#dean meeker
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my version of Lisa by Dean Meeker
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this is the exact halfway point in 1.20 dead man's blood. it's also the first time we see dean stand up to john in any capacity. from here on, too, dean continues to hold his ground against his dad, and his defiance grows more confident and definitive.
the first half of this episode therefore represents the "status quo" of their family dynamic: sam is angry and defiant, dean is blindly loyal, and john is domineering. we get a sense of what life was like for them before the series began and how the family functioned. the second half, then, represents sam and dean's development. sam and dean are working more as a unit, and they demand to be treated as equals not only among each other but to their father as well. this half shows sam seeming to get meeker in a way now that dean is defending him (sam deflates falls back into a comfortable routine with john, his yessirs a vast contrast to dean calling him out and an even vaster contrast to his own shouting matches with john in the first half of the episode)—this is the dynamic they're working toward and have been working toward this whole season.
but this halfway point is so cool. because right after this moment, dean is left helplessly torn between two options:
sam gets in the impala, and john gets in his truck. the two vehicles become physical manifestations of the choice dean now has to make: john or sam? status quo or development?
he gets in the impala. he chooses sam.
but the cool thing about it is that the impala is dean's car. of course he was going to get in his own car. it's a no-brainer. but at the same time, this doesn't stop the impala from representing sam in this moment. what this means, then, is that dean never had a choice in the matter: he was always going to choose sam.
dean lacks narrative agency for the majority of season 1. he constantly defers to sam's decisions, and even when he does make decisions that would lead to significant development for himself (see 1.11 scarecrow, where he chooses to let sam have his independence instead of clinging onto him, signifying a massive step forward for his own sense of self and independence), sam inevitably shapes the outcome of those decisions, leaving dean in a position where he isn't actually choosing things for himself (and sam returns at the end of the episode, preventing the possibility of his growth and keeping him defined by his place in his family).
this moment in dead man's blood is symbolic of that lack of agency. dean is tied to his brother, doomed to choose him because it's the only real option presented to him. this isn't to say that's a bad thing by any means obviously, just that it's an interesting setup for his narrative arc. dean is set to spiral straight into sam's orbit, helpless to stop it or escape, and frankly he doesn't want to, either. sam is the center of his universe, after all, and choosing sam was what he was raised to do. sam is his everything—including the master of his story.
so when dean chooses sam and gets into the impala, there was never any other option for him. dean was always going to choose his brother, was always going to stand up to john and defend sam and himself, was always going to get into his own car. unlike sam, whose season 1 conflict is between his fate and his family, dean's fate in many ways is his family, and he has nothing to convince him off that path (indeed, the one time he does falter in this during season 1 is because he's again deferring to sam's decision to leave him).
and the best part about all of the whole metaphor, to me, is this:
sam is the one driving the car.
#liveblogging: supernatural#1.20#dean winchester#spn meta#this is my favorite moment in dead man's blood i cannot shut up about it#they set this whole scene up so damn well. it makes me crazy!!!!!#sam is DRIVING THE CAR!!!!! HE'S CONTROLLING THE NARRATIVE!!!!!!!!!!!!!!!!!!!!!!!!#this show makes me sick#.txt#spn1#spn posting
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JULY RELEASE
Funny Girl - First Broadway Revival
April 26, 2023 - Medium Observation
Video
Cast:
Julie Benko (alt Fanny Brice), Ramin Karimloo (Nick Arnstein), Tovah Feldshuh (Mrs. Brice), Jared Grimes (Eddie Ryan), Paolo Montalban (Florenz Ziegfeld), Leslie Blake Walker (u/s Emma/Mrs. Nadler), Debra Cardona (Mrs. Meeker), Anne L. Nathan (Mrs. Strakosh), Michael Mastro (Tom Keeney/Actor), Kaitlyn Frank (s/w Ensemble)
Notes:
Excellent video of this show from the orchestra. Some heads are seen but not obstructing anything, except on the right side of the screen when they are extremely stage left. Colors are absolutely beautiful. Some washout but it's very minimal. Overall a near perfect capture.
NFT Date: January 1, 2024
Screenshots: https://flic.kr/s/aHBqjABwVP
Video is $20
Beetlejuice - Broadway Remount
December 14, 2022 - Medium Observation
Video
Cast:
Alex Brightman (Beetlejuice), Dana Steingold (u/s Lydia Deetz), Kerry Butler (Barbara Maitland), David Josefsberg (Adam Maitland), Adam Dannheisser (Charles Deetz), Natalie Charle Ellis (u/s Delia Deetz), Michelle Aravena (Miss Argentina), Kelvin Moon Loh (Otho), Danny Rutigliano (Maxie Dean), Zonya Love (Maxine Dean/Juno), Brooke Leigh Engen (u/s Girl Scout)
Notes:
Very nice video of Dana from the left orchestra. The video is on a dutch angle but it doesn't take too much away from the video. There is a loud obnoxious drunk lady behind me who wouldn't stop screaming at the actors during the show. Alex told her to shush at the puppet show. She stopped in Act 2 for the most part. Overall a really nice video of this show nearing its end.
NFT Date: January 1, 2024
Screenshots: https://flic.kr/s/aHBqjAjvkF
Video is $18
Videos can be purchased through me at [email protected]
#mediumobservation#beetlejuice the musical#alex brightman#funny girl#musical bootlegs#julie benko#bjtm#beetlejuice
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Biker Babes of 1949. Lucille Meeker, Betty Drafton, and Cecilia Adams lead a group of riders around LA’s Griffith Park.
Life magazine photographer Loomis Dean snapped this pic of lady bikers.
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The Best of December 2023
Best Discovery: Eyes of Fire
Runner Up: Fanny and Alexander
Best Rewatch: Short Cuts
Close Second: Slap Shot
Runners Up: The Blues Brothers, The Killing of a Chinese Bookie, Superman III, Who Framed Roger Rabbit
Most Enjoyable Fluff: No Hard Feelings
Runners Up: Broadcasting Christmas, A Dream of Christmas, Haul Out the Holly: Lit Up, Leave the World Behind, A Magical Christmas Village
Best Leading Performance: Paul Newman in Slap Shot
Runners Up: John Belushi and Dan Aykroyd in The Blues Brothers, Charles Fleischer and Bob Hoskins in Who Framed Roger Rabbit, Ben Gazzara in The Killing of a Chinese Bookie, Paul Giamatti in The Holdovers, Jennifer Lawrence in No Hard Feelings, Julianne Moore in May December, Richard Pryor and Christopher Reeve in Superman III
Best Supporting Performance (male): Jan Malmsjö in Fanny and Alexander
Runners Up: Cab Calloway and Charles Napier in The Blues Brothers, Jack Lemmon, Matthew Modine, Chris Penn and Tim Robbins in Short Cuts, Christopher Lloyd in Who Framed Roger Rabbit, Strother Martin, Michael Ontkean and Brad Sullivan in Slap Shot
Best Supporting Performance (female): Anne Archer in Short Cuts
Runners Up: Lindsay Crouse and Kathryn Walker in Slap Shot, Jennifer Jason Leigh, Julianne Moore, Annie Ross, Madeleine Stowe and Lily Tomlin in Short Cuts, Annette O'Toole, Annie Ross and Pamela Stephenson in Superman III
Most Enjoyable Ham: Meryl Streep in The Iron Lady
Runners Up: Kristin Chenoweth in 12 Men of Christmas, Marlo Thomas in A Magical Christmas Village, Cindy Williams in A Dream of Christmas
Best Mise-en-scène: Eyes of Fire
Runners Up: Fanny and Alexander, Short Cuts, Who Framed Roger Rabbit
Best Locations: The Blues Brothers (various Chicago cityscapes)
Runners Up: Eyes of Fire (wild Missouri forest and river locations), The Holdovers (wintery Massachusetts small town and campus), The Naked Spur (Colorado Rocky Mountains)
Best Score: Short Cuts (Mark Isham)
Runner Up: Eyes of Fire (Brad Fiedel)
Best Leading Hunk: Bob Hoskins in Who Framed Roger Rabbit
Runners Up: Dean Cain in Broadcasting Christmas, Ben Gazzara in The Killing of a Chinese Bookie
Best Supporting Hunk: Ralph Meeker in The Naked Spur
Runners Up: Adam Lolacher in Time for Him to Come Home for Christmas, Allan F. Nicholls in Slap Shot, Jessie Pavelka in 12 Men of Christmas
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BANDA SONORA
FUNNY GIRL
Los productores Sonia Friedman, Scott Landis y David Babani, junto con Gemini Theatrical, Accidental Jacket y Sony Masterworks Broadway, se complacen en anunciar el lanzamiento en CD de FUNNY GIRL - New Broadway Cast Recording, el viernes 20 de enero de 2023. Ya disponible en formato digital.
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Los productores Sonia Friedman, Scott Landis y David Babani, junto con Gemini Theatrical, Accidental Jacket y Sony Masterworks Broadway, se complacen en anunciar el lanzamiento digital de FUNNY GIRL - New Broadway Cast Recording, que saldrá a la venta mañana, viernes 18 de noviembre de 2022, a las 12:01 AM ET. Producido por David Caddick y David Lai y que incluye la partitura clásica de Jule Styne (música) y Bob Merrill (letra), el CD físico saldrá a la venta el viernes 20 de enero de 2023. Además, el álbum ha sido producido por Evan McGill y coproducido por Brian Gillet, Huck Walton, Sean Keller, Marc Levine, Michael Mayer, Sonia Friedman, Scott Landis y David Babani.
FUNNY GIRL está protagonizada por la nominada a los premios Emmy Lea Michele como Fanny Brice, el nominado a los premios Tony y Olivier Ramin Karimloo como Nick Arnstein, el nominado a los premios Tony y Drama Desk 2022 y ganador del premio Chita Rivera Jared Grimes como Eddie Ryan, y la cuatro veces nominada a los premios Tony Tovah Feldshuh como Mrs. Rosie Brice en el August Wilson Theatre (245 West 52nd Street). Les acompañan Peter Francis James como Florenz Ziegfeld, Ephie Aardema como Emma/Sra. Nadler, Debra Cardona como Mrs. Meeker, Toni DiBuono como Mrs. Strakosh, Martin Moran como Tom Keeney, y una compañía de actores que incluye a Miriam Ali, Amber Ardolino, Daniel Beeman, Colin Bradbury, Kurt Csolak, John Michael Fiumara, Leslie Donna Flesner, Afra Hines, Masumi Iwai, Aliah James, Jeremiah James, Danielle Kelsey, Stephen Mark Lukas, Alicia Lundgren, John Manzari, Liz McCartney, Connor McRory Katie Mitchell, Justin Prescott, Mariah Reives, Barbara Tirrell, Leslie Blake Walker y la suplente de "Fanny Brice" Julie Benko, que interpreta el papel todos los jueves.
El ganador del premio Tony, Michael Mayer, dirige esta nueva versión de FUNNY GIRL, con la clásica partitura de la ganadora de los premios Tony, Grammy y de la Academia, Jule Styne, y letras del nominado al premio Tony y ganador del Grammy, Bob Merrill, (con canciones adicionales de Styne y Merrill). El libro original de Isobel Lennart, a partir de una historia original de Lennart, está revisado por el ganador del premio Tony Harvey Fierstein.
FUNNY GIRL cuenta con la coreografía de Ellenore Scott, la coreografía de claqué de Ayodele Casel, el diseño escénico del ganador del premio Tony David Zinn, el diseño de vestuario de la ganadora del premio Tony Susan Hilferty, el diseño de iluminación del ganador del premio Tony Kevin Adams, el diseño de sonido del ganador del premio Tony Brian Ronan, el diseño de peluquería de Campbell Young Associates, la dirección musical y la supervisión del ganador del premio Emmy Michael Rafter, el reparto de Jim Carnahan, CSA y Jason Thinger, CSA, la orquestación de Chris Walker, los arreglos de danza, vocales y de música incidental de Alan Williams, y los arreglos adicionales de David Dabbon y Carmel Dean.
Esta comedia agridulce es la historia de la indomable Fanny Brice, una chica del Lower East Side que soñaba con una vida sobre el escenario. Todo el mundo le dijo que nunca sería una estrella, pero entonces ocurrió algo curioso: se convirtió en una de las intérpretes más queridas de la historia, brillando más que las luces más brillantes de Broadway. Con algunas de las canciones más emblemáticas de la historia del teatro, como "Don't Rain On My Parade", "I'm the Greatest Star" y "People", la nueva y audaz producción de Michael Mayer es la primera vez que FUNNY GIRL vuelve a Broadway desde su debut hace 58 años.
Las entradas para FUNNY GIRL están ya a la venta hasta el domingo 28 de mayo de 2023 en https://seatgeek.com/funny-girl-tickets. Los precios son a partir de 69,00 dólares.
El día de la función, si se agotan las entradas de pie, habrá un número limitado de ellas en la taquilla. Las entradas de pie son por orden de llegada.
FUNNY GIRL está producida por Sonia Friedman Productions, Scott Landis, David Babani, Roy Furman, No Guarantees, Adam Blanshay Productions, Daryl Roth, Stephanie P. McClelland, Lang Entertainment Group, Playing Field, Gavin Kalin, Charles & Nicolas Talar, Fakston Productions, Sanford Robertson, Craig Balsam, Cue to Cue Productions, LenoffFedermanWolofsky Productions, Judith Ann Abrams / Peter May, Hunter Arnold, Creative Partners Productions, Elizabeth Armstrong, Jane Bergère, Jean Doumanian, Larry Magid, Rosalind Productions, Iris Smith, Kevin & Trudy Sullivan, Julie Boardman / Kate Cannova, Heni Koenigsberg / Michelle Riley, Mira Road Productions / Seaview, In Fine Company, Elie Landau, Brian Moreland, Henry R. Muñoz III & Kyle Ferari Muñoz, MaggioAbrams / Brian & Dayna Lee.
Los productores asociados de FUNNY GIRL – New Broadway Cast Recording son Joanna Drowos, Abby Green y Pickelstar.
SONY MUSIC MASTERWORKS es una compañía global de entretenimiento especializada en música grabada y experiencias en directo. Entre nuestras producciones teatrales y álbumes de reparto se encuentran Almost Famous, KPOP, Lempicka, Macbeth (Daniel Craig), Back to the Future, Sing Street, SpongeBob, Harry Potter, Flying Over Sunset, Hello, Dolly! (Bette Midler), Kinky Boots y Once. Para actualizaciones por email y más información, visita www.sonymusicmasterworks.com/.
ACCIDENTAL JACKET ENTERTAINMENT es una productora creativa que combina el cine, el teatro y la música. Hacemos anuncios, películas, vídeos musicales, producciones en directo y álbumes, todo ello con el impulso de contar historias convincentes. Nuestro álbum más reciente fue The Music Man, protagonizado por Hugh Jackman y Sutton Foster.
Sigue a FUNNY GIRL en Facebook, Twitter & Instagram @FunnyGirlBway. www.FunnyGirlOnBroadway.com
Sigue a SONY MUSIC MASTERWORKS en Facebook, Twitter, Instagram & YouTube. www.masterworksbroadway.com
Sigue a ACCIDENTAL JACKET ENTERTAINMENT en Facebook, Instagram & YouTube. www.accidentaljacket.com
Gracias a Lucky Seat, habrá un número limitado de entradas disponibles para cada función de FUNNY GIRL por 47,50 $ la entrada. Las loterías digitales comenzarán cada lunes a las 10 AM ET y se cerrarán el día anterior a la actuación a las 10:30 AM ET. Los ganadores serán notificados aproximadamente a las 11 de la mañana, hora del este, del día anterior a la actuación, por correo electrónico y por SMS. Una vez informados, los ganadores tendrán un tiempo limitado para reclamar y pagar su(s) billete(s). Los participantes en la lotería deben ser mayores de 18 años. Los billetes son intransferibles. Todas las ventas son definitivas. No hay cambios ni devoluciones. Los límites y precios de las entradas son a discreción del espectáculo y están sujetos a cambios. Para ver las reglas adicionales e información sobre cómo participar, visita: https://www.luckyseat.com/shows/funnygirl-newyork.
FUNNY GIRL – NEW BROADWAY CAST RECORDING (TRACKLIST):
1. Overture
Nuevo reparto de Funny Girl en Broadway
2. Who Are You Now?
Lea Michele
3. If a Girl Isn't Pretty
Tovah Feldshuh y Toni DiBuono
4. I'm the Greatest Star
Lea Michele
5. Eddie's Tap
Jared Grimes
6. Cornet Man
Lea Michele, Kurt Csolak, Justin Prescott
7. His Love Makes Me Beautiful
Lea Michele, Daniel Beeman y la compañía
8. I Want to Be Seen with You
Lea Michele y Ramin Karimloo
9. Henry Street
Tovah Feldshuh, Toni DiBuono, Debra Cardona, Jared Grimes, Martin Moran, Lea Michele y la compañía
10. People
Lea Michele
11. You Are Woman, I Am Man
Lea Michele y Ramin Karimloo
12. Don't Rain on My Parade
Lea Michele
13. Sadie, Sadie
Lea Michele y Ramin Karimloo
14. Who Taught Her Everything She Knows?
Tovah Feldshuh y Jared Grimes
15. Temporary Arrangement
Ramin Karimloo, Daniel Beeman, Kurt Csolak, John Manzari y Justin Prescott
16. Rat-Tat-Tat-Tat
Lea Michele y la compañía
17. Who Are You Now? (Repetición)
Lea Michele y Ramin Karimloo
18. You're a Funny Girl / Beekman Call
Ramin Karimloo
19. What Do Happy People Do?
Nuevo reparto de Funny Girl en Broadway
20. The Music That Makes Me Dance
Lea Michele
21. Dream Ballet
Nuevo reparto de Funny Girl en Broadway
22. Finale Act 2
Lea Michele
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ALIENATION
Figure 1 – Mandy Pantinkin as Sam Francisco
Some people think that all I do with this column is review books, TV shows, and movies. Well, I do, but that’s not all I do. When I started this column back in the pre-Internet days (I wrote the fan column for a couple of years in the ‘80s), I was the fan columnist—but we didn’t call it “The Clubhouse,” as in Graeme Cameron’s version. I called it “Fans,…
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#alienation#and Cons”#bully pulpit#Column 333#Darrell Wilcox#Dean Wesley Smith#denigrating#Eric Flint’s Grantville Gazette#F&SF review#fan column#fannish feuds#fans#Free University#Gordon van Gelder#Graeme Cameron#John Meeker#Kristine Kathryn Rusch#Let it be#new year#organized fandom#ostracized#Paul McCartney#peer groups#Professor Paul Brians#prose#Sad Puppies#sexism#Steve Davidson#The Clubhouse#Washington State University
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#dean martin#susan hayward#ralph meeker#paul verhoeven#virginie efira#daphne patakia#movie podcast#podcast#movie reviews#Spotify
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Photo
Genghis Khan, Dean Meeker, 1962, Brooklyn Museum: Contemporary Art
Size: image: 27 3/4 x 17 3/4 in. (70.5 x 45.1 cm)
Medium: Intaglio (the plate for this print was developed on an aluminum base with Polymar. Silk-screen color was used.
https://www.brooklynmuseum.org/opencollection/objects/81530
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Leverage Season 2, Episode 2, The Tap-Out Job, Audio Commentary Transcript
Marc: Hi, I’m Marc Roskin, Director and Producer on Leverage.
John: Hi, I’m John Rodgers, Executive Producer and Writer on Leverage. Hold on, let me open my beer. Albert.
Albert: I’m Albert Kim, I'm the writer of this episode of Leverage.
John: I'm gonna jump straight to Marc Roskin, because we are jumping straight into the action here. Marc, this is a gym, or looks like a gym, starts with a fight scene. How hard was it to find this space, and what did you do to make it shootable?
Marc: We had a handful of gyms to choose from, but what we liked about this was the elevated ring. We were able to center it in the middle of the ring and it had a good work space and of course, as you know, Dave Connell likes a lot of windows.
John: Yeah. So you're bouncing light in through those outside windows, then.
Marc: Yes. Even when we’re playing these scenes at night, we were still streaming lights in through the blinds. And as you can see, we have vertical blinds all over. We put those up as well. It just had a- also a good, central location for us to shoot in other areas as well.
John: Cool. Now this is the most involved fight shooting we did the entire year. How did you prep for it?
Marc: Well, the gentleman- the bald gentleman on the right, is Matt Lindland, who is a high school champion wrestler, college wrestler, Olympic silver medalist, and a real mixed martial arts fighter who fought in the UFC. So when we were looking to cast someone, we wanted to cast someone who knew the sport, who knew the ability, and because later on as you see our Eliot character in the ring, we wanted someone who could be safe with Christian. Because, since Christian does all his fights, we wanted someone who wasn't gonna try and show off for the camera and end up hurting one of our stars.
John: Not that Christian doesn't get hurt on a fairly regular basis anyway, but yeah, it was a nice try. And this was a really fast start. This is- you know, we bang right into the villain, we bang right into the victim. Our- this, however, was not our usual episode. Why don’t you tell us how this got started?
Albert: Well this was our- this was essentially our fight episode, our boxing episode, and except we wanted to update it, so we set it in the world of mixed martial arts.
John: To explain to people who don't know con shows, there are certain prototype con shows and movies-
Albert: That’s right.
John: The boxing con is a big one. And so we’re constantly looking at these older cons to update them and so we landed on alternate fighting. So what sort of research did you do?
Albert: That's the first thing I did. My background is in sports journalism, and so my first instinct was to start doing a lot of research. So I read a couple of books, I interviewed fighters, I interviewed promoters and managers, I spent some days in the gym.
John: You went to a gym here in LA, right?
Albert: Yeah I went to the Legends gym here in LA and spent a couple afternoons there, and talked to a lot of the fighters there. And one of the first things I learned was that, if people know the sport at all, they know the UFC and Las Vegas and things you see in pay per view, which is kind of the upper tier of the sport, but I learned that there's also this huge grassroots level of the sport, where they’re fighting in small towns all through the Midwest and everyone is out there trying it to make it to the big time. I knew right then that that's where we had to set the story somewhere, because it’s a wilder and wollier world with less regulation and more people are being taken advantage of.
John: What sort of money they fighting for at that level?
Albert: They're fighting for- if they're lucky, they're fighting for maybe two or three thousand dollars; more like 500 dollars a gig sometimes. Sometimes they work as bouncers at a club and then after they're done with their shift, they're allowed to come in and fight. It's literally a step above amateur night.
John: And this is a really nice sequence, by the way, the spin around to reveal Nate. Was it really raining? Did you get lucky or-?
Marc: No this was- I wanted to have at least one night scene in the episode.
[Laughter]
Marc: Dean gets lots of those.
John: Dean gets the- Dean cake; we've explained the Dean cake.
Marc: This was my night episode and I thought, ‘well maybe we'll have it rain, just to have some sort of effects.’ The previous shot was a stock shot and then that one I just thought it would give a nice night look to the scene.
John: And this also takes us out of our comfort zone. Albert why- what was- yeah, we’re in- where are we, Nebraska?
Albert: Nebraska.
John: We originally didn't set it in Nebraska.
Albert: It was originally set in Iowa, except Portland doesn't look a lot like corn fields and stuff, so we moved it to a slightly- we moved it to Nebraska. It's not a huge difference.
John: It's a little more mild, a little more hilly.
Albert: A little more, yeah. It's also realistic because a lot of- both Iowa and Nebraska and a lot of the midwestern states, they're really big into the wrestling tradition and that's where a lot of the MMA fighters are coming from today. And we make a point of in the episode, that the- that's where the grassroots talent is. So- and the other thing about this episode is, you know, knowing that it was gonna be set in the world of fighting, we knew it was gonna be very Eliot centric.
John: Yeah.
Albert: So this is definitely gonna be an Eliot character episode, and I remember one of the first things I talked to you about when I started working on this was, we talked about the Eliot character, and one thing I remember you saying was that Eliot is really good at the violence, but he doesn't necessarily like it.
John: No, no, the violence- Eliot Spencer is a- considers himself a negotiator, and occasionally negotiations need to be resolved with short, sharp bursts of violence. He's not a hitter- he's not a hitter by nature; he's a hitter by choice, by job.
Albert: And that immediately suggested to me this whole theme of, sort of, self control and this had to do with episode, has to do with him being able to control the violent impulses he has, as well as, you know, externally in this story, and the bad guy is someone who sort of exerts control over all these guys.
John: I would like to say, by the way, this is the perfect locked off comedy frame. The whole idea of Nate sitting there quietly; he's not even going to dignify what the kids are doing behind him at this moment, he's busy thinking. Also a lot of interesting fan mail about being trapped in Beth’s thigh grip; really, don't ever email us about that again. But this was a ton of fun. What was it like shooting this?
Marc: It was a lot of fun, but it was also helpful to explain some of the fight scenes. And, you know, to have Matt Lindland teach Beth Riesgraf how to put Christian Kane- or to put Hardison in a triangle choke hold, was very fun. And Albert and I had the experience of having Matt put us in that hold as well.
Albert: Oh man.
Marc: And I swear to god, he must have just given me five percent of the pressure in a fight; I had a headache the rest of the day.
Albert: Oh my gosh, it was unbelievable. But Beth picked it up really fast; that was scary.
John: She's got good physical- she's got good physical memory, actually, she picked up the pickpocketing really fast.
Albert: I love this shot.
John: This is a great shot now; this is the classic golf con; this is very Rockford. This is the classic Rockford, is that Jim Garner would show up as Jimmy Joe Meeker or somebody else at your celebrity play- like your bad guys place, piss him off, and then ingratiate himself and force him to seek him out for vengeance. It's a great roping technique, actually, rather than looking like your seeking him out - force him to seek you out. Now where is this?
Marc: This is at one of the golf courses outside of Portland, the Oregon Country Club. And they just opened the doors to us and we had a really good time shooting this. And fortunately for us, Brian Goodman is, I would say, almost like a scratch golfer.
Albert: Yeah, he's single handicap.
Marc: He had a really good time doing this.
John: And Brian is the main villain.
Marc: He's our main villain.
John: He’s Jed Rucker. And now, is he from LA or from Portland?
Albert: Yeah, LA.
Marc: No he- he came from LA, but he's a Boston guy; he had a really real, rough Boston upbringing.
Albert: Oh yeah, Boston.
John: Oh that's right, yeah, he came up in like the- he came up in the less than lawful element, if I remember it correctly.
Marc: Yes he did, and he's put that energy into acting and I think he handles it very well.
Albert: But he also brought a lot of grittiness to the role which was really nice.
John: Well he's one of the few physically menacing bad guys we have. Usually the bad guy has what we call the Busey, which is your sidekick meant to inflict pain or do your dirty work. While he really looks like he would be the dude driving you to the crossroads of a shallow grave.
Albert: Definitely.
John: Now it- was it raining? I mean were shooting in Portland, so...
Marc: Not at this sequence; when we get to later parts of the con, we did have some rain.
Albert: But pretty soon after we shot this it started pouring, and because- it was cold there. It was really cold out in the morning, I remember that.
John: I love the fact that Hardison, in theory, has a way to put nanites in a golf ball, just in his luggage. Or he knows hackers in Nebraska that he can get that from. You know the Omaha hacking scene, it's really, really vibrant. Good lift. Beth, as always, doing her own lifts, and this is- this is one of our few big montage sequences.
Marc: Yes.
John: Usually they are very self contained; one, two, three beats.
Marc: No, we actually went out and shot a round of golf and were able to- and Tim, who has never really played before, picked it up really quickly and developed a really good swing, and we were actually using a lot of his shots in the actual montage.
John: Now that’s cool.
Albert: Well what's funny is that he’s you can tell he's an actor, because all of his best shots came when the camera was on. Turn the camera off and he couldn't hit the ball for his- to save his life, but then once the camera was rolling, right down the middle; he would strike it.
Marc: And Brian was nervous that we were gonna ruin his swing cause we kept telling him to shank things, cause the ball was supposed to go off.
John: Yeah once you learn, you're done. And this is where- yeah this is the beginning of the montage. Now I’m gonna jump ahead cause the montage will give us enough time to do so. When you were talking about- when you were breaking this episode as a director, you knew you were gonna do that gym. Did you reference look at any specific reference materials? Did you look at any fights? Did you look at mostly MMA footage? Or what'd you- what was your homework there?
Marc: I looked at MMA footage and I also looked at some of those fights that Albert was talking about - the grassroots fights. I- you know, I'm a fan of this sport so I have been following it, and I was looking up footage, and looking up rings, and looking at the magazines as well, and just trying to study up on it as best as I could.
Albert: And you had also done all that research previously for a feature project, right? So you had all that information as well, which helped.
Marc: Yeah, so I'd been to the UFC matches; I've been, you know, to the gyms; I've been to some of the smaller venues as well.
John: I love the choice Beth always does in these scenes, is to put on a very sort of frowning concentration? Like Parker finds human tradition fascinating. Tim sank this right?
Marc: Yes he did.
Albert: Yeah.
Marc: We kept telling him to- ‘don't worry, we'll put it in CG.’ He said, ‘no I'm gonna get it, I’m gonna get it’ and he did.
John: And that is the- I don't know what number hat that is for this season; that is a really obnoxious hat, that's nicely done. Tim- I forget where it started, probably last year Bank Shot? Where we put the cowboy hat on? It just started, the shorthand for Tim’s character, which is now which hat he's wearing. Because in it- really in this one, he really is in that tradition - that Rockford tradition that we hit again in the Lost Heir Job, and that sort of big city/city slicker, just kind of weasel, that just gets under this dude’s skin.
Albert: Well this is one of the episodes where we actually take the action out of the Boston area, or wherever our team’s headquarters is, and we went- we traveled to the midwest. So part of the idea is to take our team out of their comfort zone, so they don't exactly- so they're a little uncomfortable being out of their element, and then it actually comes to play in this story. They don't exactly- they are eventually subverted because they can't really figure out the relationships in this community.
John: Well they're- well they can't cover everything, you know. And that's a big- that was a big challenge in season two, is the fact that by the end of season one, these guys had done a lot of really amazing stuff. And how do you continue to throw obstacles in their way? And so a lot of the first half of season two was: ‘okay, let's take them out of Boston; okay, let’s constrain them in time and space; alright, let's give one of them an emotional interest that derails them’. And this is really a perfect example. This episode’s one of my favorite examples from making one season to making five. Is figuring out how to take the characters out of their comfort zone in an interesting way that's still- that still tells a character story, a really good Eliot story.
Albert: Now what’s interesting in this is also that a lot of the fighters were real MMA guys that Matt actually- Lindland has a gym in Portland.
John: Oh cool.
Albert: So he brought a lot of these guys from his gym and they were background, later on they'll be in some of the fight scenes. So that was really helpful for the reality of the of the look as well.
John: Yeah, that’s Chris showing off the fact that- I forget when we told him, but we were like, ‘you got an MMA episode.’ He was like, ‘oh I gotta go train.’ He couldn't- we couldn't find him for two months.
Marc: And he thought it was gonna be in episode six or- no it’s now episode three; he's like ‘oh no!’
John: Yeah and this now- this sort of- What'd you call this? It’s kind of a gauntlet.
Marc: Yeah this is what he calls it, and this is what something I wanted to just try and do with one shot and keep everything pushing in on him, pushing in on Christian. The cars converging, everybody just converging. Just to show how outnumbered he is.
John: And it's a good cliffhanger. And yeah, Eliot's about to fight. And now the promised fight.
Marc: Exactly.
John: You know, we have made a bargain with the audience and now we're delivering unto them.
Albert: So all these guys were real fighters.
John: No stunties? Or most of them fighters?
Albert: No, they were local fighters; all local guys.
Marc: These were all local fighters.
John: That's tough, because getting fighters to throw stunt punches is tough.
Marc: Yes. And the last guy you see him fight was someone from the ultimate fighters, this guy Ed Herman. Who unfortunately lost his last fight at the UFC cause his knee went out, but he was really great to work with and train with.
John: Yeah. There's a nice cornered- cornered dog moment here where you are fairly sure Eliot will choke this dude out if he needs to. Now why don't you explain- I just said that fairly cryptically as if everyone would know. Why is it difficult to get real fighters to look good on camera?
Marc: They did- a lot of times- they just don’t- they don’t how to sell it for television, or for film. It's just- it's really about camera trickery, and where it should be, and sometimes some of these guys, they punch too fast, or too quick, and they think it's real, but it doesn't register enough; so you're always trying to tell them- I mean, I'm even telling Christian this a lot of times, dude, take 10% off so I can really see it.
John: Yeah. That’s a lot of the thing is, you know, since he does all his own stunts, it becomes a sort of a matter of pride between him and the stunt man to move as quick and fast and hard as they can. And, you know, we do have to photograph this stuff.
Marc: Well I mean, the beauty of having Christian do his own stunts is you never have to hide a stunt person when it’s Christian and-
John: You just move the camera how you want.
Marc: And he's a very fast learner. He really learns a routine quickly; he helps choreograph them, and you never- you can always tag Christians face and that's what this is about, so it's great to have the ability to keep Christian in. This is one of my favorite shots - we craned through the actual ring all the way to Rucker and Eliot.
John: You got a crane?
Marc: We had- yeah.
John: Wow, that's really nice. Now I'm gonna ask the- the controversial chicken fried steak scene was just up. We were really trying- it's interesting, we were really trying to show that Sophie was out of place, and a lot of people took it as we were making fun of food in that part of the country. And it's just interesting that as writers, you forget that the protagonist is assumed to be speaking the truth at all times in the audience members mind. When, a lot of times, for us, they're characters that we move around the chessboard; we have no problem making the characters be jerks, or selfish, or small minded.
Albert: It was in no way meant to put down the quality of cuisine in Nebraska, in Omaha, in Lincoln.
[Laughter]
John: Really, stop your angry angry tweets and emails.
Albert: Please stop the emails.
John: The chicken fried steak in the FedEx box, stop it.
Albert: I'd like it, for the record, I've actually been to Nebraska many times for my past jobs, and I’ve had wonderful meals there, including some very good chicken fried steak.
John: There you go. This- it's interesting here, Eliot, when we were writing Eliot playing the cons, he tends to- and this is a lot of Christian’s acting choice, he tends to play the character very power negative. You know, it’s a subtle thing, but he's actually the second best- Eliot is the second best after Sophie on the cons. Parker isn't comfortable enough with people, Hardison always goes over the top, and Nate is too distracted, and to a great degree, particularly in this season, really is working through his addiction to vengeance and control. And it's interesting, you know, we write these things, and the actors always put a little spin on it, but that's the spin Chris tends to put in it. Sort of hard done by jamoke.
Marc: Well what I loved about this sequence, is we just saw him kick some serious ass on a bunch of guys in a parking lot. Now he's in the lion's den, he's showing this vulnerability; it really just felt so honest and sincere.
John: He's in over his head.
Marc: Yeah.
John: He's just a guy who’s really good at fighting. And you had that great line later in the script ‘you fight like something’s trying to get out of you’. You know, that's really the dynamic of the- this episode is ‘what is Eliot's relation to violence’? You know, where you can’t be a totally sane human being to be able to inflict that amount of pain on a regular basis. But he's someone who’s very controlled.
Albert: Yeah. It was great trying to dive into Eliot's character ‘cause it's something I haven't done before on this show, and plus the person that he ends up- who plays his foil, really, is Sophie. Because she ends up becoming the natural, I don't want to say mother hen figure, but she's the one who has the serious concern for what he's going through. So they end up having some very nice moments later on.
John: Because of her discomfort with violence.
Albert: Yes. She’s- that’s the diametric opposite of how she works. She's very physically disengaged whenever she runs her cons; it's all about the artifice and the person, the personality that she's putting on. And his job for the most part is physical. And it's sort of the cross between those two worlds which makes the interaction interesting.
John: It's also a nice speech about exploitation for the guys just running these guys out on cash.
Albert: That evil speech of evil.
John: It's our evil speech of evil for this episode. Do you know that phrase?
Marc: No.
John: The evil speech of evil is- we finally came up with a name for it in the writers room. It is the speech, every episode, the villain gives to justify his world view. Wherein this world view, he's not the bad guy, cause nobody is the bad guy in their own mind. He's just gonna explain why he does what he does. And, you know, but however, as normal sane humans, we look at that and go ‘oh my god that's evil’! And it really came about because we were researching all the Madoff variations early in the season and we were reading all these justifications by these guys who ripped off 50 million to 100 million dollars and in their heads, they weren't the bad guys.
Marc: Right.
John: You know? This is also great; Parker, while Sophie cannot get into the whole Omaha scene, Parker loves it. The -
Albert: She’s got the Nebraska cap on, got the cuisine.
John: Did that start as a wardrobe thing or-? Cause I was on the set for this one.
Albert: No, I put that in the script, and we had to clear various Nebraska logos and caps and stuff like that. But that was a fun little thing just to put in the background, sort of a grace note, with Parker’s character. This is the first Eliot/Sophie interaction where we start to see what Eliot is thinking and what Sophie’s concerns are and they were great in this scene.
Marc: Really great.
John: Yeah. This is- I remember watching the dailies on this, and even the dailies, the untreated dailies, you know, we kept flipping back and forth looking at the performances. Cause these are not characters that really rubbed up against each other in the first season a lot, and they really wound up being, kind of, the anchor pair for the first half of the season.
Albert: That's right.
John: And then, sort of, you know, there was a really interesting evolution on the Eliot/Parker relationship in the second half of the season; the sort of big brother thing really kicked in there. And the brother/sister teasing really said a lot.
Albert: The other thing Gina does great here in this scene in particular, you know, I wrote the character as a sort of LA agent, very type A personality without any real specifics in terms of how to approach it as a character. And she just nailed this accent. I think it's one of the best accents she's ever done, and it sounded so natural. Like, I swear I’ve met this person before.
John: It's so hard with Gina's accents because she studies them so meticulously. We always get one of two reactions. The people who aren't from there going, ‘That feels a little over the top’. And the people that are from there going, ‘Oh my God, that's perfect’. You know, because she- what was the name of our accent person? Our dialect coach - Mary...
Albert: Mary Mack.
John: Mary Mack. Up in Portland. So we have- we have found someone in Portland, Mary Mack, was actually the voice of Wonder Woman on Super Friends.
Albert: That's right.
Marc: That's right.
John: And she does a lot of dialect work, and she happens to live in Portland, so we had a full time Portland person out there who really made life a lot easier. And Gina insists on meticulous.
Albert: Yes.
John: It was also, now we’re getting into the nuts and bolts of how you actually make money in here with the cable bill, so I know you researched the hell out of this so-
Albert: Yeah, you know, the big money in any of these martial combat sports comes from the television contracts. And the UFC, in particular, has taken advantage of the pay per view deals they have. And it's- when they started looking at numbers, it's gigantic; they make so much money off the pay per view deals, they really don't need steady cable contracts or television contracts. So that suggested to me to build a con out of that, because in any of these cons, what you're trying to do is prey upon the greed of the bad guy.
John: The bad guy- the rule we always have is, the bad guy’s undone by his own sin.
Albert: Exactly. You can't con an honest person, that's how the saying goes. So what- the basic idea of the con is to dangle the promise of huge money in front of the bad guy and let him go after it, which is basically what we're doing here.
John: Sorry we’re totally distracted by the tracksuit here.
Albert: By the Velour tracksuit.
John: I love also- I never caught the first time around when Hardison ‘white people doing white people things’ the events they've got on the-
Marc: Drunken tractor pulls.
John: Which, by the way, there was a lot of that stuff when I worked the midwest. But it's interesting about the name Triana for the teen bopper act that we wind up hijacking the concert- we steal a concert. We tried eight names.
Albert: At least.
John: We tried the most ridiculous- maybe we tried a dozen of the most ridiculous one word names we could come up with for teen acts - they were all taken; every single ridiculous name was being used by some Disney girl. So we wound up using the first name of a character in the cartoon the Venture Brothers assuming there's no possible way anyone could be using this. And now this includes- this was great. How- do we start with we’re gonna steal the truck or we look at how they were shot and then steal the truck?
Marc: Steal the concert.
Albert: Steal a concert. And again, for this I did a fair amount of research I went to one of these production trucks here in LA at Staple Center and spent an evening watching them as they produced a Lakers game, and then just picked up the way the things moved there, the dialogue, and what was going on. And I learned- and this is all true to life, that the director and the producer of these telecasts often fly in from out of town and never meet the crew, the crews are all local. So as we do in this story, you can easily bring in two people that the crew has never met and they would just listen to every word, which is how we-
John: And it's another great thing where the research just gives us- a lot of times we have these giant mountains of crime in front of us, and the research gives us this much easier version. That, you know, any- it's amazing what you can get away with in America with a clipboard and a nametag.
Albert: Yes.
John: Yes. This is another thing, by the way, whenever we burn someone who is not central to the con, we have to take at least 30 seconds to establish they're an asshole. We, a lot of times, run into trouble when writing episodes where like, we need to con this person, but they're kind of an innocent bystander, so there's always a dial of how mean we can be, but this guy’s from LA and America hates people from LA, so...
Marc: Yes, and he's yelling at the limo driver.
John: We actually at one point had him- to really scunge him up, have him asking for the local prostitutes, but luckily we didn't really need that. Corn dog. My god, does she actually eat that?
Albert: She did, and this was probably like seven in the morning; it was the first thing she was eating in the morning.
Marc: But notice how she tosses it. That was a choice Beth made.
John: Yeah.
Marc: There it goes.
John: Just, yeah, again, this is the sort of thing that I really notice during the commentaries. Beth really dials in when Parker knows she has to act like a human being and not act like a human being when nobody's looking at her. And we actually had a Parker flashback - her first concert - which we wound up cutting where-
Albert: We didn't use.
John: Which we didn't use, but it ties into another episode. But we can tell you really quickly, everyone was talking about a first concert, and everyone had a really different band they’d gone to. And Parker- the flashback was 12 year old Parker, everyone raised their hands up with the lighters and she picked the pockets as they went through. We didn't use the sequence, but the actress wound up in the Top Hat Job, and that's the little girl we buried alive.
Marc: Yes.
John: And by buried alive, I mean we just pretended we buried her alive.
Marc: Yeah I felt like I broke her little heart, she was all ready and we decided to cut it, but she got to come back.
Albert: Yeah. This is a real truck, we rented a real production truck and those guys-
John: Was it easy to rent and build?
Albert: Yeah.
Marc: Oh yeah.
Albert: And those guys in the background are- actually work in the truck, so they were familiar with all the equipment and they were in the middle of, I think this was around the NBA playoffs time, they were on their way from here to go cover a real game.
Marc: Yeah, not a lot of room to work in these trucks, for filming.
John: What was the shoot- now that’s the great thing about the RED, though. We couldn't have shot this with the genesis that things like an engine block
Marc: We were able to just put on shorter lenses; some of the pieces do move. But you can tell just some of the blocking I had to do was a little static - besides doing steadicam to bring them in and out - but I think we got plenty of coverage that really tells the story. And it was great to just have all those monitors just come to life to keep it busy.
John: Well it's real depth- it’s real depth on the set; it makes it feel real. There's actually- the first director I ever worked with told me the most important thing to do is to make sure something's going on behind the actors. That's where everyone fails - if you're making your first little indie, be aware of that. That's where everyone fails, is you forget to put action behind your actors. And where were we on this? We were outside-
Marc: We- this is one of the other reasons we chose the gym that we worked in. This was just a few walking blocks from the gym. This was a high school that had shut down and we are using their parking lot.
John: Well that's good. The children of Portland don’t need an education - we have important filming to be doing. We just actually also, that's where Gina gives a parallel version of the evil speech of evil. About how the cable companies, or the sort of teen singer industry, is exactly like fighting; it's the girl version.
Albert: Her character views the singers as products, they're not people, just the way that our bad guy sees the fighters as products.
Marc: And there's the ladder cross; you have to have the ladder cross.
John: Is there a ladder cross?
Marc: Yeah there's a ladder cross.
John: Nicely done. Did you- you had werewolves in one, didn’t you?
Marc: Yes we did.
John: You always got interesting stuff going on in the background. Where are we here? Oh, this is where they find out they can’t hack a hick. I'm trying to remember how we wound up with that being the problem.
Albert: Now this is the complication. This is before- this is when, basically, you realize, yeah, you can't hack a hick. It's nothing that they- that our team could plan for; there's nothing on the computer networks that could do, nothing they could cut off, because it's basically the bad guys henchmen calling his cousin Jimmy and finding out these people are not who they say they are.
John: They tried to get into a network that's not- that- the data is not maintained by computers, it's maintained by people. That's actually a big challenge on the show, is that when you have a complication on a show, a lot of tv shows just have it be the characters have screwed up in some way, or just some random bad thing happens. The rule we try to maintain is either they succeed too well, or there's something specific about the setting that screws them up. You know, it drives me crazy when some sort of blind anvil falls out of the sky in the middle of a show. Or in particular the characters have been dumb and failed in that way. There's an expression in television called the idiot ball, where a character will carry the idiot ball and will act- just act stupidly in order to advance the plot.
Marc: Right.
John: You know the thing here is, we have five very smart characters. This is a creepy threatening moment particularly because Gina's pregnant here. That's if you actually know that, the look of Matt about to beat the hell out of Gina is very nasty. And also you get a really scary vibe off of Goodman there.
Albert: He's a very menacing character. Going back to the other thing here you're saying, is thematically the other thing at work in the story is the idea of family, so the twisted version of family, which is where our bad guy calls his cousin Jimmy and that's what undoes their team. On the flip side, you have the father and son who are fighting for their livelihood who are the victims. And in the end what brings- what actually allows our team to complete the con is the fact that they call on one of the members of the family.
John: Yeah.
Albert: So it's all about good family/bad family and how those relationships wind through the story and this particular community.
John: You're making it sound like we do a lot of work in the writers room.
Albert: Sometimes we actually do some work on these things.
John: Not often. A lot of times it just starts with a setting. And yeah, this is where they decide to do the bluff. And this is interesting - this is another thing we decided to address this year, which is our guys swan in, they change people’s lives, they jet off. And this is one of the times we really wanted to talk about the fact that in this situation, once they’re blown, there are repercussions.
Marc: There could be repercussions. Yeah.
John: You know they're- they live ruthless lives, and a lot of this year, is about them learning the limitations of their lives. Of how the world view it’s given them. How they relate to people. They don't always understand how other people behave.
Marc: Right.
John: For example, Eliot in Order 23, Eliot just wants to beat the hell out of this abusive dad in that episode, and he just realizes it's not gonna work
Albert: Once he leaves there- he's back to his old tricks.
John: Yeah exactly, and the same thing here once they leave- you can’t stay there forever.
Albert: Right. Well Rucker, the villain here, is actually very smart. When he finds out the truth, he doesn't threaten their team; he knows that he'll never get away with that. He threatens the victims. And he knows that that's what he has control over; that they live in his world.
John: He's one of the best villains.
Albert: He was a fun one.
John: Particularly just because you really felt there’s this series of escalating moves and counter moves. The Jury Job last year was good for that - the idea that our team makes a move, the other person makes a move not always knowing, but it's a logical counter move to whatever occured. He's actually, probably one of the smarter bad guys we've had. And this is the- our traditional roundy round.
Marc: This is our roundy round.
Albert: This is the converse shot right.
Marc: Yes, towards the end of the walkaway, but this is where the plot’s taken a turn for our team.
John: Now actually, why don’t you just describe the visual? Because if you watch the episodes on a regular basis, you'll see certain techniques used at certain times.
Marc: This is one of our moves where the tables have turned and we now have to change our plan. And at that point, I changed direction because Eliot brought up the point ‘no, I’m gonna fight,’ and it changed again. So then I changed direction and, you know, it's a timing thing, and it looks like you're doing it all in one, but there are many pieces and you just have to keep score of who gets what line and when. So you really have to trust your script supervisor.
John: And also in the writers room, we try to make a point of figuring out, like, now we've done it enough times, we know how many lines each person can have, and you’ll actually see dialogue in a lot of the episodes skip one to one one to one to one cause we know we’re gonna hang the director otherwise. That's also the last time we use the overhead shot in the season. That was our family overhead shot and it's the only time that one person has walked away from it and you used it for that to isolate him.
Marc: Yes. Yes.
Albert: This is my favorite scene of the whole episode. It's the emotional climax, really, because it's the traditional- in any of these fight scenes or movies fight stories, you have the night before the fight, which is when our champion-
John: Henry the 5th. You have the night before the fight.
Albert: Rocky. All of them have the night before the fight. So this is Eliot's night before the fight where he's girding himself for battle, and everything he and Sophie have been through up to this point comes to a head here. Plus the way Mark framed this was so gorgeous. You knew it was gonna be a beautiful shot because right before the camera started rolling, you saw all these members of the crew bringing out their cell phones and just taking pictures.
John: You know it's a good looking shot when it's like, ‘I wanna remember this one’. And there is- you know, a lot of people look at this one, and Order 23, to think that maybe Eliot had been abused or something as a child, and it’s- that’s facile. This is just a guy with a relationship with violence. He's beaten up, he's been tortured, he’s a guy who has learned bad things can happen to you and this is how he internalizes it. That's a great shot.
Marc: My lockoff transition.
John: Nice. Eliot transitioning into a girl with a bikini, that’s- was that placement intentional?
Marc: The placement- no, it just worked out. It just- we just wanted- Dave Connell wanted to come up with a cool transition, and we just locked off an XD camera and just left it there for the whole shoot.
John: Now did you have a little extra prep time on this or was this the normal?
Marc: This was the normal prep time.
John: Normal crazy Leverage-
Marc: Seven days of Leverage prep time.
John: Yeah. The- now the ring collapsed at one point, right?
Marc: Yes, the ring collapsed during Eliot's fight. And- you know, we had a lot of bodies up there. You have two camera men with big long lenses, a lot of moving around, and at one point it gave out and god bless, fortunately nobody got hurt.
Albert: That was scary. It was this huge bang right in the middle of the scene. One of our cameras was right there, and it avoided him and then it was this big crease in the middle of the ring.
Marc: And fortunately our grip department was able to just pull out some speed rail and get it ready.
Albert: Yeah.
John: Yeah, cause there's no- there's not a lot of time to waste on a Leverage shoot. Now you've got a lot of, just, wild grabbing stuff-. Oh, they were re-establishing the water. And this is another nice thing, by the way. It's a nice touch, Albert, that they're not dumb enough to fall for it again.
Albert: No.
John: You know, the tough thing with writing a con and heist show, audiences have seen a lot of con and heist shows, so they're playing by a different set of rules. And they're constantly trying to outguess you, and with a lot of stuff we do is we play with the metastructure of television, what you think a show like this would do. Yeah.
Albert: Especially with a fight con, because it is a familiar story. I mean, I think anyone who's watched any of the movies or tv shows in this genre has probably seen some variation of this, so you have to assume that people know the various tropes that go into a fight con. And then what- who’s gonna be drugged, who’s gonna be knocked out, what's gonna go on. You just have to make sure you don’t over use any of those.
John: You on the crane there?
Marc: Just for a little bit. We had a crane constantly moving. We had two handheld cameras. There was a lot of dailies on this episode. There was a lot of dalies. And we also wanted to just make sure we had all of the fight covered. We needed to get the perspective-
John: And the audience members.
Marc: -from the audience members. From our victim who we saw in the opening.
John: How long did it take to shoot this sequence?
Marc: We shot this in an evening.
Albert: It was this and the opening fight all in the same day.
Marc: Yeah, we did it all in the same day.
Albert: That was a bear of a day.
John: One 12 hour day?
Albert: Yeah.
John: Holy smokes.
Albert: It was a long day.
John: Thank God I wasn't on the set for this one - it sounded brutal. It sounded unspeakable.
Marc: You know, Matt and Christian had a routine worked out, and we were able to just pick our moments of when we needed to move the camera, and really trust our operators to make sure that they got it.
John: How many operators did you have in the ring?
Marc: Two operators. At times they were both in the ring, and sometimes one was just on the sideline getting to have some foreground ropes in it.
Albert: Yeah and all those flips that you see, Christian really took those. I mean, by the end of this scene his knees and legs were just totally banged up; he could barely stand.
Marc: And Matt, of course, who, you know, did this fight numerous times and also the opening fight numerous times.
John: Yeah.
Marc: Let’s just say there was the real odor of sweat in that gym.
John: I love the hulking out moment here.
Marc: Yes.
John: Just where he just snaps. I wish we could have done the green overlay on the eyes at that point. And what's great going back and watching this again, when you watch the episode, to see how they are putting the places in the con. How this behavior has to be read both ways. We’re not usually a closed mystery. There's two types of mystery shows - closed and open. One- like Columbo was open; we knew who the killer was and how he did it - the fun was watching Columbo finding the problem you had. And closed is, you don't know who did it. Which is most television shows. We usually show the audience how the con’s gonna run, and the fun of the audience is knowing what's supposed to happen, and it going wrong - it's one of the few times this sequence could play either way. This whole act- this whole two acts, could play either open or closed.
Albert: Yeah. That's actually the trickiest part of figuring out the- making sure that if someone goes back and watches it all again, it still makes sense knowing what you know at the end, as well as what you think you know the first time through.
John: We don't do it a lot.
Albert: Yeah, it's hard; that’s why.
John: Yeah, it’s really hard cause it’s usually only have to do one or the other. You know, entire movies have made millions and millions of dollars based around doing that well once. And we can't do it all that often. And also, to a great degree, I think a lot of the fun for the audience is watching our characters do what they do. That's really cool; a skillset they don't have. And so you want to get them invested in success, you know. And this is where it all starts to go to hell in a handbasket and the alert audience. Notice that the characters are recurring from the audience. I don't know anyone who figured it out; a couple people I know figured it out because of the metastructure. They figured Eliot couldn't have killed somebody, but haven't really figured out the con at this point.
Albert: Well the traditional fight con, the way it works is- and in con terminology they call it the Cackle Bladder. That's when someone dies - or supposedly dies - to scare off the bad guy. And this is a plan that- because normally in the fight con, the way it would work, the Eliot character would be the one who would die, but we did a little flip here and they staged the death of the bad guy, which- and the only way to do that is to get the help of the cousin.
Marc: And it's something I really wanted the actors to hold on to, is that one shot of Eliot; he really feels bad for killing this guy. And there’s a shot coming up after Rucker leaves that I really wanted to get across. And I just told ‘em there's a moment where we’re gonna release the valve, and I really want to see it on all of you. And it- and fortunately it really works.
John: Now the- it’s interesting with Eliot, because once you sort of know the character, you know he wouldn't actually feel bad about killing this guy. Eliot Spencer killed people. I mean, that's something that's kinda easy to go away, because Chris Kane is a very charming actor, and he plays the character in a very charming way. But especially in the second half of the season, you really get back to the idea that Eliot Spencer is a dude with a price on his head.
Marc: Here's the moment I was talking about, as soon as Nate gives the cue.
John: And you're lining them all up for that shot. And Albert you shot that, you were up on the roof of the building.
Albert: Yeah. It was raining, it was wet, it was cold. We were up on that roof, very slippery ladder.
John: And there's sending him across the state line with various bad stuff in his truck. Who came up with the saxophone?
Albert: Saxophone was something that actually came up in the room. I wrote the flashback of her going to the pawn shop, and in the room we were just sorta tossing around what are the funny things she might buy in the pawn shop?
John: Cause Parker just wouldn't buy the guns.
Marc: No, of course not.
John: This actually really holds together, too, because the original amount he wins in the golf game winds up being the money they use to buy the guns for the frame up later. This is- if you're gonna write a Leverage spec, this is kinda the one to look at. I mean this - I'll tell ya, this one really holds together in ways that a lot of the ones- not because we don't care, but because we're 42 minutes, that you're like ‘alright we’re just gonna assume people know that this is what's going on,’ cause you know. Or even stuff we shoot that we wind up cutting.
Albert: Well I will say this, if you are gonna write a Leverage spec, you know, we say this is the room all the time - research is your friend, because it starts from there. Because once you find that world you're gonna live in and you research the hell out of it, then a lot of the details become a lot clearer.
Marc: That was the actual pawn shop owner.
Albert: Yes.
John: Was it?
Marc: Yeah, and he donated his fee to a local charity.
John: Oh that’s great; that's really nice; that's really cool. Yeah, a lot of people were like, ‘c'mon he's not in that much trouble’. You know, you cross state lines with a bunch of cash and guns, I assure you, you're not coming back for a while. Yeah, and then we establish the whole problem Hardison seemed unprepared was because the guy was crooked, which we then used for this setup. This one came together nicely. It's also- its interesting - the pairings again. Parker and Hardison - Parker is next to Hardison in a lot of shots, and there's little bits where Beth gives- has Parker give Hardison just a little reassuring look like, you know, ‘I agree with you. Everyone else thinks you're crazy; I'm here.’ It’s a way of advancing the relationship without us having to do it textually.
Marc: Right.
John: You know, and there's a great moment- there's a great moment in the finale, which- are we actually releasing these separately? Did we decide? I don't know. If you're gonna watch the finale, there's a moment where Hardison- something happens with Hardison's van and I didn't notice it the day we shot it, but Parker kisses the van goodbye. And it was- no one asked her to do it, but it was just that little thing of Parker acknowledging this was important to Hardison, and so she was gonna, you know, she was gonna make that choice. Wow it’s- I like our actors. We’re lucky.
Marc: Yeah, we had some really good local talent here as well.
John: Yeah, cause the dad was local, the son was local.
Marc: Yeah.
John: And he did all his own fighting, too, right?
Marc: Yeah I- we were gonna- I even had in the budget a stunt person to do it, and we had a stunt person there, but it he just felt that he could do it and he actually did a really great job.
John: It's pretty hard when you’ve got one of your leads doing one of the fights to wimp out and take the stuntie; it’s a lot of pressure. And this is- a lot of people ask - we’re just handing over a business. We assure you Hardison has set up a DBA, he's taking care of all the paperwork. Don't worry - these guys aren't gonna get hit by the IRS five years from now. And it's really about them trying to- again, like you said, family- family owned business trying to rebuild the local community.
Marc: Right.
John: And, you know, one family saying goodbye to the other. The key toss. I think we should make a collection of Tim’s key tosses, cause that's a little signature bit, ‘Here you go.’ Here are the bad guy’s assets to use as your own. Good makeup on Christian, too.
Marc: Yeah, we gave him a nice shiner there.
Albert: We got a lot out of this gym. We spent a lot of time in this gym; we got a lot out of it.
John: Well that's another big thing when we’re shooting in seven days is - trying to find combination locations. The combo burrito we call it.
Marc: The combo burrito, cause once you start base camp - it’s expensive.
John: Ends on a hug. That's a great episode.
Albert: That’s the Tap Out Job.
John: Thank you very much guys. That was one of my favorites of the year; that was really great.
Marc: Thank you very much. It was a pleasure shooting .
John: Anything you wanna add?
Marc: No, I really enjoyed it. Albert and I- was the second episode that I've done with Albert. In the first season I did the Stork Job, and I really enjoy having Albert there by my side. He helps me out so much, he helps the actors out so much.
John: It's a relief to have him out of the writers room.
[Laughter]
Marc: It's really a team effort.
Albert: Thanks.
John: Thank you for watching.
#Leverage#Leverage TNT#Leverage Audio Commentary Transcripts#Audio Commentary#Transcripts#Parker#Alec Hardison#Elliot Spencer#Nate Ford#Sophie Deveraux#Season 2#Episode 2#The Tap-Out Job#Season 2 Episode 2
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Kiss me deadly (Robert Aldrich 1955)
For more dark feels about Destiel:
Destiel Noir
Destiel as classic Film Noir.
#destiel#film noir#are you there god it's me#dean winchester#castiel#spn 04x02#a darker aesthetic of the#profound bond#kiss me deadly#robert aldrich#1955#ralph meeker#gaby rodgers#casdean#deancas#supernatural#black and white#destiel edit#my edit#my stills#b&w photography#b&w#destiel noir
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I’ll Be Home For Christmas
SPN FanFic
~Problems on set and two thousand miles of snow and ice between them means Jensen may not make it home for Christmas this year...~
Jensen x Reader, couple OCs
2,365 Words
Warnings: Relationship Angst, Fluffy Finish.
A/N: Another fic for my ‘Give ‘Em a Merry Christmas’ set list. This one was not requested, but I had an idea, so there you go. I meant this to be a drabble for @bringmesomepie56, but... I uh... oops. Merry Christmas, Dude!
Feedback is GOLD ~ My Masterlist ~ Christmas 2017 Fic Corral
Y/N clutched the phone to her ear, fingers starting to hurt from the angry pressure she was exuding. “What are you telling me, Jay?” She stared ahead out of the frosty window, not hearing her husband correctly, or perhaps not wanting to.
Jensen sighed into the phone. “You heard me, Y/N.”
She could hear him alright, but she wanted him to say it. She needed to hear in his own words how he wouldn't be home for their son's first Christmas.
A strange mix of sadness and anger stirred like a hurricane inside of her, tightening her throat and wetting her eyes. Y/N sucked in a shuddering breath, trying to keep the tears at bay, but Jensen heard her, realizing the breakdown was nigh.
“Y/N/N… I-I'm doing my best,” he said in a deep whisper, pushing aside his own tears.
She swallowed hard and nodded as if he could see her. When she answered, her voice was high and tight, betraying her emotion as she tried to play it off like his absence wasn't crushing. “Yeah. I know. It's fine.”
He was supposed to be home a week ago, but problems with the studio and reshoots were keeping him in Vancouver longer than usual. As Christmas drew closer, Jensen felt father and farther away. Each phone call became more stressful, often ending with heavy sighs and clipped ‘I love you’s.
Jensen cleared his throat to keep the sadness from cracking into his voice. “How's your mother?”
“How do you think?” Her eyes rolled so far back it stung.
“I'm sorry, babe. I wish I was there.”
Y/N laughed, knowing holidays spent with her family was never his favorite thing. “No you don't. She'd just be up your ass about something dumb I'm sure.”
“Still, I wish I was there with you,” he said quietly.
“So be here,” she replied in a sudden burst; her tone pathetic and pleading.
“Y/N/N…”
“Just do it. Just say ‘fuck all’ and get on a plane.”
“Please, baby, I can't.”
“You can! Your family needs to see you for Christmas, Jensen. Xander needs you. I need you!” Y/N stopped her impassioned cry when his voice rose through the phone.
“Y/N! You know I would be there if I could. I can't leave right now. I'm sorry. I don't know what else to say. What do you want from me?”
Her heart nearly stopped and she tried to bite her tongue but it was impossible not to respond to his question. “What do I want?” Y/N snapped, letting go of any remaining sympathy as sha all but screamed back at him. “I want you to put your family first for once instead of your goddamn job!”
The intake of air was sharp and hard, and Jensen growled back through clenched teeth. “My goddamn job is the reason we have a family, Y/N!”
Y/N chuckled, sarcasm pushing to the frontlines so she wouldn't have to feel the hurt any longer. “Oh, yes. Your amazing, wonderful job. Well, be sure and tell Sam and Dean ‘Merry Christmas’ from your first born son. Not from me though, they can go fuck themselves.” Her head told her to stop there, but her tongue kept on. “Just. Like. You.”
Jensen was silent for so long she thought he'd hung up. Y/N looked at the screen, and they were still connected, she had just hurt him enough to shut him up; a feat not so easily accomplished.
“Jensen?” Her voice was meeker now, a genuine fear suddenly wrapping around her heart.
Another long stretch of quiet chipped away at her anxiety before Jensen spoke up.
“This…” he said in a hard whisper, “This is my life. This show is my life. You knew that going in.”
Y/N gulped back a wave of tears, struck hard by his words. Her stomach burned and her eyes darted around the dark window, finding no comfort in the newly fallen snow that filled each pane. “We are supposed to be your life now.”
She could hear Jensen sigh, see him cringe in her mind's eye, but the damage was done. Before he could counter, she hung up and tossed the phone onto her bed. She let go then, hands raising to cradle her head as wave after soaking wave of tears flooded her face.
He called but she wouldn't answer.
He texted but her cell was silenced.
Y/N spent the night watering her pillow until exhaustion pulled her under.
She woke later than usual, defying the rising sun and hiding under the thick comforter. Her childhood room was little comfort to her, each token of her past life reminding her how far she'd come and how much she had to lose.
Close to noon, she stumbled into the kitchen, finding Xander happy in his highchair, Grandma feeding him cheerios one by one. She kissed his forehead without a word and took a mug from the cupboard.
“How are you feeling?” her mother asked.
Y/N shrugged as she filled her cup with room temperature coffee from the pot. “Fine.”
Cynthia turned to look at her daughter. “Should you be drinking coffee?”
“Please don't. I drank coffee up until and during labor with Xan, and he turned out fine
“ Y/N took a sip and then turned her back, hiding the tears that fell, hot and unwanted down her cheeks.
Cynthia sighed and dumped a handful of cereal onto the highchair tray. “Is Jensen coming?”
Y/N sniffed and dragged her sleeve across her face. “I don't think so.”
“Did you tell him?”
“No.”
“Y/N! You need to tell him!” Cynthia scolded, almost wagging a finger at Y/N who shook her head and sank down in the seat across the table.
“I can't just tell him over the phone, Ma. That's an in person thing.”
“Well it won't be if he can't even show up!”
Y/N dropped her head onto the table and covered her head with her arms.
Christmas Eve blossomed with golden sunlight that danced across the few feet of snow covering the front lawn. The evergreens around the house were kissed with glistening flecks of white; even the rock salt on the stairs sparkled, painting a beautiful scene, but Y/N couldn't see it.
She couldn't feel the joy as her family gathered in the den, felt no warmth from their embraces or the roaring fire. Her ears were deaf to their kind, supporting words, her body numb to it all. What should have been the happiest Christmas, was nothing without Jensen. The worst of it was, she had pushed him too far, and the day passed without a single word between them.
Her mind added a double shot of guilt to the cocktail of hurt and fear that swam in her gut, and Y/N did little more all day than stare blankly at the front door.
After supper, Y/N put a sleepy Xander to bed, and returned to her post by the bedroom window. The glass was icy, and she traced a heart in the fog, immediately wiping it away when she realized it was pointless to keep dreaming. Jensen wasn't coming.
Jensen stood by the window in the Denver airport, his eyes glued to his phone. Y/N was still not calling him back, not replying to a single text. He didn't know what else to do.
Planes took off into the gray sky, still flying but on a major delay due to storms around the country. The clock on his one hour layover was slowly ticking into its third, and Jensen wanted to bash his head into the cold glass window.
Even under his gray beanie and scarf, he knew he was catching the eye of a few scattered fans, so he shouldered his bag and set off in search of a quiet corner. Normally, he wouldn't have minded the attention, happy to pause for a picture or a hug, but his heart wasn't in it today. He had no smiles to hand out, no words of thanks. He was drained and exhausted, his mind already up in Boston with Y/N and Xander, where the rest of him should have been over a week ago.
He walked the terminal alone, ignoring the crowds, occasionally catching the eye of another weary soul fated to travel on Christmas Eve. He should be used to it, the push and pull of an airport, the stale air and strange smells, bright lights and uncomfortable seats, but it still made him antsy. He needed to be on the plane, needed to be more than halfway home by now, but the snow was falling fast, and time was wasting away.
Y/N had fallen asleep, sitting by the window, her head perched on her open palm. A faint knock on the glass startled her awake, and a deep breath pulled her to her senses. There was no repeat of the phantom noise, so Y/N stood up and stretched, ready to put herself to bed. She leaned down to blow out the candle on the sill, and heard another knock.
Pulling her sleeve down over her fingers, Y/N cleared a circle from the frosted glass. She looked down into the darkness and saw a familiar silhouette standing ankle deep in the snow. His bag was on the ground, his hands in his pockets, clearly freezing but not moving to come in.
Y/N held her breath and opened the window to stick her head through the crack. As the pane lifted, she heard a deep voice carry up from the lawn.
“From now on, our troubles will be miles away…”
A smile tickled her lips as it always did when she heard Jensen sing, but she pushed it aside to yell down at him in a forceful whisper.
“Jensen! What the heck are you doing!”
He smiled up at her; a break in the cloud cover allowing a beam of moonlight to fall across his face.
“Here we are as in olden days,” he continued, picking up volume with each line. “Happy golden days of yore…”
“Will you come inside before you freeze to death!” Y/N shook her head at him, waving a beckoning hand, but he was immovable, and his song carried up to her.
“Faithful friends who are dear to us, gather near to us once more…”
In a huff, Y/N slammed her window shut and took off in a run down the hall. She flew down the big staircase and shoved her toes into a pair of old boots by the door.
A gush of icy wind struck her face as she pulled open the door and stepped outside into the darkness.
“Through the years we all will be together, if the fates allow…”
She came to a halt a few feet away from him, standing on the cement path, refusing to go any further.
“Jensen…”
He stopped then and looked towards his wife with heavy red eyes, his journey and guilt showing clearly in every line of his face.
His eyes fell to the ground as he tried to find the right words. He had no script, no prompt, just the sadness in his heart.
“I'm sorry.” It echoed from both sides in tandem, forcing a laugh from each.
Jensen cleared his throat and looked up, his smile fading away as he spoke. “Y/N, I'm so sorry.”
“It's OK,” she said with a shrug. “You said some things, I said worse. I'm just glad you're here.”
Tears settled in his eyes, and Jensen bit his lip, nodding at her words. “I… I need you to know…” He stopped as his throat tightened around the tears and he looked down again, trying to hide.
Y/N stepped forward, boots crunching down into the snow, and placed her hand upon his frozen cheek.
“It's OK, Baby, really.”
His hand caught hers, and he pressed her fingers to his lips. “No, it's not. I didn't mean what I said.” His green eyes, dark in the faint light, met hers, and Y/N smiled softly. “You are my life. Not the show, not the fans, not the job. You. You and Xander. That's my life. Forever.”
Y/N melted even in the frigid air, and fell forward into his arms. His coat was cold, but she didn't care. He was home with her. The fight, the weeks apart, none of it mattered when his arms wrapped around her.
“I'm so glad you're here,” she whispered against his chest.
Jensen kissed her hair and then fit his hands on her cheeks to lift her face to his.
“I will always come home to you. No matter what. It's you and me and Xan against the world. Just the three of us.”
He bent to kiss her lips and Y/N grinned, pulling back a tiny bit to correct him.
“Well, just the four of us.”
Jensen stopped just before his kiss landed, his eyes popping open in surprise. “What?”
Y/N smiled and nodded quickly. “Merry Christmas, Mr. Ackles. We're pregnant.”
His eyes lit up with a smile so big it could have melted the snow around them. “Really?”
“Really.”
Jensen lifted her right off of the ground and kissed her hard and fast.
“Best Christmas gift ever,” he sighed as he set her back down with a final quick kiss.
“Oh, so I can return your actual present?” Y/N teased. “Awesome. You've got enough watches anyway.”
Jensen laughed and pressed his forehead to hers, his arms still wrapped around her tight. “How ‘bout we get you inside? I don't want my daughter to freeze.”
“Oh, it's a girl?” She smiled.
Jensen kissed her again slowly, pressing all of his love into it. “I hope so,” he replied finally. “Would be nice to complete the set.”
Y/N grinned and stared up into his handsome face, so incredibly happy to have him there, to have him forever. “Well, if it means that much to you…” She agreed with a wink. “I'll see what I can do.”
FOREVERS (closed): @akshi8278 @allinhishands @amanda-teaches @atc74 @autopistaaningunaparte @because-imma-lady-assface @blanketmadeofstar @blushingdean @brewsthespirit-blog @brooke-supernatural16 @carryonmywaywardcaptain @cassieraider @charliebradbury1104 @charred-angelwings @chelsea072498 @chrisevansisdaddy04 @chumi-la-chula @courtney-elizabeth-winchester @crispychrissy @daughterleftbehind @docharleythegeekqueen @dustycelt @dylanosprayberry03 @emoryhemsworth @emptywithout @erin654 @evansrogerskitten @evyiione @faithfullpanicmoon @fallenangelsneverfade @fandomismyspiritanimal @fandom-queen-of-wonderland @fangirlofeverythingme @fatalcrossbow @feelmyroarrrr @findingfitnessforme @flormolero @frenchybell @fuckyeahfeysand @geekgirl1213 @ginasmith @grace-for-sale @growningupgeek @hair-dresses @hexparker @icequeen6666 @idreamofhazel @ilsawasanacrobat @imascreamerbabymakemeamute @impalaimagining @im-super-potter-locked @jayankles @jessilliam-caronday @jesspfly @jocelyn-of-the-jellyfish @jpadjackles @just-another-winchester @katelynbkool @katymacsupernatural @kdfrqqg @lauren-novak @leatherwhiskeycoffeeplaid @lefthologramdeer @lipstickandwhiskey @luciisthebest @mandilion76 @meganwinchester1999 @mery-magizoologist @michellethetvaddict @milkymilky-cocopuff @missselinakitty @mistressofallthingsgeeky @mjdoc90 @mrsbatesmotel53 @mrsdeanfuckingwinchester @mrswhozeewhatsis @musicgleenerd @myfand0msandm0re @naviwhite @newtospnfandom @nichtlisax @notesfromalabprincess @obsessivecompulsivespn @ohmychuckitssamanddean @percussiongirl2017 @pinknerdpanda @poukothenerd @purrculiar @queen-of-deans-booty @ridingmoxley @riversong-sam @roxy-davenport @roxyspearing @samisimportant @saxxxology @sgarrett49 @sireennotsiren @skadi-winterfell @snarkpunsandsarcasm @sofreddie @sophiebobzz @spn-fan-girl-173 @spnjunky @sumara62 @super100012 @supernaturaldean67 @supernatural-girl97 @supernaturallymarvellous @super-not-naturall @tennesseewhiskey-and-pie @theoutlinez @there-must-be-a-lock @thing-you-do-with-that-thing @thinkwritexpress-official @tmccarney @trexrambling @turnttover @typicalweirdbookworm @walkingkhaleesi @waiting-to-find-myshadows @wayward-marvel-sommer1196 @winchesterprincessbride @wordstothewisereaders @wotinspntarnation @xxmizzlexx
The Dean’s List:
@babyismyspiritanimal @blackfandomtrashandproud @blue-eyed-devil
@brihughes4 @boxywrites @bringmesomepie56 @carryonmywaywardcaptain @colagirl5 @ericaprice2008 @fangirl-brat @girliciousdreams @jealousbitxh @jojo-nz @juniorhuntersam @kathaswings @lavieenlex @lostsoulsworlds @love-me-some-pie21 @melodymishahiddlestan @nerdwholikesword @niamandthings @oreosatmidnight @paleogamrgrl @pilaxia @polina-93 @salvachester @samikitten @sanjuskaa @shamelesslydean @spn-dean-and-sam-winchester @spnwoman @spookyphyscho @spontaneousam @tardis-full-of-fallen-angels @thehardcoveraddict @torn-and-frayed @valerieshubin @vickihushush @waiting-to-find-myshadows @wanderlustnightwanderer @winchasterdean @winchesterdemon67 @winchester-writes @xxhorrorkingxx @zanthiasplace
#spn fanfic#jensen x reader#jensen ackles x reader#angst#fluff#flangst#christmas 2017#give em a merry christmas contest#rpf#sfw
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Promotional Video Production Company in Los Angeles
Johnson formed a company in her spare bedroom and in the first year Powder Blue Productions trained hundreds of instructors in Turbo Kick and thousands and upon thousands since then. Johnson has described Turbo Kick as "Kickboxing mixed with hip hop mixed with aerobic drills." It is still a mainstay in many clubs today. Promotional Video Production Company in Los Angeles Johnson did not let the turn of the century slow her down and in 2000 released another unique exercise program PiYo. Both programs are still being taught in gyms. But since then Johnson has created other workout programs including: Hip Hop Hustle, Turbo Jam, ChaLEAN Extreme, TKB and now TurboFire.
Johnson, not only has a line of exercise clothing, she has branched out of the fitness and weight loss niches entirely and entered a much broader category - self-improvement. She has A "30-Day Challenge program" that boast it will help keep you organized and "will ensure that your efforts reflect your goals and that you're living the life you were meant to live." She also has a Social Media training course about how to use social media to help market your small business.
"Car Smart" is a Chalene Johnson creation which probably would best be described as "life coaching," which is clearly one of Johnson's current projects: helping people achieve more. Johnson has said, "My hope is that others will find a way to live a life filled with health, hope and happiness." One of the ways Johnson is evidently helping others is by regularly posting on her blog a variety of tips, including: such old-fashioned advice as eat a good breakfast and stand up straight to more topical issues such as a warning to avoid wasting time on social networking sites and she has numerous free advice videos. One particularly useful series about video production has gotten a lot of traffic. In it Johnson notes that she has made over 180 videos, which answers the original question of how did this Midwestern unknown come to be such a ubiquitous presence on television? In looking at all that she has accomplished, the answer seems obvious: Hard work. Lots and lots of hard work. Read more
As I host internet marketing workshops for business owners on a regular basis, I am constantly searching for unique ways to use the internet, more specifically, social media to build relationships with my clients as well as those who want to gather in more intimate settings to learn, share and network with folks who love everything about online marketing.
Enter Meetup.com.
As I am sure many of you are familiar with Meetup.com, I hope you'll indulge me for a moment while I share a bit of basic information about this service to those who are not aware of the popular community building site.
Although not new on the internet scene, Meetup.com has prospered as an online social networking site that facilitates real world group meetings in locations around the globe. Founded in 2001 by the triumvirate (and you thought only Google's Brin, Schmidt and Page owned this moniker) of Heiferman, Meeker and Kamali, Meetup was developed under the premise that the world wide web should focus more on localizing engagement activities. Simply put, the web should foster the ability to merge online networking with off-line face-to-face meetings.
Related links
https://www.peerspace.com/resources/corporate-video-production-companies-los-angeles/
https://themanifest.com/video-production/agencies/los-angeles
As one of the fastest growing social networks of the early 2000's, the company quickly earned their stripes as an effective grassroots support tool for a variety of political and fundraising group activities. Most notable among Meetups early adopters were then Presidential candidate, Howard Dean, Senators John Kerry and John Edwards and the campaign re-election committee of President George W. Bush.
Since then, Meetup has evolved to include special interest topics ranging from book clubs to small business marketing strategies - and just about everything in between (among the most interesting we found was a group devoted to exploring how to "Use Golf as a Business Tool"). Meetup's main source of revenue comes from organizers who pay a nominal fee to have their groups listed. Despite early criticisms, Meetup has continued to flourish while adding a great many features that aid in producing quality events, workshops and even less formal coffee-house meetings.
Related topics
B2B Video Production Company in Los Angeles
Brand Video Production Company Los Angeles
Branded Content Video Company in Los Angeles
CGI Animation Production Company in Los Angeles
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SUMMARY
A father and son go hunting in the mountains. Before they can begin hunting, which the son does not want to do anyway, they are killed by flying jellyfish-like creatures, which penetrate their skin with needle-tipped tentacles.
Some time later, four teenagers, Tom, Greg, Beth and Sandy, hike in the same area, ignoring the warnings of local truck stop owner Joe Taylor (Jack Palance). A group of Cub Scouts is also in the area; their leader (Larry Storch) is also killed by the alien creatures, while his troop runs into an unidentified humanoid and flee.
The teenagers set up camp at a lake, but after a few hours, Tom and Beth disappear. Sandy and Greg go looking for them and discover their bodies in an abandoned shack. They drive away in their van, while being attacked by one of the jellyfish which tries to get through the car’s windshield. After they get rid of it, they arrive at the truck stop. Greg tries to get help from the locals, but they do not believe him, except for Fred ‘Sarge’ Dobbs (Martin Landau), who is a mentally ill veteran. Meanwhile, Sandy encounters the humanoid and flees into the woods, where Joe Taylor finds and returns her to Greg.
While they discuss the situation, the sheriff arrives, but Sarge shoots him and begins to become more paranoid. Greg and Sandy leave with Taylor, who reveals he has been attacked by the humanoid before and secretly keeps the flying jellyfish as trophies. They search for the shack and once there, Taylor goes inside to only find the bodies of Tom, Beth and the cub scout leader. They discuss waiting for the creature when Taylor is attacked by another “jellyfish”. The young people run once again, leaving him behind as ordered. They stop a police car and get into the back seat, but find Sarge driving. He abducts them, believing them to be aliens. Greg plays along, telling the deranged man that an invasion force is on the way, thus distracting him enough to toss him aside, run away with Sandy and jump from a bridge.
They make it to a house where they find new clothing and try to relax. In the night, Sandy wakes up and goes looking for Greg, only to discover that he has been killed by the alien, who is still in the room. She flees to the basement and the creature is about to get her when Taylor arrives and saves her. On the way to the shack, he tells her about the creature: it is a tall extraterrestrial (Kevin Peter Hall) who hunts humans for sport to keep as trophies, using the living creatures as living weapons against its prey.
They wait at the shack to ambush the hunter with dynamite when Sarge shows up, almost spoiling their plan. He and Taylor fight, and Sandy is about to hit Sarge from behind when the alien arrives and kills Sarge. Taylor then shoots the creature, with little to no effect. Realizing the last chance of success, he lures it to the shack, which is then blown up by Sandy. She alone survives the horrible night.
DEVELOPMENT
It was Satan’s Cheerleaders (1977) co-producer Mike McFarland who came up with the idea for Without Warning (originally titled Alien Encounter, and also released as It Came… Without Warning), Clark’s 1980 sci-fi/horror effort. In a theme later picked up by Predator, Without Warning’s bubbleheaded alien comes to Earth on what amounts to a hunting expedition. After the script spent years floating around Hollywood, Clark reworked it and helped get it into production.
“McFarland hired two teams of writers to flesh out his idea, and besides myself I had another writer, Curtis Burch, come in to help revise the script when I took over,” Clark recalls; neither he nor Burch, who served as an associate producer and the film’s editor, wound up taking credit for their rewrites. “Originally, the alien hunted with a bow and arrow. I wanted it to be a little more unusual than a weapon we could have here on Earth, so I came up with the flesh eating creatures that the alien flips like a Frisbee at its victims.”
BEHIND THE SCENES/ PRODUCTION
Shot in California during December. Without Warning was filmed almost exclusively at night, which Clark feels “adds tremendously to a film’s atmosphere,” but also caused its share of problems. “At night it would get down to the low 30s. That’s cold for Southern California. The entire crew wore ski masks, and with the dark and the masks, I couldn’t tell one crew member from another. My cinematographer was Dean Cundey and let’s see, this was my seventh picture. When I wanted to talk to Dean Cundey, I would have to go up to each of them and say, ‘Dean? Are you Dean?’”
“This picture was made for $150,000, including $75,000 for Palance and Landau,” he reveals. “That left me with 75 grand to shoot the picture, edit, do the post production and everything else. So when I agreed to do it under those circumstances, I realized I had to make it in three weeks.
BEHIND THE SCENES/INTERVIEWS
Besides offering the obligatory don’t go-near-the-woods warning, the forceful appearances of Palance and Landau serve notice that Without Warning isn’t just going to be a movie about kids in peril. Throughout, there’s a running tension between the young and old characters, and the film ends up being at least as much about the craggy old dudes as the naive, attractive youths. This young-vs.-old dynamic is brought home in a long and impressive scene fairly early in the movie, when two of the kids stumble into a country bar in their retreat from the alien’s flying weapons, finding not only Landau and Palance inside, but also such cinema vets as Sue Ane Langdon, Neville (Eaten Alive) Brand and Old Hollywood star Ralph (Food of the Gods) Meeker in his final role.
“I had used Jack Palance in a previous picture, Angels’ Brigade (1979) and I’d used Ralph Meeker before and worked with Neville on, I guess, two pictures previous to this,” recalls Clark. “I always like collaborating with professional people like them whenever I have a chance. The more experienced an actor is, the less you have to direct him, and I’m able to work quicker because they know what I’m trying to do. My experience with performers of that caliber is that they’re eager to help the director, and very, very good to work with.”
Brand had a not-unfounded reputation as a boozer and brawler, but according to Clark, by the time the two shared a set, Brand’s problems had ameliorated. “He was an absolute sweetheart to deal with,” Clark recalls. “You know, he was the second most decorated hero, behind Audie Murphy, of WWII. He’d had some really tough times, and he’d talk about the fact that he’d had problems drinking and what have you. But when I worked with him for the first time, in 1977, he was completely sober. In fact, in the scene in the bar in Without Warning, he said, ‘Greydon, I’ll do anything you want, but you know I can’t drink.’ And I said, ‘Neville, I never have alcohol on the set. This beer is apple juice with a little bit of spritz water in it to make it foam.’
“So he was wonderful. He was a terrific guy, and always on top of his game. Again, the experienced actors know that they have a job to do. They’ve done it many, many times, and they come prepared, and it’s easier for everybody on the set.”
Landau returns the compliment. “Greydon Clark knew right where we were going with that story before we ever started shooting,” the actor says. “Now, Jack and I might have taken things off in some unexpected directions, what with our tendency to ham it up, but we always had that anchorage that we could rely on.”
Landau and Palance, the two principal veterans in Without Warning’s cast, were hardly nursing-home geezers. Palance was barely past 60, and Landau had yet to turn 50. But careers age in Hollywood with unnatural speed, and at the time the picture was made, both found themselves down a few rungs from the place they had once stood on fame’s endless ladder.
“Yeah, I was one of those washed-up has-beens who found himself mired in a mess of low-budget horror movies and foreign-market exploitations for a long while there,” Palance told us, five years before his 1996 death. “Me and Martin Landau and Cameron Mitchell and Neville Brand and Ralph Meeker, and good old Larry Storch, in the case of Without Warning. But I loved the experience. Maybe not so much at the time, grateful though I was just to keep on working, but certainly in the bigger perspective of having a showy, aggressive role that somebody might notice and appreciate.
“The only direction for us from Without Warning was straight up!” he added with a chuckle. “But us old mavericks, Landau and me and the boys, knew the job was dangerous when we took it-acting, I mean, trying to get away with being movie stars in a land where talent is a disposable commodity—and a hot temper, like I used to have in the early days, was pure damned career suicide.”
Clark has similar praise for Landau whose Dobbs is ultimately revealed to be a shell-shocked wacko who believes the alien has somehow taken over the kids’ bodies, à la Invasion of the Body Snatchers—and the actor returns it. “Greydon Clark is a godsend,” says Landau. “He believed in me—not just in me, I mean, but in a lot of us aging near-burnouts who’d had our day in the fickle major leagues and he offered roles that were neither demeaning, like I’d seen happen to Lon Chaney Jr. with some of those low-budget guys, nor otherwise false. Just working actor stuff, meaty bits of business that allowed us to slice the ham as thick as we wanted. In fact, Francis Coppola told me that he had sought me out for Tucker [1988] in light of that over-the-top stuff I had done for Greydon Clark. It served notice that I still had the chops.”
“I’d like to tip my hat to Marty Landau,” Clark says. “We were on a very, very short schedule, so some days we had to work really long hours. When you’re at a location you only have for a single day, a 12-hour shoot is a short one. We had some 16-, 18-, even 20-hour days.
“This was the first film I’d done with him, and that night, when we were finishing with him, I had to say, ‘Marty, you’re scheduled to come back in about six hours. It’s relatively short, and I can have you out in a couple of hours, but because of scheduling problems, I need you in first thing. You know that I’m supposed to give you a 12-hour turnaround, according to the Screen Actors Guild, but I don’t have the budget to pay you the penalty that’s required by the guild.’ And Marty said, “No problem, Greydon. I’ll just come in and sign in at the regular time.’ ”
Clark pauses. “This is a guy who’d been around. I believe he told me his first film was North by Northwest (1959), Hitchcock’s film, and of course he’d done two or three television series. Again, I’ve been so lucky in my career that all the ‘name’ actors I’ve directed have been just remarkable, and very cooperative and helpful. I know Neville Brand and Palance had a reputation for being difficult, but I found just the opposite to be true. The picture I did with Jack before Without Warning, Angel’s Brigade, had a lot of very, very young people in it, inexperienced people, and he would work with them and rehearse with them, and showed a great deal of patience.”
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SPECIAL EFFECTS
Seven-foot actor Kevin Peter Hall, who made a career of performing in monster suits, tallied his second film appearance as the barely glimpsed human-hunter. “McFarland had already contacted Rick Baker about creating the alien, and Rick had somehow found Kevin,” the director explains. Baker’s involvement ended when Clark took over the production, with Baker protégé and future Oscar-winner Greg Cannom ultimately responsible for the creature and its gruesome handiwork.
“As a producer/director, you’re responsible for everything, really, and I always like to blame somebody else if it doesn’t work and take the credit if it does,” he says with another laugh. “So I don’t want to use the word ‘created,’ but I came up with the idea for the little Frisbee creatures, in the scripting stage. The original concept was that the alien had come here and was hunting with a bow and arrow. That didn’t do it for me, so I was kicking around ideas of what I could do. I wanted to have a live creature that it hunted with, almost like sending dogs out, except that it would be a flying thing that he threw. So I started sketching one day what they might look like, and then I brought in my effects people, and we created this little guy with teeth, and hair around it, and tentacles and so forth, and I believe it works pretty well.”
RELEASE/DISTRIBUTION
Selling the film to a distributor seemed easy at first, but quickly became complicated. “I made a U.S. distribution deal with American International Pictures (AIP) and within a few weeks of finalizing the deal, Filmways purchased AIP and announced they were not going to distribute any more of those AIP exploitation pictures,” Clark said. A potentially lucrative sale to cable-TV and to CBS, which premiered Without Warning on its Late Movie, depended on the film’s theatrical exposure. “I had to threaten them with a lawsuit to get Without Warning distributed,” Clark said. “They gave it a minimal release across the United States and the picture, much to their surprise, was well-received and did substantial box-office.” In some territories, the film was released as It Came Without Warning. Clark sees it differently. “Without Warning was released around the world in the spring of 1980 and received positive critical response and strong box-office,” he says.
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CAST/CREW
Without Warning (1980)
Directed by Greydon Clark
Produced by Greydon Clark
Tarah Nutter as Sandy
Christopher S. Nelson as Greg
Jack Palance as Joe Taylor
Martin Landau as Fred ‘Sarge’ Dobbs
Neville Brand as Leo
Ralph Meeker as Dave
Cameron Mitchell as Hunter
Darby Hinton as Randy
David Caruso as Tom
Lynn Thell as Beth
Sue Ane Langdon as Aggie
Larry Storch as Cub Scout Leader
Kevin Peter Hall as The Alien
Cinematography Dean Cundey
Makeup Department
Greg Cannom … special makeup
Alistair Mitchell … makeup artist
Music by
Dan Wyman
CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY
Fangoria#150
Fangoria#271
Without Warning (1980) Retrospective SUMMARY A father and son go hunting in the mountains. Before they can begin hunting, which the son does not want to do anyway, they are killed by flying jellyfish-like creatures, which penetrate their skin with needle-tipped tentacles.
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Renewal Flash Fiction Anthology
QSF has a new book out, the latest in our series of flash fiction anthologies: Re.new.al (noun) 1) Resuming an activity after an interruption, or 2) Extending a contract, subscription or license, or 3) Replacing or repairing something that is worn out, run-down, or broken, or 4) Rebirth after death. Four definitions to spark inspiration, a limitless number of stories to be conceived. Only 110 made the cut. Thrilling to hopeful, Renewal features 300-word speculative fiction ficlets about sexual and gender minorities to entice readers. Welcome to Renewal.
I got an honorable mention! If you’re into queer sci-fi things, you should check it out!
Here are some teasers for the stories included! Because these stories are only 300 words each, we’re not supplying long excerpts, but here are the first lines of several of the stories. Enjoy! “Griselda pulled the weeds from between the rows of Valerianella locusta plants in the garden, careful not to disturb the buds that would grow into the babies that were her only real income-producing crop.” —The Witches’ Garden, by Rie Sheridan Rose “I didn’t know how truly the world was in trouble until I went journeying to look for Anisette’s bluebonnets.” —Bluebonnets, by Emily Horner “The ship’s drive malfunctioned at the worst possible time.” —The Return, by Andrea Speed “Before we continue, there’s a rather macabre fact about me I should share.” —Rejuvenation, by Christine Wright “When I died they buried me at the bottom of the garden and returned to the fields.” —Below the Hill, by Matthew Bright “The world is ending and I can’t look away from your eyes.” —Sunrise, by Brigitte Winter ““Losing one’s superpowers to your arch nemesis sucks donkey nuts, I tell ya. And trust me when I say I suck a lot of them.” —Rainbow Powers, by Dustin Karpovich “The day I was born again was damp, rainy—a good day for rebirth, all things considered.” —The Birthing Pod, by Michelle Browne “Intwir's twelve eyes roved over the container, taking in the cracked outer lock and the elasticated fabric stretched tightly over its exterior.” —In a Bind, by S R Jones “‘You’ve reached Androgyne HelpLine. Press one to start service. Press two to interrupt or cancel service. Press three—’” —Auto-Renew, by Ginger Streusel “The doctor tells me that my wife is dying, but I already know.” —I Will Be Your Shelter, by Carey Ford Compton “‘San Francisco was the first to go dark, followed by Los Angeles.’” —When Light Left, by Lex Chase “My fingers lingered on the synthetic skin, trailing soft patterns across my work.” —Miss You, by Stephanie Shaffer Included Authors 'Nathan Burgoine A.M. Leibowitz A.M. Soto Abby Bartle Aidee Ladnier Alexis Woods Andi Deacon Andrea Felber Seligman Andrea Speed Andrea Stanet Anne McPherson Bey Deckard Brigitte Winter Carey Ford Compton Carol Holland March Carrie Pack Catherine Lundoff CB Lee Christine Wright Colton Aalto Daniel Mitton Dustin Blottenberger Dustin Karpovich E R Zhang E.J. Russell E.W. Murks Ell Schulman Ellery Jude Eloreen Moon Elsa M León Emily Horner Eric Alan Westfall F.T. Lukens Fenrir Cerebellion Foster Bridget Cassidy Ginger Streusel Hannah Henry Irene Preston J. Alan Veerkamp J. P. Egry J. Summerset J.S. Fields Jaap Boekestein Jackie Keswick Jana Denardo Jeff Baker Jenn Burke Joe Baumann John Moralee Jon Keys Jude Dunn K.C. Faelan Kelly Haworth Kiterie Aine Kristen Lee L M Somerton L. Brian Carroll L.M. Brown L.V. Lloyd Laurie Treacy Leigh M. Lorien Lex Chase Lia Harding Lin Kelly Lloyd A. Meeker Lyda Morehouse M.D. Grimm Martha J. Allard Mary E. Lowd Matt Doyle Matthew Bright Mia Koutras Michelle Browne Milo Owen Mindy Leana Shuman Naomi Tajedler Natsuya Uesugi Nephy Hart Nicole Dennis Ofelia Gränd Patricia Scott Paul Stevens PW Covington R R Angell R.L. Merrill Rebecca Cohen Redfern Jon Barrett Reni Kieffer Richard Amos RL Mosswood Robyn Walker Rory Ni Coileain Rose Blackthorn Ross Common S R Jones Sacchi Green Sarah Einstein Shilo Quetchenbach Siri Paulson Soren Summers Stephanie Shaffer Steve Fuson Tam Ames Terry Poole Tray Ellis Vivien Dean Wendy Rathbone Xenia Melzer Zen DiPietro Zev de Valera
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