I’d imagine every one of us, despite our individual life situations, however privileged or difficult they may be, wouldn’t have too much trouble coming up with a pretty long list of people and circumstances for which to be grateful, during the upcoming week traditionally reserved for the expression of thanks as well as throughout the entirety of the year.
Even in our brave new world, where gratitude and humility and generosity of spirit often seem to be in short supply, at the mercy of greed, abuse of power, disregard for the rule of law, and megalomaniac self-interest cynically masquerading as an aggressive strain of nationalist, populist passion, there are good, everyday reasons to look around and take stock of blessings in one’s immediate surroundings.
And speaking specifically as one who has the privilege and opportunity to occasionally write about matters concerning the movies, and even a (very...
Even in our brave new world, where gratitude and humility and generosity of spirit often seem to be in short supply, at the mercy of greed, abuse of power, disregard for the rule of law, and megalomaniac self-interest cynically masquerading as an aggressive strain of nationalist, populist passion, there are good, everyday reasons to look around and take stock of blessings in one’s immediate surroundings.
And speaking specifically as one who has the privilege and opportunity to occasionally write about matters concerning the movies, and even a (very...
- 11/23/2017
- by Dennis Cozzalio
- Trailers from Hell
“All the films in this book share an air of disreputability… I have tried to avoid using the word art about the movies in this book, not just because I didn’t want to inflate my claims for them, but because the word is used far too often to shut down discussion rather than open it up. If something has been acclaimed as art, it’s not just beyond criticism but often seen as above the mere mortals for whom its presumably been made. It’s a sealed artifact that offers no way in. It is as much a lie to claim we can be moved only by what has been given the imprimatur of art as it would be to deny that there are, in these scruffy movies, the very things we expect from art: avenues into human emotion and psychology, or into the character and texture of the time the films were made,...
- 8/6/2017
- by Dennis Cozzalio
- Trailers from Hell
We are knee-deep into a summer of dreary sequels, kids’ fare, and a few whip-smart outliers. If you’ve already seen the likes of The Beguiled and Baby Driver, perhaps staying home with a book is a better idea than trekking to the cinema. Let’s dive into some worthy film-centric reads.
Wonder Woman: The Art and Making of the Film by Sharon Gosling (Titan Books)
Patty Jenkins’ Wonder Woman is one of the biggest superhero success stories, and it deserves that designation. The classification makes reading a book like Wonder Woman: The Art and Making of the Film feel like a celebratory affair. After a brief account of the character’s comics history, we delve into designs for Themyscira, concept art of Dr. Maru’s laboratory, and somber depictions of battle. What stands out, however, are drawings and photographs showing the film’s winning costume designs. It is illuminating,...
Wonder Woman: The Art and Making of the Film by Sharon Gosling (Titan Books)
Patty Jenkins’ Wonder Woman is one of the biggest superhero success stories, and it deserves that designation. The classification makes reading a book like Wonder Woman: The Art and Making of the Film feel like a celebratory affair. After a brief account of the character’s comics history, we delve into designs for Themyscira, concept art of Dr. Maru’s laboratory, and somber depictions of battle. What stands out, however, are drawings and photographs showing the film’s winning costume designs. It is illuminating,...
- 7/10/2017
- by Christopher Schobert
- The Film Stage
The United States is “my country, right or wrong,” of course, and I consider myself a patriotic person, but I’ve never felt that patriotism meant blind fealty to the idea of America’s rightful dominance over global politics or culture, and certainly not to its alleged preferred status on God’s short list of favored nations, or that allegiance to said country was a license to justify or rationalize every instance of misguided, foolish, narrow-minded domestic or foreign policy.
In 2012, when this piece was first posted, it seemed like a good moment to throw the country’s history and contradictions into some sort of quick relief, and the most expedient way of doing that for me was to look at the way the United States (and the philosophies at its core) were reflected in the movies, and not just the ones which approached the country head-on as a subject.
In 2012, when this piece was first posted, it seemed like a good moment to throw the country’s history and contradictions into some sort of quick relief, and the most expedient way of doing that for me was to look at the way the United States (and the philosophies at its core) were reflected in the movies, and not just the ones which approached the country head-on as a subject.
- 7/2/2017
- by Dennis Cozzalio
- Trailers from Hell
It’s kind of hard for me to undersell the impact Batman and Adam West had on me as a boy. I was six years old when the show premiered, and it was the first program I can remember seeing previews for and *begging* my mom to commit to letting me watch it when it finally came on. Like most every boy my age in the mid ’60s, I had a makeshift costume, a lunchbox, a plastic Batmobile, the Batman TV soundtrack (I still own the original LP), and of course the comic books, which never seemed quite as captivating to me compared to the vivid pop-art energy of the series. And hardly least of all, Batman introduced Julie Newmar’s Catwoman to me, who in turn introduced a whole other set of feelings to this six-year-old– fear and sex all rolled up into one inexplicable but ooh-la-la! package. (I’ll spare you,...
- 6/10/2017
- by Dennis Cozzalio
- Trailers from Hell
How Today’s ‘Nonsensical’ Blockbuster Filmmaking Can Learn a Lesson From American Movies of the ’70s
Film critic Charles Taylor’s first collection of essays, “Opening Wednesday at a Theater or Drive-in Near You: The Shadow Cinema of the American ’70s,” explores the rich history of ’70s-era American filmmaking through a unique lens, opting to highlight some of the period’s underseen and often underappreciated gems. As one of the most fruitful times in American filmmaking, Taylor understands why certain features — including offerings from such respected filmmakers as Jonathan Demme, Walter Hill, and Irvin Kershner — didn’t quite make it big at a crowded box office, but he’s also eager to give them their due.
Told with an eye towards the current state of cinema — a blockbuster-driven machine that Taylor calls “nonsensical” and contributing to “the destruction of the idea of content” — the book is a loving look at some forgotten gems and the power of moviemaking that can often be ignored. In our excerpt from the book,...
Told with an eye towards the current state of cinema — a blockbuster-driven machine that Taylor calls “nonsensical” and contributing to “the destruction of the idea of content” — the book is a loving look at some forgotten gems and the power of moviemaking that can often be ignored. In our excerpt from the book,...
- 6/7/2017
- by Indiewire Staff
- Indiewire
While much of Web of Lies centers on some of the tragedies of exposing your entire life online, there are rare cases where social media itself helps police solve crimes. On the next episode of Web of Lies Investigation Discovery takes a look at the story of Amanda Taylor which was a very publicized murder case back in 2015. Twenty-four-year-old Amanda Taylor was responsible for the murder of her former father-in-law, Charles Taylor, in Christiansburg, Virginia. On Tuesday night’s Web of Lies episode, titled “Crime Scene Selfie,” Virginia detectives will discuss the brutal killing and how social media helped them
Web of Lies: “Crime Scene Selfie” Examines The Amanda Taylor Story...
Web of Lies: “Crime Scene Selfie” Examines The Amanda Taylor Story...
- 3/28/2017
- by Nat Berman
- TVovermind.com
Even when you live in Los Angeles, as I do, if you’re not in the network of critics groups and press screening and screener DVDs it can be a challenge to keep up with everything you tell yourself you have to see before attempting an informed roundup of the year currently in the rearview mirror. And I also try to not let more than a couple of weeks of the new year go by before checking in, regardless of how many of the year’s big presents I have left to unwrap, though in past years I have not lived well by this dictum—let’s just say that if I’m still posting stuff on the year’s best after even Oscar has thoroughly chewed over the goods, as has happened in the past, well, I’ve overstayed my welcome.
2016 was, in most ways, a disaster of a year,...
2016 was, in most ways, a disaster of a year,...
- 1/29/2017
- by Dennis Cozzalio
- Trailers from Hell
Thanksgiving. After the past year of tumult, anger and divisiveness we’ve experienced in this country and around the world, to say nothing of the past couple of weeks, the concepts of thankfulness and appreciation may seem somewhat more distant and difficult to access than they might otherwise normally be. At any rate, Thanksgiving Day itself seems of late to be more about gorging on gigantic meals and, more distressingly, rampant consumerism, as Black Friday ever threatens to overtake the spirit of the day, and even the day itself—how many more seasons before it officially becomes Black Thursday? Yet here we are, a few days before that very American occasion inspired by the desire to show our gratitude for our many blessings. So in the hope of reclaiming some of the original intent of our national holiday, I’d like to send out some brief thoughts on a few...
- 11/20/2016
- by Dennis Cozzalio
- Trailers from Hell
In partnership with New York's Film Society of Lincoln Center, Mubi will be hosting four films recently shown at Art of the Real, the Film Society's annual showcase for boundary-pushing nonfiction films. Fragment 53, directed by Federico Lodoli and Carlo Gabriele Tribbioli, will be showing April 23 - May 22 on Mubi in most countries around the world, and April 24 - May 23, 2016 in the United States."Comprising interviews with seven different men of varying rank about atrocities they committed (or ordered) during the First Liberian Civil War, this frank and frequently disturbing documentary examines the nature of modern violence and an essentialist concept of warfare. Their testimony, interspersed with snapshots of Liberia’s streets and mangrove trees as they currently exist, along with some terrifying video footage from the era, illustrate the ravages—and the inevitability—of humanity’s basest desire for conflict. Without falling into the sensationalist or simplistic, Lodoli and Tribbioli...
- 4/26/2016
- MUBI
O,Brazen Age was one of my favourite discoveries at Viff 2015 (and one of the best Canadian films of the year), so it was a pleasure to sit down and talk with its writer/director, Alexander Carson, about his approach to filmmaking, literature, the role of indie filmmaking, his postmodern approach to art in his debut feature.
This is your debut feature, although you have made shorts and worked as a producer on your films as part of the North Country Cinema. How was the transition from shorts to features, and how much of it is a shared vision, not just your own, since you were working as part of a collective?
The transition from shorts to features, for me, was not so challenging because I decided that I didn’t want to do anything differently than on my short films. It’s a longer format, but I didn’t want to get overwhelmed.
This is your debut feature, although you have made shorts and worked as a producer on your films as part of the North Country Cinema. How was the transition from shorts to features, and how much of it is a shared vision, not just your own, since you were working as part of a collective?
The transition from shorts to features, for me, was not so challenging because I decided that I didn’t want to do anything differently than on my short films. It’s a longer format, but I didn’t want to get overwhelmed.
- 10/20/2015
- by Josh Hamm
- SoundOnSight
About five years ago I made my way over to Montana Street in Santa Monica to attend a screening of the magnificently loopy adaptation of Robert Heinlein’s Starship Troopers, directed by Paul Verhoeven, which was showing at the Aero Theater in Santa Monica. The screening was a star-studded affair, featuring Verhoeven in an on-stage interview with Ed Neumeier, the film’s screenwriter, and a couple of the other artists and craftsmen who were involved in the making of the film. (They were stars to the packed house anyway, even though I can’t for the life of me remember who else comprised the panel.) Before the screening, Verhoeven set up shop to sign copies of his recently published book, the somewhat controversial Jesus of Nazareth, a historical account of Jesus’ life written with matter-of-fact detail and iconoclasm from Verhoeven’s singular perspective as a member of the group of...
- 9/24/2015
- by Dennis Cozzalio
- Trailers from Hell
After a decade floating around the Hollywood back lots trading dignity for cash and technical experience on A Little Princess and Great Expectations, Alfonso Cuarón realized he needed to emotionally involve himself in his source material, letting his personal life, his upbringing and his cultural experience bleed into the next project he chose to pursue. Part of the Nuevo Cine Mexicano auteurs who enjoyed considerable international success (Iñárritu’s Amores perros were interchangeably part of the same discourse), the resulting cinematic masterpiece Y tu mamá también was simultaneously a visually stunning portrait of Mexico (the film was shot by master cinematographer Emmanuel Lubezki) and the fragility of friendship, and a heartbreaking meditation on the transient nature of youth teeming with life and love and the tragic beauty of naiveté. Unsurprisingly, this Venice Film Festival winning film would become Mexico’s top grossing film of all time in its first weekend.
- 8/20/2014
- by Jordan M. Smith
- IONCINEMA.com
On the heels of the 39th edition of the Toronto Int. Film Festival (Sept 4-14), Ifp’s Independent Film Week is where a plethora of fiction, non-fiction and new this year, web-based series from the likes of Desiree Akhavan and Calvin Reeder find future coin. Sectioned off as projects at the very beginning of financing to those that are nearing completion, there happens to be tons of Sundance alumni in the names below. Among those that caught our attention we have Medicine for Melancholy‘s Barry Jenkins’ sophomore feature, produced by Bad Milo!‘s Adele Romanski, Moonlight is about “two Miami boys navigate the temptations of the drug trade and their burgeoning sexuality in this triptych drama about black queer youth”. Concussion‘s Stacie Passon digs into the thriller genre with Strange Things Started Happening. Produced by vet Mary Jane Skalski (Mysterious Skin), this is about “a woman who has...
- 7/24/2014
- by Eric Lavallee
- IONCINEMA.com
Blu-ray & DVD Release Date: Aug. 19, 2014
Price: DVD $29.95, Blu-ray/DVD Combo $39.95
Studio: Criterion
Gael García Bernal (l.) and Diego Luna hit the road in Y tu mamá también.
The smash 2001 road comedy Y tu mamá también from the Oscar-winning director Alfonso Cuarón (Gravity) is that rare movie to combine raunchy subject matter and emotional warmth.
Gael García Bernal (Casa de mi Padre) and Diego Luna (Contraband) shot to international stardom as a pair of horny Mexico City teenagers from different classes who, after their girlfriends jet off to Italy for the summer, are bewitched by a gorgeous older Spanish woman (Tetro’s Maribel Verdú) they meet at a wedding. When she agrees to accompany them on a trip to a faraway beach, the three form an increasingly intense and sensual alliance that ultimately strips them both physically and emotionally bare.
Shot with elegance and dexterity by the great Emmanuel Lubezki (The Tree of Life...
Price: DVD $29.95, Blu-ray/DVD Combo $39.95
Studio: Criterion
Gael García Bernal (l.) and Diego Luna hit the road in Y tu mamá también.
The smash 2001 road comedy Y tu mamá también from the Oscar-winning director Alfonso Cuarón (Gravity) is that rare movie to combine raunchy subject matter and emotional warmth.
Gael García Bernal (Casa de mi Padre) and Diego Luna (Contraband) shot to international stardom as a pair of horny Mexico City teenagers from different classes who, after their girlfriends jet off to Italy for the summer, are bewitched by a gorgeous older Spanish woman (Tetro’s Maribel Verdú) they meet at a wedding. When she agrees to accompany them on a trip to a faraway beach, the three form an increasingly intense and sensual alliance that ultimately strips them both physically and emotionally bare.
Shot with elegance and dexterity by the great Emmanuel Lubezki (The Tree of Life...
- 5/30/2014
- by Laurence
- Disc Dish
Catapult Film Fund, a company that provides documentary filmmakers with development funding, has announced the recipients of their Spring 2014 Grant Awards. While in previous years only seven projects were recognized, an increase in funding has added three more projects to the mix this year. The following filmmakers and films are the recipients of this year's awards (descriptions courtesy of Catapult):"A Blind Eye," director Kirsten JohnsonDrawing on footage she's shot over the course of 25 years, documentary cinematographer Kirsten Johnson searches to reconcile her part in the thorny questions of permission, power, creative ambition, and human obligation that come with filming the lives of others. "American Warlord," director Tony Gerber"American Warlord" details the journey of Charles Taylor's American-born son "Chucky" from the suburban ghettos of Orlando, Florida to one of Africa's most violent civil wars, charting his transformation from a troubled teenager with hip-hop...
- 5/22/2014
- by Eric Eidelstein
- Indiewire
IndieWire the winners at SXSW Fort Tilden (narrative) and The Great Invisible (doc). You may recall that Short Term 12 was the big discovery last year so let's hope Fort Tilden hits theaters soon. But mostly I'm leading with this because the still released has kittens in it. Kittens!
But mostly I led with that because the first still released has kittens in it. Three. Kittens. Kittens, I say.
Kittens
Ahem. Some links...
La Review of Books Charles Taylor on Meryl Streep's recent string of gorgon roles and particularly August: Osage County. Really interesting article but Streep fanatics should steer clear since it is merciless. (Slightly confused about what this essay is doing at a 'Review of Books' since none are mentioned.)
Golden Globe I hadn't seen this before - celebrities fav movies. Turns out Robin Wright loves Werner Herzog, Carey Mulligan loves Steven Spielberg, Emile Hirsch has very Oscar-bait taste,...
But mostly I led with that because the first still released has kittens in it. Three. Kittens. Kittens, I say.
Kittens
Ahem. Some links...
La Review of Books Charles Taylor on Meryl Streep's recent string of gorgon roles and particularly August: Osage County. Really interesting article but Streep fanatics should steer clear since it is merciless. (Slightly confused about what this essay is doing at a 'Review of Books' since none are mentioned.)
Golden Globe I hadn't seen this before - celebrities fav movies. Turns out Robin Wright loves Werner Herzog, Carey Mulligan loves Steven Spielberg, Emile Hirsch has very Oscar-bait taste,...
- 3/12/2014
- by NATHANIEL R
- FilmExperience
Tim League, the CEO of the beloved by cinephiles Alamo Drafthouse chain, has tweeted that singer Madonna has effectively been banned from its theaters.
What did the Material Girl do to led to such a ban? Texting during a screening. Madonna reportedly attended a New York Film Festival screening last week where she was reportedly annoying fellow audience members by texting on her Blackberry during the film.
According to film critic Charles Taylor, a fellow audience member asked her to stop. She apparently lashed out at them saying "It's for business... Enslaver" - an interesting insult considering the screening was this year's awards favorite historical drama "12 Years a Slave".
Drafthouse has a famously strict policy against such behavior, so League tweeted that Madonna would not be admitted to cinemas in the chain until she apologized.
He later indicated that while the 'tweet ban' was an "offhand joke," the company intends to enforce it.
What did the Material Girl do to led to such a ban? Texting during a screening. Madonna reportedly attended a New York Film Festival screening last week where she was reportedly annoying fellow audience members by texting on her Blackberry during the film.
According to film critic Charles Taylor, a fellow audience member asked her to stop. She apparently lashed out at them saying "It's for business... Enslaver" - an interesting insult considering the screening was this year's awards favorite historical drama "12 Years a Slave".
Drafthouse has a famously strict policy against such behavior, so League tweeted that Madonna would not be admitted to cinemas in the chain until she apologized.
He later indicated that while the 'tweet ban' was an "offhand joke," the company intends to enforce it.
- 10/14/2013
- by Garth Franklin
- Dark Horizons
The Alamo Drafthouse movie theater chain has banned Madonna from its theaters after reports that the Queen of Pop was texting during a New York Film Festival screening of 12 Years a Slave. Her Madgesty attended the festival's Tuesday screening of Fox Searchlight's Oscar hopeful, posing for photos with director Steve McQueen. During the film, though, she was reportedly texting and lashed out at a fellow audience member who tried to get her to stop.
According to several outlets, film critic Charles Taylor shared the following story from an audience member at
read more...
According to several outlets, film critic Charles Taylor shared the following story from an audience member at
read more...
- 10/14/2013
- by Hilary Lewis
- The Hollywood Reporter - Movie News
Always the one to court controversy and attention wherever she goes, Madonna could not help but express herself during the New York Film Festival premiere of "12 Years A Slave" earlier this week. Fresh off releasing her short film "secretprojectrevolution" and spearheading a global initiative to protect freedom of expression, she was spotted at the screening of Steve McQueen's slavery drama exhibiting less-than-stellar moviegoing etiquette. The news originated from this Facebook post by film critic Charles Taylor, who passed along the following anecdote from a former student: Tonight at the New York Film Festival premiere of '12 Years A Slave' (a masterpiece, by the way), I sat behind the unholy trifecta of Jason Ritter, J. Alexander from 'America's Next Top Model,' and Michael K. Williams from 'The Wire.' Plus, a mysterious blonde in black lace gloves who wouldn't stop texting on her Blackberry throughout the first half of the movie.
- 10/11/2013
- by Clint Holloway
- Indiewire
The Hollywood star is always headline news – for her movies, relationships and extendend family. And her latest claims about the paternity of her son have reopened the bitter wounds from her split from Woody Allen
For a while, Mia Farrow was a genuine Surrey housewife. In a life of bright lights and dark, dark shadows, this must surely count as one of the most unusual periods of them all: a moment of apparent stability and respectability in the late 70s and early 80s. During this time, she picked up her twin sons Matthew and Sascha by the conductor André Previn from their ballet classes and music lessons and took them back to the family home in Leigh, much as if she had never been the daughter of Tarzan's Jane (Maureen O'Sullivan), nor the young bride of Frank Sinatra.
But this was the era when the notion of adopting needy children took hold.
For a while, Mia Farrow was a genuine Surrey housewife. In a life of bright lights and dark, dark shadows, this must surely count as one of the most unusual periods of them all: a moment of apparent stability and respectability in the late 70s and early 80s. During this time, she picked up her twin sons Matthew and Sascha by the conductor André Previn from their ballet classes and music lessons and took them back to the family home in Leigh, much as if she had never been the daughter of Tarzan's Jane (Maureen O'Sullivan), nor the young bride of Frank Sinatra.
But this was the era when the notion of adopting needy children took hold.
- 10/6/2013
- by Vanessa Thorpe
- The Guardian - Film News
The photographer, who died in the Libyan civil war in 2011, had a gift for putting people at ease. The biggest British exhibition of his work since his death opens in Liverpool today
From surprisingly tender portraits of sleeping soldiers to officers practising golf on the front line, Tim Hetherington's photography captured moments of intimacy and absurdity in war.
His talent as a photojournalist was already evident back when I worked with him in 1998 at the Big Issue magazine in London. We collaborated on a story about homeless veterans of the first Gulf War and he soon demonstrated his rare gift for putting people who had endured great hardship and distress at ease.
Hetherington's interest in the human impact of combat was a feature of his career, which was cut short in in 2011 when he was killed in a mortar attack in Misrata, Libya, aged 40. He had established his reputation...
From surprisingly tender portraits of sleeping soldiers to officers practising golf on the front line, Tim Hetherington's photography captured moments of intimacy and absurdity in war.
His talent as a photojournalist was already evident back when I worked with him in 1998 at the Big Issue magazine in London. We collaborated on a story about homeless veterans of the first Gulf War and he soon demonstrated his rare gift for putting people who had endured great hardship and distress at ease.
Hetherington's interest in the human impact of combat was a feature of his career, which was cut short in in 2011 when he was killed in a mortar attack in Misrata, Libya, aged 40. He had established his reputation...
- 9/6/2013
- by David Batty
- The Guardian - Film News
The televangelist claimed Operation Blessing was giving vital aid in response to the 1994 Rwandan crisis. A documentary opening at the Toronto film festival paints a less flattering picture
One of the stranger sights of the refugee crisis that followed the 1994 Rwandan genocide was of stretcher-bearers rushing the dying to medical tents, with men running alongside reciting Bible verses to the withering patients.
The bulk of the thousands of doctors and nurses struggling to save lives – as about 40,000 people died of cholera – were volunteers for the international medical charity Médecins Sans Frontières (Msf). The Bible readers were hired by the American televangelist and former religious right presidential candidate, Pat Robertson, and his aid organisation, Operation Blessing International.
But on Robertson's Us television station, the Christian Broadcasting Network, that reality was reversed, as he raised millions of dollars from loyal followers by claiming Operation Blessing was at the forefront of the international...
One of the stranger sights of the refugee crisis that followed the 1994 Rwandan genocide was of stretcher-bearers rushing the dying to medical tents, with men running alongside reciting Bible verses to the withering patients.
The bulk of the thousands of doctors and nurses struggling to save lives – as about 40,000 people died of cholera – were volunteers for the international medical charity Médecins Sans Frontières (Msf). The Bible readers were hired by the American televangelist and former religious right presidential candidate, Pat Robertson, and his aid organisation, Operation Blessing International.
But on Robertson's Us television station, the Christian Broadcasting Network, that reality was reversed, as he raised millions of dollars from loyal followers by claiming Operation Blessing was at the forefront of the international...
- 9/5/2013
- by Chris McGreal
- The Guardian - Film News
Why Watch? This short from director Shane Leal-Willett and writer Charles Taylor is a chess match with a sniper rifle. It features a simple proposition, delivered from a swarthy traveling entrepreneur with far too many teeth in his mouth (Michael Burger). He sits down in front of a grizzled man (Brant Bumpers) who lives out in the country, and explains that he’s got an associate with a sniper rifle trained on the bumpkin’s wild-bearded head, but if he gets $10,000, he’ll leave without a fatal shot being fired. Simple, but tricky. There’s a little air in the conversation that tighter dialogue or editing could sharpen, but ultimately the work shines because of the two actors swinging deftly back and forth between confusion, laughter and empathy. It stands on a simple question of how much you trust a robber who isn’t holding a gun — game theory ratcheted up to its breaking point, but...
- 5/9/2013
- by Scott Beggs
- FilmSchoolRejects.com
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