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goodcryunicorn · 2 years

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7th Heaven || Ruthie Camden

Name: Ruthie Camden Age: 14 - 26 Relationship: single (verse depending) open for ships Sexuality: bisexual Job: reporter Faceclaims: Mackenzie Rosman, Phoebe Tonkin Blog written by: @goodcryunicorn2

After the death of her grandmother, Ruthie desperately wants to hear her grandmothers favourite song as a way to hold onto the memory of her. After overhearing Eric rant about people not knowing the "Star-Spangled Banner", Ruthie is concerned that she will have to leave the country if she does not learn it, so she enlists Simon to teach it to her. Ruthie starts pre-kindergarten but on her first day some problems are created. Ruthie feels empowered by her new class phone list and decides to test the emergency phone numbers. Ruthie has a going-away party for her longtime imaginary friend, Hooey. On the first day of a new school year Ruthie is nagged by her her teacher about wearing a hat. Ruthie practices her artistic skills on the walls of her and Simons room and has a bad reaction when Annie punishes her. Ruthie is broken-hearted to learn the truth about her favorite costumed character, Snappy the Stegosaurus. Simon pays Ruthie to do well on a test. Ruthie reunited with her imaginary friend. She involves her whole family in her playground war with a schoolmate. Ruthie tries to run away from home because she doesn't get as much attention as she used to. She finds a chimp living in the backyard but nobody in the family believes her. She wants to be a bride at Heather’s wedding. Mary helps Ruthie with her secret plans to defy convention and play on the school football team. She saves the day by convincing the church board to give Eric his built-in annual raise so they can buy a new car. Ruthie wins first prize at school. Ruthie gets in trouble at school. She makes money from her science experiment by charging people a dollar who want to know. Ruthie takes advantage of her new boyfriend and does her best to get back together with him. Ruthie learns she will have to spend another year with her teacher Ms. Riddle. Her prayers are answered when she is transferred out of her nemesis’ class and into a private school. She discovers the manipulative fun of keeping a diary. Ruthie spreads phoney tales to draw attention away from Mary. Ruthie discovers Frankie and Johnny's baby, Mercy on the Camden doorstep. Annie feels slighted when Ruthie plays an unfunny joke after the twins recognize her as their mama. Ruthie has a secret reason for skipping homeroom. Robbie gives Ruthie a playful nickname and she comes up with a less-pleasant one for Lucy. Lucy snaps at Ruthie, and teases her before bed about being called "Snookie", and it comes back to haunt her when she unwittingly ends up causing a rift in Ruthie and Robbie's relationship. Ruthie feels that Mary owes everyone an apology for the actions that led to her initial ouster from the Camden home.Ruthie is hesitant to go to a party because her friend tricked her into asking out a boy that she is already going out with. Eric suspects that Ruthie knows a secret about Matt and Sarah, and thinks they are married already. Ruthie is corresponding by e-mail with a soldier in Afghanistan. Ruthie brings home her very first boyfriend. When Ben picks Ruthie up from school, he sees a girl making fun of her and then she makes fun of him, which leads to the vice principal calling the police. Ruthie is in big trouble when she's caught slow dancing with her boyfriend when she's supposed to be babysitting Sam and David. Ruthie tries to figure out a way to break up with her boyfriend without making him cry. Ruthie is shocked to learn that her new upbeat friend Katelyn, suffers from cystic fibrosis. Ruthie fears that her parents may be heading for divorce court after overhearing them fight. Ruthie's friend Peter begs her to lie and not tell his mother that he smokes. Ruthie and Peter try finding Ben a girlfriend with his training dog, but things go awry once they lose the dog. Nobody seems to understand why Ruthie is acting so irritable lately. Ruthie has gotten her period for the first time and is embarrassed to talk about it, but the family sees it as a cause for public celebration. Ruthie's boyfriend Peter starts spending increasing amounts of time with the Camden’s, and he even tags along on their vacation. She also finds out a huge secret about Mary. Ruthie wonders why Peter always calls her honey or sweetie. Ruthie learns a secret about a shy, withdrawn classmate from school. Ruthie enlists Lucy's help to convince their mom that she should be allowed to attend a couples party with Peter. Ruthie and Peter's school project lands them in trouble when they create a newspaper featuring false and derogatory stories about two former U.S. presidents. Ruthie is upset with Martin because she thinks he will get the garage apartment instead of her when Lucy and Kevin move out. When Peter calls, Ruthie tells him that she loves him but she can't date him if he drinks. Ruthie's foreign exchange student friend Maria appears to be making the moves on Ruthie's boyfriend Peter. Ruthie is studying in Scotland. Ruthie is nervous when she finds out that her parents are heading to Scotland. She reveals a very unattractive side of herself when she openly admits that she is not about to sacrifice her own freedom and happiness to come home and be with her sick father. Ruthie is informed of her father's health prognosis when her parents show up in Scotland, but she shocks them by reacting with very little sympathy or understanding. When Ruthie and T-Bone work on a school assignment about the genocide in Darfur, they get the whole Camden family, and the community involved in the cause. Ruthie will do anything to prove that she is not a little girl anymore. Ruthie insists that T-Bone get his driver's license so they can go away for privacy; unfortunately, T-Bone makes the mistake of asking Kevin to help him get ready for the test. T-Bone and Ruthie want to do something romantic for Valentine's Day, and they profess their love for each other in an unusual way. Ruthie tries to hide her tattoo from her parents, not realizing that they already know something is up with her. Lucy knows about the tattoo, but she has a very specific reason for keeping it to herself. Ruthie gets a sign on her own. When she loses a diamond in the ring that T-Bone gave her as a promise to get engaged someday, she thinks that this is her sign that maybe being with T-Bone is not the best choice. Ruthie learns that removing her tattoo will not be an inexpensive procedure, and after getting no sympathy from her parents, she tries "guilting" T-Bone into paying the bill. Ruthie and T-Bone decide to get back together, but an unexpected twist of events brings back unresolved issues with the guy who broke Ruthie's heart a year ago. Ruthie graduates high school early and informs Eric and Annie that she is wanting to forgo college in the fall to travel the world with T-Bone.

VERSES

#fandom // 7th Heaven #7th Heaven // Ruthie Camden #faceclaim // Mackenzie Rosman #faceclaim // Phoebe Tonkin #sexuality // Bisexual #goodcryunicorn2

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jaimsilva · 7 years

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Santo Tirso (Portugal) - Museu Internacional de Escultura Contemporânea [Sculptures are scattered around the city]

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mitjalovse · 3 years

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A thing about the rock music of the 60's that continues to be heralded might be that the style seemed intent on including every one within the field. We can debate about the veracity of this, yes, though we can agree that there can be many surprises found here. One such might've been Tommy James And The Shondells, who have achieved a couple of hits, yet they're not really that known despite the fact some of their tunes distill the 60's to their essence. I mean, the piece in the link rocks like crazy and the group clearly knows how to deploy their skills. Moreover, I'm not surprised Billy Idol covered the composition, but I must be honest – his version sounds similar to the original, which only shows how great the ditty is.

#tommy james and the shondells #mony mony #mony mony song #tommy james #eddie gray #peter lucia #ron rosman #mike vale #bobby bloom #ritchie cordell #bo gentry #60's music #rock

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rainingmusic · 4 years

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Tommy James & The Shondells - Crimson and Clover

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confessionsofabingefreak · 4 years

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youtube

A Wish Come True (2015)

Hallmark Channel

Impression: just skip it

Collection: not a chance

Overall: ⭐️1/2

Concept ⭐️

Story: ⭐️1/2

Storytelling: ⭐️⭐️

Characters: ⭐️

Casting: ⭐️⭐️⭐️

Visually: ⭐️⭐️⭐️

Score: ⭐️⭐️⭐️

Entertainment: ⭐️

Best: showing that sometimes what you wish for most is right under your nose

Worst: the movie, sitting through it

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radredrecluse · 5 years

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More than two decades ago, Congress adopted a sweeping law that outlawed female genital mutilation, an ancient practice that 200 million women and girls around the world have undergone. But a federal court considering the first legal challenge to the statute found the law unconstitutional on Tuesday, greatly diminishing the chances of it being used by federal prosecutors around the country.

A federal judge in Michigan issued the ruling in a case that involved two doctors and four parents, among others, who had been criminally charged last year with participating in or enabling the ritual genital cutting of girls. Their families belong to a small Shiite Muslim sect, the Dawoodi Bohra, that is originally from western India.

The case, the first to be brought under the 1996 law that criminalized female genital mutilation, has been closely followed by human rights advocates and communities where cutting is still practiced and whose members have moved in growing numbers to the United States and other western countries.

On Tuesday, Judge Bernard Friedman of the United States District Court for the Eastern District of Michigan ruled that Congress did not have the authority to pass the law against female genital mutilation and he dismissed key charges filed against the doctors and removed four of the eight defendants from the case.

“As laudable as the prohibition of a particular type of abuse of girls may be,” he wrote, prosecutors failed to show that the federal government had the authority to bring the charges, and he noted that regulating practices like this is essentially a state responsibility. He rejected arguments that the law allowed for such a federal prosecution because Congress has a right to regulate commerce or health care or can enact laws to support international treaties that the United States has signed.

“Federalism concerns deprive Congress of the power to enact this statute,” Judge Friedman wrote. He added in the 28-page ruling, “Congress overstepped its bounds by legislating to prohibit FGM” because “FGM is a ‘local criminal activity’ which, in keeping with longstanding tradition and our federal system of government, is for the states to regulate, not Congress.”

Gina Balaya, a spokeswoman for United States Attorney Matthew Schneider in Detroit, said, “We are reviewing the Judge’s ruling and will make a determination on whether or not to appeal.”

Lawyers for the defendants have argued that the Dawoodi Bohra practice is a protected religious procedure and is not mutilation but rather a “ritual nick” that doesn’t remove the clitoris or labia as do some forms of cutting.

Peter Henning, a law professor at Wayne State University and former federal prosecutor, said the judge’s ruling appeared to be solid and that, while 27 states have their own laws criminalizing the practice, other states would need to pass laws or use existing assault or abuse laws if they wanted to bring charges.

“Given how this statute is written I think he’s correct,” Professor Henning said. “I hate to say Congress whiffed, but they whiffed on this law. There isn’t a federal police power, so they can’t just adopt anything they want. It has to be located in one of Congress’s express powers and this wasn’t.”

Advocates fighting to end female genital cutting were dismayed by the ruling. Shelby Quast said her group, Equality Now, is urging federal prosecutors to appeal the decision. “We are confident that Congress had the authority to pass this FGM law,” she said.

Mariya Taher, a co-founder of Sahiyo, a group representing members of the Dawoodi Bohra sect who oppose cutting, said she appreciated that the ruling was not condoning female genital mutilation and that states still have options to bring cases. But she added that she is concerned about the message those who believe in cutting might draw from the decision.

“Is this something that proponents will use as a reason to say that ‘what we do isn’t harmful,’ almost giving them permission to do this?” she wondered. “The U.S. is looked to as a leader, so this could definitely have repercussions globally.”

In the Michigan case, Dr. Jumana Nagarwala, an emergency medicine physician and a member of the Dawoodi Bohra sect, is accused of cutting the genitals of nine girls. Dr. Fakhruddin Attar, an internist, is accused of letting Dr. Nagarwala use his now-closed Burhani Medical Clinic in Livonia, a Detroit suburb. His wife, Farida Attar, the clinic’s office manager, and another woman, Tahera Shafiq, were accused of assisting the doctors.

Judge Friedman dismissed charges against Ms. Shafiq, as well as mothers of two girls from Minnesota and one girl from Michigan. Dr. Nagarwala, the Attars and a fourth mother remain charged with conspiracy to obstruct an official proceeding. Dr. Nagarwala is also charged with conspiracy to travel with intent to engage in illicit sexual conduct.

Molly Blythe, a lawyer for Dr. Nagarwala, said Wednesday that while pleased with the ruling, Dr. Nagarwala remains under home confinement and still has to face the other charges, which could carry a sentence of years in federal prison.

Legal experts said Congress could supersede the law with one that could pass muster, particularly by tying the cutting practice to aspects of interstate commerce, because Congress is allowed to make laws enforcing the Commerce Clause of the Constitution.

“There are ways that Congress could write a different statute that would be more closely connected to conduct that has an effect on interstate commerce,” said Michael Rosman, general counsel for the Center for Individual Rights, although he said he believed such a law would still be vulnerable to claims it violated equal protection or religious freedom.

Federal prosecutors argued that the law was linked to congressional authority to enforce the commerce clause, but Judge Friedman rejected that.

“If there is an interstate market for FGM, why is this the first time the government has ever brought charges under this 1996 statute?” he wrote, adding “FGM cannot, by any stretch of the imagination, be classified as an economic or commercial activity.”

The judge also disputed prosecutors’ argument that the law fell under a constitutional clause that allows Congress to enforce treaties, specifically the International Covenant on Civil and Political Rights. Judge Friedman said the covenant’s language was too general, calling for nondiscrimination and “civil and political rights.” It is not “rationally related to the FGM statute, which prohibits the mutilation of girls’ genitalia.”

By Pam Belluck

Nov 21, 2018

#pasting the whole thing bc you know how stingy nyt is #fgm #female genital mutilation #new york times #misogyny #religious freedom #sex based oppression #nyt

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architectnews · 2 years

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Palazzo Albertoni Spinola Rome, Giacomo della Porta

Palazzo Albertoni Spinola + Giacomo della Porta Rome Architecture News, Italian Capital Built Environment, Buildings

Palazzo Albertoni Spinola + Giacomo della Porta Rome

7 + 5 December 2021

New discovery around Giacomo della Porta and Rome’s Palazzo Albertoni Spinola

During “The Great Perspective by Giacomo Della Porta” event in Rome, the unveiling of a plaque rewrites the genesis of St. Peter’s Dome, attributing its full paternity to the Renaissance maestro

Study Reveals Newly Discovered Architectural Masterpiece Contained In Rome’s Famous Palazzo Albertoni Spinola

After years of observation and study, architect Alex Rosman brings to light an exquisite perspective conceived by Giacomo Della Porta, set inside the Palazzetto of the iconic Roman Renaissance residence

Giacomo della Porta and Palazzo Albertoni Spinola News

More than four centuries on from his death, the talent of Giacomo Della Porta still echoes through the heart of Rome, the Eternal City. His work continues to inspire awe, and the same can be said of this latest discovery made in the Palazzetto inside Palazzo Albertoni Spinola, overlooking Piazza di Campitelli.

Declared a site of historical and artistic interest by the Italian government little less than a century ago, the Palazzetto inside Palazzo Albertoni Spinola – a structure, made up of two perfectly integrated buildings – is also telling of the influence of Girolamo Rainaldi, then assistant to Giacomo Della Porta, who was also intrinsically involved in its development. It is here that, during redevelopment work, architect Alex Rosman was able to observe the special perspective between the plan of the building and the layout of the outside square. His observations newly noted the exquisite line of sight that flows from the Palazzetto towards the façade of the famous Santa Maria in Campitelli Church.

Giacomo Della Porta worked on the construction of Palazzo Albertoni Spinola up until his death in 1602. It was then that Rainaldi completed Della Porta’s vision, realigning the façade with the new layout of the outside square; an integration that gave birth to a masterpiece of perspective which allowed for an optic effect initially overlooked and, to this day, still unexplainable. In fact, by following the orthogonality of the entrance tunnel, then walking backwards towards the main doorway of the Palazzo, the entrance of the Santa Maria in Campitelli Church appears to shift sideways until perfectly aligned when reaching the threshold entrance of the Palazzetto. Another optic perspective relates to the roof garden which is visible from the entrance to the overpass on the first floor of the Palazzo Grande, even though it is hidden from the view, as it is the rear offshoot of the first floor of the Palazzetto and, therefore, far from the square.

Rosman presented his research and findings to industry experts and international media during ‘The Great Perspective by Giacomo Della Porta’ event which was live streamed from one of the lounges of Palazzo Albertoni Spinola. Along with Rosman, other speakers included architect Gaia Rebecchini, responsible for the redevelopment operations of the Palazzetto; Matilde Bartolotta Cingolani, owner of the residence and State USA Inc. Family Office representative and organiser of the event, and Anthony Majanlahti, historian, author and expert on Roman Families. The highlight of the event was to newly credit, Giacomo Della Porta, one of the most prolific architects and sculptors of Rome’s Renaissance period, for his involvement in the development of St. Peter’s Dome.

Light was shed on his involvement thanks to a plaque unveiled today, embedded in a specific point of the dome – the top of the bronze sphere, facing east – which shows the name of Giacomo Della Porta attesting to his unmistakable role in the final development of this world-famous symbol of Christianity. Based on what is historically known Della Porta developed the rest of the unfinished structure once Michelangelo died. He was also tasked with re-designing the overall project, because the original version would have most likely collapsed under the excessive weight of the dome. Thanks to his intervention, the project finally gained momentum and St. Peter’s Dome was finally finished when Della Porta began construction on the Palazzetto inside Palazzo Albertoni Spinola.

The photographic material shown as part of ‘The Great Perspective by Giacomo Della Porta’ event documents the existence of the plaque placed at the conclusion of the Basilica’s construction, where Della Porta himself engraved his own name and that of his son: JACOBUS A PORTA ARCHITECTVS / ALEXANDER EIVS FILIVS / PATRITII EQVITESQVE ROMANI 1593[1]. This documentation has revived the timeless creative, artistic and cultural contribution that Giacomo Della Porta bequeathed to the city of Rome.

State USA Inc. Family Office wishes to thank Fabbrica di San Pietro; Associazione Dimore Storiche Italiana; Architect Chiara Andreotti – Soprintendenza Speciale di Roma; Solution Bank S.p.A. and eminent scholars and professionals Giandomenico Spinola, Joseph Connors, Alessandra Cerroti, and Carla Benocci for their priceless support.

About Palazzetto inside the Palazzo Albertoni Spinola

“The Palazzetto inside the Palazzo Albertoni Spinola is both an architectural Masterpiece with magnificent views and amenities. The building was constructed by the geniuses of the Italian Renaissance, architects Giacomo Della Porta (1532-1602) who has previously worked on St. Peter’s Basilica as well as Girolamo Rainaldi (1570-1655) who successfully completed several of Michelangelo’s projects. Located in the center of Rome, which was declared a World Heritage site by Unesco, the residence is protected by the Italian Government.’’

Official website: www.palazzettoinsidepalazzoalbertonispinola.net – access protected

[1] The image is published in BALDRATI, Barbara’s, “La cupola di San Pietro in Vaticano: il cantiere e il sistema costruttivo”, Roma, Edizioni Studium, 2014, page 345; image taken by Marco Andreozzi.

More Palazzo Albertoni Spinola & Giacomo della Porta Architecture News online soon

Location: Rome, Italy, southern Europe

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the-master-cylinder · 4 years

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SUMMARY Josh Cameron and his younger brother Mike decide to get away from it all with a drive through the countryside. However, their car is run off the road by rednecks and they are forced to hike into the nearby town of Goodland. Mike discovers a dead body in an alleyway but this is gone when they return with the sheriff. They spend the night at a boarding house only for something to snatch Mike from underneath his bed. The next day, Josh goes searching for Mike. He and others realise that something strange is happening around the town. They discover that toxic waste dumped nearby by the New Era Corporation is infecting the bloodstream of locals and turning them into zombies driven by a need to devour blood.

DEVELOPMENT The team-up between Kantor and Montoro on Mutant resulted in a smoother production. The project began with a script from unknown authors. “I was at a party about eight months ago,” says Kantor. “There were a lot of young filmmakers there and a kid came up to me and introduced himself; he said, ‘I’m Michael Jones and understand that you’re a producer. ‘When I told him I was, he said, ‘I have a script. Do you read unsolicited material?’ I said, ‘We read everything, because you never know when you’ll find a good script. So, two weeks later I got a script in the mail at Film Ventures called Pestilence from Michael Jones and another kid, John Kruize-they had written it as a team. It was a story about toxic waste which is an interesting subject because no one has done a picture about that.” When Montoro agreed that Pestilence was a script with a valid premise that could be produced inexpensively, a deal was made with the writers.

Originally, this script about people turned into murderous creatures by toxic waste, characterized the Army as the villain of the piece. The idea that the Army was responsible for the script’s disastrous occurrences was not acceptable to Kantor. “You don’t want to make the Army the bad guys, maybe a private corporation, but not the Army. Especially the way it was written-it just wasn’t plausible, it was too much of a fantasy. If the story involved nerve warfare, then that would’ve been a different ball-game because the Army could conceivably be involved in that. But the original idea didn’t fit together. Additionally, at the end the Army destroys the whole town to cover up the evidence. That was too farfetched. I would have gotten so much flak.” The writers agreed to change the script (under the new title of Night Shadows, subsequently to be replaced by Mutant) and instated a private corporation as the cause for the movie’s mayhem. Fix-up man Peter Orton was then called in to apply the final touches to the screenplay.

As pre-production on Mutant progressed, the scope and main thrust of the picture changed. “Mutant started out as a small picture,” Kantor says, “but we kept building it up, and bringing in bigger actors like Wings Hauser and Bo Hopkins, and making it bigger and bigger. The budget started off as under a million and the final budget will be a little over two-and-half million dollars. The movie also started out strictly as a horror story-it’s not a horror film today. It is an action, adventure, terror film. It’s more like a Jaws than it is, say, a Night of the Living Dead. It’s got a tremendous amount of action.

PRINCIPAL PHOTOGRAPHY At first, Mark Rossman (director of Film Ventures’ House on Sorority Row) was assigned to direct instead of Cardos. Kantor says, “Mark was doing a good job with the original script in preproduction, but as we kept expanding the picture, I went to Mark one day and said, ‘Mark, I don’t think you can handle this, because you’ve never done this sort of thing before. This is a big picture. I suggest we get a second unit director to do the action scenes.’ So, originally, it was really my idea to bring Bud in as second unit man. Mark accepted this graciously and said, ‘Yes, it’s true I haven’t done action. I could use some support from a second unit director.’ Well, when we got on the set a couple of months later, right away I could tell that it was too big a picture for Mark. And he didn’t want Bud to actually direct the action scenes. He wanted Bud to whisper in his ear and tell him how to do it. But it doesn’t work that way; you can’t direct by committee. In the first week we had some action stuff right off the bat and we were running further behind and the scene was not getting finished. Now, I had already anticipated the problem; in fact I told Bud before we started, ‘You better familiarize yourself with the script very thoroughly because, in case Mark can’t handle it, you may take over.’ And, sure enough, at the end of the first week, I knew I was in trouble, so that was it. I told Mark and there was no animosity. He admitted it-it was too big.

Replacing Rosman at the last minute, veteran film director John “Bud” Cardos stepped in to film. “Mark Rosman was no dummy.” he continued. “He’s very good in a lot of ways, but he didn’t have enough Experience to handle the crew. Seriously, these are ‘budget pictures. They may be made for millions and millions of dollars, but you still have to watch your budget.

Igo Kantor

With Bud Cardos at the helm, Kantor was then able to stress the action elements in Mutant. Here we have a terrific horror opening, to start off with a bang, but after that we take the time to establish the people. And then in the last three reels, the last 30 minutes of the picture, there’s non-stop action and terror. If the activities of the makeup staff are any indication of the action involved in this picture, then there seems like there is a good deal going on in Mutant; Kantor says that the makeup crew included as many as 12 people at one time to work on around 50 creatures.

“Any time you work with a lot of creatures, it’s difficult.” said Cardos. *The first ones weren’t so good, so we had to take the time to develop them and work around the early versions.”

Some of the more difficult scenes include a shot of a hand melting through a window, scores of pulsating heads, throats and faces, and a rousing conclusion in which Wings Hauser throws Molotov cocktails at the monsters.

“That scene was very difficult because you have to worry about the actors,” said Cardos. “And you’ve got to take care of the stunt people so they don’t get burned, and you’ve got 50 or 60 other people working around them to watch out for.”

BEHIND THE SCENES/LOCATIONS Once on the set in Atlanta, though, the leading players weren’t familiar with him, a situation that caused some trepidation amongst the cast. At that point, says Wings Hauser, “I was ready to say, ‘Pack it in. I’m going back to LA. My agent flew down and said, ‘Let’s go, let’s get out of here. This isn’t going to work.’ But then I got to talking to Bud Cardos the night before he took over. For me it’s very important that a director have some kind of sensitivity, and I had no idea really of who the guy was. We started talking about an old friend of his who had recently died, Jim Davis (of Dallas fame). They had been best friends. Bud started talking and all of a sudden he started crying. And I said to myself, ‘Now, wait a minute. This guy might be a stunt coordinator, but he’s got some sensitivity here, right?’ So I decided to hang out for another day or so and really get to know him. For what he was given in the amount of time he had to prepare, he did a hell of a job.

“When he took over, he really grabbed the ball and started to inspire us. He has a tremendous way of admiring people. Often, I would be doing a scene, and I would catch Bud out of the corner of my eye just looking at the scene and you could see that he actually enjoyed it. And when somebody enjoys it, you want to do better, you want to do more. I think that’s his love for this kind of thing. He loves what he does and he’s got the confidence-and that starts to spread to everybody else.”

Hauser appreciated the freedom he and the other actors were allowed in developing their characters. In particular, he was allowed to develop the relationship between himself and Lee Montgomery who played his younger brother in the film. “Normally, in a situation like that,” Hauser explains, ”the older brother would be the more cautious one and the younger brother would be the one filled with freedom. The dialogue in the script lent itself to that kind of characterization, but we all decided that my character should be the one who could care less about certain things, not the type to be overly cautious and uptight about situations. That whole scene in the bedroom between my younger brother and me was basically born out of improvisation. There was a tremendous freedom in that if you felt like saying something you just said it. Between Bud Cardos, producer Igo Kantor and the other actors and myself, we got to play with the characters.”

Bo Hopkins

Mutant looks like it will be Bo Hopkins’ first significant horror release. In this picture he plays a sheriff who has come to his present job in a small Georgia town after getting kicked off the Atlanta police force-he had a shot a man in an alley whom he had mistakenly thought was armed. Hopkins describes the sheriff as a “strong willed guy who tries to be fair,” who now finds he has to deal with a case of mysterious disappearances in his town that eventually leads to the discovery of the horrific effects of a toxic waste dump.

Hopkins is pleased with the way the characters in Mutant were developed. He says, “I enjoyed working with Bud Cardos and Igo Kantor because they wanted to make Mutant a better movie than what was written. We did a lot of work on the characters. Wings Hauser, Jennifer Warren, myself and the rest of the cast would go in and rehearse, and if something wasn’t right then we’d try to fix it with Bud and Igo. Igo’s a hard worker. He’s been in the business a long time and knows the ups and downs of making movies. You need somebody around like that. Usually producers make me nervous when they’re on the set, but I got used to go. He’s very smart at this kind of thing; if it’s not written right, then he wants to make it better.”

A generalized objective of this work, according to Hopkins, was to get across “a sense of what was going on within the town as far as the nuclear waste was concerned. We had to emphasize that part of it more, so that we could make it appear that it actually could happen, in any town.”

More specific, Hopkins worked on his scenes with Jennifer Warren who plays a doctor who helps the sheriff in his investigations of the mysterious deaths plaguing the Georgia town. Hopkins and Warren worked on developing an on-screen rapport that was not originally included in the script and, says Hopkins, a good relationship “sort of happened while we were shooting the scenes. For one thing, we tried to add some humor. When you do a movie like this, as much humor as you can get into it, the better it is.”

SPECIAL EFFECTS

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The final result resembles a bigger budgeted version of George Romero’s NIGHT OF THE LIVING DEAD, complete with elaborate makeup effects handled by a large crew. The film’s makeup is by Eric Fiedler and Louis Lamara, with Dave Miller in charge of latex prosthetics and effects, including bladder work. “The original director was Mark Rothman, who did House on Sorority Row,” David Miller recalls. ‘We got together and worked up a design for the mutants, which looked pretty good, a swollen-faced thing. I flew down to Georgia, got casts on the actors, and came back here to make appliances. While I was in the lab, Mark got replaced by John “Bud” Cardos, who changed all the stuff around—he had the makeup artist down there doing up people in solid white clown-colored pancake, with black—black in a color film!—makeup around the eyes, and little strawberry-shaped things on their faces. This was his zombie mutant. So, because they’d already shot a lot of that, I had to paint my appliances to match that!

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CONCLUSION Mutant was a production of Edward L. Montoro, and this film’s budget was one of the contributing factors to the downfall of Montoro’s company, Film Ventures International.

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CAST/CREW Directed John “Bud” Cardos Produced Igo Kantor Screenplay Peter Z. Orton Michael Jones John C. Kruize

Story by Michael Jones John C. Kruize

Wings Hauser as Josh Cameron Bo Hopkins as Sheriff Will Stewart Jody Medford as Holly Pierce Lee Montgomery as Mike Cameron Marc Clement as Albert Hogue Cary Guffey as Billy Jennifer Warren as Dr. Myra Tate Danny Nelson as Jack

Makeup Department Eric Fiedler … makeup artist Louis Lazzara … makeup artist David B. Miller … prosthetic makeup effects Brenda Shopher … hair stylist Claudia Thompson makeup artist Bruce Zahlava … assistant makeup artist (as Bruce Zalhava)

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Fangoria#34 Fangoria#36

Mutant (1984) Retrospective SUMMARY Josh Cameron and his younger brother Mike decide to get away from it all with a drive through the countryside.

#80sFilms #80sHORROR

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