiple telly genres too. Far from being a straight-up sci-fi, it adds a dash of Scandi-noir, a pinch of thriller and the occasional sliver of black humour into the mix. The BBC America show has cultivated a slow-burning and now authentically cult audience in the States, building a Twitter following to rival shows such as Homeland and Nashville. Meanwhile, Maslany was deservedly nominated for a Best Actress Golden Globe. Just how does she veer so effortlessly between her clones? Let her explain… Sarah Manning Photograph: Allstar The London-born punk grifter and single mum at the heart of the cloning conspiracy "I love playing her most; she's my homegirl. There's something primal about her, and listening to the Prodigy's Breathe helped me get into character. What's central to her is this inner conflict she has about motherhood: her daughter Kira is her entire life and yet she doesn't feel like she's fit to be a mother. It's key that Sarah is adopted, too. She was never really part of a family, so she sees herself as a solo act. She has difficulty being intimate with people and she always feels like an outsider. When she meets the other clones she finally feels a sense of 'being home' – a sort of sisterhood, like twins have. The clones help bring her back to herself." Beth Childs The cop who commits suicide in the first episode. Sarah masquerades as her throughout season one "I don't think Beth is the original [clone], but the concept of that is interesting in itself: none of the clones want to think they are the copy of someone else. That idea of being unique is something we investigate in the show. Beth is a mystery. We only see her in home-video footage and in Sarah's interpretation of what a strait-laced woman is." Alison Hendrix The highly strung suburbanite whose picket-fence life is not as perfect as it seems. Enjoys a padded gilet "She was the most daunting clone for me to play. At first, I couldn't get a sense of her beyond the soccer mom cliche. [Showrunner] John Fawcett told me that she's the most feminine character on the show and I just thought: 'I don't know what that means!' I ended up listening to a lot of musicals to get into her headspace. There's something about them that suggests repressed emotions and that connects with her: she's got this 'perfect life' and yet she is a ball of simmering anger ready to explode. Now, weirdly, she's the character I connect with most because I feel like we're all waiting to be found out." Cosima Niehaus The dreadlocked scientist with a penchant for lava lamps – and for another scientist, Delphine "Cosima's sort of a hippy stoner. Personality-wise, she was the lightest of the clones to play. She looks at everyone and everything as being full of possibilities. She's fine with how finding out the truth about the clones involves a lot of theorising and that there aren't necessarily any answers. Intellectually, she's on another plane. I also love how she falls for Delphine: it's stupid and illogical but I love that." Helena Sarah's feral birth twin, notable for her wild Shakira hair and even wilder clone-slaughtering antics "We called her 'the little monster' on set. She's part-child, part-trained killer; a saint and a demon at the same time. She's not socialised. Like, she wouldn't know that it's not OK just to burp in someone's face at the dinner table, which allowed me to play her with a measure of black comedy. The wig I wear to play her is amazing. It's super Hips Don't Lie! When the makeup artist put the hair on me I was like, 'I know who this person is…'" Katja Obinger Katja. Photograph: Steve Wilkie A sickly German clone who made contact with Beth before she died "My grandmother is German so she helped me with the dialect. Katja felt like a guest star, so I didn't think too far ahead in terms of preparing to play her. I think it's interesting that we're discussing doppelgangers as a culture right now. Maybe it's something to do with social media and selfies, but the concept of ownership of ourselves and our image seems to be shifting. It's like [we think]: 'I am me and no one else can be like that'. For me, that's why cloning is such a fraught idea.". Orphan Black returns on Wednesday, 10pm, BBC3 Reading this on mobile? Click here to view • This article was amended on 28 April 2014 because the original picture caption of Cosima Niehaus called Delphine "another of the clones". This has been corrected. Article history Television & radio Television Culture More features More from this week's Guide This week's issue in full The Guide cover 26 April 2014 The Black Keys: success, depression and divorce Shakespeare's 450th birthday is celebrated in Stratford this weekend Heston's Great British Food: the night I ate his naan bread It's grim up North in new crime dramas Prey and Happy Valley Mia Wasikowska: making Tracks Stanley Kubrick is still king of the cinematic dust-up DJ Mustard: he's highly condimentary Bat And Ball's Stops My Mouth, this week's best new track Cassy's favourite tracks Lisa Snowden's favourite TV NatWest's new advert, now that's not magic Dolly Parton, everything you need to know in one place Share inShare Email |
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Post by beatlies on May 5, 2014 19:59:12 GMT -5
Jake Gyllenhaal explores identity in doppelganger thriller 'Enemy'
LOS ANGELES | Wed Mar 12, 2014 3:19pm EDT
By Piya Sinha-Roy
LOS ANGELES (Reuters) - What would you do if you came face-to-face with a doppelganger?
Canadian director Denis Villeneuve explores that question in the psychological thriller "Enemy," in theaters on Friday, based on Jose Saramago's 2002 novel "The Double."
Jake Gyllenhaal, 33, plays both Adam Bell, a teacher struggling to commit to a relationship, and Anthony St. Claire, a married aspiring actor. The two men are unrelated but look identical.
Adam discovers his double while watching an obscure film and descends into an obsessive search for Anthony. When the two meet, their lives become intertwined.
Gyllenhaal, who had to maneuver special effects and act with tennis balls used to digitally place Adam and Anthony on-screen together, said the film was "the most fulfilling creative experience" for him.
"Never have I had the opportunity to feel what it was like to act against my own instincts, and I actually was humbled by it," he said in an interview littered with laughs, Jay Z quotes and talk of serial killers.
"I think there were places where I thought I knew what I was doing, but then as I'd watch those and do it back, it wasn't easy to work with as I thought it would be."
"Enemy," billed as an erotic thriller, follows Adam as he faces an identity crisis. At times, the audience is taken into his psychological state, which Gyllenhaal described as "his anxiety, his questioning, the feelings that we feel inside of ourselves when we're faced with who we really are and who we perceive ourselves to be."
"The internal journey is the most interesting one to me," he said.
ARTISTIC INDULGENCE
Gyllenhaal gained critical praise last year for his performance as the obsessive Detective Loki in Villeneuve's "Prisoners," a thriller on child abduction co-starring Hugh Jackman. "Prisoners" was made after "Enemy" and reunited Gyllenhaal with the director.
The actor credited "Enemy" for enabling him to push himself to deliver intense scenes as Loki.
"'Enemy' was much more artistically indulgent in the way that we were experimenting with form and process," Gyllenhaal said.
"I was definitely not the center of attention on 'Prisoners,' I was doing my thing along with a number of many more talented actors than I am. Denis said very specifically to me before we started 'Prisoners' ... 'you're not going to get my attention in the way that you did,'" he added.
Gyllenhaal, whose parents are writer-directors and whose older sister Maggie is an actress, forged his acting career in his teens with breakout roles in 2001's cult hit "Donnie Darko" and in 2002's "The Good Girl" as a psychologically unstable young man.
After a leading role in 2004's blockbuster disaster film "The Day After Tomorrow," the actor earned a best supporting-actor Oscar nomination in 2006 for his portrayal of a gay cowboy opposite Heath Ledger in "Brokeback Mountain."
He has since stayed with darker dramas, as with 2007's "Zodiac" and 2009's "Brothers" and more recently, a police officer who becomes entangled in the drug cartel world in 2012's "End of Watch."
The darker characters are getting harder to leave behind at work for the actor.
"You make physical transformations or you make mental transformations; the inside transformations are a lot harder, and they take a lot out of you," Gyllenhaal said.
"I can't just jump from one thing to the next, that's something I've learned. Once I've explored one world, I need some time back in my real life before I can even know what's right for me as an actor to go to next."
After the slew of dramas, the actor will be seen in director David O. Russell's comedy "Nailed," but he will return to grittier roles in "Nightcrawler" and "Everest."
"The exploration of the darker side of things really only allows me to appreciate the other side, you know. So the more I go (to the darkness), the more I can go the other way," Gyllenhaal said.
Then, with a laugh, he added, "But I don't need to go the other way," as if to say that the darkness suits him just fine.
(Editing by Mary Milliken and Amanda Kwan)
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Post by beatlies on Jun 13, 2014 19:56:27 GMT -5
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Post by beatlies on Jul 7, 2014 2:08:50 GMT -5
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Post by beatlies on Oct 21, 2014 3:31:28 GMT -5
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