Art, love, and chaos collide with the underworld and
political turmoil.
Can love conquer all when the stakes are this high?
...As the streets of Ecuador, Greece, and New York City bustled with chaos
and turmoil, Sophia, a fiercely dedicated artist married to an illegal
arms dealer, found herself inexplicably drawn to Paul,
a smooth-talking hustler. Amidst the growing political
unrest threatening to engulf them, their intense connection became
both a refuge and a risk in a violent and corrupt world filled with
bloodshed and betrayal. Sophia and Paul soon realized that each
moment they shared was like walking on a tightrope, perpetually
balancing between ecstasy and peril.
But can love truly conquer all when the stakes are this high?
Epic New Comic Book "Hercules and Hermes: The Untold Story" Now Available on Amazon and at Independent Booksellers Nationwide
In a spectacular blend of mythology and modern storytelling, the new comic book "Hercules and Hermes: The Untold Story" is set to capture the imaginations of readers young and old. With over 100 vibrant illustrations, this enchanting tale is now available as an eBook and paperback on Amazon, as well as at independent booksellers nationwide.
A Heroic Journey Like No Other
Step into the sun-drenched lands of ancient Greece, where gods mingled with mortals, and myths danced to life. At the heart of this world strides Hercules, a superhero whose strength is matched only by his immense heart. By his side, Hermes, a superdog of unparalleled bravery and an insatiable appetite for treats, proves that loyalty and courage come in all shapes and sizes. Together, they embark on adventures that stretch the bounds of imagination, facing challenges both divine and monstrous.
An Unforgettable Cast
"Hercules and Hermes" introduces readers to a rich tapestry of characters:
Adonis, the gentle bear who combines muscle with affection.
Pericles the Professor, a wise Basset Hound and keeper of legends, dispensing wisdom from behind his thick glasses.
Phaedra, a snooty New York cat with an air of superiority.
Betty Loop, a bubbly witch and part-time yoga instructor who heals with one hand and bakes with the other, adding a whimsical touch to every scene.
A World of Mythical Wonders and Menacing Foes
The heroic duo faces an array of formidable adversaries:
The fearsome Lernean Hydra, dragons, and towering giants.
The dark witch Leah Smallensky of Manhattan, who plots against them with curses, hexes, and an army of mythical creatures including griffins, harpies, and chimeras.
In this epic saga of adventure, friendship, and loyalty, readers are reminded that even in the darkest times, a positive attitude and a faithful companion can turn any journey into an extraordinary adventure.
Sequel Coming Soon!
Fans of "Hercules and Hermes: The Untold Story" will be thrilled to know that the epic sequel, "Hercules in Manhattan," arrives in July 2024, promising even more mythical adventures and heroic feats.
Available Now!
"Hercules and Hermes: The Untold Story" is now available for purchase in eBook and paperback formats on Amazon, and at independent booksellers across the country.
Dive into a world where myths come alive, and join Hercules and Hermes on their thrilling quests.
Experience the magic and heroism of ancient Greece with Hercules and Hermes today!
"DO NOT FORGET ME" is a docudrama feature based on Dr. Leon Saltiel's book that chronicles the Jewish pogrom from 1941-1945 in Salonica, Greece.
The project traces the roots and evolution of anti-Jewish pogroms in Thessaloniki, Greece circa WWII through a selection of 25 letters (out of 72 original letters recovered in a 3 year research in personal archives) written by 3 Jewish mothers (portrayed by 3 different actresses) to their children while they anxiously waiting to embark on the train to the mass extermination camp of Auschwitz-Birkenau.
The Agony of the Greek Jews" produced and directed by Dimitri Vorris is
about the unknown Holocaust in Greece based on the works and the
research of historian and author Steven B. Bowman. It is about the
57.000 martyrs of the Greek Holocaust and the Jews who joined the
resistance and fought against the Nazis.
The Agony of Greek Jews tells the story of modern Greek Jewry as it came
under the control of the Kingdom of Greece during the nineteenth and
twentieth centuries. In particular, it deals with the vicissitudes of
those Jews who held Greek citizenship during the interwar and wartime
periods.
Individual chapters address the participation of Greek and Palestinian
Jews in the 1941 fighting with Italy and Germany, the roles of Jews in
the Greek Resistance, aid, and rescue attempts, and the problems faced
by Jews who returned from the camps and the mountains in the aftermath
of the German retreat.
Bowman focuses on the fate of one minority group of Greek citizens
during the war and explores various aspects of its relations with the
conquerors, the conquered, and concerned bystanders.
FINANCIAL CORRUPTION IN THE TUNE OF MILLIONS OF EUROS IN THE #GFC#GREEKFILMCENTER THE STATE BODY THAT HANDLES TAXPAYERS' MONEY? Silver Bear winner for "Rebetiko" director #CostasFerris, a former member of the board of directors of state body Greek Film Center, thinks so. Here's an exceprt of his interview to journalists Yiorgos Petropoulos and Dimitri Kanellopoulos of the indie newspaper www.efsyn.gr
"QUESTION:
It was written in electronic media that the relevant findings are kept
is in the drawer of the Minister of Culture (Mrs. Lina Mendoni) and must
be given to the public prosecutor because criminal responsibilities for
previous administrations of the Greek Film Center arise. What exactly
is the truth?
Costas Ferris: In these findings, persons from the
current Greek Film Center administration are involved, and is
absolutely certain that the (current) Holevas administration had an
obligation by law to deliver them directly to the Public Prosecutor. This
omission is a conscious criminal offense with a possibility of the
intentiom of fraud and implies an ex officio intervention by the Public
Prosecutor. The forner President of Greek Film Center Panos Loukakos and
Vice-President Christina Manolopoulou (after our resignation) sent to
the Minister of Culture a memorandum mentioning these (financial) crimes
and the (3 different auditors reports), together with many other
violations of the law, to the new administration under Mr. Markos
Holevas. This memorandum is included in my recent public letter that
some journalists omitted (from publication). I do not know whether Mr.
Holevas informed the Minister. I know, however, that the Director
General of Greek Film Center Pantelis Mitropoulos failed to sign the
findings (according to the law that is his legal obligation) and the
legal adviser to the GFC Mr. Pericles Polychronidis was fired by Mr
Cholevas and the current administration. What is more than certain
is that Mr. Holevas did not forward the findings to the competent
prosecutor, as the report of the State's General Accounting Authority
and, as the Minister has ordered. Instead, he handed the two legal
reports to another lawyer of his own choice, Mr. Alexandros Christidis,
to cover up. And, of course, he did not inform the Minister that in
lawyer's Asprogeraka-Grivas' report, as in the findings of State
Auditors, Certified Accountants and Financial Inspectors Batsouli,
Androutsos and Triantafyllou, there's possibly (!) mentioning of his
personal involvement and the right thing to do would be to resign
immediately immediately in order to assist the pending investigation
within the Greek Film Center!
But he had preceded the concealment from
the current administration of the Ministry of Culture of the fact that
he had an open court dispute with the GFC and therefore should not have
accepted his appointment (as President) from the very beginning, as
laid down in Article 20 of law 3905/2010. Two acts of unlawfulness (and
violations of the Penal code) within one week! These are outrageous
things. "
- ΕΡΩΤΗΣΗ: Γράφτηκε σε ηλεκτρονικά MME ότι το σχετικό πόρισμα βρίσκεται στο συρτάρι της υπουργού Πολιτισμού και πρέπει να δοθεί στον εισαγγελέα γιατί προκύπτουν ποινικές ευθύνες για προηγούμενες διοικήσεις. Τι ακριβώς ισχύει;
- Κ. Φ.: Σ' αυτά τα πορίσματα εμπλέκονται πρόσωπα από τη σημερινή διοίκηση του ΕΚΚ Αυτό που είναι απολύτως βέβαιο είναι πως η διοίκηση Χολέβα είχε εκ του νόμου υποχρέωση να τα παραδώσει άμεσα στον εισαγγελέα. Η παράλειψη αυτή είναι συνειδητό ποινικό αδίκημα με ενδεχόμενο δόλο και συνεπάγεται αυτεπάγγελτη παρέμβαση του εισαγγελέα.
Ο πρόεδρος Πάνος Λουκάκος και η αντιπρόεδρος Χριστίνα Μανωλοπούλου (μετά την παραίτησή μας) απέστειλαν την επιστολή υπόμνημα κάνοντας μνεία αυτών των εγκλήσεων και της έκθεσης νομικού ελέγχου, μαζί με πολλές άλλες εκκρεμότητες, στη νέα διοίκηση υπό τον κ. Μάρκο Χολέβα.
Η επιστολή αυτή περιλαμβάνεται στην πρόσφατη δημόσια επιστολή μου και κάποιοι δημοσιογράφοι παρέλειψαν (εκ του πονηρού ) την αναδημοσίευσή της. Δεν γνωρίζω αν ο κ. Χολέβας ενημέρωσε την κ. υπουργό.
Γνωρίζω πάντως πως ο γενικός διευθυντής Παντελής Μητρόπουλος παρέλειψε να υπογράψει τα πορίσματα ως ώφειλε, ο δε νομικός σύμβουλος του Κέντρου Περικλής Πολυχρονίδης, που επίσης ορίζεται από τις Εκθέσεις ως εκπρόσωπος του Κέντρου στη δικαστική συνέχεια... απελύθη από τον κ. Χολέβα και το διοικητικό συμβούλιο του.
Εκείνο που είναι βέβαιο είναι πως ο κ. Χολέβας δεν διαβίβασε τα πορίσματα στον αρμόδιο εισαγγελέα, όπως επιτάσσει η έκθεση του Γενικού Λογιστηρίου του Κράτους και όπως διέταξε η κ. υπουργός.
Αντ' αυτού παρέδωσε τις δύο αξιολογικές εκθέσεις σε άλλον δικηγόρο της δικής του επιλογής, τον κ. Αλέξανδρο Χρηστίδη, προς... επαναξιολόγηση.
Και φυσικά δεν ενημέρωσε την κ. υπουργό πως στην έγκληση Ασπρογέρακα, όπως άλλωστε στα πορίσματα Μπατσούλη Ανδρούτσου Τριανταφύλλου, ενδεχομένως (!) να περιλαμβάνεται το όνόμά του για πράξεις κακουργηματικού χαρακτήρα και για αυτό όφειλε να παραιτηθεί αμέσως για να διευκολύνει την κάθαρση εντός του ΕΚΚ!
Όμως είχε προηγηθεί η απόκρυψη από τον νυν πρόεδρο του γεγονότος πως είχε μια ανοιχτή δικαστική διαμάχη με το ΕΚΚ και ως εκ τούτου δεν έπρεπε να αποδεχτεί τον διορισμό του από την πρώτη στιγμή, όπως ορίζει το άρθρο 20 του 3905 2010. Δύο σκαστές παρανομίες μέσα σε μία βδομάδα! Αυτά είναι εξωφρενικά πράγματα.
2
- ΕΡΩΤΗΣΗ: Τι συνέβη με τις δύο πρόσφατες εγκρίσεις χρηματοδοτήσεων εντός του ΕΚΚ, όπου κατηγορείται η νυν διοίκηση Χολέβα για τοποθέτηση κρινόμενων με σενάρια ή αιτήσεις χρηματοδότησης ταινιών να είναι επίσης κριτές αυτών των προτάσεων; Κατήργησε η νυν διοίκηση Χολέβα τις διατάξεις της διοίκησης Βαφέα περί ασυμβίβαστου στις επιτροπές αξιολόγησης; Στο σημείο που βρίσκεται η κατάσταση τώρα θεωρείτε ότι πρέπει να ακυρωθούν οι δύο πρόσφατες εγκρίσεις του ΕΚΚ (τέλη Μαρτίου και τέλη Απριλίου) για τις χρηματοδοτήσεις του ΕΚΚ;
- Κ. Φ.: Δεν υπάρχει περίπτωση να μην ακυρωθούν αυτές οι εγκρίσεις. Εγώ αν είχα εγκεκριμένη πρότασή μου, θα ντρεπόμουν να κάνω μια ταινία κάτω από την υποψία πως μου χαρίστηκαν και ως εκ τούτου είμαι ηθικός αυτουργός του παραπτώματος.
Η παρανομία των Χολέβα και Μητρόπουλου δεν εντοπίζεται μόνο στην ακύρωση των διατάξεων της διοίκησης Βαφέα περί ασυμβίβαστου, την οποία η δική μας διοίκηση με πρόεδρο τον Πάνο Λουκάκο είχε σεβαστεί.
Είναι ακόμα παράβαση των διατάξεων του νόμου του κράτους περί ασυμβίβαστου στους επί συμβάσει δημοσίους υπαλλήλους (αξιολογητές) που μας κοινοποίησε η κυβέρνηση Μητσοτάκη τον Δεκέμβριο του 2019.
Όπως επίσης στο γεγονός πως ακόμα και αυτές οι αξιολογήσεις των... readers, όπως θέλουν να τους ονομάζουν, πέρασαν από το κόσκινο τριών ανθρώπων (στο χωριό μου το λένε μαγείρεμα), δηλαδή του προέδρου, του νεαρού διευθυντή Ανάπτυξης και Παραγωγής Γιώργου Αγγελόπουλου και (πιθανότατα) του γενικού διευθυντή (υπεύθυνου σύμφωνα με τον νόμο).
Οι αξιολογήσεις των readers δεν έχουν κανένα νόημα, αν δεν μας πουν ποια ήσαν τα κριτήρια των επιλογών αυτών των τριών ανθρώπων και κατά πόσο σεβάστηκαν το σκεπτικό ακόμα και αυτών των αξιολογητών που οι ίδιοι επέλεξαν.
(...) France is asking that between 20%-25% of a streamer’s
local revenues from subscriptions be invested in European product and
85% spent on French-language content, the bulk of which must be
commissioned to independent French producers, who’d be able to get some
upside.
“The dialogue is open and constructive.
Of course, we don’t agree on everything, but there is a
positive dialogue,” says a Netflix spokesperson, who commented only on
French negotiations. “We want to continue to invest significantly in
France, and we want to be a long-term partner for the entire French
creative community and to make a positive impact.”
An Amazon spokesperson said the company
has “engaged with producer bodies … to discuss Prime Video’s future
investments in France.”
Across Europe, there is also the matter of whether Netflix
and other U.S. streamers should be allowed to benefit from the vast
reservoir of European soft money that spans from regional funds to
national tax rebates.
In Italy, the key negotiator is Giancarlo
Leone, who heads Italian TV producers’ association APA and is proposing
to set the investment quota for streamers at 20% of revenue, with a
lower rate permitted “if the rules of engagement are regulated.”
Democrat Joe Biden
defeated President Donald Trump to become the 46th president of the
United States on Saturday and offered himself to the nation as a leader
who “seeks not to divide, but to unify” a country gripped by a historic
pandemic and a confluence of economic and social turmoil.
“I
sought this office to restore the soul of America,” Biden said in a
prime-time victory speech not far from his Delaware home, “and to make
America respected around the world again and to unite us here at home.”
Biden
crossed the winning threshold of 270 Electoral College votes with a win
in Pennsylvania. His victory came after more than three days of
uncertainty as election officials sorted through a surge of mail-in
votes that delayed processing.
Trump
refused to concede, threatening further legal action on ballot
counting. But Biden used his acceptance speech as an olive branch to
those who did not vote for him, telling Trump voters that he understood
their disappointment but adding, “Let’s give each other a chance.”
“It’s
time to put away the harsh rhetoric, to lower the temperature, to see
each other again, to listen to each other again, to make progress, we
must stop treating our opponents as our enemy,” he said. “We are not
enemies. We are Americans.”
45:43 "A gap separates each and every one of us..." Marina and Michael.
48:06 "It's rock'n'roll down there man and the surf guitar is fuckin' broken". "Jimmyboy" and "Driver".
1:11:44 "It's gonna a bloody Christmas...." . Sean and Marina.
1:14:06 Murder 101 in the movie theater's bathroom. "I just wanted to be friends..." Anna and Geraldine.
1:18:07 In the mountains of bloody madness ("There's no future for us, Michael!" Anna)... 1:25:00 Birth of a baby. (Lorena-Sean-Marina).
For English Closed Captions please press CC. To watch the movie in the highest resolution possible for YouTube please choose HD 1080p. The production of this film was financed independently without any EU, or state subsidies.
..The plot of "December Riots" written, produced and directed by Dimitri Vorris, focuses on a group of seven characters, Europeans and Americans, trapped in a subterranean art-house movie theater during the 2008 riots, watching the all time classic masterpiece of Italian master's Luchino Visconti's "Senso"- that deals with love, decadence passion and betrayal, during tumultuous times and real historical events . While the outside cosmos has rioted because of the police killing of 15 year-old student Alexandros Gregoropoulos that sparked riots in over 70 cities worldwide... the filmgoers remain into relative safety, or so they think, to save their skins. The arthouse "theater", its "owner" and "projectionist" become a metaphor for a lost generation (-s)that feared to riot against the current. The film alternates between reality (the harsh, outside world) and fiction (the characters inside). Emotionally moved by the murder of an innocent child in cold-blood, and after seeing a rough cut of the film, multi award-winning internationally renowned composer Moby contributed four, never before published, tracks to the original sountrack of the film: 18, HOMEWARD ANGEL (LONG), BLACKROOM, THE LONELY NIGHT (PHOTEK REMIX). ...Police violence. Interpersonal relationships’ violence. A looted country in despair. Seven characters trapped in an arthouse movie theater. A countdown to extinction... ....Three years before the movement of the “indignados” and OCCUPY WALL STREET there were “December Riots”. «DECEMBER RIOTS», is a feature length film written, produced and directed by Dimitri Vorris, was in post-production, while a new wave of riots swept Greece on June 29th, 2011. The film's epicenter is the cold-blooded execution of 15 year-old student Alexander Gregoropoulos by two policemen in a downtown Athens café on December 6, 2008. ...Based on a real incident -the director himself was trapped on December 8, 2008 in a downtown arthouse movie theater during the 2008 riots-the independently financed, claustrophobic thriller, that was filmed entirely on location in Athens, Greece, focuses on a group of seven characters, Europeans and Americans, trapped in an art-house movie theater during the 2008 riots. 23 year-old newcomer British actress Lucy Lemos (Marina-DJ Lightdust), Duncan Skinner ("Jimmyboy") , Fanis Katechos ("Projectionist"), prolific actor Avraam Papadopoulos ("Theater Owner'), popular comedian/director Nikos Giannikas (Sean) anchor a youthful and talented supporting cast that includes Vivian Ioannou (Anna), Aris Athan ("Driver"), Nasos Pappas (Jeff), Michael Angels (Michael), Louise Rheas (Lorena), Aris Pappas (Informant), Maria Floratou (Geraldine), Kostas Antalopoulos ("Cleaner"), Christina Mani (Riots Chronicle Narrator).
“...
Independent production, handmade, and made possible with countless
fights on the side of its creator, December Riots, comes to remind us
the life we never lived, the fight we never fought and the reasons we
got here, with bowed heads and humiliated lives ... " Chrisostomakis
Laktaridis, DOCTV.GR
"December Riots is important, timely, and hits it's mark. Acclaimed Greek-born filmmaker Dimitri Vorris has beautifully interwoven fact and fiction, to create a dramatic tale, that is both horrifying and thought-provoking". Christopher Martini, Director-Producer "The Stone Child", "Trooper" #DecemberRiots#indie#feature#comingsoon#December6#Greeceburns4allofus
#DecemberRiots#indie#feature#comingsoon#December6#Greeceburns4allofus "Dimitri Vorris's DECEMBER RIOTS arrives like a storm that signals the times are a-changing again and that as a world we're on the cusp between despair and hope." Amos Poe, Filmmaker, Leading figure of the No Wave Cinema Movement, "UNMADE BEDS", "THE FOREIGNER", "SUBWAY RIDERS", "EMPIRE II", "THE GUITARS", "ROCKET GIBRALTAR".
SIX YEARS HAVE PASSED SINCE THE DEATH FROM CANCER OF MY DEAR FRIEND NICK MIRKOPOULOS, FOUNDER OF CINESPACE STUDIOS IN CHICAGO AND TORONTO...
In 2007, Alex Pissios, a real estate developer and his uncle Nick
Mirkopoulos started Cinespace Film Studios in Chicago, which today is
the biggest independent movie studio outside of Hollywood.
Nick launched Cinespace Film Studios in Toronto 20 years earlier. The
family’s film business was never planned and unexpected for Nick who
was an electrician and decided, along with his brothers, after they
arrived in Toronto from Greece in the late 1960s to buy and repurpose
old commercial and industrial buildings. It was in the mid 1980s when
Nick took the opportunity to convert some of those buildings into film
studios.
*Founder Nick Mirkopoulos
The Cinespace Film Studios in Toronto are known for hosting many hit
TV series and films, including “Chicago,” which won an Oscar for best
picture, and “Handmaid’s Tale,” a Hulu series that won a 2018 Golden
Globe nomination for best actress. With such a huge success, Nick wanted
to expand.
At the same time, his nephew Alex Pissios and his wife Patricia,
along with their four children, were in a tough situation with the real
estate collapse and were facing bankruptcy and eviction from their
family home.
It was at a cousin’s wedding that Alex and Nick, an uncle he barely
knew, struck up a conversation that led to a huge change in both their
lives. Nick paid off Alex’s 11 million dollar debt and the two struck up
a family partnership, launching Cinespace Film Studios in Chicago.
Today, Cinespace Chicago brings Hollywood to Chicago, specialising in
the development, management and operation of studio space and support
facilities for the film, television, and digital media production
industry.
Pissios claims Cinespace has helped create 7,500 film-related jobs
since it opened and has contributed billions of dollars in revenue to
the local economy.
Cinespace is now home to producer Dick Wolf’s successful “Chicago”
franchise — Chicago Med, Chicago Fire and Chicago PD, as well as TV
shows Empire and Shameless, and productions from Netflix, Amazon and
Hulu. Several feature films have also been produced here, including
“Divergent” and “Batman v Superman: Dawn of Justice.”
In 2015, Cinespace Chicago launched an incubator for filmmakers
called Stage 18 to provide workspace, programming and event space to
help develop the local filmmaking community. Its goal is to keep local
talent from leaving for opportunities in Los Angeles and New York City,
and also organises events such as script feedback for budding
filmmakers, plus the opportunity to pitch projects to investors.
Cinespace studio Chicago
To give back to the community, Cinespace Chicago also expanded and
offers nearby DePaul University space for classes that teach filmmaking
to the next generation of artists, as well as establishing the CineCares
Foundation, providing Chicago residents with education and job training
in TV and film. The family is very charitable and are always willing to
support the community.
Pissios looking ahead into the future, says his dream is to create a
back lot on Cinespace’s property where building façades can be made to
look like New York City brownstones or cities like London and Paris. It
would be the only back lot outside of Los Angeles, and he says it would
save filmmakers time and money by eliminating the need to shoot on
location.
For the moment though, Pissios never loses sight of one of the
biggest lessons he learned from his late uncle, who passed away in 2013.
“He always told me to do things from my heart,” he says. “Nick was a
very stern and smart businessman. He didn’t give handouts; he gave
people opportunities. If he believed in you, he gave you a chance,
always.” In his office, Pissios keeps a framed copy of his eviction
notice, a gift from Uncle Nick. “He wanted me to remember where I came
from, and I do,” he points out. “Every day, I come to work with a smile
on my face, and I try to find ways to pay this forward.
12.06.2019
“... Independent, handmade, and made possible with countless fights on the side of its creator, December Riots, comes to remind us the life we never lived, the fight we never fought and the reasons we got here, with bowed heads and humiliated lives ..."
The film, featuring tracks by electronic music superstar Moby, focuses on the murder in cold blood of 15 year-old student Alexandros Gregoropoulos by two policemen on December 6, 2008. The incident sparked riots in over 70 cities worldwide. In the clip MURDER 101 actresses Vivian Ioannou and Maria Floratou and are resolving some differences from the not the so distant past. In the clip Marina/DJ Lightdust (Lucy Lemos) and Michael (Michael Angels) are pondering their next move together. The film follows, in parallel action while the gruesome reality of December riots unfolding, seven different characters trapped in a subterranean arthouse cinema during the riots, a bunch of characters that despise and hate each other to death. And are afraid to go out and stay put. More on decemberriots.com Description Filming of “December Riots" wrapped in Athens, while a second wave of riots swept Greece on December 6th 2010, marking the two-year anniversary of the cold-blooded execution of 15 year-old student Alexander Gregoropoulos by two policemen in a downtown Athens café. "December Riots," a film about the Gregoropoulos killing and the 2008 riots that followed, is produced, and directed by Dimitri Vorris.
The filmmaker acquired exclusive access to many never-before-seen court documents and evidence from the trial that followed Gregoropoulos’s killing. Plot Outline The claustrophobic thriller focuses on a group of Europeans and Americans trapped in an art-house movie theater in downtown Athens during the 2008 riots. 23 year-old British actress Lucy Lemos, prolific actor Abraham Papadopoulos, popular comedian-director Nikos Yannikas anchor a youthful and talented supporting cast that includes Vivian Ioannou, Aris Athan, Nasos Pappas, Michael Angels, Louise Rheas, Aris Papargyropoulos, Maria Floratou, Kostas Antalopoulos.
THE SONDERKOMMANDO REVOLT AT DEATH CAMP AUSCHWITZ-BIRKENAU WAS ORGANIZED
BY SALONICA JEWS: ...One action will stand out alongside the Warsaw
Ghetto Uprising and that is the Revolt of the Sonderkommando in
Auschwitz-Birkenau on October 7, 1944. This was an uprising in which
Sephardi and Greeks Jews both helped plan and execute and left a
memorable list of heroes and martyrs to posterity. Their victory was
dual: it was a psychological victory over the Nazis who now feared the Jews
in the camps and hastened their declining confidence in winning or even
surviving the war and secondly, they died as free men in the tradition
of Greek noble death, an outcome that has become part of western
tradition, namely to fight against all odds until the very end and deny
the enemy the opportunity to loot and gloat. The world forgets not only
that Sephardic Jewry suffered during the Holocaust too, but that Jews
were brave enough to revolt and fight under the most hopeless
circumstance They are hungry, tortured, abused, sick, ailing, armed only
with an ingenious plot and self-made guns and explosives. Against the
Empire of the Third Reich. They are performing the ultimate sacrifice
for their fellow man and woman.
When Quentin Tarantino debuted in 1992 with Reservoir Dogs, and even more so when he followed it up with the cinematic phenomenon that was PulpFiction,
the viewers most dubious about the young auteur's cultural staying
power dismissed his movies as elevations of style over substance.
Whether or not Tarantino has converted all his early critics over the
past 27 years, he's certainly demonstrated that style can constitute a
substance of its own. Even many who didn't care for his latest picture, this year's Once Upon a Time in Hollywood,
nevertheless expressed gratitude at the release of a lavish,
large-scale film packed full of ideas, references, set pieces, and jokes
— an increasingly rare achievement, or even aspiration, among
non-Tarantino filmmakers. How does he do it? The Director's Chair profile video above, and the accompanying Studio Binder essay by Matt Vasiliauskas, identifies the essential elements that constitute the Tarantinian style and Tarantinian substance. http://www.openculture.com/2019/10/quentin-tarantino-explains-how-to-write-direct-movies.html
Martin Scorsese filming The Irishman with Robert De Niro in Ridgewood, New York The Irishman is an American biographical crime film directed by Martin Scorsese and written by Steven Zaillian, based on the book I Heard You Paint Houses by Charles Brandt. The film stars Robert De Niro, Al Pacino, Joe Pesci, Anna Paquin, Bobby Cannavale, Harvey Keitel, and Ray Romano. The film is tentatively set to be released by Netflix in 2019.
Robert Anthony De Niro Jr. is an American actor, producer, and director who holds both American and Italian citizenship. De Niro was cast as the young Vito Corleone in the 1974 film The Godfather Part II, for which he won the Academy Award for Best Supporting Actor. His longtime collaboration with director Martin Scorsese earned him the Academy Award for Best Actor for his portrayal of Jake LaMotta in the 1980 film Raging Bull. He received the AFI Life Achievement Award in 2003, the Golden Globe Cecil B. DeMille Award in 2010, and the Presidential Medal of Freedom from President Barack Obama in 2016.
Martin Charles Scorsese is an American director, producer, screenwriter, and film historian, whose career spans more than 50 years. Part of the New Hollywood wave of filmmaking, he is widely regarded as one of the most significant and influential filmmakers in cinematic history. He is a recipient of the AFI Life Achievement Award for his contributions to the cinema, and has won an Academy Award, a Palme d'Or, Cannes Film Festival Best Director Award, Silver Lion, Grammy Award, Emmys, Golden Globes, BAFTAs, and DGA Awards.
Martin Scorsese and Quentin Tarantino
are born storytellers, not just in their movies—which bear each
director's unmistakable stamp—but in their deep-seated appreciation for
the medium. While they hail from different generations—Scorsese was
among the first wave of film school grads in the mid '60s, and
Tarantino's rise coincided with the indie film revolution of the early
'90s—their passion and knowledge of cinema place them on equal footing.
No genre escapes their grasp, whether it's prestige studio releases or
B-movie potboilers, splashy musicals or noirish thrillers, art-house
fare or spaghetti Westerns. They've been dining on this grand buffet all
their lives, and it shows in their own work, in the characters they've
created, and the lens through which they view the world. This is a
particularly conspicuous year for both filmmakers: Tarantino's Once Upon a Time… in Hollywood has galvanized critics and audiences alike since its debut at Cannes, while anticipation runs high for Scorsese's The Irishman,
for which the director has spent considerable time in post dealing with
digitally de-aging his leads. The two sat down for the DGA Quarterly
to talk directors, influences and violence as catharsis, among other
topics. This is an edited version of their conversation. –Steve
Chagollan
For screenwriters working on assignment – and TV writers working on
pilots – an existing WGAW tool can be especially helpful in confronting
the twin problems of free work and late pay.
The Start Button
is a simple way to record when you begin working on a draft and when
you hand it in. It helps the Guild protect writers from abusive requests
for unpaid rewrites and delayed checks. I made a little video to walk writers through how the Start Button
works, and why members should make it standard practice when beginning
an assignment.
READ MORE HERE https://johnaugust.com/2019/getting-started-with-the-start-button
.. The great Hollywood portrait photographs are like close-ups that never end. Cinema is an art of faces, and the chance to gaze at them, to get lost in them, may be the deepest thrill movies offer. In the darkness of the theater these faces are vast, glowing, isolated, but fugitive; still photographs extend these moments, make them permanent. Hollywood grasped this value early on, in the days when after their runs in theaters films would often vanish forever...
READ MORE:
https://www.criterion.com/current/posts/6365-shooting-stars
It can be hard to understand exactly how agency packaging fees and
producing impacts writers’ salaries. This short explainer video does a
great job visualizing the issues, and looking at why the WGA is in
negotiations to address agency conflicts of interest.
Hollywood talent agencies have a business model rife with conflicts of
interest. This means they do what’s best for them, even if it’s not best
for their clients. These conflicts hurt writers. The situation is bad,
and it’s getting worse.
To find out what the WGA is doing about it, go to WGA.org.
"If I was white I would have been like John Wayne... I feel like a tragic hero in a Shakespeare play" - Tupac Shakur
Interview by Benjamin Svetkey
March 1994.
Microcassette recorder.
Related profile appeared in Entertainment Weekly.
"The only way you can be a mark is if you want something for nothing. If
you're greedy, you're set up." - Maya Angelou, as told to Studs Terkel
in 1970
"The things that really scare us are the things that are going on just
outside the spotlight that you can’t quite see" - Stephen King on
October 22, 1989
The author takes us on a journey back to his childhood and the roots for
his decades crafting memorable horror fiction.
Learn more about Stephen King's theory on evil and horror, the films
made from his books, and his brilliant Twitter feed: http://blankonblank.org/stephen-king Interview originally aired on the Public Radio Book Show and it comes to
us courtesy of WAMC Northeast Public Radio and the New York State
Writers Institute.
Subscribe for new episodes every other Tuesday... it's free:
http://bit.ly/1TO2vCL
Thanks to Andreas for sending in word that Koch Films has announced a DVD/Blu-Ray Region B release of Brian De Palma's Domino, coming August 22, 2019. With Domino being released in theaters in Hungary May 30th, and in theaters in Italy on June 20th, and, of course, in California and New York on May 31st, we are keeping an out for any other theatrical releases out there.
(Above, with De Palma directing actress Sachli Gholamalizad). With info from: http://www.angelfire.com/de/palma/blog/
John August: Hi, I’m John August. Michele Mulroney: And I’m Michele Mulroney. John August: We’re members of the WGA West Board and the Agency Negotiating Committee. Michele Mulroney:
And we’re both primarily screenwriters. That’s why we wanted to take a
few minutes to talk about some of the issues affecting screenwriters in
this time when most of us are working without agents. John August:
Some of these issues are new, but some have gone back decades. Over the
past two years, we’ve met with hundreds of screenwriters at lunches and
meet-ups. And the message has been clear: the Guild needs to be doing
more to combat free work and late pay, because our agencies aren’t. Michele Mulroney:
Time after time we’ve heard horror stories of 60-page treatments
written for free. Checks that are six months late. And we’d ask, “Where
are your agents? Why are they letting this happen?” John August:
It happens because it’s largely invisible. Most screenwriters, we work
alone. And we’re afraid to complain, because we might be labeled
“difficult.” Difficult is a code word for standing up for yourself. Michele Mulroney:
The thing is, screenwriters are not alone. The Guild can and should be
the bad guy on behalf of screenwriters. It can step in to file claims
and collect interest on late pay. It can help to fight back against free
work. But the Guild can’t enforce contracts it doesn’t see. John August:
That’s why the agency Code of Conduct requires agencies to provide the
Guild with our contracts and invoices. Once the Guild has this
information, we can protect not only individual screenwriters but all of
us. We can identify patterns, see where there are shortfalls in writer
income, and shape proposals for future MBA negotiations. Michele Mulroney: Next, we want to talk about agency-affiliated production companies. This is where your agency owns or co-owns its studio. John August:
To me, this is the next step beyond packaging. These agencies don’t
want 10% of a writer’s salary; they don’t want the 10% of the backend
they’d get with packaging. They want 50 to 60% of the profits. They want
to own the property. And to do that, they turn you from a client into
an employee. Michele Mulroney: Right now, we have
Wiip, Endeavor Content, and Civic Center Media. Members ask us, “Why
did the Guild ever let these companies become signatories?” The answer
is, we want more buyers, particularly in film. We want these companies
to thrive. We just don’t want them to be owned or controlled by
agencies. John August: Let’s talk about why
agency production companies are bad for screenwriters. Let’s say you
have a spec script. Your agency is going to take it out on the town. But
if they have their own studio, realistically, they’re going to take it
there first. Maybe that company wants to buy it. Great! As a
client, how do you know your agent is getting the best deal for you?
When your agent is also the buyer, that’s the clearest conflict of
interest imaginable. Michele Mulroney: Or, maybe
the company doesn’t want to buy your spec script. That’s awkward. Your
own agency’s affiliated studio is passing on your project. So how
exactly is that helping you as a client? John August:
Spoiler: It’s not. But for screenwriters, it gets even worse when it’s
not your original project. These little mini-studios, they’re buying IP.
They’re competing with you for the rights on books. If you’re a
screenwriter who wants to get hired on that book adaptation, you better
be represented by that agency. Michele Mulroney:
This isn’t a hypothetical, by the way. We checked the receipts. 75% of
writers creating projects at affiliated studios, they’re CLIENTS of that
agency. They’re keeping the work in house. It’s like the old
studio system. John August: But kind of worse in a
way. I don’t want a future where we’re negotiating the terms of our MBA
with our own agencies sitting across the table. Michele Mulroney:
Next, let’s talk about indie film. We heard screenwriters loud and
clear when you said you wanted us to keep as much of the indie film
ecosystem intact as possible. John August: Our
Code of Conduct allows agencies to continue to provide financing and
sales services to their clients. It also insists on full transparency
and consent, so screenwriters can see any fees the agency would take on
their project. Michele Mulroney: And to clarify a
point of confusion in the Code of Conduct: agencies can take these
fees — subject to the writer’s approval — on projects with an intended
budget under $20 million. For budgets over $20 million they will need a
waiver from the Guild after they have consulted with the screenwriter. John August:
This is not meant to be a roadblock, but a reality check. We don’t want
studio features masquerading as indies, and we don’t want packaging
fees in features to become the kind of problem we are fighting in TV. Michele Mulroney:
So how do we screenwriters navigate this period of displacement?
Especially those of us who don’t have managers or robust networks to
rely on. John August: Unlike in TV, screenwriters
don’t hire each other. We have to make sure that screenwriters still
get read and hired by producers and studio executives. We need make sure
pitches and specs still sell. To do that, the Guild has put in place
several new tools that can all be accessed via the Guild website. Michele Mulroney:
First, we recently launched the Weekly Feature Memo. It goes out every
Friday to a list of around 750 producers and development executives.
Writers simply upload the logline for their spec or pitch and then
producers can contact you to request your spec, set a pitch meeting or
a general. John August: Next, without an agent,
how do producers and executives find you? The Find a Writer directory is
the easiest way. Four things you should do today: Check that your
credits are accurate. The system will only list your final Guild
credits, so if you’d like to include development credits or animation,
for now, list them in your bio section. Upload a writing sample if
there’s something you’d like buyers to be able to read. Opt-in to
letting producers and executives contact you via email. Finally, mark yourself as “available” if you’re open to work. Michele Mulroney:
Agencies traditionally keep lists of Open Writing Assignments. In the
next couple of weeks, the Guild will be launching its own Open Writing
Assignment Memo. Here, producers will submit details of any OWA’s,
including pieces of IP in search of a writer. The Guild will distribute
this to screenwriters in a weekly memo. Then, sort of like the staffing
submission system, you will be able to submit yourself for these
opportunities. We’ll of course make sure the process is user-friendly
and easily sortable on the producers’ end. John August:
Once you’re hired on a project, we’d strongly encourage you to use the
Start Button. The Start Button lets the Guild know what screenwriters
are working on, and follows up to make sure you’re getting paid on time,
and not being asked to do free work. Particularly in this period
without agents, the Start Button can be an important tool for tracking
your work. Michele Mulroney: Finally, the Guild
will be hosting an Indie Film Panel at the end of the month, featuring
fellow Guild members with extensive experience in indie film, along with
producers, financiers, and sales and distribution panelists to discuss
making features without agencies. So if you’re in the indie world,
please join us. John August: Now, even with all
these tools and all of the hustle we’re seeing from screenwriters,
anxiety is natural. It’s inevitable. Especially for early-career
screenwriters and those without deep networks and connections. So how
can we best support our most vulnerable screenwriters during this time? Michele Mulroney:
First, share what you read. Pass along a script to producers and
executives you know. Read early-career screenwriters and give them
a boost. John August: If a screenwriting
assignment comes across your radar and you can’t take the job, consider
sharing the info with other writers or…recommend a less-established
screenwriter who might not be on their radar. Michele Mulroney:
Be as generous as you can in offering advice, guidance, contacts and
resources. Those of us who have been around for a while have a lot of
open doors…Maybe your open doors can open a door for another
screenwriter. John August: And finally, please
don’t hesitate to reach out to any member of the Board, Council, or
Negotiating Committee. We’re here to listen. We need to hear your ideas,
criticisms and concerns. All the tools we’ve talked about today came
directly from screenwriters reaching out to us. Michele Mulroney:
One place you can do this is at the May Wednesday evening mixers at the
Guild. It’s a chance to mingle, network, and have one-on-one
conversations with your elected leadership. John August: This campaign’s success depends on us all hanging together, staying strong, and helping one another as best we can. Michele Mulroney: The union is us and we are the union. Thanks for listening. John August: Thanks. It
is inspiring to see the resolve of the Guild membership not only stick
together in this dispute, but also generate work-arounds to help writers
promote their work and hopefully land gigs without the aid of the
agencies. If that effort succeeds, one would think it would compel the
ATA to rethink their obstinate ‘bargaining’ position. Indeed, the
Guild’s tactics seem to be working if this news is any indication. To watch the video, go here.
Greek prosecutors have filed charges against 20 people over deadly wildfires in 2018. The
accused, including the greater Athens regional authority chief, two
local mayors, the former civil protection head and fire service
officials, were hit with charges that reportedly include involuntary
manslaughter, causing bodily harm due to neglect, and arson through
negligence. The July 23 fire in Mati killed 100 people, injured 250, and burnt to the ground over 2.500 houses leaving the seaside resort town devastated. The disaster led to a series of resignations or sackings of fire and police chiefs. Most of the victims died in traffic jams as they fled, while others drowned escaping into the sea.
.jpg)
