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https://www.thecanadianencyclopedia.ca/en/article/the-history-of-film-in-canada
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en
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Canadian Film History: 1896 to 1938
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Filmmaking is a powerful form of cultural and artistic expression, as well as a highly profitable commercial enterprise. From a practical standpoint, filmmaking...
|
en
|
https://www.thecanadianencyclopedia.ca/en/article/the-history-of-film-in-canada
|
See also: Quebec Film History: 1896 to 1969; Quebec Film History: 1970 to 1989; Quebec Film History: 1990 to Present; 30 Key Events in Canadian Film History; Exhibit Eh: Canadian Film History in 10 Easy Steps; Documentary Film; Canadian Film Animation; Experimental Film; Film Distribution; Top 10 Canadian Films of All Time; English Canadian Films: Why No One Sees Them; National Film Board of Canada; Telefilm Canada; Canadian Feature Films; Film Education; Film Festivals; Film Censorship; Film Cooperatives; Cinémathèque Québécoise; The Craft of Motion Picture Making.
Pioneering Years, 1896–1914
The American film industry can be dated back to 1903. This was when narrative filmmaking (The Great Train Robbery, Uncle Tom’s Cabin) and the world’s first movie studio to rely entirely on artificial light (in New York City) were introduced. But it is almost impossible to speak of a Canadian film industry at the birth of cinema.
The first public screening of a film in Canada took place in Montreal on 28 June 1896. Two years earlier, Andrew and George Holland of Ottawa had opened the world’s first Kinetoscope parlour in New York City featuring Thomas Edison’s latest invention. In July 1896, the Holland brothers introduced Edison’s Vitascope to the Canadian public in Ottawa’s West End Park. Among the scenes shown was The Kiss, starring May Irwin, a Broadway actress from Whitby, Ontario. On 31 August, the first screening in Toronto took place at Robinson’s Musée on Yonge Street. The first screening in Vancouver was in December 1898.
The first Canadian films were produced in the fall of 1897, a year after the Montreal debut. They were made by James Freer, a Manitoba farmer, and depicted life on the Prairies. Some of his films were Arrival of CPR Express at Winnipeg, Pacific and Atlantic Mail Trains and Six Binders at Work in a Hundred Acre Wheatfield. In 1898, sponsored by the Canadian Pacific Railway (CPR), Freer toured England with his “home movies.” They were collectively entitled Ten Years in Manitoba. They were so successful that the federal government sponsored a second tour by Freer in 1902.
That same year, the CPR hired a British company to bring together a group of filmmakers, known as the Bioscope Company of Canada, to produce Living Canada. This series of 35 scenes depicting Canadian life was designed to encourage British immigration to Canada. The series included the first fictional drama made in Canada, the 15-minute-long Hiawatha, The Messiah of the Ojibway (1903). Also in 1903, Léo-Ernest Ouimet established Canada’s first film exchange in Montreal. He opened the first theatre in Montreal in 1906, followed in 1907 by the largest (1,200 seats) luxury theatre in North America. It was also in Montreal.
The CPR continued to produce films promoting immigration into the 1930s. In 1910, it hired the Edison Company to produce 13 story films to dramatize the special virtues of settling in the Canadian West. (See also: History of Settlement in the Canadian Prairies.) These promotional films were characteristic of most Canadian productions through 1912. They were financed by Canadians but made by non-Canadians. Their objective was to sell Canada or Canadian products abroad. The few Canadians who produced their own films (such as Ouimet in Montreal, Henry Winter in Newfoundland and James Scott in Toronto) made only newsreels or travelogues. Meanwhile, American film companies were beginning to use Canada as the setting for narrative films. Many of them featured villainous French Canadian lumberjacks, Métis, gold prospectors and noble Mounties.
After 1912, film companies in several Canadian cities began producing fiction as well as factual films. In Halifax, the Canadian Bioscope Company made the first Canadian feature, Evangeline (1913). It was based on the Longfellow poem about the expulsion of the Acadians. It was a critical and financial success. The company made several other less successful films before folding in 1915. The British American Film Company of Montreal, one of several short-lived companies in that city, produced The Battle of the Long Sault (1913). In Toronto, the Conness Till Film Company made several comedy and adventure films in 1914 and 1915. In Windsor, Ontario, the All Red Feature Company produced The War Pigeon (1914), a drama about the War of 1812.
Early Government Censors and Film Boards
From the beginning, the regulation of film content, distribution and exhibition was a provincial matter. Each province set its own standards and practices. In 1911, Ontario established the first Board of Censors in North America and Manitoba passed an act that delegated film censorship to the City of Winnipeg. Ontario’s board was considered the gold standard across North American jurisdictions. British Columbia, Alberta and Quebec established active censor boards in 1913. Manitoba created a proper provincial board in 1916.
The Ontario Motion Picture Bureau (OMPB) was the first state-sponsored film organization in the world. It was founded in May 1917 to provide “educational work for farmers, school children, factory workers and other classes.” Its mandate was to produce films that would advertise Ontario and promote infrastructure projects. The OMPB initially contracted all production to private companies in Toronto. In 1923, it purchased the Trenton Studios and began making its own films. (The first movie studio in Canada, the Trenton Studios opened as Adanac Films in Trenton, Ontario, in 1917.)
At its peak in 1925, the OMPB distributed 1,500 reels of film per month. It used 28mm, non-theatrical safety stock in order to avoid the fire hazard posed by 35mm nitrate stock. Its distribution system became outdated in the late 1920s when 16mm film stock replaced 28mm. After becoming inefficient and irrelevant, the OMPB was shut down in October 1934. However, it established a legacy of government involvement in Canadian filmmaking that would become a defining feature of the Canadian film industry.
The Canadian Government Motion Picture Bureau was founded as the Exhibits and Publicity Bureau in 1918. It was the first national film production unit in the world. Its purpose was to produce films that promoted Canadian trade and industry. As the minister of Trade and Commerce put it in 1924, the Bureau “was established for the purpose of advertising abroad Canada’s scenic attractions, agricultural resources and industrial development.”
The Bureau produced a series of theatrical short films called Seeing Canada. It distributed the series theatrically in Canada and abroad. By 1920, the Bureau maintained the largest studio and post-production facility in Canada. It also distributed its films to numerous countries around the world. But for all its successes in production and distribution, the Bureau never attempted to develop a domestic film production industry in Canada. In fact, it actively discouraged it. Instead, it favoured a business model that saw Canada as a branch plant of the American industry. (See also: Staple Thesis.) Bernard E. Norrish, the Bureau’s first director, stated that Canada “had no more use for a large moving picture studio than Hollywood had for a pulp mill.”
The Bureau focused on travelogues and industrial films through the 1920s and 1930s. It made sporadic attempts at more meaningful projects, such as Lest We Forget (1935) and The Royal Visit (1939). However, the Bureau didn’t convert to sound films until 1934. It was effectively replaced in 1939 by the creation of the National Film Board (NFB). The NFB officially absorbed the Bureau in 1941.
Expansion and Production, 1917–1923
The growth of Canadian nationalism around the First World War resulted in a brief flurry in Canadian production and other aspects of the film industry. The first widely released Canadian newsreels appeared. Feature film production also expanded, as did the Canadian-owned Allen Theatres chain and associated distribution companies. The motion picture bureaus established by the Ontario government in 1917, and the federal government in 1918, also contributed to the boom in activity.
This optimistic period of expansion was led by a number of enterprising producers. George Brownridge was principal promoter of Canada’s first film studio, Adanac Films (opened in Trenton, Ontario, in 1917). He produced three feature films, including the anti-Communist The Great Shadow (1919). Léo-Ernest Ouimet was a producer, exhibitor and distributor who established the country’s first film exchange in 1903. He also opened Canada’s first luxury theatre in Montreal in 1907. Blaine Irish was head of Filmcraft Industries. He produced the feature Satan’s Paradise (1922) and two successful theatrical short film series. Bernard Norrish was the first head of the Canadian Government Motion Picture Bureau. He was later head of Associated Screen News (ASN). Charles and Len Roos were producers, directors and cameramen of many films, including the feature Self Defence (1916). And finally, A.D. “Cowboy” Kean was an early cameraman and producer.
|
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3509
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dbpedia
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1
| 71 |
https://xchange15.indiearth.com/film/film-day-1
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en
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An annual trade event for independent music, film and media
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This 4th edition of IndiEarth XChange brings together an estimated 200 delegates from 20 countries, for 3 days of conferences, workshops, music and film showcases, networking sessions, and international opportunities.
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The Metamorphosis (Bulgaria)
Director: Pencho Dimitrov
29 min / Bulgarian / Drama, Fantasy / color / 2014
One casual morning, the daily life of Gregor Samsa takes a strange turn when he is transformed into a gigantic bug, and he is forced to endure the disparaging attitude of his family and society towards him. “The Metamorphosis” adheres rigidly to the original novella by Franz Kafka, and just as powerfully shows us how a sudden change is perceived as a monstrous metamorphosis.
Watch Trailer
Venue: Walhaja / Date: 27th Nov 2015 / Time: 13:00
Garden of Eden (Israel)
Director: Ran Tal
60 min / Hebrew, English subtitles / Documentary / color / 2012
Garden of Eden is the story of Gan HaShlosha, better known as the “Sakhne”, one of the largest, most famous and most visited parks in Israel. During the spring, summer, fall and winter seasons of one full year, the film documents the park’s transformation, and with a spectacular expression of cinematic beauty, it tells the stories of the people who visit the park and work therein. Yaacov, whose wife left him and who has since been living a sad and lonely existence; Athir, who is planning to move to Canada because life in Israel does not enable him to reach his full potential; Yael, who was forced to wed at the age of 13 and suffered many years of physical and mental abuse; Itzhak, who has yet to recover from the death of his brother in war and seeks a refuge from the mourning in the cool waters. These are but some of the captivating and touching individuals which the camera encounters. Director Ran Tal studies the innermost parts of Israeli society with humor, beauty, pain and compassion in the least expected location – a recreation park.
Venue: Walhaja / Date: 27th Nov 2015 / Time: 17:30
|
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dbpedia
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2
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https://council.nyc.gov/districts/
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en
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Council Members & Districts
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[] | null |
Together, we make the laws governing New York City
|
en
|
https://council.nyc.gov/wp-content/themes/wp-nycc/favicon.ico
|
New York City Council
|
https://council.nyc.gov/districts/
|
The 51 Council districts throughout the five boroughs are each represented by an elected Council Member. Search the map.
Check out our map widget to search for your Council Member/District in a map view!
NOTE: The new Council district lines that were proposed in 2022 by the New York City Districting Commission and accepted without objection by the City Council are now in effect. We also have four new Members serving on the City Council.
You can confirm who your local Council Member is by entering your address and borough in the field below.
1 Christopher Marte Manhattan Democrat Financial District-Battery Park City, Tribeca-Civic Center, The Battery-Governors Island-Ellis Island-Liberty Island, SoHo-Little Italy-Hudson Square, Chinatown-Two Bridges, Lower East Side
Copy 2 Carlina Rivera Manhattan Democrat Greenwich Village, Lower East Side, East Village, Midtown South-Flatiron-Union Square, Gramercy, Murray Hill-Kips Bay
Copy 3 Erik Bottcher Manhattan Democrat SoHo-Little Italy-Hudson Square, West Village, Chelsea-Hudson Yards, Hell's Kitchen, Midtown South-Flatiron-Union Square, Midtown-Times Square
Copy 4 Keith Powers Manhattan Democrat Midtown South-Flatiron-Union Square, Midtown-Times Square, Stuyvesant Town-Peter Cooper Village, Murray Hill-Kips Bay, East Midtown-Turtle Bay, United Nations, Upper East Side-Carnegie Hill
Copy 5 Julie Menin Manhattan Democrat East Midtown-Turtle Bay, United Nations, Upper East Side-Lenox Hill-Roosevelt Island, Upper East Side-Carnegie Hill, Upper East Side-Yorkville
Copy 6 Gale A. Brewer Manhattan Democrat Hell's Kitchen, Midtown-Times Square, Upper West Side-Lincoln Square, Upper West Side (Central), Central Park
Copy 7 Shaun Abreu Manhattan Democrat Upper West Side (Central), Upper West Side-Manhattan Valley, Morningside Heights, Manhattanville-West Harlem, Hamilton Heights-Sugar Hill, Washington Heights (South), Upper West Side-Manhattan Valley
Copy 8 Diana Ayala Manhattan/Bronx Democrat Mott Haven-Port Morris, Melrose, Concourse-Concourse Village, Upper East Side-Carnegie Hill, Upper East Side-Yorkville, East Harlem (South), East Harlem (North), Randall's Island
Copy 9 Yusef Salaam Manhattan Democrat Morningside Heights, Manhattanville-West Harlem, Hamilton Heights-Sugar Hill, Harlem (South), Harlem (North), East Harlem (South), East Harlem (North), Upper West Side-Manhattan Valley
Copy 10 Carmen De La Rosa Manhattan Democrat Kingsbridge-Marble Hill, Washington Heights (South), Washington Heights (North), Inwood, Highbridge Park, Inwood Hill Park
Copy 11 Eric Dinowitz Bronx Democrat Bedford Park, Norwood, Kingsbridge Heights-Van Cortlandt Village, Kingsbridge, Riverdale-Spuyten Duyvil, Wakefield-Woodlawn, Woodlawn Cemetery, Van Cortlandt Park
Copy 12 Kevin C. Riley Bronx Democrat Co-op City, Pelham Gardens, Allerton, Williamsbridge-Olinville, Eastchester-Edenwald-Baychester, Wakefield-Woodlawn, Pelham Bay Park
Copy 13 Kristy Marmorato Bronx Republican West Farms, Soundview-Bruckner-Bronx River, Castle Hill-Unionport, Westchester Square, Throgs Neck-Schuylerville, Pelham Bay-Country Club-City Island, Co-op City, Hart Island, Ferry Point Park-St. Raymond Cemetery, Pelham Parkway-Van Nest, Morris Park, Pelham Bay Park
Copy 14 Pierina Ana Sanchez Bronx Democrat University Heights (South)-Morris Heights, Mount Hope, Fordham Heights, University Heights (North)-Fordham, Bedford Park, Kingsbridge Heights-Van Cortlandt Village, Kingsbridge-Marble Hill
Copy 15 Oswald Feliz Bronx Democrat Morrisania, Claremont Village-Claremont (East), Crotona Park East, Crotona Park, Mount Eden-Claremont (West), Claremont Park, Mount Hope, Fordham Heights, West Farms, Tremont, Belmont, University Heights (North)-Fordham, Bedford Park, Soundview-Bruckner-Bronx River, Pelham Parkway-Van Nest, Allerton, Bronx Park
Copy 16 Althea Stevens Bronx Democrat Morrisania, Claremont Village-Claremont (East), Concourse-Concourse Village, Highbridge, Mount Eden-Claremont (West), Yankee Stadium-Macombs Dam Park, Claremont Park, University Heights (South)-Morris Heights, University Heights (North)-Fordham
Copy 17 Rafael Salamanca Jr. Bronx Democrat Mott Haven-Port Morris, Melrose, Hunts Point, Longwood, North & South Brother Islands, Morrisania, Crotona Park East, Concourse-Concourse Village, West Farms, Soundview-Bruckner-Bronx River
Copy 18 Amanda Farías Bronx Democrat Soundview-Bruckner, Soundview-Clason Point, Castle Hill-Unionport, Harding Park, Parkchester, Westchester Square
Copy 19 Vickie Paladino Queens Republican College Point, Whitestone-Beechhurst, Bay Terrace-Clearview, Murray Hill-Broadway Flushing, East Flushing, Flushing-Willets Point, Fort Totten, Auburndale, Bayside, Douglaston-Little Neck, Alley Pond Park
Copy 20 Sandra Ung Queens Democrat Murray Hill-Broadway Flushing, East Flushing, Queensboro Hill, Flushing-Willets Point, Kissena Park, Pomonok-Electchester-Hillcrest, Fresh Meadows-Utopia, Cunningham Park, Auburndale, Flushing Meadows-Corona Park
Copy 21 Francisco Moya Queens Democrat Astoria (North)-Ditmars-Steinway, Jackson Heights, East Elmhurst, North Corona, Elmhurst, Corona, Rego Park, Flushing-Willets Point, LaGuardia Airport, Flushing Meadows-Corona Park
Copy 22 Tiffany Cabán Queens Democrat Astoria (North)-Ditmars-Steinway, Old Astoria-Hallets Point, Astoria (Central), Astoria (East)-Woodside (North), Queensbridge-Ravenswood-Dutch Kills, Rikers Island, St. Michael's Cemetery, Astoria Park, Jackson Heights, East Elmhurst, LaGuardia Airport
Copy 23 Linda Lee Queens Democrat Fresh Meadows-Utopia, Jamaica Estates-Holliswood, Cunningham Park, Auburndale, Bayside, Douglaston-Little Neck, Oakland Gardens-Hollis Hills, Alley Pond Park, Jamaica, Hollis, Glen Oaks-Floral Park-New Hyde Park, Bellerose, Queens Village, Jamaica
Copy 24 James F. Gennaro Queens Democrat Rego Park, Forest Hills, Kew Gardens Hills, Pomonok-Electchester-Hillcrest, Fresh Meadows-Utopia, Jamaica Estates-Holliswood, Jamaica Hills-Briarwood, Mount Hebron & Cedar Grove Cemeteries, Jamaica, Flushing Meadows-Corona Park
Copy 25 Shekar Krishnan Queens Democrat Jackson Heights, Elmhurst, East Elmhurst, Woodside
Copy 26 Julie Won Queens Democrat Astoria (Central), Astoria (East)-Woodside (North), Queensbridge-Ravenswood-Dutch Kills, Sunnyside Yards (North), Long Island City-Hunters Point, Sunnyside, Woodside, Sunnyside Yards (South), Calvary & Mount Zion Cemeteries, Jackson Heights, Elmhurst, Maspeth
Copy 27 Dr. Nantasha Williams Queens Democrat Jamaica, South Jamaica, Springfield Gardens (North)-Rochdale Village, St. Albans, Hollis, Queens Village, Cambria Heights, Laurelton, Jamaica
Copy 28 Adrienne E. Adams Queens Democrat South Ozone Park, Jamaica, South Jamaica, Baisley Park, Springfield Gardens (North)-Rochdale Village, Springfield Gardens (South)-Brookville
Copy 29 Lynn Schulman Queens Democrat Rego Park, Forest Hills, Kew Gardens, Richmond Hill, South Richmond Hill, Ozone Park (North), South Ozone Park
Copy 30 Robert F. Holden Queens Democrat Maspeth, Middle Village, Glendale, Elmhurst, Rego Park and parts of Ridgewood
Copy 31 Selvena N. Brooks-Powers Queens Democrat Arverne, Brookville, Edgemere, Jamaica (parts), Far Rockaway, Laurelton, Rosedale, Springfield Gardens (parts)
Copy 32 Joann Ariola Queens Republican Glendale, Highland Park-Cypress Hills Cemeteries (North), Forest Hills, Ozone Park (North), Woodhaven, Ozone Park, Howard Beach-Lindenwood, Spring Creek Park, Rockaway Beach-Arverne-Edgemere, Breezy Point-Belle Harbor-Rockaway Park-Broad Channel, Forest Park, Jamaica Bay (East), Jacob Riis Park-Fort Tilden-Breezy Point Tip
Copy 33 Lincoln Restler Brooklyn Democrat Greenpoint, Northside Williamsburg, South Williamsburg, Brooklyn Heights, Downtown Brooklyn, DUMBO, Boerum Hill, Vinegar Hill, Bedford-Stuyvesant, Brooklyn Navy Yard
Copy 34 Jennifer Gutiérrez Brooklyn, Queens Democrat Williamsburg, South Williamsburg, East Williamsburg, Bushwick (West), Bushwick (East), Ridgewood
Copy 35 Crystal Hudson Brooklyn Democrat Downtown Brooklyn-DUMBO-Boerum Hill, Fort Greene, Clinton Hill, Bedford-Stuyvesant (West), Park Slope, Prospect Heights, Crown Heights (North), Crown Heights (South), Prospect Lefferts Gardens-Wingate, Prospect Park
Copy 36 Chi Ossé Brooklyn Democrat Bedford-Stuyvesant (West), Bedford-Stuyvesant (East), Crown Heights (North)
Copy 37 Sandy Nurse Brooklyn Democrat Bushwick (West), Bushwick (East), The Evergreens Cemetery, Cypress Hills, East New York (North), East New York-City Line, Highland Park-Cypress Hills Cemeteries (South), Ocean Hill, Brownsville
Copy 38 Alexa Avilés Brooklyn Democrat Gowanus-Red Hook, Park Slope, South Slope, Sunset Park (West), Sunset Park (Central), Green-Wood Cemetery, Dyker Heights, Bensonhurst, Bath Beach, Borough Park (West)
Copy 39 Shahana Hanif Brooklyn Democrat Downtown Brooklyn-DUMBO-Boerum Hill, Carroll Gardens-Cobble Hill-Gowanus-Red Hook, Park Slope, Windsor Terrace-South Slope, Sunset Park (West), Green-Wood Cemetery, Prospect Heights, Borough Park, Kensington, Flatbush (West)-Ditmas Park-Parkville, Prospect Park
Copy 40 Rita Joseph Brooklyn Democrat Windsor Terrace-South Slope, Crown Heights (South), Prospect Lefferts Gardens-Wingate, Borough Park, Kensington, Mapleton-Midwood (West), Flatbush, Flatbush (West)-Ditmas Park-Parkville, East Flatbush-Erasmus, East Flatbush-Rugby, Prospect Park
Copy 41 Darlene Mealy Brooklyn Democrat Bedford-Stuyvesant (East), Crown Heights (North), Lincoln Terrace Park, Crown Heights (South), Prospect Lefferts Gardens-Wingate, Ocean Hill, Brownsville, East Flatbush-Rugby, East Flatbush-Remsen Village
Copy 42 Chris Banks Brooklyn Democrat East New York (North), East New York-New Lots, Spring Creek-Starrett City, East New York-City Line, Brownsville, East Flatbush-Rugby, East Flatbush-Remsen Village, Canarsie, Jamaica Bay (West), Shirley Chisholm State Park
Copy 43 Susan Zhuang Brooklyn Democrat Sunset Park (Central), Dyker Heights, Bensonhurst, Bath Beach, Gravesend (West), Sunset Park (East)-Borough Park (West), Borough Park, Mapleton-Midwood (West), Gravesend (East)-Homecrest
Copy 44 Kalman Yeger Brooklyn Democrat Bensonhurst, Gravesend (West), Sunset Park (East)-Borough Park (West), Borough Park, Mapleton-Midwood (West), Midwood, Gravesend (East)-Homecrest
Copy 45 Farah N. Louis Brooklyn Democrat Flatbush, Midwood, East Flatbush, Flatlands, Marine Park, Canarsie
Copy 46 Mercedes Narcisse Brooklyn Democrat Bergen Beach, Canarsie, Flatlands, Georgetown, Gerritsen Beach, Marine Park, Mill Basin, Mill Island, and Sheepshead Bay
Copy 47 Justin Brannan Brooklyn Democrat Bath Beach, Bay Ridge, Coney Island, Dyker Heights, Gravesend, Sea Gate
Copy 48 Inna Vernikov Brooklyn Republican Gravesend (South), Coney Island-Sea Gate, Brighton Beach, Midwood, Gravesend (East)-Homecrest, Madison, Sheepshead Bay-Manhattan Beach-Gerritsen Beach
Copy 49 Kamillah Hanks Staten Island Democrat St. George-New Brighton, Tompkinsville-Stapleton-Clifton-Fox Hills, Rosebank-Shore Acres-Park Hill, West New Brighton-Silver Lake-Grymes Hill, Westerleigh-Castleton Corners, Port Richmond, Mariner's Harbor-Arlington-Graniteville, Snug Harbor, Todt Hill-Emerson Hill-Manor Heights, Fort Wadsworth
Copy 50 David Carr Staten Island, Brooklyn Republican Arrochar, Bath Beach, Bay Ridge, Bay Terrace, Bulls Head, Castleton Corners, Concord, Dongan Hills, Dongan Hills Colony, Dyker Beach Park, Dyker Heights, Egbertville, Emmerson Hill, Fort Hamilton, Fort Wadsworth, Grant City, Grasmere, High Rock, Lighthouse Hill, Midland Beach, New Dorp, Oakwood, Ocean Breeze, Old Town, Richmondtown, South Beach, Todt Hill, Travis, Westerleigh, Willowbrook
Copy 51 Joseph C. Borelli Staten Island Republican Todt Hill-Emerson Hill-Lighthouse Hill-Manor Heights, New Springville-Willowbrook-Bulls Head-Travis, Freshkills Park (North), Oakwood-Richmondtown, Great Kills-Eltingville, Arden Heights-Rossville, Annadale-Huguenot-Prince's Bay-Woodrow, Tottenville-Charleston, Freshkills Park (South), Great Kills Park
Copy
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3509
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dbpedia
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2
| 73 |
https://www.fox8live.com/2024/08/06/alabama-move-forward-with-nitrogen-gas-execution-september-after-lawsuit-settlement/
|
en
|
Alabama to move forward with nitrogen gas execution in September after lawsuit settlement
|
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"U.S. news",
"General news"
] | null |
[
"KIM CHANDLER"
] |
2024-08-06T00:00:00
|
Alabama’s attorney general says another nitrogen gas execution will go forward in September.
|
en
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//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wvue/favicon.ico?d=425
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https://www.fox8live.com
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https://www.fox8live.com/2024/08/06/alabama-move-forward-with-nitrogen-gas-execution-september-after-lawsuit-settlement/
|
MONTGOMERY, Ala. (AP) — Alabama’s attorney general said Monday that another nitrogen gas execution will go forward in September after the state reached a settlement agreement with the inmate slated to be the second person put to death with the new method.
Alabama and attorneys for Alan Miller, who was convicted of killing three men, reached a “confidential settlement agreement” to end litigation filed by Miller, according to a court document filed Monday. Miller’s lawsuit cited witness descriptions of the January execution of Kenneth Smith with nitrogen gas as he sought to block the state from using the same protocol on him.
The court records did not disclose the terms of the agreement. Miller had suggested several changes to the state’s nitrogen gas protocol, including the use of medical grade nitrogen, having a trained professional supervise the gas flow and the use of sedative before the execution. Will Califf, a spokesman for Alabama Attorney General Steve Marshall said he could not confirm if the state had agreed to make changes to execution procedures.
“Miller entered into a settlement on favorable terms to protect his constitutional right to be free from cruel and unusual punishments,” Mara E. Klebaner, an attorney representing Miller wrote in an email Monday night.
Marshall described the settlement as a victory for the use of nitrogen gas as an execution method. His office said it will allow Miller’s execution to be carried out in September with nitrogen gas.
“The resolution of this case confirms that Alabama’s nitrogen hypoxia system is reliable and humane,” Marshall said in a statement.
“Miller’s complaint was based on media speculation that Kenneth Smith suffered cruel and unusual punishment in the January 2024 execution, but what the state demonstrated to Miller’s legal team undermined that false narrative. Miller’s execution will go forward as planned in September.”
Marshall’s office had titled a press release announcing the settlement that the attorney general “successfully defends constitutionality” of nitrogen executions. An attorney for Miller disputed Marshall’s assessment.
“No court upheld the constitutionality of the state’s proposed nitrogen hypoxia method of execution in Mr. Miller’s case, thus the state’s claim that it “successfully defend(ed)” that method’s “constitutionality” is incorrect. By definition, a settlement agreement does not involve a ruling on the merits of the underlying claim,” Klebaner wrote in an email.
The settlement was filed a day before a federal judge was scheduled to hold a hearing in Miller’s request to block his upcoming Sept. 26 execution. Klebaner said that by entering into a settlement agreement that the state avoided a public hearing in the case.
Alabama executed Smith in January in the first execution using nitrogen gas. The new execution method uses a respirator mask fitted over the inmate’s face to replace their breathing air with nitrogen gas, causing the person to die from lack of oxygen.
Attorneys for Miller had pointed to witness descriptions of Smith shaking in seizure-like spasms for several minutes during his execution. The attorneys argued that nation’s first nitrogen execution was “disaster” and the state’s protocol did not deliver the quick death that the state promised a federal court that it would.
The state argued that Smith had held his breath which caused the execution to take longer than anticipated.
Miller, a delivery truck driver, was convicted of killing three men — Terry Jarvis, Lee Holdbrooks and Scott Yancy — during back-to-back workplace shootings in 1999.
Alabama had previously attempted to execute Miller by lethal injection. But the state called off the execution after being unable to connect an IV line to the 351-pound inmate. The state and Miller agreed that any other execution attempt would be done with nitrogen gas.
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3509
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dbpedia
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1
| 51 |
https://www.globemiamitimes.com/filmmaking-comes-alive-in-globe-miami-and-san-carlos/
|
en
|
Filmmaking comes alive in Globe
|
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] | null |
[
"Kim Stone"
] |
2018-10-24T07:35:18-07:00
|
An award-winning filmmaker plans to create a film academy and shoot a feature film, while continues his role as a multimedia educator for local high school students. Documentary filmmaker and University of Missouri film professor Christian Rozier is bringing a film academy to Gila County. Selected participants between the ages of 18 and 29 will
|
en
|
Globe Miami Times
|
https://www.globemiamitimes.com/filmmaking-comes-alive-in-globe-miami-and-san-carlos/
|
An award-winning filmmaker plans to create a film academy and shoot a feature film, while continues his role as a multimedia educator for local high school students.
Documentary filmmaker and University of Missouri film professor Christian Rozier is bringing a film academy to Gila County. Selected participants between the ages of 18 and 29 will learn the technical skills of film production in an intensive 80-hour course beginning in March 2019.
Students will earn a stipend during their training and then move on as paid film crew members in the production of the feature-length film Peridot. This independent film will be shot locally in San Carlos and Globe-Miami in April 2019.
Who is the filmmaker and why has he chosen Gila County?
For young adults who want to pursue their interest in film production, this is a compelling opportunity, to be sure. But why did Christian Rozier, formerly based out of Los Angeles with 20 years of experience as a film maker, pick this rural patch of Gila County to create a film academy and shoot a feature film?
As it turns out, Christian has already been sharing his talents around these parts for quite some time.
During the past seven years, he has either facilitated or directly participated in workshops in poetry, music, the visual arts, digital photography, and multimedia production in San Carlos and Miami schools.
Beginning in June 2011, Christian worked with the Media Arts Xchange (MAX), an organization from Los Angeles that integrates the arts and digital media to unlock the creative story-telling potential in students.
Together with Street Poets, Inc., the Rhythm Alliance, The Tiziano Project (all from Los Angeles) and Navajo artist Dennis Jeffry, MAX held month-long collaborations from 2011 to 2013 with high school students on the San Carlos Reservation.
“We brought visual artists and musicians together from the outside to collaborate with Native youth to co-create something together,” Christian explained to me in a recent interview.
He documented this experience with the seven-minute short film “Media Arts Xchange on the Apache Rez” (on vimeo.com) which showcases the students’ energy, expanding emotional openness, and creative output that emerged from these sessions.
John Tandy, who co-founded MAX with Patricia Wyatt, and who co-wrote the screenplay with Christian Rozier for the upcoming film Peridot, told me in a phone interview that the results of these collaborations were magical.
“It enabled the students to discover themselves, their deeper selves,” he said. “They all found they were special in some way. It brought beautiful things out in all these kids.”
In 2014, Christian directed “Racing the Past – Voices from the Apache Rez.” Filmed entirely in San Carlos, the interviewees become the narrators—the voices—in this 14-minute film. The film has won several film festival awards and spurred a lively string of 500 reactive comments on YouTube.
Although he spent the first 10 years of his career honing his craft by making music videos, commercials, and reality TV, his experience working with young people in San Carlos in 2011 provided the source of inspiration that indelibly altered the arc of his professional growth.
“I found that my entire focus as a filmmaker dramatically shifted from my experiences with them,” Christian said. This sea change led him to four different continents, seeking out underrepresented and marginalized communities to tell their stories. And it’s why he has returned tin Globe-Miami and San Carlos at least once each year since 2011.
“I feel like something personally was really born here,” he added.
Inspiring filmmakers at Miami High School
Since spring 2017, Christian has traveled to Miami High School from his home in Missouri on four separate occasions. Working closely with Principal Glen Lineberry, he is guiding a core group of students through the film making process, imparting skills and building confidence to tell meaningful stories through the medium of short films.
The funding for this program comes from a High School Health and Wellness grant that Miami High School received in 2017 to develop a curriculum to oppose teen use of alcohol, marijuana, and prescription drugs.
“We received permission to use part of the grant to work with our kids on story telling, on telling the story about being tempted, about resisting, about succumbing, about recovering,” Principal Lineberry explained.
The grant also helped to fund two recent workshops by Street Poets, Inc., the same Los Angeles-based arts organization that was so successful in catalyzing students to tell their stories with the written word in San Carlos seven years ago.
Miami students created two short films that documented the interactive experience with Street Poets at their school (posted on www.miamiusd40.org).
Their current project is a documentary about the impacts of substance abuse. “They’re asking deep questions about why a young person in particular might be susceptible to falling into that trap in the first place,” Christian said.
Eventually, this informal group of film students could be the seed that grows into an accredited class that becomes an arts elective at the school.
“Part of what we’re doing,” Mr. Lineberry explained, “is developing the capacity so when the grant runs out, we can continue to address these issues in a way that is specific to our students—in house. Our students will do the interviewing and our students will make the films.”
The school plans to launch a film festival that showcases the films made by Miami students and students from other schools, as well as a publication of students’ creative writing.
The upcoming Film Academy will take place during the school year and is designed for older young adults ages 18 – 29, so it will preclude the participation of high school students.
Yet this won’t bench Christian’s eager group of Miami student filmmakers to the sidelines. Their next assignment is to go behind the scenes and create a documentary short film of the making of the movie Peridot.
The Film Academy and the movie, Peridot
Beginning this spring, a group of young adult trainees will be chosen to participate in the planned Gila County Film Academy. They will gain a full range of filmmaking expertise, and then produce their own short films as part of the program. They’ll gain proficiency in the techniques of videography, audio recording, lighting, post-production, and the all-important art of telling a good story—and receive a stipend while they learn.
The following month, with two weeks of immersive film production experience under their belts, the trainees will take a giant step into the world of professional filmmaking as paid (and credited) crew members for the movie Peridot.
The film is now in pre-production and shooting is slated to begin in April 2019. The movie will be shot in Gila County and a majority of the talent and crew will come from the local area, as well.
“Our one and only goal is to make a great film,” said Christian, who will direct the movie. “We want to make a film that is very competitive in the film festival circuit.”
After the production of Peridot is complete, the Film Academy students will return to the classroom and begin the process of editing their own short films.
In June, the short films will be screened at a public premiere, exhibited in local schools, cultural centers, and shared online. “[Public screening] is an absolutely essential component of the transformative learning process,” Christian emphasized.
After the movie is a wrap and the Film Academy ends in July, these seasoned trainees will become an undeniable resource to both brick and mortar and online businesses, institutions, and others in need of video production services. The cameras, microphones, and other production equipment purchased for the Academy will all stay within the community, available for use on a “check out” basis.
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https://www.cahabawellness.com/
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Roderick White Chiropractic
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Are you searching for a Chiropractor in Pelham, AL? Call Roderick White Chiropractic today at (205) 664-8881.
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https://www.cahabawellness.com/
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Each day we have the opportunity to meet patients, like you, listen to your concerns and goals, and come up with a plan to work together to get you where you want to be. It has been a wonderful and challenging journey. Never have I claimed to have all of the answers when it comes to being a chiropractic physician, but I have always strived to achieve one thing... every person I encounter, every conversation, every aspect of which this practice is to be run would be one that I would choose, if I were the patient. If we can help you, we will. If you would be better served elsewhere, we'll help get you there. It's not a very fancy concept really, the 'Golden Rule'. So this continues to be my promise to you today, should I ever fail in this mission - please let me know and I will make it right. Thank you for the trust you have shown by selecting our clinic for your health care needs. We look forward to helping you!
New Patient Forms
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https://en.wikipedia.org/wiki/Andrew_Lockington
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Andrew Lockington
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2009-01-30T00:34:09+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Andrew_Lockington
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Canadian film score composer (born 1974)
Musical artist
Andrew Lockington (born January 31, 1974) is a Canadian film score composer.
Life and career
[edit]
Lockington was born in 1974 in Burlington, Ontario, Canada. He is married to Christy Lockington and has three daughters named Cielle Lockington, Kaya Lockington, and Ava Lockington.
He has composed the complete scores for over three dozen films and television series, including Journey to the Center of the Earth (2008), City of Ember (2008), Percy Jackson: Sea of Monsters (2013), San Andreas (2015), The Space Between Us (2017), and Rampage (2018).
He received the Breakout Composer of the Year Award from the 2009 International Film Music Critics Association (IFMCA) Awards, for his scores for Journey to the Center of the Earth and City of Ember.[1] He was also nominated for Best Original Score for a Fantasy/Science Fiction Film, for City of Ember.[2]
Film scores
[edit]
Year Title Director Notes 1998 At the End of the Day: The Sue Rodriguez Story Sheldon Larry Co-composed with Mychael Danna
Television film 2000 XChange Allan Moyle 2001 Stranger Inside Cheryl Dunye Co-composed with Mychael Danna
Television film 2002 Long Life, Happiness & Prosperity Mina Shum 2003 Fast Food High Nisha Ganatra Cosmopolitan Composed original score
Songs by Chris Rael 2004 Touch of Pink Ian Iqbal Rashid Saint Ralph Michael McGowan 2005 Cake Nisha Ganatra 2006 One Dead Indian Tim Southam Television film Skinwalkers James Issac 2007 How She Move Ian Iqbal Rashid 2008 Journey to the Center of the Earth Eric Brevig BMI Film Music Award for Best Film Music One Week Michael McGowan City of Ember Gil Kenan Left Coast Michael McGowan Television film 2009 Deadliest Sea T.J. Scott Television film 2010 Frankie and Alice Geoffrey Sax 2011 Beat the World Robert Adetuyi 2012 Journey 2: The Mysterious Island Brad Peyton BMI Film Music Award for Best Film Music 2013 I'll Follow You Down Richie Mehta Percy Jackson: Sea of Monsters Thor Freudenthal BMI Film Music Award for Best Film Music Siddharth Richie Mehta 2015 San Andreas Brad Peyton BMI Film Music Award for Best Film Music 2016 Incarnate 2017 The Space Between Us Peter Chelsom Meditation Park Mina Shum 2018 Rampage Brad Peyton Time Freak Andrew Bowler 2019 The Kindness of Strangers Lone Scherfig 2021 Trigger Point Brad Turner Co-composed with Michael White 2024 Atlas Brad Peyton Red One Jake Kasdan Post-production
Television series scores
[edit]
Missing (48 episodes, 2003–2006)
Sanctuary (46 episodes, 2009–2011): Seasons 2–4
Primeval: New World (13 episodes, 2012–2013)
Aftermath (13 episodes, 2016)
Frontier (12 episodes, 2016-2017)
Delhi Crime (7 episodes, 2019)
Daybreak (10 episodes, 2019)
American Gods (10 episodes, 2021)
Mayor of Kingstown (13 episodes, 2021)
Special Ops: Lioness (8 episodes, 2023)
References
[edit]
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https://www.cede.ch/en/movies/%3Fview%3Ddetail%26branch_sub%3D0%26branch%3D2%26aid%3D10007120
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Xchange (2000)
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https://austinfilmfestival.com/blog/2024-screenplay-competition-semifinalist-judge-announcements/
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2024 Screenplay Competition Semifinalist Judge Announcements
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Austin Film Festival
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https://austinfilmfestival.com/blog/2024-screenplay-competition-semifinalist-judge-announcements/
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Glenn Cockburn
Glenn Cockburn is the founder of Meridian Artists. Along with the rest of the Meridian Artists team, Glenn currently represents a select roster of some of Canada’s most talented writers, directors and producers.
Glenn’s career started in 1996 when he began working as script reader for New Line Cinema and Innovative Artists Agency. From 1997 through 1999, Glenn worked as a Creative Executive at Templeton Production’s first look deal with New Line Cinema. In 1999, Glenn returned to Toronto and joined The Characters Talent Agency where he ran the Packaging Department. Glenn also acted as Executive Producer on the feature film, Young People Fucking, which premiered at the Toronto International Film Festival in 2007 and became one of the most successful and highest grossing Canadian comedies of all time.
Glenn’s other professional activities include teaching the course, The Business of Film and Television, at Sheridan College as well as being a board member for the Humber Comedy program. Glenn has a B.F.A. Honours in Film and Television Production, from York University and a M.B.A. from the Ivey School of Business.
John Graham
John K.D. Graham is an auteur filmmaker whose diverse body of work can be found on major distribution platforms across the world on major platforms including Netflix, Walmart, Tubi, Pureflix, and in a variety of project types. He is an accomplished Director, Writer, Producer, and Editor, who attributes the success of his projects, including seven feature films, miniseries, music videos, and travel docs, to his ability to navigate all aspects of a film’s creation.
Growing up in the wild Chihuahuan deserts of New Mexico, John K.D. Graham’s love for the natural world turned into a discovery that everything around tells a story. His fascination with storytelling, collaboration, and technology led to the Savannah College of Art and Design where he graduated Magna Cum Laude with a BFA in Film and Television. John began his career shooting music videos and working as a member of IATSE Local 480 as a set electrician, craft service, and video assistant in New Mexico. John soon gained recognition in the film industry for his ability to plan, film, and deliver cinema consistently and began his career as an independent filmmaker.
John K.D. Graham is an award-winning filmmaker; including Best Screenplay in the Kairos Pro Awards for his script, “Switched” and most recently a bronze Telly Award for his mini-series, “Unstained”. John’s recent project, “Unstained” is an entertainment education series that helps at-risk youth across the U.S.A. To find out more visit: www.johnkdgraham.com
Jacob Hayman
Jacob Hayman began his entertainment career as a projectionist and culture writer, eventually working as an agent assistant and script reader before finding a home in casting for several years. A veteran of the wider commercial and unscripted spaces in said home, his focus was primarily on independent features, where he started as a Casting Assistant, working repeatedly for Universal, while also leading to franchise collaborations alongside legendary genre producers Charlie Band and Roger Corman. His own three credits as Casting Director have all played in various festivals, netting nominations for Best Actor and Best Comedy Feature (Wine Club), leading to a Best Actress win (This Is Your Song), and another for Best Drama (Trust), among others. His producing debut, Fudgie Freddie, was nominated for both Best Actor and Best Midnight Short at FilmQuest. Until the latter’s death earlier this year, he was a script reader for Oscar winner Fred Roos. Currently, in his capacity as a Literary Manager with Citizen Skull, he hosts the First and Third Wednesdays networking event, and reps previous winners of the Austin Film Festival, Slamdance, and WGA Awards. His primary goal is to help usher more heart and silliness into the world before it explodes.
Liz Kelly
Liz Kelly is Director of Creative Talent Development & Inclusion at Disney Entertainment Television. In this role, she works with the network and studio to staff writers and directors across ABC, ABC Signature, Freeform, Disney Channel, 20th TV, FX, Nat Geo, Disney+ and Hulu’s scripted television shows. She runs the industry-leading Disney Writing Program and Disney Directing Program. She has staffed talent on THE GOOD DOCTOR, THE ROOKIE, A MILLION LITTLE THINGS, DAVE, HOW I MET YOUR FATHER, SINGLE DRUNK FEMALE, THE GOLDBERGS, STATION 19, RAVEN’S HOME, and BLACK-ISH, among other scripted series. Prior to Disney, Kelly worked for 6 years at Fox, most recently as Associate Director of Production and Development Labs – Film & TV, for 21CF Global Inclusion. Kelly staffed writers and directors on FOX’s scripted television shows, including THE GIFTED, THE COOL KIDS, LUCIFER, LAST MAN ON EARTH, THE EXORCIST, THE RESIDENT, and LETHAL WEAPON, among others. She managed the Fox Writers Lab, Fox Directors Lab, Fox DP Lab, and Fox Filmmakers Lab, tracked and maintained network diversity statistics regarding on-air and behind-the-camera creative talent, and managed the department’s partnerships and sponsorships with non-profits and film and TV festivals.
Kelly has been a judge, script reader, or panelist for numerous film and TV festivals across the country, including the Tribeca Film Festival, New York Television Festival, Austin Film Festival, ATX Television Festival, SeriesFest Denver, CAAMFest San Francisco, San Diego Latino Film Festival, NALIP Media Summit, LA Skins Fest, Outfest, BlackStar Philadelphia Film Festival, and Humanitas New Voices. In 2017, she was invited to be part of Creative Artists Agency’s “Amplify: Next Gen” group of up-and-coming entertainment artists, agents, and executives.
Kelly is a member of the Hollywood Radio & Television Society. She has a BA from UCLA and is a graduate of UCLA School of Theater Film & Television’s graduate-level Professional Program in Screenwriting.
Jason Lubin
Jason Lubin is a manager-producer and the principal at First Story Entertainment, which he founded in 2018. The lit management company represents a diverse roster of talented writers and directors with fresh voices in all genres for Film and TV. The company’s clients have been staffed on shows on multiple networks including Showtime, CW, Apple+ and Netflix and have sold series to Disney and Max. In 2021, two of the nine participants selected for the highly competitive WBTV Writers Workshop were clients. In the feature space, First Story clients have written films starring Robert De Niro and John Malkovich, sold specs to financiers including Searchlight Pictures and Sony International, and directed projects selected by the Cannes Film Festival. Jason also develops both feature film and television projects under the company’s banner. Prior to starting First Story, Jason was a seasoned development executive. He worked at Lynda Obst Productions as the Head of Development & Production and at Lionsgate, where he rose to Story Editor in the Motion Picture Group. Jason cut his teeth as the assistant to CEO Jon Feltheimer and was named one of Variety’s Ten Assistants to Watch in 2013. A graduate of USC, Jason currently sits on the university’s Board of Governors as the School of Cinematic Arts’ representative and is a former President of the Trojan Entertainment Network
Beth Bruckner O’Brien
Beth Bruckner O’Brien is currently the VP, development in the Creative Affairs department at MarVista Entertainment. She has 15 years of experience as a film and television producer – her most recent credits include executive producing HYPNOTIC starring Ben Affleck and directed by Robert Rodriguez, co-producing UNHINGED starring Russell Crowe, executive producing BULLET HEAD starring Adrien Brody and John Malkovich, and executive producing LEATHERFACE, a prequel to the Texas Chainsaw Massacre. Beth worked as a development executive at Millennium Films from 2011-2016, developing films such as THE HITMAN’S BODYGUARD franchise, the OLYMPUS HAS FALLEN franchise, THE EXPENDABLES franchise, THE MECHANIC franchise, and the following films: BEFORE I GO TO SLEEP, THE ICEMAN, HOMEFRONT, LOVELACE, THE PAPERBOY, STONEHEARST ASYLUM, and THE TEXAS CHAINSAW MASSACRE 3D. Prior to that, Beth worked at A Bigger Boat and GreeneStreet Films developing genre films FROZEN directed by Adam Green, THE WARD directed by John Carpenter, SAW 6 & SAW 3D, and HOUSE AT THE END OF THE STREET starring Jennifer Lawrence.
Jeff Portnoy
Jeff Portnoy is a literary manager at Bellevue Productions in Los Angeles, representing writers and filmmakers working in both the Feature and Episodic spaces. Before joining Bellevue, Jeff worked at Creative Artists Agency as a story analyst, The Gotham Group as an executive assistant, and Resolution talent agency as the Head of their Story Department and agent trainee. Jeff has a Bachelor of Fine Artist degree in Film and Video Production from Point Park University in Pittsburgh, PA and attended UCLA Extension’s Writing for Film and Television program. A former aspiring writer himself, Jeff has extensive experience with – and a genuine love for – developing screen and teleplays with writers and then helping those writers package and/or sell their materials, find writing jobs and secure agency representation. Along with his colleague John Zaozirny, Jeff was featured in Variety magazine’s “New Leaders: Agents and Managers” edition in 2018.
Jenn Sall
Jen Sall (www.thejensall.com) is an award-winning writer, director and producer committed to creative work that is thought-provoking and sparks conversation across film, television, and digital media. With experience spanning the visual storytelling spectrum – from branded films to scripted to documentary – Jen breaks down barriers between content silos, opening the door to more unusual approaches and fresh voices in her creative. She has brought this experience and unique perspective to her work at Apple, Calvin Klein, Disney, HBO, Hello Sunshine, Hulu, Netflix and Viacom, among other prestigious brands and studios.
Originally from Washington, DC, Jen’s work is inspired and informed by her time abroad, living in both Rio de Janeiro and Rome, where she learned five languages and once worked as an interpreter at a David Bowie concert. As she moved into all things arts and culture, she became the Editor-At-Large of THE EP, a lifestyle magazine once found on the shelves of MOMA PS1 and the Andy Warhol Museum. She is currently producing The Gate starring and co-written by Tobias Menzies (Manhunt, The Crown) with sales through WME, Chasing Perfect written by Jeanne Rosenberg of The Black Stallion with Gersh representing and a docu-series hosted by Erika Alexander (American Fiction).
A member of BAFTA and the P.G.A., Jen is a 2023 Gracie Award Winner from the Alliance for Women in Media. Jen was also one of eight women selected for the worldwide 2020 Women in Screen Workshop, hosted by the Australian Screen Forum. Jen’s romance-comedy pilot script Your Night is My Day was a semi-finalist in the 2021 Sundance Institute Episodic Lab. The project is currently being developed as a feature film. She is also a founding EVOLVE mentor, an organization founded by Ava DuVernay, Justin Lin, and Mayor Eric Garcetti and a member of HRTS (Hollywood Radio and Television Society).
Jen recently directed and co-wrote The Reboot starring Jordyn Denning (Pam & Tommy) and Brie Carter (Little Fires Everywhere). In 2023, Jen directed and co-wrote the short film This Could Have Been an Email starring Becky Chicoine (The Other Two, Mr.Robot) currently being developed as a feature film. She created and directed Art is No Joke starring Sarah Sherman (SNL), Niccole Thurman (Kenan) and other female comics. As well as directing branded content for ChiefX, Bloomberg, and MTV Cribs. Her recent work as a producer includes the feature Going Somewhere starring Nomas Mlambo (Black-ish), 2023 Emmy nominated Eat the Rich: The GameStop Saga for Netflix, Rise for Hello Sunshine directed by Nisha Ganatra, launched at Sundance Film Festival in 2023. SWIPE NIGHT: Killer Weekend, starring Luke Slattery (The Boys in the Boat), an Emmy nominated series, Root Letter starring Danny Ramirez (Top Gun: Maverick), Hangry starting Justin Kirk (HBO’s Perry Mason, Weeds) and Bite Size Huluween (a short form anthology series for Hulu) in 2021 and 2022.
She is represented at Octagon Entertainment
Corey Simon
Corey Simon is a passionate and accomplished Executive Vice President/Talent Manager at Cultivate Entertainment Partners. With a bachelors degree in business management from the University of Phoenix in Arlington, Tx, Corey has established himself as a driving force in the entertainment industry. His purpose and dedication lie in bridging talent from diverse backgrounds, helping them fulfill their dreams and reach their true potential. Throughout his career, Corey has demonstrated an exceptional ability to identify and nurture emerging talent. He has played a pivotal role in the development and success of numerous television stars, including Stakiah Lynn Washington (Amazon FreeVee’s – Primo), Avery Wills Jr. (Peacock – Shooting Stars), Nadji Jeter (Sony PlayStation- Spider-Man 2), Jason Mitchell (Universal Picture- Straight Outta Compton), and Johnell Young (Hulu – Wu-Tang: An American Saga), among others. Corey remarkable ascent within the industry is a testament to his talent and dedication. In just three years, he has made partner at the management firm and earned his first producer credit in Tubi’s original thriller film “Killer Beat” released in June 2024. His invaluable contributions have paved the way for a more inclusive and representative entertainment landscape. With several television show projects slated for a late 2024 release, he continues to push boundaries and bring compelling stories to life. Corey Simons unwavering passion for talent development, commitment to diversity and inclusion, and impressive track record make him a true powerhouse in the entertainment industry. He is a catalyst for change, shaping the future of the industry one star at a time.
Jennifer Sorenson
Jennifer Sorenson is an actor/producer/writer. She wrote and played ten roles in the award-winning, viral parody Orphan is the New Orange which was named one of the Top Ten Short Films of the Decade. As a writer, her first feature For When You Get Lost (a dark comedy about family, death and beer) had its World Premiere at the Austin Film Festival, where it won the Audience Award for Best Comedy. It has since won the Jury and Audience Award for Best Feature at Durango Independent Film Festival and the Audience Choice Award for Best Feature at Julien Dubuque International Film Festival. Other writing includes: No Backsies (a comedy short about life in the pandemic), See Me (a virtual reality short about the exploration of women reclaiming their bodies from the patriarchy), What Are the Odds (a healthcare PSA) and I Fart in My Sleep: Confessions of an Embarrassing Life (a full-length play), which premiered in Los Angeles. She was a finalist in the PSA program for Women in Film. She has produced several successful short films and two features, the aforementioned For When You Get Lost and a sci-fi/western feature Suffer, starring Naomi McDougall Jones. Her production company, Aegis Creative Media, is in development
Lee Stobby
Lee Stobby has over 15 years of management and producing experience, and focuses on championing strong independent voices and quality cinema and television. He is a literary manager, producer and principal of 2B CONT’D. His success can be attributed to his passion, extensive knowledge, and enthusiasm for film. This has enabled him to, on numerous occasions, to discover raw, exciting new talent and build them into screenwriting juggernauts: having had dozens of scripts on the yearly Black List; countless films produced; and widely known one of the most knowledgeable tastemakers in Hollywood. Some of his client highlights include: Shay Hatten (JOHN WICK: CHAPTER 3, JOHN WICK 4, ARMY OF THE DEAD, ARMY OF THIEVES, DAY SHIFT, REBEL MOON), Isaac Adamson (#1 Black List script BUBBLES), Rodney Ascher (ROOM 237, THE NIGHTMARE, A GLITCH IN THE MATRIX), and Myroslav Slaboshpytskiy (Cannes winner THE TRIBE and upcoming THE TIGER starring Alexander Skarsgård and Dane DeHaan).
Recently, he produced the dark comedy feature FOIBLES, a dark comedy starring John Karna, Carina Conti, and Deborah Wilson, which is currently in post and is the Fantasia alum Ryan Oksenberg’s feature film debut. Stobby’s other Producing highlights and credits include SISTER AIMEE, which premiered at the 2019 Sundance Film Festival and was released by 1091; WILDLING starring Bel Powley, Liv Tyler and Brad Dourif and which sold to IFC and premiered at the 2017 SXSW; HOW TO BE ALONE staring Maika Monroe and Joe Keery; PEOPLING, starring Kimmy Robertson and Josh Fadem which played at Fantasia, Fantasic Fest, and Sitges and has over 30 million online views; MUNCHAUSEN written and directed by Ari Aster; PLAY ME, a new horror short by Caleb Phillips (SXSW winning filmmaker behind THE OTHER SIDE OF THE BOX, which has over 10 million views online).
As for development, Stobby has a horror satire from Sundance and Cannes Auteur filmmaker Rodney Ascher with Greg Silverman’s Stampede Ventures producing alongside Stobby, as well as feature development set up with Matt Reeves’ 6th and Idaho, Charlize Theron’s Denver and Delilah, Darren Aronofsky’s Protozoa, Universal, Timur Bekmambetov’s Bazelevs, and Netflix.
Mike Vanderhei
Originally from Chicago, Mike Vanderhei is a literary manager & producer who started in original scripted programming at AMC where he harnessed his taste working on BREAKING BAD, MAD MEN, THE KILLING, and THE WALKING DEAD.
After AMC, Mike assisted at Principato-Young Ent. and AEFH Talent Agency where he discovered his passion for working with storytellers and championing their careers leading to Avalon Management & TV where he started to develop a client roster while also working in development & production on their series WORKAHOLICS, LAST WEEK TONIGHT, and CATASTROPHE.
Vanderhei then took an opportunity to solely focus on his client roster at Protocol Ent. working alongside industry veteran John Ufland before moving to Rain in 2019. Mike’s client have written and produced shows including: WESTWORLD, SNOWPIERCER, THE BLACKLIST, HOUSE OF THE DRAGON, BILLIONS, AEON FLUX, BLOODLINE, AMERICA’S MOST WANTED, DR. DEATH, LOVECRAFT COUNTRY, CHARMED, THE MORNING SHOW, and THE EQUALIZER among others.
John Zaozirny
PRESIDENT OF FEATURE FILM PRODUCTION AND LITERARY MANAGEMENT
John Zaozirny oversees feature film production for Bellevue and the Literary Management Team.
His clients’ writing and directing credits include INFINITE, PARALLEL, ELI, BAD MATCH, TEXAS CHAINSAW MASSACRE (2022), HEAVY TRIP, OFFICE UPRISING, JOLT, and SPLINTER amongst others. His clients have written feature scripts that are set up at Warner Bros, Paramount, Fox, Lionsgate, New Line, Focus Features, Fox 2000, Sony, Universal, amongst others. As well, his clients have had 30 scripts on the last 8 Black Lists, the annual list of the best unproduced feature scripts, including BLONDE AMBITION, the number one script on the 2016 Black List, HEADHUNTER, the number one script on the 2020 Black List, and CAULIFLOWER, the number one script on the 2021 Black List.
His clients have also written on TV shows such as SHANTARAM, FBI INTERNATIONAL, BOSCH: LEGACY, MR ROBOT, TRAINING DAY, TINY PRETTY THINGS, HAWAII FIVE-O, THE MAN IN THE HIGH CASTLE and HAND OF GOD, amongst others. He also reps the writer of the Eisner nominated comic book LITTLE BIRD.
He was an executive producer on the feature films ALWAYS WATCHING and PARALLEL and produced ELI, which was released by Netflix. He most recently produced INFINITE, directed by Antoine Fuqua and starring Mark Wahlberg, Chiwetel Ejiofor, and Dylan O’Brien, which was released by Paramount Plus.
Raised in Vancouver, Canada, John is a graduate of the Tisch Film and Television program at New York University.
Katie Zipkin-Leed
Katie Zipkin-Leed is an LA native whose journey in the industry began with internships at Creative Artists Agency (CAA) and United Talent Agency (UTA). After graduating from Tulane University, she returned to the mailroom at UTA, eventually landing a role in the TV talent department. In the midst of the pandemic, Katie transitioned over to the management company Artists First where she currently serves as their literary coordinator. Katie is dedicated to working with diverse, queer, and female creators across both Television and Features. Zipkin-Leed’s clients have projects in development with Pacific Electric Picture Company, Original Film, Room 101, and Broken Road, amongst others. Katie is also on the board of the Junior Hollywood Radio and Television Society (JHRTS).
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https://en.wikipedia.org/wiki/The_Taking_of_Pelham_One_Two_Three_(1974_film)
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The Taking of Pelham One Two Three (1974 film)
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https://en.wikipedia.org/wiki/The_Taking_of_Pelham_One_Two_Three_(1974_film)
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1974 American thriller film directed by Joseph Sargent
The Taking of Pelham One Two ThreeDirected byJoseph SargentScreenplay byPeter StoneBased onThe Taking of Pelham One Two Three
1973 novel
by John GodeyProduced byStarringCinematographyOwen RoizmanEdited byMusic byDavid Shire
Production
companies
Distributed byUnited Artists
Release date
Running time
104 minutesCountryUnited StatesLanguageEnglishBudget$3.8 million[2]
The Taking of Pelham One Two Three (also known as The Taking of Pelham 1 2 3) is a 1974 American crime drama film[1] directed by Joseph Sargent, produced by Gabriel Katzka and Edgar J. Scherick, and starring Walter Matthau, Robert Shaw, Martin Balsam, and Héctor Elizondo.[3] Peter Stone adapted the screenplay[3] from the 1973 novel of the same name written by Morton Freedgood under the pen name John Godey.
The title is derived from the train's radio call sign, which is based upon where and when the train began its run; in this case, the train originated at the Pelham Bay Park station in the Bronx at 1:23 p.m. For several years after the film was released, the New York City Transit Authority would not schedule any train to leave Pelham Bay Park station at 1:23.[4]
The film received critical acclaim. Several critics called it one of 1974's finest films, and it was a box office success.[5] As in the novel, the film follows a group of criminals taking the passengers hostage inside a New York City Subway car for ransom. Musically, it features "one of the best and most inventive thriller scores of the 1970s".[6] It was remade in 1998 as a television film and in 2009 as a theatrical film.
Plot
[edit]
In New York City, four men wearing similar disguises and carrying concealed weapons board the same downtown 6 train, Pelham 1-2-3, at different stations. Using the codenames Mr. Blue, Mr. Green, Mr. Grey, and Mr. Brown, they take 18 people, including the conductor and an undercover police officer, hostage in the first car.
Communicating over the radio with New York City Transit Police lieutenant Zachary Garber, Blue demands a US$1 million (equivalent to $4.8 million in 2023) ransom to be delivered exactly within one hour or he will kill one hostage for every minute it is late. Green sneezes periodically, to which Garber always responds, "Gesundheit". Garber, Lt. Patrone and others cooperate while speculating about the hijackers' escape plan. Garber surmises that one hijacker must be a former motorman since they were able to uncouple the head car and park it down the tunnel below 28th Street.
Conversations between the hijackers reveal that Blue is a former British Army colonel and was a mercenary in Africa; Green was a motorman caught in a drug bust; and Blue does not trust Grey, who was ousted from the Mafia for being erratic. Just then, Grey shoots and kills transit supervisor Caz Dolowicz, sent from Grand Central, as he approaches the stalled train.
The ransom is transported uptown in a speeding police car that crashes well before it reaches 28th Street. As the deadline is reached, Garber bluffs Blue by claiming that the money has reached the station entrance and just has to be walked down the tunnel to the train. Meanwhile, a police motorcycle arrives with the ransom. As two patrolmen carry the money down the tunnel, one of the many police snipers in the tunnel shoots at Brown, and the hijackers exchange gunfire with the police. In retaliation, Blue kills the conductor.
The money is delivered and divided among the hijackers. Blue orders Garber to restore power to the subway line, set the signals to green all the way to South Ferry, and clear the police from stations along the route. Before the process is complete, however, Green moves the train farther south. When Garber becomes alarmed, Blue explains that he wanted more distance from the police inside the tunnel.
The hijackers override the dead man's switch so that the train will run without anyone at the controls. Garber joins Inspector Daniels above ground where the train stopped. The hijackers set the train in motion and get off. As they walk to the tunnel's emergency exit, the undercover officer jumps off the train and hides between the rails. Unaware that the hijackers have left the train, Garber and Daniels drive south above its route. With no one at the controls, the train gains speed.
The hijackers collect their disguises and weapons for disposal, but Grey refuses to surrender his gun, resulting in a stand-off with Blue, who shoots him dead. The undercover officer shoots Brown dead and exchanges fire with Blue, while Green escapes through an emergency exit onto the street.
Garber, contemplating the train's suspicious last movement, concludes that the hijackers bypassed the dead-man feature and are no longer on board. He returns to where the train had stopped, enters the same emergency exit from street level, and confronts Blue as he is about to kill the undercover officer. With no escape, Blue electrocutes himself by deliberately placing his foot against the third rail.
Meanwhile, Pelham 1-2-3 hurtles through the southbound tunnel. When it enters the South Ferry loop, its speed triggers the automatic safeties. It screeches to a halt, leaving the hostages bruised but safe.
Since none of the three dead hijackers was a motorman, Garber surmises that the lone survivor must be. Working their way through a list of recently discharged motormen, Garber and Patrone knock on the door of Harold Longman (Green). After hastily hiding the loot, Longman lets them in, bluffs his way through their interrogation, and complains indignantly about being suspected. Garber vows to return with a search warrant. As Garber closes the apartment door behind him, Longman sneezes, and Garber reflexively says "Gesundheit", as he had over the radio. Garber re-opens the door and gives Longman a caustic, knowing stare.
Cast
[edit]
Walter Matthau as Lt. Garber
Robert Shaw as Blue
Martin Balsam as Green
Héctor Elizondo as Grey (as Hector Elizondo)
Earl Hindman as Brown
James Broderick as Denny Doyle
Dick O'Neill as Correll
Lee Wallace as the Mayor
Tony Roberts as Deputy Mayor Warren LaSalle
Tom Pedi as Caz Dolowicz
Beatrice Winde as Mrs. Jenkins
Jerry Stiller as Lt. Rico Patrone
Nathan George as Ptl. James
Rudy Bond as Police Commissioner
Kenneth McMillan as Borough Commander (as Kenneth Mc Millan)
Doris Roberts as mayor's wife
Julius Harris as Inspector Daniels
Production
[edit]
Godey's novel was published in February 1973 by Putnam, but Palomar Productions had secured the film rights, and Dell had bought the paperback rights months earlier in September 1972. The paperback rights sold for US$450,000 (equivalent to $3.28 million in 2023).[7]
Godey (Morton Freedgood) was a "subway buff".[8] The novel and the film came out during the so-called "Golden Age" of skyjacking in the United States from 1968 through 1979. Additionally, New York City was edging toward a financial crisis; crime had risen citywide (as depicted in the contemporaneous film Death Wish); and the subway was perceived as neither safe nor reliable.
At first, the Metropolitan Transportation Authority (MTA) refused to cooperate with the filmmakers. Godey's novel was more detailed about how the hijackers would accomplish their goal and recognized that the caper's success did not rely solely on defeating the "deadman feature" in the motorman's cab. Screenwriter Stone, however, made a fictional override mechanism the linchpin of the script. Director Sargent explained, "We're making a movie, not a handbook on subway hijacking ... I must admit the seriousness of Pelham never occurred to me until we got the initial TA reaction. They thought it potentially a stimulant—not to hardened professional criminals like the ones in our movie, but to kooks. Cold professionals can see the absurdities of the plot right off, but kooks don't reason it out. That's why they're kooks. Yes, we gladly gave in about the 'deadman feature'. Any responsible filmmaker would if he stumbled onto something that could spread into a new form of madness."[2]
For several years after the film was released, the New York City Transit Authority would not schedule any train to leave Pelham Bay Park station at 1:23. Although this policy was eventually rescinded, dispatchers have generally avoided scheduling a Pelham train at 1:23 p.m. or a.m.[4]
Sargent said, "It's important that we don't be too plausible. We're counting on the film's style and charm and comedy to say, subliminally at least, 'Don't take us too seriously.'"[2] The credits have a disclaimer that the Transit Authority did not give advice or information for use in the film.
After eight weeks of negotiations, and through the influence of Mayor John Lindsay, the MTA relented, but required that the producers take out $20 million in insurance policies, including special "kook coverage" in case the movie inspired a real-life hijacking.[2] This was in addition to a $250,000 fee for use of the track, station, subway cars, and TA personnel.
The TA also insisted that no graffiti appear in the film. Graffiti had become increasingly prevalent on trains starting in 1969. Mayor Lindsay had first announced his intention to remove graffiti in 1972,[9] but the last graffiti-covered car was not removed from service until 1989. "New Yorkers are going to hoot when they see our spotless subway cars", Sargent said. "But the TA was adamant on that score. They said to show graffiti would be to glorify it. We argued that it was artistically expressive. But we got nowhere. They said the graffiti fad would be dead by the time the movie got out. I really doubt that."[2]
Other changes included beefing up Matthau's role. In the novel, Garber is the equivalent of the Patrone character in the film. "I like the piece", Matthau said. "It moves swiftly and stays interesting right down to the wire. That's the reason I wanted to do it. The TA inspector I play is really a supporting role—they built it up a bit when I expressed interest in it—but it's still secondary."[2] In the novel, Inspector Daniels confronts Mr. Blue in the tunnel during the climax. Additionally, screenwriter Peter Stone gave the hijackers their color code names, with hats whose colors matched their code names, and the Longman character his telltale cold.
Filming began on November 23, 1973, and was completed in late April 1974.[10] The budget was $3.8 million.[2]
Filming locations
[edit]
Production began with scenes inside the subway tunnel. These were filmed over the course of eight weeks on the local tracks of the IND Fulton Street Line at the abandoned Court Street station in Brooklyn. Closed to the public in 1946, it became a filming location and later home to the New York Transit Museum. Among other films, the Court Street station was used for The French Connection (1971), Death Wish (1974), and the 2009 remake of Pelham.
The production company set up chess boards, card tables, and ping pong tables along the Court Street platform for cast and crew recreation between set-ups. Robert Shaw apparently beat all comers in ping pong.[11]
Although this was an abandoned spur of track, passing A, E, and GG trains rumbled through adjacent tracks on their regular schedules. Dialogue that was marred by the noise was later post-dubbed. The third rail, which carries 600 volts of direct current, was shut off, and three protective bars were placed against the rail, but the cast and crew were told to treat it as if it were still live. "Those TA people ... are super careful", Sargent said. "They anticipate everything. By the fifth week we were dancing our way through those tunnels like nobody's business. They were expecting that, too. That's when they told us of the fatalities in the tunnels. They're mostly old-timers. The young guys still have a healthy fear of the place."[2]
"There was one scene where Robert Shaw was to step on the third rail", Sargent recalled. "When we were rehearsing the scene, Shaw accidentally stubbed his toe and the sparks from his special-effects boot flew everywhere. He turned white as a sheet. We had eight weeks of that. I think we got out just in time. It was like coal mining."[2]
According to a notation on IMDb[better source needed], the crew wore surgical masks during the tunnel scenes.[11] Shaw's biographer, John French, reported: "There were rats everywhere and every time someone jumped from the train, or tripped over the lines, clouds of black dust rose into the air, making it impossible to shoot until it had settled."[12]
Matthau, who had one scene in the tunnel, said, "There are bacteria down there that haven't been discovered yet. And bugs. Big ugly bugs from the planet Uranus. They all settled in the New York subway tunnels. I saw one bug mug a guy. I wasn't down there a long time—but long enough to develop the strangest cold I ever had. It stayed in my nose for five days, then went to my throat. Finally I woke up one morning with no voice at all, and they had to shut down for the day."[2]
According to Backstage, the film makers were the first to use a "flash" process developed by Movielab to bring out detail when shooting with low light in the tunnel. The process reportedly increased film speed by two stops. It allowed the film makers to use fewer lights and generators and cut five days out of the schedule.[13]
At least two R22 trains portrayed Pelham 1-2-3. As it enters 28th Street station, the head car is labeled 7339. However, in an early scene at Grand Central, 7339 is seen on the express track across the platform. Later, after being cut from the rest of the train, the head car is labeled 7434.[14] R22 cars first went into service in April 1957 and the vast majority of the 450 cars were scrapped in 1987.
After two months in the tunnel, production moved to Filmways Studios at 246 East 127th Street in East Harlem, where a replica of the Transit Authority's Brooklyn control center was constructed. Built around 1920 as Cosmopolitan Studios, the facility was leased in 1928 by MGM for sound production and purchased by Filmways in 1959. Among later films shot there were Butterfield 8 (1960), The Godfather (1972), The Wiz (1978), and Manhattan (1979). The building was demolished in the 1980s.
The exterior street scenes above the hijacked subway train were filmed at the subway entrance at 28th and Park Avenue South in Manhattan. The mayor's residence, Gracie Mansion, was used for exteriors. Wave Hill, a nineteenth-century mansion overlooking the Hudson in Riverdale, Bronx, was used for the interior scenes set in Gracie Mansion.[15]
Music
[edit]
The score, composed and conducted by David Shire, "layers explosive horn arrangements and serpentine keyboard riffs over a rhythm section that pits hard-grooving basslines against constantly shifting but always insistent layers of percussion".[6] Shire used the 12-tone composition method to create unusual, somewhat dissonant melodic elements.[16] The soundtrack album was the first CD release by Film Score Monthly and was later released by Retrograde Records.[16] The end titles contain a more expansive arrangement of the theme, courtesy of Shire's wife at the time, Talia Shire, who suggested that he end the score with a more traditional ode to New York.[17]
Release
[edit]
The Taking of Pelham One Two Three was released on October 2, 1974.[1]
Critical reception
[edit]
The film was well received by critics. Variety called it "a good action caper" but "the major liability is Peter Stone's screenplay, which develops little interest in either Matthau or Shaw's gang, nor the innocent hostages" who are "simply stereotyped baggage". While the trade paper complained that the Mayor was "played for silly laughs", it called Shaw "superb in another versatile characterization".[18]
BoxOffice thought that "some of the excitement has been lost" translating the novel to the screen, but "there is entertainment value in Peter Stone's screenplay".[19]
Nora Sayre of The New York Times thought it captured the mood of New York and New Yorkers. "Throughout there's a skillful balance between the vulnerability of New Yorkers and the drastic, provocative sense of comedy that thrives all over our sidewalks. And the hijacking seems like a perfectly probable event for this town. (Perhaps the only element of fantasy is the implication that the city's departments could function so smoothly together). Meanwhile, the movie adds up to a fine piece of reporting—and it's the only action picture I've seen this year that has a rousing plot."[20]
The film was one of several released that year that gave New York a bad image, including Law and Disorder, Death Wish, Serpico, and The Super Cops. Vincent Canby, another New York Times critic, wrote, "New York is a mess, say these films. It's run by fools. Its citizens are at the mercy of its criminals who, as often as not, are protected by an unholy alliance of civil libertarians and crooked cops. The air is foul. The traffic impossible. Services are diminishing and the morale is such that ordering a cup of coffee in a diner can turn into a request for a fat lip." But The Taking of Pelham One Two Three, "compared to the general run of New York City films, is practically a tonic, a good-humored, often witty suspense melodrama in which the representatives of law and decency triumph without bending the rules."[21]
The Boston Globe called it "fast, funny and fairly terrifying", and "a nerve-racking ride", and appreciated the "wry humor" of Stone's script. It tapped into a darker reality: "A short time ago subways were safe; today some of them are full of the dark rage of asylums. And who really is to say a Pelham-type incident is out of the question?"[22]
Charles Champlin of the Los Angeles Times called it "coarse-textured and effective, a cartoon-vivid melodrama and not, it's nice to know, a case study of psychopathic behavior. 'Pelham' is in fact the best to date of the new multiple-jeopardy capers, fresh, lively and suspenseful... . There are some marvelously managed scenes in the subway tunnels and on teeming platforms and at the barricaded street-level entrances. The subway nerve center is fascinating, and indeed one of the pleasures of the film is its glimpse of how things work... . The violence is handled with restraint; the dangers are mixed with raucous humor and what stays clear is that the aim is swift entertainment."[23]
Roger Ebert's contemporary review gave the film 3 out of a possible 4 stars. He praised the film's "unforced realism", and the supporting characters who elevated what could have been a predictable crime thriller: "we care about the people not the plot mechanics. And what could have been formula trash turns out to be fairly classy trash, after all."[24]
Gene Siskel also gave the film 3 out of 4 stars, describing it as a "solid new thriller laced with equal amounts of tension and comedy."[25]
The film holds a 98% score on Rotten Tomatoes based on 44 reviews and a weighted average of 8.3/10. The site's consensus reads: "Breezy, thrilling, and quite funny, The Taking of Pelham One Two Three sees Walter Matthau and Robert Shaw pitted against each other in effortlessly high form".[26]
Accolades
[edit]
BAFTA Awards
1976: Nominated, "Best Film Music"—David Shire
1976: Nominated, "Best Supporting Actor"—Martin Balsam
Writers Guild of America Award
1975: Nominated, "Best Drama Adapted from Another Medium"—Peter Stone
Remakes
[edit]
In 1998, the film was remade as a television film with the same title, with Edward James Olmos in the Matthau role and Vincent D'Onofrio replacing Shaw as the senior hijacker.[citation needed] Although not particularly well received by critics or viewers, this version was reportedly more faithful to the book, though it revised the setting with new technologies.[citation needed]. It was filmed in Toronto, Ontario, and is jokingly referred to as “The Taking of Bloor Street 123”.
Another remake set in a post 9/11 New York City directed by Tony Scott and starring Denzel Washington and John Travolta, was released in 2009 to mixed reviews.[27]
Legacy
[edit]
The color-coded thieves’ names in Reservoir Dogs were a deliberate homage by Quentin Tarantino to The Taking of Pelham One Two Three.[28]
See also
[edit]
List of American films of 1974
The Incident (1967)
References
[edit]
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https://writers.coverfly.com/competitions/view/cwa
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Creative World Awards (2025)
|
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Submit your project to Creative World Awards (2025) on Coverfly today!
|
en
|
https://writers.coverfly.com/competitions/view/cwa
|
Special thanks to this year’s sponsors for a prize package worth over $35,000.
GRAND PRIZE WINNER – $3,000 cash PLUS possible opportunity to have their winning script produced into a short film version. If decided upon by the writer and CWA, CWA in conjunction with The Moving Image Xchange Productions, will help produce a short film version of the script to help generate interest for the feature script. PREMIERE: The short film will then get a guaranteed premiere at the Richmond International Film Festival, giving the writer an official imdb credit and the short to promote their work and feature story. Some scripts may not qualify depending upon budget and story. If CWA or the winner choose to forgo this option, the winner receives an additional $1,000 instead. Plus, the GPW also receives:
Final Draft software
Free Submission Entry into the Richmond International Film Festival
One All Access VIP Platinum Pass to the Richmond International Film Festival (non transferrable)
One FLOW Collective Conference Pass
4 Month Ink Tip Pro Membership - As an InkTip Pro Member, thousands of filmmakers can find and read your scripts, and you’ll be able to pitch directly to production companies every week. With over 3,000 options and 400 movies made, InkTip is the place for independent film.
1 free month of the Stage 32 Writers’ Room – a virtual writers’ group that meets once a week with top executives, managers, agents and producers, writing challenges, pitch practice and more!
Stage 32 Industry Mentorship – 1 free Stage 32 script read plus 30 minute phone call with manager, executive or producer of your choice. Choose from a roster of hundreds of industry professionals on Stage 32.
Notes Plus One hour private consultation with Co-owners
4 GENRE CATEGORY WINNERS – $250 cash each, plus a prize package that includes:
Free Submission Submission Entry into the Richmond International Film Festival
One All Access VIP Platinum Pass to the Richmond International Film Festival (non transferrable)
One FLOW Collective Conference Pass
1 free month of the Stage 32 Writers’ Room
1 free Stage 32 pitch session
Final Draft software
4 Month Ink Tip Pro Membership
4 CATEGORY 1st RUNNERS UP – $150 cash each, plus a prize package that includes:
Final Draft software
Free Submission Entry into the Richmond International Film Festival
1 free month of the Stage 32 Writers’ Room
1 free Stage 32 pitch session
4 Month Ink Tip Pro Membership
One FLOW Collective Conference Pass
TELEVISION CATEGORIES – $250 cash each, plus a prize package that includes:
Stage 32, Two Free Pitch Sessions
TVWritersVault.com One Year Membership and Pitch Listing or One FLOW Collective Conference Pass
Free Submission Entry into the Richmond International Film Festival
SHORT FILM SCRIPT – $250cash, plus a prize package that includes:
Free Submission Entry into the Richmond International Film Festival
One FLOW Collective Conference Pass
If the writer makes the script into a film, it receives a guaranteed premier at the Richmond International Film Festival plus a complimentary All Access VIP Platinum Badge
CREATIVE CONCEPT / INSPIRATIONAL SPIRIT AWARD – In honor of veteran analyst and CWA Judge, James Peters, this award goes to the most original and compelling concept that also conveys a redemptive theme of some kind. Winner receives:
Free Submission Entry into the Richmond International Film Festival
1 free month of the Stage 32 Writers’ Room
1 free Stage 32 pitch session
One FLOW Collective Conference Pass
Notes Plus One hour Development Coaching session with CWA Co-owners via phone or online session
UNIVERSITY/EMERGING SCREENWRITER OF THE YEAR – CWA puts a focus on development year-round, including encouraging the advancement of the next generation of writers in the industry. This award goes to the top emerging university screenwriter of the year (annual or every other year). Winner receives:
Acknowledgement as CWA University Screenwriter of the Year
Free Submission Entry into the Richmond International Film Festival
One FLOW Collective Conference Pass
Thirty minute consultation with CWA Co-owner via phone or online session
The CWA contest is open to any screenwriter worldwide who meets the enclosed criteria. Entry into the competition is void where prohibited by law.
Competition is open to all writers 18 years or older. We will accept collaborative work, but by no more than two authors. Each writer, however, must fill out and sign the online entry application and release form individually. If selected as a winner, the prize money will be split equally between them.
Submissions must be the original work of the applicant(s) and may not be based, in whole or in part, on any other fiction or nonfiction material, published or unpublished, produced or un-produced that is not already in public domain.
Each script entered is allotted one genre category in the price of the submission. Please do not enclose letters, resumes or photos with your submission. They will not be forwarded to our partners or the judges.
Writers are free to enter their submitted material to other contests; however, they must not have already received a screenwriting prize that includes a “first look” clause, an option, or any other quid pro quo involving the writer's submitted entry to Creative World Awards LLC. If a submitted screenplay becomes optioned or purchased between the time of submission and the end of the Creative World Awards judging period, the applicant must notify us and that screenplay will no longer be eligible for an award.
Scripts must be typed in English, with pages numbered; be headed by the title page, which includes title of work and WGA registration date/number if applicable; font must be 12-point Courier, Courier New or Courier Final Draft (no exceptions).
Scripts should attempt to adhere to standard lengths. No entry will be disqualified but these lengths are considered the norm throughout the industry.
Feature length screenplays: approximately 90-120 pages
Original TV Sitcom Pilot: 50 pages or less
Original TV Drama Pilot: 70 pages or less
Short Film Scripts: up to 40 pages
The writer's name should not appear on the title page, and not on any other page of the script. No other information outside of title of work and WGA registration (if applicable) should appear on the title page. CWA reserves the right to return the script if the above procedures are not followed. If the script is based on a true story, please note it on the title page.
Submissions must be transmitted electronically on or before the deadline, and the entry fee paid in order to qualify for the respective submission rate. Online entries may be submitted up until midnight Pacific Time on the final deadline date. Any entries transmitted or payments postmarked after the final deadline will be disqualified. Creative World Awards, LLC reserves the right to extend the entry deadline.
Submission fees are encouraged online through the submission service's secure payment system, however, they can be submitted by mail. If paying by mail, we accept money orders only. It must be mailed via a delivery method that does not require a signature. If sending by mail, the address is:
CREATIVE WORLD AWARDS
4712 Admiralty Way, #268
Marina del Rey, CA 90292
Online script submissions must consist of a standard script format (Final Draft or a PDF). *Please note, PDF files are the recommended format file to send, and Final Draft or other software programs allow you to convert your script easily to a PDF file. Once your script file is open, simply click on the ‘File/Save or Export as PDF’ option. If you do not have one of the above, you may submit in a Word .doc as a last option, but it must contain the industry standard format.
Resubmissions: Once a script has been submitted, no revised drafts or corrected pages will be accepted to the original unless you pay a separate resubmission fee of $45 through the CWA site or FilmFreeway. If through CWA, you must notify us via email to discard the original entry, and we will treat your revised draft as a new eligible submission. Email us at [email protected] for any further instructions.
The competition is not responsible for submissions that are lost, stolen, or damaged in transit.
All entrants understand and agree that there are a diverse amount of story contexts and ideas, and in no way is Creative World Awards LLC responsible not now or in the future of borrowing or stealing from an idea, copy written concept, or storyline from a script entry.
All winners will be responsible for their own U.S. income tax withholding. Creative World Awards LLC is not responsible for withholding any taxes or payments to any government agency, at any level, be it state, local or federal.
Contest applicants must accept without reservation the decisions rendered by the jurors.
Entry fees are payable by Credit Card (online) or US Money Order (by mail). Entry fees are nonrefundable.
Employees and the relatives of Creative World Awards LLC are not eligible, nor are competition judges and their immediate families.
Each applicant will receive an e-mail notifying them of the competition results. All writers must keep their personal contact information on file with us updated and current. Creative World Awards has no responsibility for correspondence that is misdirected as a result of writer(s) failure to provide us with current contact information. We also highly encourage entrants to add CWA to your email address list to ensure email correspondence is not sent to your spam or bulk mail.
Following the close of the season, the Grand Prize Winner will be given a choice to either receive $1,000 additional cash prize money, or elect to use that $1,000 as payment in full for writing a short version of their winning feature script (the short script will be fifteen pages or less). If Creative World Awards (CWA) produces the short script, it will be used by CWA as a tool to help promote the Grand Prize Winner’s feature script, and also give the writer imdb credit once it premieres at the Richmond International Film Festival. The Grand Prize Winner agrees that if they elect to forgo the additional $1,000 cash and instead choose to use that money as payment in full for their writing contribution on the short film production, that The Moving Image Xchange LLC and CWA will have ownership of the produced film, however, the writer will still retain full and ownership of their feature script. The short production will have no impact on the ownership of the writer’s feature length script; the writer will maintain complete ownership. The Grand Prize Winner also understands that should they elect to use the additional $1,000 for payment in full for writing the short version of the script rather than as cash, that they are responsible for working with the CWA Co-Founders in a timely manner to create the content of the short script. The Moving Image Xchange and CWA may elect not to produce the script if the genre or content isn't a good fit for the new short format or if the writer does not meet the deadlines in a timely fashion. If offered the opportunity to the writer, CWA Co-Founders will work with the writer to develop the short script in the months of September-October with a tentative shoot date set for December or January each year. The film will then premiere at the Richmond International Film Festival in late April, and be used for promotional purposes for the writer to garner interest in the writer's feature script as well as on the contest’s behalf. Producing the short script is at the sole discretion of CWA and The Moving Image Xchange, LLC. Should CWA and The Moving Image Xchange elect not to produce a short version of the Grand Prize Winner’s feature script, the Grand Prize Winner will still receive the additional $1,000. If the Grand Prize Winner consists of more than one writer, it is up to the writers to split the additional $1,000 between them.
Please read and understand the above Rules and Regulations. Failure to adhere to the Creative World Awards contest guidelines could result in disqualification and forfeiture of an entry fee and/or eligible prize.
Terms, Conditions & Release
Creative World Awards LLC Materials submitted to Creative World Awards LLC at this or any future time are accepted by Creative World Awards LLC only on your acceptance of the following conditions: 1. Applicant (s) testify to be at least 18 years or older and warrant as the author of submitted material that they are the sole and exclusive owner(s) of all legal and equitable rights thereto with the full and exclusive rights to submit material to the competition. 2. Applicant (s) has retained at least one copy of the submitted material as Creative World Awards LLC will not be responsible for any loss or destruction of the materials submitted to it. Applicant understands that it is their sole responsibility to copyright and protect their own submitted material. 3. All entrants understand and agree that there are a diverse amount of story contexts, plots, themes and formats and in no way is Creative World Awards LLC, its officers, employees, representatives, sponsors, judges and affiliates responsible not now or in the future of borrowing or stealing from an idea, copy written concept, or storyline from a submitted entry. 4. Creative World Awards LLC exists for the purpose of a competition. Through various phases of the judging process, submitted material will be exposed to a network of influential third parties, included, but not limited to those companies and individuals listed on the Creative World Awards LLC website. All such third party participations in the judging process are not guaranteed. Creative World Awards LLC will provide, though not obligated, applicant's contact information to interested parties. However, Creative World Awards LLC does not attest to or guarantee the validity of any subsequent agreements between applicant (s) and said parties. 5. Applicant (s) indemnify and hold harmless Creative World Awards LLC, its judges, sponsors and partners, individually and collectively, from and against all claims, demands, losses, damages, costs, liabilities and expenses (including legal fees) arising out of or in connection with any and all claims, or third party claims based on stories submitted to Creative World Awards LLC. 6. All Creative World Awards LLC entrants will permit Creative World Awards LLC to use their name and/or likeness, title of the work submitted, its logline and their results in pre & post-competition advertising for publicity & promotional purposes. Applicants hereby agree that their submitted contact information may be released to interested parties hereunder. 7. Providing false or misleading information on this application, or failing in any other way to comply with the rules of the competition, is subject to disqualification, forfeiture of prize money and/or other penalties. 8. Creative World Awards LLC reserves the right to remove submitted material from the competition, with or without cause. Applicant (s) will be notified by Creative World Awards LLC. If without cause, the entry fee alone will be reimbursed and the submitted material destroyed. 9. All decisions by the judges are final and cannot be contested. 10. By signing this form I/we have read, understand and agree to, and will abide by all the terms and conditions of submission of materials to this competition, which are listed in this release form and in the following guidelines and rules. 11. Dispute Resolution; Governing Law; Forum: That contestants expressly acknowledges and agrees that Creative World Awards shall be entitled to injunctive or other equitable relief (an "Injunction") to restrain, prevent or enjoin any breach by a contestant under this screenwriting contest, and the contestant hereby waives any right to notice of any action or proceeding for an Injunction and consents to and accepts entry of an Injunction in any court which may have jurisdiction in connection therewith. The prevailing party in any legal proceeding brought pursuant hereto shall be entitled to recover all of its attorneys' fees and all other costs related to such a legal proceeding. Unless otherwise stated herein, this Agreement shall be governed by and interpreted in accordance with the laws of the State of California (without regard to the conflicts of law provisions thereof), and the contestant hereby submits to the jurisdiction of the state and federal courts located in Los Angeles County, California.
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https://www.justsecurity.org/98306/early-edition-august-1-2024/
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en
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Early Edition: August 1, 2024
|
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"Beatrice Yahia",
"Gwendolyn Whidden",
"Adil Ahmad Haque",
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"Tess Bridgeman",
"Philip Bobbitt",
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"Richard Gowan",
"Binaifer Nowrojee",
"Marty Lederman"
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2024-08-01T11:47:49+00:00
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A curated weekday guide to major news and developments over the past 24 hours.
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en
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Just Security
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https://www.justsecurity.org/98306/early-edition-august-1-2024/
|
by Beatrice Yahia and Gwendolyn Whidden
Signup to receive the Early Edition in your inbox here.
A curated weekday guide to major news and developments over the past 24 hours. Here’s today’s news:
GLOBAL DEVELOPMENTS
Russia is releasing Wall Street Journal reporter Evan Gershkovich and former U.S. Marine Paul Whelan as part of a major prisoner swap with the United States, sources say. Putin critic Vladimir Kara-Murza is also reportedly on the list of prisoners being released. Jennifer Jacobs and Kagan Koc report for Bloomberg; Mary Ilyushina reports for the Washington Post. For more background on Kara-Murza and his imprisonment, read Just Security’s collection of articles including by his wife Evgenia Kara-Murza and regional experts (as well as a Feb. 2024 podcast discussion with both Evgenia and Vladimir’s long-time lawyer).
The United States has reached a plea deal with alleged 9/11 mastermind Khalid Sheikh Mohammed and two other defendants accused of plotting the attacks, according to the Defense Department. The pretrial agreement takes the death penalty off the table after all three men pled guilty to all charges, including the murder of 2,976 people listed on the charging list. Oren Liebermann and Lauren del Valle report for CNN.
Venezuelan President Nicolas Maduro yesterday warned that he will call for a “new revolution” if forced by what he calls “North American imperialism and fascist criminals.” He also insisted his party is ready to present all the vote tallies from the country’s disputed election, which has sparked deadly violence and unrest. Abel Avarado reports for CNN.
A former U.S. Green Beret who in 2020 organized a failed armed incursion aimed at ousting Maduro has been arrested in New York on federal arms smuggling charges. Joshua Goodman, Jim Mustian, and Eric Tucker report for AP News.
Italy, which receives the most migrant arrivals in the E.U., today opened the first of its two planned camps in neighboring Albania. The centers will be used to house up to 3,000 migrants per month rescued en route to Italy as part of Europe’s first “offshoring” scheme. Mark Lowen reports for BBC News.
A court in Guinea sentenced former military ruler Moussa Dadis Camara to 20 years in prison for crimes against humanity. The charges stem from one of the worst massacres in the nation’s history after troops opened fire at a rally in 2009 to demand a return to civilian rule. Paul Nije reports for BBC News.
Fresh violence has erupted in Bangladesh between police and student protesters demanding justice for victims of recent civil unrest. Over 200 people have been killed in this month’s violence, mostly as a result of police opening fire. Lipika Pelham reports for BBC News.
The United States yesterday suspended $95 million in assistance to Georgia after its parliament adopted the controversial “foreign agents” law, which critics say will be used to crack down on political dissent. AP News reports.
ISRAEL-IRAN CONFLICT
Iran’s supreme leader has issued an order for Iran to strike Israel directly in retaliation for the killing in Tehran of Hamas leader Ismail Haniyeh, according to three Iranian officials. Ayatollah Ali Khamenei gave the order at an emergency meeting of Iran’s Supreme National Security Council yesterday. Farnaz Fassihi reports for the New York Times. Readers may also be interested in Brianna Rosen’s analysis for Just Security of Haniyeh’s killing and prospects for avoiding a wider regional war.
Thousands gathered in Tehran for Haniyeh’s funeral ceremony, according to state media, which described the event as a “state funeral.” Khamenei led the funeral prayers. Qasim Nauman reports for the New York Times; CNN reports.
ISRAEL-HEZBOLLAH CONFLICT
Lebanese Hezbollah yesterday confirmed its senior military commander Fuad Shukr was killed in an Israeli air strike in Beirut on Tuesday. At least four civilians were killed in the strike, including two children, in what the Israeli military described as an “intelligence-based elimination.” Alex Smith and Hugo Bachega report for BBC News.
The leader of Hezbollah, Hassan Nasrallah, is set to outline his group’s “political stance” later today on the Israeli strike on Beirut, according to a statement. Euan Ward reports for the New York Times.
ISRAEL-HAMAS WAR
Al Jazeera said two of its journalists were killed yesterday in an Israeli airstrike on their car in Gaza City. The network said they were killed in Shati camp in northern Gaza after reporting from or near Haniyeh’s house, accusing the Israeli military of targeting the journalists with a “direct hit.” Anika Ephrat Livni reports for the New York Times; Arora Seth reports for the Washington Post.
The Israeli military today announced that it killed the leader of Hamas’s armed wing, Muhammad Deif, in a strike in Gaza in mid-July. The military said its conclusion was based on an intelligence assessment. Hamas has not commented at the time of writing. Aaron Boxerman reports for the New York Times.
ISRAEL-HAMAS WAR — U.S. RESPONSE
Secretary of State Antony Blinken today urged “all parties” in the Gaza conflict to stop taking escalatory actions, “a message that was clearly aimed at Israel a day after the assassination of Haniyeh in Tehran.” Michael Birnbaum reports for the Washington Post.
The Biden administration is “very concerned” that Haniyeh’s assassination could derail Gaza ceasefire negotiations and increase the risk of a regional war, three U.S. officials said. Barak Ravid reports for Axios.
ISRAEL-HAMAS WAR — REGIONAL RESPONSE
Turkey will invite Palestinian President Mahmoud Abbas to address its parliament in the coming days to “explain the Palestinian cause,” state media reported yesterday. Reuters reports.
ISRAEL-HAMAS WAR — INTERNATIONAL RESPONSE
Israel will not be invited to this year’s ceremony commemorating the 1945 atomic bombing of Nagasaki, Japan on Aug. 9, the city’s mayor said yesterday. Shiro Suzuki told reporters that Israel’s exclusion was due to security concerns, and was not a political move. Hanako Montgomery, Manveena Suri, Nodoka Katsura, and Chris Lau report for CNN.
RUSSIA-UKRAINE WAR
Ukraine has received the first F-16 fighter jets it has sought for months, a U.S. official confirmed to AP News. A Ukrainian lawmaker also confirmed Ukraine had received a small number of F-16 fighter jets. Tara Copp reports.
U.S. PRESIDENTIAL ELECTIONS
Former President Trump yesterday accused Vice President Kamala Harris of once hiding her Black heritage, saying Harris “was Indian all the way” before “all of a sudden she made a turn” and “became a Black person.” Harris condemned Trump’s comments, saying, “It was the same old show — the divisiveness and the disrespect.” Brianna Tucker and Hannah Knowles report for the Washington Post; Joshua Jamerson reports for the Wall Street Journal.
OTHER U.S. DOMESTIC DEVELOPMENTS
South Carolina’s Supreme Court ruled yesterday that death by firing squad and other execution methods commonly held to be cruel are legal in the state if the inmate requests the method of execution. Nick Roberston reports for The Hill.
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Bombast: You Say You Want a Revolution?
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2015-07-03T14:45:45+00:00
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Star-spangled to death: the historical truthiness of the surprisingly small number of movies and TV series set during the Revolutionary War
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https://www.filmcomment.com/wp-content/themes/filmcomment/dist/img/favicon.ico
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Film Comment
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https://www.filmcomment.com/blog/bombast-independence-films/
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Everybody needs a hobby. In my own spare time, I have a habit of curating potential film retrospectives guaranteed to arouse little to no public interest—cinematographers-turned-directors, for example, or “The Complete Robert Enrico.” One of my favorites, which might be the least saleable or sexy of them all, is a program of Pre–Civil War Westerns. In selecting lineup, one would have to expand one’s definition of the West to mean something like what it did for the early colonists: anywhere that wasn’t plumb on the Atlantic coast. Howard Hawks’s The Big Sky (52), set in 1832 and following a keelboat expedition up the Missouri, Platte, and Cheyenne Rivers, would certainly count. So would last year’s The Homesman, set in the Nebraska Territory sometime between the passage of the Fugitive Slave Act of 1850 and the War Between the States. Even the upstate New York–set Chad Hanna (40), part of a cycle of nostalgia pieces (In Old Chicago, 1937; Little Old New York, 1940) made by director Henry King in the years leading up to the Second World War and Superpowerdom, a status which tends to alienate a nation from convincingly self-identifying with adjectives like “folksy” and “charming” more or less permanently.
Chad Hanna
Fugitive slave laws are an explicit part of Chad Hanna, which I recently had the pleasure of seeing at the Museum of Modern Art as part of their ongoing “Glorious Technicolor: From George Eastman House and Beyond” program. The film’s namesake, played by Henry Fonda, is a sometime boatman and stable boy working at an inn along the Erie Canal in Canastota, a day’s ride from Syracuse, who gets himself into trouble with the law when he sells a tip on the whereabouts of a runaway slave to a bounty hunter, then uses the proceeds to help the quarry escape to Canada, before himself running off with a traveling circus. Fonda, for whatever reason, was frequently associated with the pastoral years of the Republic in the early part of his screen career. His first film role was opposite Janet Gaynor in Victor Fleming’s The Farmer Takes a Wife (35), which is set, like Chad Hanna, along the Erie Canal. He later popped up in Antebellum Louisiana in William Wyler’s Jezebel (38), and had two signature roles for John Ford the following year in Young Mr. Lincoln (playing at the Museum of the Moving Image this evening) and Drums Along the Mohawk, based, like Chad Hanna, on a novel by one Walter D. Edmonds, whose 1929 Rome Haul was adapted as The Farmer Takes a Wife, and whose 1940 Red Wheels Rolling was adapted into none other than Chad Hanna. While I don’t believe that auteurdom has outlived its usefulness in the critical toolkit, we won’t have a complete understanding of the so-called Golden Age of Hollywood until a parallel exhaustive study of the best-seller industry which provided it with narrative fodder has been undertaken. I myself have not read any of Edmonds’s corpus, but looking for literary judgments I find the following apocryphal statement from Edmund Wilson, Edmonds’s neighbor in Talcottville, New York, which will have to do: “I like Edmonds immensely, but I can’t read his novels.”
While set in central New York during the Revolutionary War, Ford’s Drums contains a relative paucity of redcoats, emphasizing instead the role of their allies, the Seneca Indians, in carrying out the hostilities and commission of outrages against the colonials—I touched on this in a recent discussion of D.W. Griffith’s America (26), a film to which Drums Along the Mohawk owes a considerable debt. This is, to a point, historically accurate, given the time and place chosen for the setting of both films—Seneca, Iroquois, and Mohawk allies did form a significant portion of the Loyalist forces fighting upstate—though it is worth asking why this particular front of the War has been latched onto for depiction on-screen, rather than, say, the pestilent British prison ships anchored in the East River, so many floating death camps, which you might think would be deemed attractive sources of pathos. For an answer, one needs look no further than the release date of Drums Along the Mohawk. At no point in the maturity of American motion pictures—which we may mark as beginning in the years before World War I, if we allow that it ever actually began—has it been politically advantageous to villainize the British, who we have usually been on the brink of tromping off to some war or another alongside.
The Patriot
The exception to this rule is The Patriot (2000), which recounts a version of the war’s events beginning in South Carolina, in 1776, and which was an early battlefield of the historical fact-checking wars that would rage over the years to come. In particular, several commentators latched onto a scene in German-born director Roland Emmerich’s turgid epic in which Jason Isaacs’s Col. William Tavington sets fire to a church filled with old men, women, and children—an event which, it was noted, bore closer resemblance to an incident in the summer of 1944 in which a company of Nazi Waffen-SS decimated the village of Oradour-sur-Glane than to anything recorded in the annals of the War for Independence.
If the Pre-Civil War Western is a distinct minority in the history of the genre as a whole, how much rarer still is the Revolutionary War film? I’ll always resent The Patriot for forestalling what might’ve been a really good entry to the subgenre, a proposed Whit Stillman biopic of South Carolinian Revolutionary War hero Francis “The Swamp Fox” Marion, one of the various figures upon whom Gibson’s Benjamin Martin was meant to be based. (“It’s a composite—like New York magazine does!”) Like Marion, Martin is a veteran of the French and Indian War who adapts some of the guerilla tactics he learned in the field for use against the British, while operating out of a boggy stronghold. Because the movie was shot by Caleb Deschanel in a southland clad in autumn colors, much of it in the vicinity of Francis Marion National Forest, it contains images with a certain mythic weight. Because it was directed by Emmerich, who will soon bring his unparalleled ability to trivialize, cheapen, and coarsen to the events of Stonewall, it is insipid in the extreme. Released two years after Saving Private Ryan, with a score by John Williams and screenplay by Ryan screenwriter Robert Rodat, The Patriot was clearly made anticipating a vogue for war films exploiting the heightened allowance for violence and viscera pioneered by Spielberg’s feature and Gibson’s own Braveheart (95). Most of The Patriot’s memorable moments involve limbs and heads being clipped off by passing cannonballs, though my favorite scene is a super-chill racially mixed beachfront clambake which Williams scores like an Ewok village party and which actually contains the exchange: “May I sit with you?” “It’s a free country. Or at least it will be.”
John Adams
Scarcely two years after The Patriot, the United States and the United Kingdom were tromping off on new foreign adventures together as though scarcely a cloud had passed between our respective nations—though the nefarious Brits would wage a stealth campaign to revenge themselves for this slandering, inflicting crushing blows on their former subjects in the venue of popular culture. Tom Wilkinson, who appears as Lord Cornwallis in Emmerich’s film, would in years to come go on to become something like the patron saint of botched American historical dramas, almost singlehandedly hamstringing Selma with his tone-deaf Lyndon Baines Johnson, warbling his way through 2011 TV miniseries The Kennedys as patriarch Joseph P., and portraying Benjamin Franklin in 2008’s HBO event John Adams, which was most Americans’ first experience of the cinema of posh, floppy-haired git Tom Hooper.
I watched John Adams some time after its original airing, because I was curious to see any screen depiction of a period in American history that has always seemed to me insanely overlooked by Hollywood, and because a friend told me: “You get to see John and Abigail Adams fuck in it.” It did deliver on this front, as well as offering several instances of framing shots from unlikely and disadvantageous angles, meant to lend the affair some immediacy though it plays as though the movie was shot by paparazzi nervous to get a glimpse of the Second Continental Congress. John Adams was based on a 2001 biography of the second president written by David McCullough, who may be called America’s pre-eminent popular historian. At the date of this writing, a film based on McCullough’s 2005 volume 1776 is listed as “in-production” at imdb.com, though who can say if it will ever see the light of day. (Or, if it does, who Wilkinson will play in it.) HBO acquired the rights in 2005; as late as 2008, reports had it that the project was to be underwritten by Tom Hanks and Gary Goetzman’s Playtone, who were behind John Adams, with Adams architect Kirk Ellis to write. Lately, however, the trail has gone cold.
The Adams Chronicles
The television miniseries is the format in which narrative works concerning the age of powdered wigs and knee breeches have had the most success. More than three decades before Hooper’s John Adams there was The Adams Chronicles (76), a 13-episode miniseries which followed a century-and-a-half of growth and change in the United States through the passage of generations in a family from Braintree who had a great stake in its destiny. The most ambitious Bicentennial cash-in, however, was the cycle of eight “Kent Family” novels by John Jakes, an author of weird fiction whose greatest success before turning to historical subjects was a Robert E. Howard–like creation called Brak the Barbarian. The first three of Jakes’s Kent novels would be adapted as television miniseries by MCA/Universal, aired as The Bastard (78), The Seekers, and The Rebels (both 79), the last-named dealing with the events of the Revolution, part of a fad for long-form treatment of historical subjects which got rolling with the likes of Roots (77) and Holocaust (78), and continued through the Eighties with the blockbuster North and South (1985/86/94), also sprung from the fertile typewriter of Mr. Jakes, or the estimable Buzz Kulik’s three-part bio-miniseries of George Washington (84). (It would appear that there was also a 1975 TV movie called Valley Forge, in which the compactly build Richard Basehart, who’d previously shown his range playing Mr. Hitler, starred as the hulking Father of Our Country at his moment of greatest tribulations.) Today, basking as we are in the Golden Age of Television, the discerning viewer may turn to the History Channel’s Sons of Liberty or AMC’s TURN: Washington’s Spies, descendants of the prestige miniseries as surely as America was founded on the precepts of Athens and the Enlightenment.
Against these days and days of quality TV, we can hold up Griffith’s America, Drums Along the Mohawk, The Patriot, and a handful of other films—The Howards of Virginia (40), The Scarlet Coat (55), The Devil’s Disciple (59), the prelude to Frank Tashlin’s Bachelor Flat (62), and the universally loathed Al Pacino vehicle Revolution (85)—as big-screen evocations of the Revolutionary War. There is one conspicuous absence from this list: around the time of John Adams’s release, Hooper was quoted as saying that, per his star Laura Linney, the Seventies film version of the musical 1776, which he referred as “a strange mix of seriousness and ’70s camp,” was for many the definitive screen realization of the period.
1776
1776 originated as a stage musical, with a book by Peter Stone, later the screenwriter of The Taking of Pelham One Two Three (74), and music and lyrics by Sherman Edwards, a Brill Building veteran whose principal contribution to film history lies in writing the tune to the theme song of Don Siegel’s Flaming Star (60), sung by star Elvis Presley. The play opened at the 46th Street Theatre in Spring of 1969, closed at the Majestic some 1,200 performances later, and immediately thereafter went into production as a motion picture, with the original cast under the oversight of original stage director Peter H. Hunt, making his debut on a film set. And what sets they were!—octogenarian producer Jack L. Warner had a reproduction of Historic Philadelphia Center built on the lot of the Warner Ranch in Burbank, while a capacious version of the interior of the Philadelphia State House was made at the Gower Street Studios in Hollywood. Hunt, who would dive into TV direction shortly after the shoot wrapped and scarcely surface from it again, seems to have made as little adjustment as possible to the material in adapting it to a new medium, save for fiddling with his zoom lens a bit to belabor punchlines. The phrase “filmed theater” is, like the hoary “MTV-style editing,” one of those vague umbrella terms that critics turn to in dismissing work they can’t be bothered with—the implication is that the item under discussion is unworthy of deeper analysis because it’s not even a real movie at all—but in the case of 1776, I’ll allow it. It is one of a handful of movies that I can recall watching as a “treat” in grade school, along with The Sound of Music and The Wiz—for some reason they were always bloated, laborious musicals—and I remember a lot of giggles going up around a subplot in which Thomas Jefferson (Ken Howard) desperately needs to get in a screw before he can settle down and write the Declaration of Independence. It was released in fall of 1972, one of the most bountiful movie years on record* and the year of Bob Fosse’s revolutionary Cabaret, and is probably the worst Hollywood musical until Hooper’s Les Misérables (2012).
My lone viewing of the 1957 Walt Disney production of Johnny Tremain, based on Esther Forbes’s 1943 reading-list staple, was also a now-but-dimly-recalled classroom screening—and I’m sure that a deep dive into educational films would turn up all manner of Revolutionary War–set treasures. As it is, offhand I know of a trio of Looney Tunes which have the birth of the Republic as their subject. Old Glory (39) is essentially edutainment, a humorless affair wherein young Porky Pig, heard doubting the importance of learning the Pledge of Allegiance, is visited by a ghostly Uncle Sam with effeminate eyelashes, who shows him visions of Patrick Henry, Paul Revere’s ride, and the signing of the Declaration of Independence—the idea, one supposes, is to inculcate youngsters with a tradition of noble sacrifice, with what then very likely lay ahead for the nation in mind. In the more irreverent Yankee Doodle Bugs (54), Bugs tutors his nephew Clyde on American history, inserting himself into key scenes and adding some bizarre puns. (“Tea tax” is butchered as “tea tacks,” and visualized as King George sprinkling carpet tacks into a chest of Bostonian tea.) Finally, in Bunker Hill Bunny (50), Bugs faces off against a Hessian Yosemite Sam, here billed as “Sam Von Schamm,” at the Battle of Bagel Heights, firing off cannonades from behind fortifications flying banners emblazoned with “They” and “We.” (Kicker: “I’m a Hessian without no aggression.”)
Johnny Tremain
At this date, it’s hard to imagine who we might hope for to bring us a definitive film of the Revolutionary War, or who would even be interested in doing such a thing. Existing depictions of the period, from Griffith to Gibson—which sounds like a graduate thesis paper in the making—have tended to downplay the background of cold, deliberate, pragmatic decision-making behind the conflict, casting it instead as a revenge-driven grudge-match in which very personal affronts are addressed through individual acts.
One missed opportunity, by virtue of its creative pedigree, stands out. Towards the end of his creative career and life, Roberto Rossellini embarked on a cycle of histories which were meant to be contributions to an encyclopedic story of humanity, to be grouped together under the title “Survival.” The defining attribute of the completed “Survival” films, including Blaise Pascal (72), The Age of the Medici (1972-73), and Cartesius (74), was their heavy reliance on hard historical record as well as a singular visual strategy: relying on long “objective” takes with a fixed-position camera, the director would then improvisatorially isolate elements of the frame with a remote-controlled Pan-Cinor zoom lens. Among the many unfilmed properties which Rossellini had hoped to include in “Survival,” along with Marx and The Life of Mao, was a proposed film called The American Revolution. Of this project, which was to have been financed in part by the American Film Institute and ready in time for 1976, little remains save scraps of information, including a 1971 interview which Rossellini gave Film Culture in which he stated the American Revolution was “totally different from all others. It was not a class taking over the power of another class, but was based totally on ideas.” Quibble with this definition as you might, Rossellini’s ascetic, solemn, cold-blooded vision of America’s genesis would’ve offered a stark counterpoint to church holocausts and whoopin’, riled-up Injuns on the warpath—a Declaration with no fireworks.
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2024 Screenplay Competition Semifinalist Judge Announcements
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[
"Travis Broughton"
] |
2024-05-01T15:24:53+00:00
|
en
|
https://austinfilmfestival.com/wp-content/themes/AFFest-wp-theme/images/favicon.ico
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Austin Film Festival
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https://austinfilmfestival.com/blog/2024-screenplay-competition-semifinalist-judge-announcements/
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Glenn Cockburn
Glenn Cockburn is the founder of Meridian Artists. Along with the rest of the Meridian Artists team, Glenn currently represents a select roster of some of Canada’s most talented writers, directors and producers.
Glenn’s career started in 1996 when he began working as script reader for New Line Cinema and Innovative Artists Agency. From 1997 through 1999, Glenn worked as a Creative Executive at Templeton Production’s first look deal with New Line Cinema. In 1999, Glenn returned to Toronto and joined The Characters Talent Agency where he ran the Packaging Department. Glenn also acted as Executive Producer on the feature film, Young People Fucking, which premiered at the Toronto International Film Festival in 2007 and became one of the most successful and highest grossing Canadian comedies of all time.
Glenn’s other professional activities include teaching the course, The Business of Film and Television, at Sheridan College as well as being a board member for the Humber Comedy program. Glenn has a B.F.A. Honours in Film and Television Production, from York University and a M.B.A. from the Ivey School of Business.
John Graham
John K.D. Graham is an auteur filmmaker whose diverse body of work can be found on major distribution platforms across the world on major platforms including Netflix, Walmart, Tubi, Pureflix, and in a variety of project types. He is an accomplished Director, Writer, Producer, and Editor, who attributes the success of his projects, including seven feature films, miniseries, music videos, and travel docs, to his ability to navigate all aspects of a film’s creation.
Growing up in the wild Chihuahuan deserts of New Mexico, John K.D. Graham’s love for the natural world turned into a discovery that everything around tells a story. His fascination with storytelling, collaboration, and technology led to the Savannah College of Art and Design where he graduated Magna Cum Laude with a BFA in Film and Television. John began his career shooting music videos and working as a member of IATSE Local 480 as a set electrician, craft service, and video assistant in New Mexico. John soon gained recognition in the film industry for his ability to plan, film, and deliver cinema consistently and began his career as an independent filmmaker.
John K.D. Graham is an award-winning filmmaker; including Best Screenplay in the Kairos Pro Awards for his script, “Switched” and most recently a bronze Telly Award for his mini-series, “Unstained”. John’s recent project, “Unstained” is an entertainment education series that helps at-risk youth across the U.S.A. To find out more visit: www.johnkdgraham.com
Jacob Hayman
Jacob Hayman began his entertainment career as a projectionist and culture writer, eventually working as an agent assistant and script reader before finding a home in casting for several years. A veteran of the wider commercial and unscripted spaces in said home, his focus was primarily on independent features, where he started as a Casting Assistant, working repeatedly for Universal, while also leading to franchise collaborations alongside legendary genre producers Charlie Band and Roger Corman. His own three credits as Casting Director have all played in various festivals, netting nominations for Best Actor and Best Comedy Feature (Wine Club), leading to a Best Actress win (This Is Your Song), and another for Best Drama (Trust), among others. His producing debut, Fudgie Freddie, was nominated for both Best Actor and Best Midnight Short at FilmQuest. Until the latter’s death earlier this year, he was a script reader for Oscar winner Fred Roos. Currently, in his capacity as a Literary Manager with Citizen Skull, he hosts the First and Third Wednesdays networking event, and reps previous winners of the Austin Film Festival, Slamdance, and WGA Awards. His primary goal is to help usher more heart and silliness into the world before it explodes.
Liz Kelly
Liz Kelly is Director of Creative Talent Development & Inclusion at Disney Entertainment Television. In this role, she works with the network and studio to staff writers and directors across ABC, ABC Signature, Freeform, Disney Channel, 20th TV, FX, Nat Geo, Disney+ and Hulu’s scripted television shows. She runs the industry-leading Disney Writing Program and Disney Directing Program. She has staffed talent on THE GOOD DOCTOR, THE ROOKIE, A MILLION LITTLE THINGS, DAVE, HOW I MET YOUR FATHER, SINGLE DRUNK FEMALE, THE GOLDBERGS, STATION 19, RAVEN’S HOME, and BLACK-ISH, among other scripted series. Prior to Disney, Kelly worked for 6 years at Fox, most recently as Associate Director of Production and Development Labs – Film & TV, for 21CF Global Inclusion. Kelly staffed writers and directors on FOX’s scripted television shows, including THE GIFTED, THE COOL KIDS, LUCIFER, LAST MAN ON EARTH, THE EXORCIST, THE RESIDENT, and LETHAL WEAPON, among others. She managed the Fox Writers Lab, Fox Directors Lab, Fox DP Lab, and Fox Filmmakers Lab, tracked and maintained network diversity statistics regarding on-air and behind-the-camera creative talent, and managed the department’s partnerships and sponsorships with non-profits and film and TV festivals.
Kelly has been a judge, script reader, or panelist for numerous film and TV festivals across the country, including the Tribeca Film Festival, New York Television Festival, Austin Film Festival, ATX Television Festival, SeriesFest Denver, CAAMFest San Francisco, San Diego Latino Film Festival, NALIP Media Summit, LA Skins Fest, Outfest, BlackStar Philadelphia Film Festival, and Humanitas New Voices. In 2017, she was invited to be part of Creative Artists Agency’s “Amplify: Next Gen” group of up-and-coming entertainment artists, agents, and executives.
Kelly is a member of the Hollywood Radio & Television Society. She has a BA from UCLA and is a graduate of UCLA School of Theater Film & Television’s graduate-level Professional Program in Screenwriting.
Jason Lubin
Jason Lubin is a manager-producer and the principal at First Story Entertainment, which he founded in 2018. The lit management company represents a diverse roster of talented writers and directors with fresh voices in all genres for Film and TV. The company’s clients have been staffed on shows on multiple networks including Showtime, CW, Apple+ and Netflix and have sold series to Disney and Max. In 2021, two of the nine participants selected for the highly competitive WBTV Writers Workshop were clients. In the feature space, First Story clients have written films starring Robert De Niro and John Malkovich, sold specs to financiers including Searchlight Pictures and Sony International, and directed projects selected by the Cannes Film Festival. Jason also develops both feature film and television projects under the company’s banner. Prior to starting First Story, Jason was a seasoned development executive. He worked at Lynda Obst Productions as the Head of Development & Production and at Lionsgate, where he rose to Story Editor in the Motion Picture Group. Jason cut his teeth as the assistant to CEO Jon Feltheimer and was named one of Variety’s Ten Assistants to Watch in 2013. A graduate of USC, Jason currently sits on the university’s Board of Governors as the School of Cinematic Arts’ representative and is a former President of the Trojan Entertainment Network
Beth Bruckner O’Brien
Beth Bruckner O’Brien is currently the VP, development in the Creative Affairs department at MarVista Entertainment. She has 15 years of experience as a film and television producer – her most recent credits include executive producing HYPNOTIC starring Ben Affleck and directed by Robert Rodriguez, co-producing UNHINGED starring Russell Crowe, executive producing BULLET HEAD starring Adrien Brody and John Malkovich, and executive producing LEATHERFACE, a prequel to the Texas Chainsaw Massacre. Beth worked as a development executive at Millennium Films from 2011-2016, developing films such as THE HITMAN’S BODYGUARD franchise, the OLYMPUS HAS FALLEN franchise, THE EXPENDABLES franchise, THE MECHANIC franchise, and the following films: BEFORE I GO TO SLEEP, THE ICEMAN, HOMEFRONT, LOVELACE, THE PAPERBOY, STONEHEARST ASYLUM, and THE TEXAS CHAINSAW MASSACRE 3D. Prior to that, Beth worked at A Bigger Boat and GreeneStreet Films developing genre films FROZEN directed by Adam Green, THE WARD directed by John Carpenter, SAW 6 & SAW 3D, and HOUSE AT THE END OF THE STREET starring Jennifer Lawrence.
Jeff Portnoy
Jeff Portnoy is a literary manager at Bellevue Productions in Los Angeles, representing writers and filmmakers working in both the Feature and Episodic spaces. Before joining Bellevue, Jeff worked at Creative Artists Agency as a story analyst, The Gotham Group as an executive assistant, and Resolution talent agency as the Head of their Story Department and agent trainee. Jeff has a Bachelor of Fine Artist degree in Film and Video Production from Point Park University in Pittsburgh, PA and attended UCLA Extension’s Writing for Film and Television program. A former aspiring writer himself, Jeff has extensive experience with – and a genuine love for – developing screen and teleplays with writers and then helping those writers package and/or sell their materials, find writing jobs and secure agency representation. Along with his colleague John Zaozirny, Jeff was featured in Variety magazine’s “New Leaders: Agents and Managers” edition in 2018.
Jenn Sall
Jen Sall (www.thejensall.com) is an award-winning writer, director and producer committed to creative work that is thought-provoking and sparks conversation across film, television, and digital media. With experience spanning the visual storytelling spectrum – from branded films to scripted to documentary – Jen breaks down barriers between content silos, opening the door to more unusual approaches and fresh voices in her creative. She has brought this experience and unique perspective to her work at Apple, Calvin Klein, Disney, HBO, Hello Sunshine, Hulu, Netflix and Viacom, among other prestigious brands and studios.
Originally from Washington, DC, Jen’s work is inspired and informed by her time abroad, living in both Rio de Janeiro and Rome, where she learned five languages and once worked as an interpreter at a David Bowie concert. As she moved into all things arts and culture, she became the Editor-At-Large of THE EP, a lifestyle magazine once found on the shelves of MOMA PS1 and the Andy Warhol Museum. She is currently producing The Gate starring and co-written by Tobias Menzies (Manhunt, The Crown) with sales through WME, Chasing Perfect written by Jeanne Rosenberg of The Black Stallion with Gersh representing and a docu-series hosted by Erika Alexander (American Fiction).
A member of BAFTA and the P.G.A., Jen is a 2023 Gracie Award Winner from the Alliance for Women in Media. Jen was also one of eight women selected for the worldwide 2020 Women in Screen Workshop, hosted by the Australian Screen Forum. Jen’s romance-comedy pilot script Your Night is My Day was a semi-finalist in the 2021 Sundance Institute Episodic Lab. The project is currently being developed as a feature film. She is also a founding EVOLVE mentor, an organization founded by Ava DuVernay, Justin Lin, and Mayor Eric Garcetti and a member of HRTS (Hollywood Radio and Television Society).
Jen recently directed and co-wrote The Reboot starring Jordyn Denning (Pam & Tommy) and Brie Carter (Little Fires Everywhere). In 2023, Jen directed and co-wrote the short film This Could Have Been an Email starring Becky Chicoine (The Other Two, Mr.Robot) currently being developed as a feature film. She created and directed Art is No Joke starring Sarah Sherman (SNL), Niccole Thurman (Kenan) and other female comics. As well as directing branded content for ChiefX, Bloomberg, and MTV Cribs. Her recent work as a producer includes the feature Going Somewhere starring Nomas Mlambo (Black-ish), 2023 Emmy nominated Eat the Rich: The GameStop Saga for Netflix, Rise for Hello Sunshine directed by Nisha Ganatra, launched at Sundance Film Festival in 2023. SWIPE NIGHT: Killer Weekend, starring Luke Slattery (The Boys in the Boat), an Emmy nominated series, Root Letter starring Danny Ramirez (Top Gun: Maverick), Hangry starting Justin Kirk (HBO’s Perry Mason, Weeds) and Bite Size Huluween (a short form anthology series for Hulu) in 2021 and 2022.
She is represented at Octagon Entertainment
Corey Simon
Corey Simon is a passionate and accomplished Executive Vice President/Talent Manager at Cultivate Entertainment Partners. With a bachelors degree in business management from the University of Phoenix in Arlington, Tx, Corey has established himself as a driving force in the entertainment industry. His purpose and dedication lie in bridging talent from diverse backgrounds, helping them fulfill their dreams and reach their true potential. Throughout his career, Corey has demonstrated an exceptional ability to identify and nurture emerging talent. He has played a pivotal role in the development and success of numerous television stars, including Stakiah Lynn Washington (Amazon FreeVee’s – Primo), Avery Wills Jr. (Peacock – Shooting Stars), Nadji Jeter (Sony PlayStation- Spider-Man 2), Jason Mitchell (Universal Picture- Straight Outta Compton), and Johnell Young (Hulu – Wu-Tang: An American Saga), among others. Corey remarkable ascent within the industry is a testament to his talent and dedication. In just three years, he has made partner at the management firm and earned his first producer credit in Tubi’s original thriller film “Killer Beat” released in June 2024. His invaluable contributions have paved the way for a more inclusive and representative entertainment landscape. With several television show projects slated for a late 2024 release, he continues to push boundaries and bring compelling stories to life. Corey Simons unwavering passion for talent development, commitment to diversity and inclusion, and impressive track record make him a true powerhouse in the entertainment industry. He is a catalyst for change, shaping the future of the industry one star at a time.
Jennifer Sorenson
Jennifer Sorenson is an actor/producer/writer. She wrote and played ten roles in the award-winning, viral parody Orphan is the New Orange which was named one of the Top Ten Short Films of the Decade. As a writer, her first feature For When You Get Lost (a dark comedy about family, death and beer) had its World Premiere at the Austin Film Festival, where it won the Audience Award for Best Comedy. It has since won the Jury and Audience Award for Best Feature at Durango Independent Film Festival and the Audience Choice Award for Best Feature at Julien Dubuque International Film Festival. Other writing includes: No Backsies (a comedy short about life in the pandemic), See Me (a virtual reality short about the exploration of women reclaiming their bodies from the patriarchy), What Are the Odds (a healthcare PSA) and I Fart in My Sleep: Confessions of an Embarrassing Life (a full-length play), which premiered in Los Angeles. She was a finalist in the PSA program for Women in Film. She has produced several successful short films and two features, the aforementioned For When You Get Lost and a sci-fi/western feature Suffer, starring Naomi McDougall Jones. Her production company, Aegis Creative Media, is in development
Lee Stobby
Lee Stobby has over 15 years of management and producing experience, and focuses on championing strong independent voices and quality cinema and television. He is a literary manager, producer and principal of 2B CONT’D. His success can be attributed to his passion, extensive knowledge, and enthusiasm for film. This has enabled him to, on numerous occasions, to discover raw, exciting new talent and build them into screenwriting juggernauts: having had dozens of scripts on the yearly Black List; countless films produced; and widely known one of the most knowledgeable tastemakers in Hollywood. Some of his client highlights include: Shay Hatten (JOHN WICK: CHAPTER 3, JOHN WICK 4, ARMY OF THE DEAD, ARMY OF THIEVES, DAY SHIFT, REBEL MOON), Isaac Adamson (#1 Black List script BUBBLES), Rodney Ascher (ROOM 237, THE NIGHTMARE, A GLITCH IN THE MATRIX), and Myroslav Slaboshpytskiy (Cannes winner THE TRIBE and upcoming THE TIGER starring Alexander Skarsgård and Dane DeHaan).
Recently, he produced the dark comedy feature FOIBLES, a dark comedy starring John Karna, Carina Conti, and Deborah Wilson, which is currently in post and is the Fantasia alum Ryan Oksenberg’s feature film debut. Stobby’s other Producing highlights and credits include SISTER AIMEE, which premiered at the 2019 Sundance Film Festival and was released by 1091; WILDLING starring Bel Powley, Liv Tyler and Brad Dourif and which sold to IFC and premiered at the 2017 SXSW; HOW TO BE ALONE staring Maika Monroe and Joe Keery; PEOPLING, starring Kimmy Robertson and Josh Fadem which played at Fantasia, Fantasic Fest, and Sitges and has over 30 million online views; MUNCHAUSEN written and directed by Ari Aster; PLAY ME, a new horror short by Caleb Phillips (SXSW winning filmmaker behind THE OTHER SIDE OF THE BOX, which has over 10 million views online).
As for development, Stobby has a horror satire from Sundance and Cannes Auteur filmmaker Rodney Ascher with Greg Silverman’s Stampede Ventures producing alongside Stobby, as well as feature development set up with Matt Reeves’ 6th and Idaho, Charlize Theron’s Denver and Delilah, Darren Aronofsky’s Protozoa, Universal, Timur Bekmambetov’s Bazelevs, and Netflix.
Mike Vanderhei
Originally from Chicago, Mike Vanderhei is a literary manager & producer who started in original scripted programming at AMC where he harnessed his taste working on BREAKING BAD, MAD MEN, THE KILLING, and THE WALKING DEAD.
After AMC, Mike assisted at Principato-Young Ent. and AEFH Talent Agency where he discovered his passion for working with storytellers and championing their careers leading to Avalon Management & TV where he started to develop a client roster while also working in development & production on their series WORKAHOLICS, LAST WEEK TONIGHT, and CATASTROPHE.
Vanderhei then took an opportunity to solely focus on his client roster at Protocol Ent. working alongside industry veteran John Ufland before moving to Rain in 2019. Mike’s client have written and produced shows including: WESTWORLD, SNOWPIERCER, THE BLACKLIST, HOUSE OF THE DRAGON, BILLIONS, AEON FLUX, BLOODLINE, AMERICA’S MOST WANTED, DR. DEATH, LOVECRAFT COUNTRY, CHARMED, THE MORNING SHOW, and THE EQUALIZER among others.
John Zaozirny
PRESIDENT OF FEATURE FILM PRODUCTION AND LITERARY MANAGEMENT
John Zaozirny oversees feature film production for Bellevue and the Literary Management Team.
His clients’ writing and directing credits include INFINITE, PARALLEL, ELI, BAD MATCH, TEXAS CHAINSAW MASSACRE (2022), HEAVY TRIP, OFFICE UPRISING, JOLT, and SPLINTER amongst others. His clients have written feature scripts that are set up at Warner Bros, Paramount, Fox, Lionsgate, New Line, Focus Features, Fox 2000, Sony, Universal, amongst others. As well, his clients have had 30 scripts on the last 8 Black Lists, the annual list of the best unproduced feature scripts, including BLONDE AMBITION, the number one script on the 2016 Black List, HEADHUNTER, the number one script on the 2020 Black List, and CAULIFLOWER, the number one script on the 2021 Black List.
His clients have also written on TV shows such as SHANTARAM, FBI INTERNATIONAL, BOSCH: LEGACY, MR ROBOT, TRAINING DAY, TINY PRETTY THINGS, HAWAII FIVE-O, THE MAN IN THE HIGH CASTLE and HAND OF GOD, amongst others. He also reps the writer of the Eisner nominated comic book LITTLE BIRD.
He was an executive producer on the feature films ALWAYS WATCHING and PARALLEL and produced ELI, which was released by Netflix. He most recently produced INFINITE, directed by Antoine Fuqua and starring Mark Wahlberg, Chiwetel Ejiofor, and Dylan O’Brien, which was released by Paramount Plus.
Raised in Vancouver, Canada, John is a graduate of the Tisch Film and Television program at New York University.
Katie Zipkin-Leed
Katie Zipkin-Leed is an LA native whose journey in the industry began with internships at Creative Artists Agency (CAA) and United Talent Agency (UTA). After graduating from Tulane University, she returned to the mailroom at UTA, eventually landing a role in the TV talent department. In the midst of the pandemic, Katie transitioned over to the management company Artists First where she currently serves as their literary coordinator. Katie is dedicated to working with diverse, queer, and female creators across both Television and Features. Zipkin-Leed’s clients have projects in development with Pacific Electric Picture Company, Original Film, Room 101, and Broken Road, amongst others. Katie is also on the board of the Junior Hollywood Radio and Television Society (JHRTS).
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https://www.tiktok.com/%40averywritesbigbooks/video/7321451876170386730
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Make Your Day
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https://www.newyorker.com/online/blogs/newsdesk/2011/12/postscript-christopher-hitchens.html
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en
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Postscript: Christopher Hitchens, 1949-2011
|
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[
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[
"Christopher Buckley",
"John Cassidy",
"David Remnick",
"Jonathan Blitzer",
"Tim Hamilton",
"Condé Nast"
] |
2011-12-15T10:04:27-05:00
|
We were friends for more than thirty years, which is a long time but, now that he is gone, seems not nearly long enough. I was rather nervous when I first …
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en
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https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
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The New Yorker
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https://www.newyorker.com/news/news-desk/postscript-christopher-hitchens-1949-2011
|
We were friends for more than thirty years, which is a long time but, now that he is gone, seems not nearly long enough. I was rather nervous when I first met him, one night in London in 1977, along with his great friend Martin Amis. I had read his journalism and was already in awe of his brilliance and wit and couldn’t think what on earth I could bring to his table. I don’t know if he sensed the diffidence on my part—no, of course he did; he never missed anything—but he set me instantly at ease, and so began one of the great friendships and benisons of my life. It occurs to me that “benison” is a word I first learned from Christopher, along with so much else.
A few years later, we found ourselves living in the same city, Washington. I had come to work in an Administration; he had come to undo that Administration. Thirty years later, I was voting for Obama and Christopher had become one of the most forceful, and persuasive, advocates for George W. Bush’s war in Iraq. How did that happen?
In those days, Christopher was a roaring, if not raving, Balliol Bolshevik. Oh dear, the things he said about Reagan! The things—come to think of it—he said about my father. How did we become such friends? I only once stopped speaking to him, because of a throwaway half-sentence about my father-in-law in one of his Harper’s essays. I missed his company during that six-month froideur (another Christopher mot). It was about this time that he discovered that he was in fact Jewish, which somewhat complicated his fierce anti-Israel stance. When we embraced, at the bar mitzvah of Sidney Blumenthal’s son, the word “Shalom” sprang naturally from my lips.
A few days ago, when I was visiting him at the M. D. Anderson Cancer Center, in Houston, for what I knew would be the last time, his wife, Carol, mentioned to me that Sidney had recently written to Christopher. I was surprised but very pleased to hear this. Christopher had caused Sidney great legal and financial grief during the Götterdämmerung of the Clinton impeachment. But now Sidney, a cancer experiencer himself, was reaching out to his old friend with words of tenderness and comfort and implicit forgiveness. This was the act of a mensch. But then Christopher was like that—it was hard, perhaps impossible, to stay mad at him, though I doubt Henry Kissinger or Bill Clinton or any member of the British Royal Family will be among the eulogists at his memorial service.
I first saw his J’accuse in The Nation against—oh, Christopher!—Mother Teresa when my father mailed me a Xerox of it. He had scrawled a note across the top, an instruction to the producer of his TV show “Firing Line”: “I never want to lay eyes on this guy again.” W.F.B. had provided Christopher with his first appearances on U.S. television. The rest is history—the time would soon come when you couldn’t turn on a television without seeing Christopher railing against Kissinger, Mother (presumptive saint) T., Princess Diana, or Jerry Falwell.
But even W.F.B., who tolerated pretty much anything except attacks on his beloved Catholic Church and its professors, couldn’t help but forgive. “Did you see the piece on Chirac by your friend Hitchens in the Journal today?” he said one day, with a smile and an admiring sideways shake of the head. “Absolutely devastating!”
When we all gathered at St. Patrick’s Cathedral, a few years later, to see W.F.B. off to the celestial choir, Christopher was present, having flown in from a speech in the American hinterland. (Alert: if you are reading this, Richard Dawkins, you may want to skip ahead to the next paragraph.) There he was in the pew, belting out Bunyan’s “He Who Would Valiant Be.” Christopher recused himself when Henry Kissinger took the lectern to give his eulogy, going out onto rain-swept Fifth Avenue to smoke one of his ultimately consequential cigarettes.
“It’s the fags that’ll get me in the end, I know it,” he said once, at one of our lunches, tossing his pack of Rothmans onto the table with an air of contempt. This was back when you could smoke at a restaurant. As the Nanny State and Mayor Bloomberg extended their ruler-bearing, knuckle-rapping hand across the landscape, Christopher’s smoking became an act of guerrilla warfare. Much as I wish he had never inhaled, it made for great spectator sport.
David Bradley, the owner of The Atlantic Monthly, to which Christopher contributed many sparkling essays, once took him out to lunch at the Four Seasons Hotel in Georgetown. It was—I think—February and the smoking ban had gone into effect. Christopher suggested that they eat outside, on the terrace. David Bradley is a game soul, but even he expressed trepidation about dining al fresco in forty-degree weather. Christopher merrily countered, “Why not? It will be bracing.”
Lunch—dinner, drinks, any occasion—with Christopher always was. One of our lunches, at Café Milano, the Rick’s Café of Washington, began at 1 P.M., and ended at 11:30 P.M. At about nine o’clock (though my memory is somewhat hazy), he said, “Should we order more food?” I somehow crawled home, where I remained under medical supervision for several weeks, packed in ice with a morphine drip. Christopher probably went home that night and wrote a biography of Orwell. His stamina was as epic as his erudition and wit.
When we made a date for a meal over the phone, he’d say, “It will be a feast of reason and a flow of soul.” I never doubted that this rococo phraseology was an original coinage, until I chanced on it, one day, in the pages of P. G. Wodehouse, the writer Christopher perhaps esteemed above all others. Wodehouse was the Master. When we met for another lunch, one that lasted only five hours, he was all a-grin with pride as he handed me a newly minted paperback reissue of Wodehouse with “Introduction by Christopher Hitchens.” “Doesn’t get much better than that,” he said, and who could not agree?
The other author that he and I seemed to spend most time discussing was Oscar Wilde. I remember Christopher’s thrill at having adduced a key connection between Wilde and Wodehouse. It struck me as a breakthrough insight; namely, that the first two lines of “The Importance of Being Earnest” contain within them the entire universe of Bertie Wooster and Jeeves.
Algernon plays the piano while his butler arranges flowers. Algy asks, “Did you hear what I was playing, Lane?” Lane replies, “I didn’t think it polite to listen, sir.” And there you have it.
Christopher remained perplexed at the lack of any reference to Wilde in the Wodehousian oeuvre. Then, some time later, he extolled in his Vanity Fair column the discovery, by one of his graduate students at the New School, of a mention of “The Importance” somewhere in the Master’s ninety-odd books.
During the last hour I spent with Christopher, in the Critical Care Unit at M. D. Anderson, he struggled to read a thick volume of P. G. Wodehouse letters. He scribbled some notes on a blank page in spidery handwriting. He wrote “Pelham Grenville” and asked me, in a faint, raspy voice, “Name. What was the name?” At first I didn’t quite understand, but then, recalling P.G.’s nickname, suggested “Plum?” Christopher nodded yes, and wrote it down.
I took comfort that, during our last time together, I was able to provide him with at least that. Intellectually, ours was largely a teacher-student relationship, and let me tell you—Christopher was one tough grader. Oy. No matter how much he loved you, he did not shy from giving it to you with the bark off if you had disappointed.
I once participated with him on a panel at the Folger Theatre on the subject of “Henry V.” The other panelists were Dame Judi Dench, Arianna Huffington, Chris Matthews, Ken Adelman, and David Brooks; the moderator was Walter Isaacson. Having little original insight into “Henry V,” or into any Shakespeare play, for that matter, I prepared a comic riff on a notional Henry the Fifteenth. Get it? O.K., maybe you had to be there, but it sort of brought down the house. Nevertheless, when Christopher and I met for lunch a few days later, he gave me a tsk-tsk-y stare and sour wince and chided me for “indulging in crowd-pleasing nonsense.”
I got off lightly. When Martin Amis, his closest friend on earth, published a book in which he took Christopher to task for what he viewed as inappropriate laughter at the expense of Stalin’s victims, Christopher responded with a seven-thousand-word rebuttal in The Atlantic that will probably have Martin thinking twice before attempting another work of historical nonfiction. But Christopher’s takedown of his chum must be viewed alongside thousands of warm and affectionate words he wrote about Martin, particularly in his memoir, “Hitch-22,” which appeared ironically—or perhaps with exquisite timing—simultaneously with the presentation of his mortal illness.
The jacket of his next book, a collection of breathtaking essays, perfectly titled “Arguably,” contains some glowing words of praise, including my own (humble but earnest) asseveration that he is—was—”the greatest living essayist in the English language.” One or two reviewers demurred, calling my effusion “forgivable exaggeration.” To them I say: O.K., name a better one. I would alter only one word in that blurb now.
Over the course of his heroic, uncomplaining eighteen-month battle with the cancer, I found myself rehearsing what I might say to an obituary writer, should one ring after the news of Christopher’s death. I thought to say something along the lines—the air of Byron, the steel pen of Orwell, and the wit of Wilde.
A bit forced, perhaps, but you get the idea. Christopher may not, as Byron did, write poetry, but he could recite staves, cantos, yards of it. As for Byronic aura, there were the curly locks, the unbuttoned shirt revealing a wealth—verily, a woolly mastodon—of pectoral hair, as well as the roguish, raffish je ne sais quoi good looks. (Somewhere in “Hitch-22,” he notes that he had now reached the age when “only women wanted to go to bed with me.”)
Like Byron, Christopher put himself in harm’s way in “contested territory,” again and again. Here’s another bit from “Hitch-22,”****a chilling moment when he found himself alone in a remote and very scary town in Afghanistan,
in a goons’ rodeo duel between two local homicidal potentates (the journalistic euphemism for this type is “warlord”; the image of the goons’ rodeo I have annexed from Saul Bellow). On me was not enough money, not enough food, not enough documentation, not enough medication, not enough bottled water to withstand even a two-day siege. I did not have a cell phone. Nobody in the world, I abruptly realized, knew where I was. I knew nobody in the town and nobody in the town knew (perhaps a good thing) who I was, either…. As all this started to register with me, the square began to fill with those least alluring of all types: strident but illiterate young men with religious headgear, high-velocity weapons and modern jeeps.
His journalism, in which he championed the victims of tyranny and stupidity and “Islamofascism” (his coinage), takes its rightful place on the shelf along with that of his paradigm, Orwell.
As for the wit … one day we were talking about Stalin. I observed that Stalin, eventual murderer of twenty, thirty—forty?—million, had trained as a priest. Not skipping a beat, Christopher remarked, “Indeed, was he not among the more promising of the Tbilisi ordinands?”
I thought—as I did perhaps one thousand times over the course of our three-decade long tutorial—Wow.
A few days later, at a dinner, the subject of Stalin having come up, I ventured to my dinner partner, “Indeed, was he not among the more promising of the Tbilisi ordinands?” The lady to whom I had proferred this thieved aperçu stopped chewing her salmon, repeated the line I had so casually tossed off, and said with frank admiration, “That’s brilliant.” I was tempted, but couldn’t quite bear to continue the imposture, and told her that the author of this nacreous witticism was in fact none other than Christopher. She laughed and said, “Well, everything he says is brilliant.”
Yes, everything he said was brilliant. It was a feast of reason and a flow of soul, and, if the author of “God Is Not Great” did not himself believe in the concept of soul, he sure had one, and it was a great soul.
Two fragments come to mind. The first is from “Brideshead Revisited,” a book Christopher loved and which he could practically quote in its entirety. Anthony Blanche, the exotic, outrageous aesthete, is sent down from Oxford. Charles Ryder, the book’s narrator, mourns: “Anthony Blanche had taken something away with him when he went; he had locked a door and hung the key on his chain; and all his friends, among whom he had been a stranger, needed him now.”
Christopher was never a “stranger to his friends”—ça va sans dire, as he would say. Among his prodigal talents, perhaps his greatest was his gift of friendship. Christopher’s inner circle, Martin, Ian McEwan, Salman Rushdie, James Fenton, Julian Barnes, comprise more or less the greatest writers in the English language. That’s some posse.
But in leaving them—and the rest of us—for “the undiscovered country” (he could recite more or less all of “Hamlet,” too) Christopher has taken something away with him, and his friends, in whose company I am so very grateful to have been, will need him now. We are now, finally, without a Hitch.
The other bit is from Housman, and though it’s from a poem that Christopher and I recited back and forth at each other across the tables at Café Milano, I hesitate to quote it here. I see him wincing at my deplorable propensity for “crowd-pleasing.” But I’m going to quote it anyway, doubting as I do that he would chafe at my trying to mine what consolation I can over the loss of my beloved athlete, who died so young.
Smart lad to slip betimes away
From fields where glory does not stay,
And early though the laurel grows
It withers quicker than the rose.
Photograph by Brooks Kraft/Corbis.
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Regular visitors to Digiguide.tv will notice that you now require a subscription to use some of the features.
However, you can give the FREE 7 day trial version of Digiguide.tv Premium a try. Build up your profile with programmes that you like, personalise your grid and set some reminders. Remember, to get a year's worth of personalised TV content for less than 1p per day simply subscribe to Digiguide Premium
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http://conectom.leimay.org/profile/ChristopherPelham
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Christopher Pelham's Page
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http://conectom.leimay.org/profiles/profile/show?id=ChristopherPelham
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Hi Christopher,
We noticed you created a Blog Post about an upcoming workshop. Please use an event post instead- http://conectom.leimay.org/events
Best,
Lindsey
Hello there!
Your event has been approved! Please give back to the network by adding a profile picture!
Best,
conectom Intern
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The Future of Film Funds (White Paper 4 of 4)
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2016-05-27T18:21:02.040000+00:00
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Yet another case of legalized gambling or a sophisticated tool that will help unlock more financing, manage risk and bring greater numerical transparency to a murky marketplace? That was the vexing…
|
en
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Medium
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https://filmonomics.slated.com/the-future-of-film-funds-white-paper-4-of-4-cf59941f80a8
|
Originally published May 2015
Secret Sauces & Source Secrets
Yet another case of legalized gambling or a sophisticated tool that will help unlock more financing, manage risk and bring greater numerical transparency to a murky marketplace? That was the vexing question Congress had to grapple with five years ago. No, they weren’t just debating derivatives, nor collateralized debt obligations, synthetic securities, short-selling and all the other tarnished instruments of the mortgage-backed economic Armageddon. They were also trying to get their heads around the intricacies of an entirely new trading mechanism concocted by Wall Street: film futures.
To the horror of Hollywood’s major movie studios, as well as the large American theatre chains that showcase their films, the U.S. Commodity Futures Trading Commission had just granted tentative approval in 2010 to two online trading forums that provided speculators with a way to bet on expected box office receipts. Those proposed exchanges, developed respectively by Cantor Fitzgerald and Veriana Networks, would have operated in much the same way any futures market operates to reduce climate risks and other vagaries for commodities. Just as worried sellers of orange juice and pork bellies can lock in prices ahead of time, so film producers could sell contracts on movie projects that look doomed to bomb at cinemas. Anyone buying those contracts would reap enormous benefits should the film then do better than anticipated.
Lionsgate, not to mention several leading economists and film financiersincluding Schuyler Moore, all campaigned in support of the futures concept.“We believe a market in domestic box office receipts would substantially widen the number and breadth of financing sources available to the motion picture industry by lowering the risk inherent in such financing,” argued Lionsgate’s vice chairman Michael Burns in written testimony. (In his previous life, Burns devised the Hollywood Stock Exchange, an online multiplayer game that lets you place virtual bets on the performances of movies and their talents.)
In a fierce counter-lobbying effort, the Motion Picture Association of America played every fear card in its hand: Markets based on movie-ticket forecasts would be an invitation to manipulation; speculators would game the exchanges; and film futures surely resembled the very exotic instruments that instigated the global financial crisis. The MPAA “remains united in our opposition to a risky online-wagering service that would be detrimental to the motion picture industry.” Those casino arguments stuck. It wasn’t long before President Barack Obama signed into law a financial regulation bill that not only curbed derivative markets but also snuck in last-minute language outlawing any form of box office trading.
The lingering result is that the only two designated “commodities” whose futures cannot currently be traded legally in the U.S. are movies and onions. The ban on onions was instituted way back in 1958 following a national protest by farmers who accused traders at the Chicago Mercantile Exchange of cornering the onion market and creating tearfully low prices for their crops. In light of the extreme volatility in the pricing of onions since then, some of those very same large growers who fought for that ban now acknowledge “a futures market for onions would make some sense today.” Will the same 20/20 hindsight apply to movie futures as well?
The answer to that question hinges on one’s view of informational efficiency. Broadly speaking, there are two contrasting philosophies at play in economist circles. Traditional “free market” theorists believe in some variation of the efficient market hypothesis, essentially a conviction that prices not only reflect all current information but also adjust immediately as new information comes in. The behaviorist school, on the other hand, contends that outcomes are the result of human decision-making and as such need intervention from policy makers and other experts to help guide markets and individuals where they are prone to fail.
If you believe in the efficiency of markets, you don’t try to beat the market by picking individual stocks or investment opportunities; you invest in index-style funds that mimic the trailing patterns of the market or sector as a whole. You are also more likely to believe that a film futures exch/ange could accurately and reliably measure the current market expectation of a motion picture’s box office success.
But if you don’t believe that those informational playing fields tend to even out, then you are more likely to entrust yourself to those better placed to anticipate market behavior, in all its quirks, and take advantage of any irrationality. You are far more likely to invest through the agency of registered brokers, fund managers and other professional intermediaries. You absolutely believe that the market is susceptible to manipulative and whimsical forces, and hope that those with an inside track can navigate you through to the hidden sweet spots.
In many ways this philosophical divide over whether markets or experts know best echoes the whole debate surrounding human curation versus predictive analytics. A company such as Google invests enormous faith in its iterative data-processing prowess, not just to perfect customer search results, but also to improve its own staff recruitment practices that are conducted algorithmically. Apple, by contrast, appears to place far greater stock on personal intuition, not only in the design and engineering choices for its hardware products, but also in the music recommendations it makes to customers. Google is a heavy recruiter of math majors and data scientists; Apple of late has been hiring radio DJs and producers whose reputations for discovering new talent will help revamp its Beats music streaming service — a music application that already uses human curators to make recommendations.
Who will hold the upper hand in the coming years is one of the fascinating facets of our new measurement economy. If the scales have been tipping back in favor of humans of late then maybe it’s because we have been measuring the wrong things. It’s a false dichotomy in any case. The future surely belongs to those who can harness the ingenuity of both brains and binaries. In his 2005 book Blink, Malcolm Gladwell showed how people’s split-second hunches, based our subconscious abilities to arrive at astonishingly rapid conclusions, can get things right in ways that are beyond even months of number-crunching analysis. That is the power of first impressions. Three years later, the same author was arguing in his book Outliers that the key to success in any field is a matter of practicing a specific task for a total of around 10,000 hours. In other words, the amazing reflexes shown by the likes of fighter pilots, violinists and neurosurgeons, all of them reacting to hundreds of instantaneous variables, are reflexes conditioned by thousands of hours of training. If practice is indeed the secret ingredient of success, then it is only a matter of time before computers prevail based on their own unparalleled powers of repetition and simultaneous processing. But only insofar as humans are able to to input those computers with all the most relevant signals. Deprived of meaningful data, even IBM’s Watson is just a useful workhorse to support rather than supplant our cognitive guts.
Confirmation of this hybrid approach comes from none other than Netflix’s chief content officer Ted Sarandos, the media executive most keenly identified with data-derived content investments. In a revealing profile in The New Yorker in January this year, Sarandos conceded that for all of Netflix’s efforts to take the guesswork out of moviemaking and TV programming: “It is important to know which data to ignore.”When pushed to delineate the degree to which his decision-making is reliant on computational analysis, Sarandos ventured: “In practice, it’s probably a seventy-thirty mix. Seventy is the data, and thirty is judgment.” Then he paused, and said, “But the thirty needs to be on top, if that makes sense.” As the New Yorker writer concluded: There is indeed a sophisticated algorithm at work at Netflix — but his name is Ted Sarandos.
None of this will come as a surprise to sports aficionados. They have seen what happens when inspired humans and insightful data go to bat together. Anyone who has read Michael Lewis’ 2003 bestseller Moneyball — or watched the movie version — knows the story of how an impoverished baseball team was able to upset the odds in an “unfair game” by employing statistical models and data analytics to better identify undervalued players. It took an iconoclast in the shape of Oakland A’s general manager Billy Beane to ignore a century’s worth of conventional baseball wisdom and trust that on-base percentage andslugging percentage are better indicators of offensive success than historically valued qualities such as speed and contact. Beane basically exploited what economists would recognize as “market inefficiencies” to secure effective players on the cheap. That democratizing motherlode of data Beane mined from had been staring in everyone’s faces for decades.
The window on such “arbitrage opportunities” has rapidly closed in baseball — and in many other professional sports now — since every club now uses similar data analysis to measure player performance and value. But that leveling of the playing field shows the importance of knowing exactly what performance and predictive indicators truly matter. You can only value what you choose to measure. Not every business is as amenable to metrics as sports, of course. Corporate sales may well be adversely affected by such ineffable factors as low morale, lack of passion, poor communication between partners and associates and so on — yet none of these are likely show up in the numbers until it’s too late. But that doesn’t mean they are non-measurable. Eventually, computers will learn to spot the telltale signs of this decline from the data exhaust of companies even before the human nose gets a whiff. Similarly, in a film business susceptible to impulse, ego, desire, nepotism, opportunism, temptation and the powers of seduction, there may always be a part of film financing that will remain obstinately quixotic. But that alone doesn’t shut the door on predictive data. Right now, you would be hard-pressed to devise a black box for decoding such emotional and psychological traits. But at some point algorithms will be able to account for those Shakespearean dimensions as well. With enough hours of behavioral as well as informational mapping, the film market will become more effective, if not always terribly efficient.
With this all in mind, this fourth and final part in our White Paper series designed to deconstruct film investment has now been refreshed to reflect the changing market (and behavioral) dynamics that have occurred since its original publication in 2012. Much has happened since then.
Part IV — Overview
Business legend has it that nine out of ten technology start-ups fail. This is not far from the probable truth. Business failure has many definitions but if defined as failing to see the projected return on investment, then research has indeed shown that more than 95% of venture-backed start-ups are unsuccessful. A similar figure is often used in connection with independent film, where the odds of turning a profit on any one project are said to be less than 5%. To put it another way: the probability of investors finding the next Facebook is about as remote — or random — as landing the next “Paranormal Activity.” So why is it that early-stage tech ideas can still draw on a robust and growing ecosystem of angel investors, whereas independent filmmakers continue to rely on a haphazard and oftentimes capricious collection of patrons? The answer has more to do with the contrasting investment cultures that separate the film and technology worlds than with any differences in the assets’ respective risk/reward profiles.
Even in today’s data-driven business climate, film investment is still primarily driven by passion for individual projects and selective production companies than with any methodical attempt to invest across the totality of the independent film spectrum. Passion certainly plays its own part in Silicon Valley, where entrepreneurs swoon over world-changing innovations. But no serious seed investor there, or in any other global start-up hub for that matter, would think to risk their money on just a couple of disruptive ideas, no matter how persuasive the pitches or the track records of the teams behind them. Instead, they distribute a portion of their capital across a wide portfolio — as many as 150 per year, in the case of David McClure’s descriptively named 500 Startups — and then look for measurable proof of early traction before investing further.
In the tech world, there is plenty of solid data to support such a systematic investment strategy. Professor Robert Wiltbank used research backed by the Kauffman Foundation, NESTA (a UK-based entrepreneurship foundation), the University of Washington, and his own Willamette University to compile what he describes as the largest existing dataset on angel investor financial returns. Armed with that statistical trove, he concluded the following:
“In any ONE investment, an angel investor is more likely than not to lose their money, i.e. to earn less than a 1x return. It is risky. However, once investors had a portfolio of at least six investments, their median return exceeded 1x. Irving Ebert, of the Ottawa Angels Alliance, has done some outstanding Monte Carlo simulation with this data, finding that making near 50 investments approximates the overall return at the 95th percentile.”
“Angel investors probably should look to make at least a dozen investments, but that’s just a rule of thumb. This is critical: Each investment has to be done as though it’s your only one; the bar can’t be lowered to enable you to more quickly build a bad portfolio.”
“The production of cash is highly concentrated in winners; 90 percent of all the cash returns are produced by 10 percent of the exits.”
“When you aggregate all of the data, these angel investors (across the U.S. and UK) produced a gross multiple of 2.5x their investment, in a mean time of about four years.”
The optimism with which these ROI scenarios are portrayed stands in marked contrast to the filmmaking world. There, for reasons that have been made clear in previous White Papers in this series, most of the stress is put on mitigating risk. Entire strategies have been built to deal with — or skirt around — a failure rate of 95% or more. In the tech world, entrepreneurs focus heavily on the 5% chance, or less, of finding those prized unicorns. Despite the almost existential difference in outlook, the forces that govern movies and start-ups are remarkably similar. As was made clear in this recent New York Times articleabout venture capital firm Andreessen Horowitz, both Silicon Valley and Hollywood follow what is known as a power-law distribution. Put simply, the overwhelming majority of investments lose money, a small fraction break even or become marginally profitable, and an even smaller fraction become wildly successful. Faced with such similar economic conditions, Andreessen Horowitz borrowed its pro-talent investment strategy from the Hollywood talent agency CAA. For their part, film investors would do well to mirror the portfolio strategies of Silicon Valley angel investors.
Hollywood Slate Financing
Exactly what kind of portfolio strategy depends on where you are perched in the filmmaking hierarchy. If you happen to be atop one of the major Hollywood studios or large independents, then you already base your financial stability on spreading resources across a large and mixed “slate” of productions. The portfolio returns generated by those slates are dependable enough to keep attracting institutional investors whenever the studios look for outside co-financing. Under such “slate financing” deals, a fund manager, for example, might partially finance the next 25 or 30 movies and split the profit with the studio after a distribution fee has been deducted.
Statistically speaking, as I explained in a 2011 article for Filmmaker Magazine entitled “How To Raise a Billion Dollars,” spending nine figure dollar amounts making movies is way more prudent than risking just one or ten million. Not only do the bulk of industry profits go to massively expensive extravaganzas, but the odds of losing your shirt shrink once you start spreading your investment bets across dozens of Hollywood-scale films with guaranteed distribution.
That is certainly what Wall Street persuaded itself during a four-year investment orgy that saw a combination of banks and hedge funds sink as much as $15 billion into U.S. studio production slates. The global financial crisis eventually turned that money spigot off in late 2008, but not before leaving behind a wealth of indulgently budgeted films and another footnote in the history of film financing follies. Today, slate financing is back in vogue across Hollywood but on terms that have been dictated by the lessons learned on both sides of the negotiating table.
What first spurred this flood of “smart money,” beyond the need to park a huge volume of institutional investment that was hungering after new asset classes, was that algorithm known as the Monte Carlo simulation. An outgrowth of theManhattan Project, this mathematical program was designed by rocket scientists who wanted to create random combinations of known variables in order to simulate the range of possible nuclear explosions. Little did they know that their probability analysis would end up being used sixty years later to predict different kinds of bombs.
That this scientific method was nicknamed after Europe’s most famous gambling mecca did not stop sophisticated investors from believing that film can be a predictable, data-driven business. Relativity Media’s Ryan Kavanaugh, the lynchpin behind so many of those massive slate financing deals, still professes to using regression analysis when deciding which film projects to invest in at his own independent studio. Variables such as cast, filmmakers, genres, release dates and ratings are fed into his back-room computers. The project is then run through ten thousand scenarios and a percentage figure spat out for how often — and to what extent — that movie will likely be profitable. While Kavanaugh continues to trust in the numbers — “We probably have ten times the data on our films than any TV pilot has had in history” he told the 2013 MIPCOM television convention — those numbers are used more as a rejection tool than as an infallible green light.
At the height of the slate financing craze, institutional investors were gulled by their “quants” into believing they all would share in the 13%-18% annual rates of return that studios enjoy. Not everyone did, of course. At the 2010 Film Financing Forum in New York, Kavanaugh offered a more realistic assessment. Yes, you might still see a 25% return on your investment, but you can just as easily suffer a 10% loss. “You can lose a little, or make a lot, or lose a lot and make very little. It comes down to timing. The longer you are in the business, the less volatile it becomes.” Judging by the volume of institutional and private money that has now returned to the film co-financing, both from the US and particularly Asia, one would imagine those swings have ironed out somewhat — and that the players involved are indeed playing the long game.
There is always the danger that such systems are merely mathematical smoke screens. This is not a problem unique to the film industry. Benign-sounding tools such as cost-benefit analysis allow businesses in general to shroud themselves in a veneer of pseudo-science that also insulate them from ethical issues such as job cuts or financial chicanery. But imperfect benchmarks are better than no benchmarks whatsoever especially in industries like film where meaningful comparisons are so hard to come by. More to the point: how can you possibly diversify your portfolio unless you have some mechanism for evaluating and contextualizing the different film-story ideas that make up that slate?
Portfolio Diversification
In many respects, a co-financed Hollywood release slate is roughly the equivalent of a diversified film fund, one that also happens to be managed by some of the industry’s most powerful gatekeepers. But unlike managed funds that operate across many other industries, the barrier to entry is an extremely high one for private individuals who want to get a piece of the Hollywood studio action. Even though slate financing funds are sliced into smaller senior, mezzanine, or equity tranches, these are invariably acquired by institutions able to offset those hefty tabs. The fact is, when it comes to directly investing in Hollywood movies, only billionaires, big financial firms, potentates and Chinese internet giants need apply.
For everyone else, the answer is to turn to feature films financed outside those Hollywood studios and yet still able to secure distribution in the global marketplace. This requires a very different investment vehicle than is currently available in the marketplace. For sure, there are a number of film funds already in existence, and there are numerous production companies with private equity money behind them. But there is still no portfolio that can offer the same financial accessibility, project breadth, and investment diversity to which the tech angels in Silicon Valley are accustomed. Good luck trying to find a suitable instrument for investing $10,000 per film, for argument’s sake, across a slate of 50 films spanning all cinematic genres and geographies.
Broadly speaking, investing can be done in one of two ways. Investors can choose the passively managed index fund in which the manager tries to mimic the returns of, say, the S&P 500 by purchasing all of the constituent equities in that index. Or, there are the alpha-seeking actively managed funds in which the manager uses in-depth analysis in an attempt to outperform such benchmark market indices. In the particular case of film investing, such a choice has been largely moot: unlike other alternative asset classes such as fine art and finer wines, there are no industry benchmarks to gauge the performance of the film sector. Acquiring shares in the Hollywood studio conglomerates might seem like a good proxy until you realize how heavily weighted those stocks are towards other businesses such as television, cable, theme parks, and publishing that are also part of those media empires. There are a handful of pure-play independent film & TV studios that are listed around the globe — prominent examples include both Lionsgate and India’s Eros International on the New York Stock Exchange and China’s Huayi Brothers on the Shenzen Stock Exchange. But there are not enough independent film companies trading publicly to comprise a diversified basket of shares that can represent the indie marketplace as a whole.
Until index-based film investing becomes a viable option — something that this Part IV of our White Papers will address towards the end — the best conduit remains an actively managed fund. For investors, the big benefit is that these professionally run funds allow access to numerous opportunities that individuals would not be able to ferret out on their own. Investors have a way to invest in independent films in much the same way that the Hollywood studios invest in their own productions. By pooling money with other investors, both large and small, it is possible to invest in a volume and breadth of film assets that might be too difficult, time-consuming, or expensive to access as individuals. Such funds address a number of the challenges inherent in filmmaking. For one thing, they help streamline and simplify a process characterized by complexity, reams of paperwork, and the need for considerable due diligence. Film is a collaborative enterprise involving any number of financial and creative partners, which means that those involved need an assured way of vetting all counterparties. Selected properly, professional managers can provide a way to navigate these complexities. Furthermore, in a business as relationship-focused as film, veteran players are the ones who get an early look at the most promising upcoming investment opportunities. But, above all else, funds ensure much-needed diversification. Just as this helps to iron out the uncertainties associated with start-up technology investments, it also reduces the impact of any fluctuations in film market behavior or audience taste.
Such audience fickleness is not even consistent. In the past, a film that performed well in one major territory could be relied upon to work in most others. Not so now. An extreme example of such regional discrepancies occurred in 2010. “Toy Story 3” may have been the most successful film worldwide that year with a global total of $1.063bn, but it didn’t even make the top ten list in the United Arab Emirates, still one of the fastest-growing box office territories on the planet. The world’s second highest grossing film, that year’s “Harry Potter” sequel, also failed to make the list. On the other hand,“Salt,” which ranked 21st that year in the US, was a hit in the Arabian Gulf countries and finished seventh, just ahead of Bollywood blockbuster “My Name Is Khan.”
The latest research by the European Audiovisual Observatory, drawing on its Lumiere database, provides another illustration. There were a record-high 1,603 European feature fiction films and documentaries produced for theatrical distribution last year by the 28 European Union member states. Such films enjoyed a 33.4 market share of admissions across the EU, the highest percentage that European films have recorded since the Observatory started collecting data in 1996. Elsewhere in the world, however, their collective market share is no more than paltry 3%. Even within Europe, those homegrown successes did not experience uniform success. While “Paddington” and “Ocho Apellidos Vascos (A Spanish Affair),” Spain’s biggest grossing film of all time, were continental-wide hits, most European blockbusters did the bulk of their business in their own lingual back yards. Such parochial successes include British sequel “The Inbetweeners 2,” the German period drama “The Physician”and the French culture clash comedy film “Qu’Est-Ce Qu’On A Fait Au Bon Dieu?” whose $174.1 million put it 27th on the global list of highest grossing films in 2014.
One way to override such geographical variances is to have pieces of every market pie, achievable only through a diversified global portfolio. A daunting proposition. In the past, industry wisdom suggests that a large-scale, independent studio making 12 films a year will probably get eight losses, two break-evens, one pretty good performer and one sizeable hit that will help ensure overall profitability. This is backed up by research. In a 2010 NYU paper looking at the ROI of independently financed films, Benedetta Lucini kept randomly selecting portfolios of 8–10 known films in order to see what the overall returns might be. Here is what she concluded:
“In this particular randomization, the number of portfolios with positive returns outweighs that with negative, both in number and size. There are 38 portfolios with negative returns and 44 portfolios yielding more than 20% return. Therefore by allowing diversification there is a larger probability of actually achieving a positive return, rather than on single investments, because of successes covering for the effects of losses. When repeating the random selection of portfolios for 150 iterations, it is interesting to note that the number of negative portfolios will rarely be 50% and never above.”
But since then not only are films seeing sporadic returns across the globe, but there has been a sharp ramp up in production. Not just in Europe, but everywhere. This combination is changing the table stakes in that portfolio arithmetic. “It’s funny,” observed producer Mynette Louieat one of our FILMONOMICS TALKS last year, “for the longest time people have used this stat that only one in every 10 films makes its money back. I think it’s more like one in 20, one in 50 now, because there’s such a glut of films out there because of technology.”
Fund Syndication
Paradoxical as it might sound, assuming a larger equity position in a film project is one way of reducing one’s risk exposure on that film investment. The greater ownership control you exert over the production, the higher up the pecking order you can be when it comes to distributing any revenue streams. As Hollywood entertainment lawyer Bill Grantham explains:
“It became increasingly clear that the obvious way of reducing risk — investing less — put the funds actually invested at greater risk, since the investor putting up 20 percent or even 50 percent of the production budget could only rarely establish a share of the returns and the priority that would predictably lead to a bare recoupment of the amount invested, let alone a profit. The alternative, to put up a much greater amount of the funds required — perhaps the entirety apart from the soft money — largely eliminated the risks arising from poor interparty or intercreditor positions.”
Needless to say, the amount of capital required for such investments are beyond the means, and indeed tolerance, of most individual investors, especially if those individuals are looking to build that diversified portfolio. Thus, to protect themselves from being forced by concentration constraints into overly subordinated positions, investors need to invest as part of a larger collective. This not only mitigates performance and execution risks, it also helps to alleviate the unusual cashflow characteristics of the film business. Industry estimates suggest that on average roughly 60% of film “first cycle revenue” is generated within 12 months of release, and 80% is generated within 24 months.
But there are other exit possibilities that can turn such averages on their heads. A well-received festival film could see an instant profit should it be sold for a multiple of its production budget to an eager distribution company fending off rival bidders. No one can predict which films will end up the happy beneficiaries of such auctions; there are too many incalculable factors that come into play. The timing of cashflows is therefore irregular, leaving individual investors to deal with unexpected cash shortfalls or windfalls. The growing influence of streaming platforms and the release window experimentation that has accompanied their arrival has only complicated matters further. A logical response to all is to mimic what financiers do when confronted with endless variables in other sectors that are no less afflicted: syndicate risk. By investing aggregated capital across a portfolio of films, funds can insulate investors by achieving diversification, commanding sufficient capital to eliminate the possibility of over-subordination, and regularizing cash distributions.
The tech world already serves up one innovative new model for collective investing: AngelList’s Syndicates. Launched in 2013 by the online fundraising platform, this syndication service allows any accredited investor on AngelList to raise venture-sized rounds of money by allowing small-time backers to pool their resources behind a leader who’s investing in start-ups. AngelList Syndicates formalizes what so many angels already do in Silicon Valley: find and invest in companies they like and then persuade their friends to invest alongside them. Just as you might decide to put money in a particular mutual fund, based on the track record of its management, so you can apply to any syndicate and put money behind the crowd-gathered investments of its designated Syndicate Lead. Suddenly, you can invest small amounts across a wide array of opportunities.
Why Experience Matters
In theory, AngelList’s syndication platform allows average investors access to opportunities that they would not normally be privy to — or have sufficient market expertise to evaluate properly. They call this deal flow. And such is the tech world’s obsession with proprietary deal flow that investors go to great lengths to steal a march on competitors and differentiate themselves in the marketplace for ideas. Referral grapevines are cultivated, industry events aggressively mined and positional think-pieces constantly offered up on websites, all in the quest for an inside track. Early-stage tech investor Mark Suster says he first relied on lawyers as his own advance warning system, since they are the ones entrepreneurs turn to in order to get their company registrations done. Today, he views blogging as his “best source of high-quality deal flow imaginable.” We know this because Suster blogged about it a couple of years back.
Film investors don’t tend to be so open about sharing their investment strategies, let alone disclosing their investment positions. Just compare tech’s open courtship displays with what happens in the movie business. Other than the occasional yacht party at Cannes, film investors are leery of even announcing themselves, far less tweeting about their financing strategies, for fear of being swamped with pitches. They just trust that the industry’s inner circles will beat a path towards them and deliver the goods.
Of course, a proactive investment stance does not necessarily translate into greater deal velocity. For all their come-hither posturings, it is not unusual for VCs and angel groups to fund less than 1% of the hundreds of business plans they review in any given year. But by virtue of sheer volume, they can lay claim to ever-greater deal-making intelligence. Having sifted through a mountain of proposals, Silicon Valley players have developed an exquisite nose for what constitutes the real deals — and, just as crucially, a strong stomach for failure. The fact is Silicon Valley is way more crucible than it is cradle. More than 90 percent of start-ups flame out and yet setbacks are embraced here, not so much as friends, but as teachers.
Counter-intuitive as it might sound, investment history has tended to side with those who have made those bold, early leaps into the dark. Their secret sauce, at least according to the various VC general partners I have interviewed, has been based around “pattern recognition.” Certain characteristics are common to even the most life-altering, game-changing, mold-breaking ideas. We can say the same about moviemaking. Look at foreign film sales, for example. To the untrained eye, licensing films to international distributors is really just a matter of price and salesmanship. Talk to the sales agents themselves, however, and you will learn that the best among them are highly attuned to the herding patterns within the market and act accordingly. Top sellers know that some territorial buyers are more influential than others; they serve as market barometers. Sell to them first, even if at discounted rates, and they can be sure that other territory sales will soon follow at higher rates, bringing along with them wider distribution. But only constant scrutiny will tell them who these bellwethers really are. In some cases, knowing which buyer didn’t buy a film is as instructive as knowing who did.
Experience is also vital to avoid being blindsided by industry showmanship. Someone’s IMDb film credits might well confirm their involvement in a particular film, but not the degree to which they were responsible for that film’s market performance. That can only be determined through background digging done by qualified professionals discerning enough to know what information to trust and how to find it. The same goes for any claimed distribution deals, financial partners, or talent attachments. It takes experience and proper due diligence to establish their veracity, as only the most experienced will tell you. In an article that appeared in the industry newspaper The Hollywood Reporter, a handful of top dealmakers outlined six of the stages that an independent film needs to navigate in order to optimize its commercial prospects. What’s striking is that even five years later, many of the recommendations apply to today’s marketplace.
Six stages to optimize a film’s commercial prospects
Assembling the package
“It is critical to assess the global market’s appetite for a package in advance of budgeting and shopping it to financiers. Presenting an unrealistic package or budget can kill a project’s momentum.” — Micah Green and Roeg Sutherland, CAA
Securing the money
“Seek out financiers that share the same vision as you on the script, cast, final cut, even the tone and genre. When calculating the cost of financing, make sure the timetable for returning production equity (like a bank loan) is calculated properly — sometimes filmmakers expect returns in 12 months, for example, when a realistic time frame is 18–24 months. Get a realistic schedule for production, delivery and collecting funds from the distributor — this will help you avoid unexpected interest costs or a lender foreclosing.” — Graham Taylor, WME Global
Evaluating the deal
“Highly structured, multiparty deals can appear attractive because they may provide more creative freedom, a higher budget and/or more economic upside. However, these deals can fall apart when one piece of the financing falls out, leading to hefty transaction costs to put Humpty Dumpty back together. A single equity source or a co-financing with a distributor is often the more prudent option.” — Andrew Hurwitz, entertainment lawyer, Frankfurt Kurnit Klein & Selz
Getting good advice
“The tax credit situation in America is volatile — some states are running out of money for their programs, and vetting them is a whole business in itself. You also have agents desperately trying to do pay-or-play deals for their clients, so you need to know the point when you can commit to key actors without 5 being on the hook for a lawsuit. Surround yourself with as many professionals as possible — attorneys, equity financiers, tax credit buyers and international sales agents.” — Cassian Elwes, film finance packager
Fielding the offer
“Oftentimes a filmmaker will come to us excited about a $4 million offer, but it’s not real until it’s in the bank. Since you sometimes can’t vet a financial source, you should put their money in a safe escrow account overseen by a solid, neutral attorney. Make sure the funds are designated for the film and can’t be removed just because they change their mind.” — Rena Ronson, UTA Independent Film Group
Getting the rights back
“Filmmakers should seek to negotiate into the financing and distribution deals clear milestones which, if not achieved by a certain date, allow the filmmaker to terminate the agreement and reacquire his rights in the film free and clear.” — Andrew Hurwitz, entertainment lawyer, Frankfurt Kurnit Klein & Selz
Their advice underscores the complexities of independent filmmaking and why it is a business that has been left to the informed insiders. The film industry, as we are constantly reminded, is a relationship business. Connections, reputations, and talent instincts are its most prized assets — hence the considerable time the film industry spends networking in an effort to cement such trusted contacts. It is also why film investors should ally themselves wherever possible with professionals who are plugged into those relationships and who are seasoned enough to read the industry signals. Investors’ probability of success will improve substantially under veteran guidance — despite the self-fulfilling dangers that come with that such heavy reliance on prior industry ties.
Drawing on the expertise of a professionally managed film fund goes some way to achieving that inner guidance — provided such a fund is able to access or mirror the market know-how exhibited by the kinds of packagers and dealmakers quoted earlier. This is where the online film financing platform Slated enters the equation. From its onset, Slated’s goal has always been to illuminate the path by which projects are packaged and financed for sale to distributors. As with the film industry itself, Slated is a momentum-driven platform where interest breeds interest. The most successful projects on the platform tend to surround themselves with influential champions and as much “social proof” as they can muster in terms of compelling videos, social media mentions, and any available metrics demonstrating film comparables, global book sales, YouTube hits, fan-base followings, and other evidence of early traction and a predisposed audience.
By shedding light on this byzantine process, using the familiar organizing and network-building principles of social media, Slated has tried to make it as simple to invest in films as it is to buy shares in a listed company — or a start-up. Accordingly, Slated started out by offering film investors the same tools for measuring early traction as tech investors already enjoy through platforms like AngelList. It’s a holistic picture of the movie marketplace. Rather than draw from the experience and tastes of one chosen fund manager or handpicked advisory teams, Slated relies instead on the collective experience and tastes of the entire independent film market — as expressed through the widest array of global sales companies, production facilities, and prominent film support organizations to ever embrace a single online business-to-business marketplace. Taking advantage of its tracking feature, Slated users can see which projects industry influencers and powerhouses are putting their resources behind. Just as sales agents happily take their cues from the market behavior of their buyers, so film investors now have a conduit for using the industry’s most experienced packagers for their own guidance system, reducing some of the information asymmetries that present a key risk to new film investors.
More radical still, Slated has ensured that every film company, every project package, every film executive and artisan, gets “scored” on the platform. Unlike the tech world where you can lay your hands on all the valuation and comparative data you might possibly need, the evaluation process in film is far less open book. All manner of moving parts are weighed up to anoint those talents and projects most likely to succeed. And yet we have little sense of what matters most. Anticipation of audience tastes plays just one part in that hidden decision-making matrix. Also in the mix are a host of business-to-business metrics that include performance data, track records, market dynamics, awards recognition, budget/genre considerations and an accumulation of collective industry wisdom regarding team combinations, execution potential and talent credentials.
Historically, all that institutional judgment has been siloed away in industry heads. By exposing that process through numbers, Slated’s scoring system is the first ever attempt at creating a points-based system designed to reflect how the industry evaluates what’s being pitched to them at any given time. The scores are indicative, not absolute, and keep flexing up and down as new informational data-points flow constantly through our automated system. The end-goal is not to put a final number on any member’s individual worth or potential value, but to incentivize better packaging practices based on how things might be measured by their business peers.
This is no easy task. As executives, we lean on our years of interpretative experience and then seek corroboration from supporting data and the opinions of our trusted networks. Valuable as the resulting information can often be, it also creates a climate of inconsistency and uncertainty across the industry. Temperature readings on talents and their ideas are so variable and subject to change that even those at the heart of the gatekeeping business resort to games of industry whispers and second-guesswork. If only we could create a more systematic and reliable first read of the relative strength of film projects at their very inception as screenplays, rather than wait to be held hostage by the whims and vogues of the packaging process. That era is about to begin with Slated’s imminent move into data-driven script analysis, an algorithmic leap that also opens the door to a whole new class of film finance, index-based funds.
Index Funds
As irresistibly argued by Colin Whitlow in his guest Filmonomics post, adapted from think pieces he wrote as a fellow at New York University’s Cinema Research Institute, the film industry is weakened by the absence of an objective measuring tool for would-be film investors. Many mature industries have created an index to help the investment community get a read on their sector’s financial climate. The Dow Jones Industrial Average, a price-weighted average of 30 significant stocks traded on the New York Stock Exchange and the Nasdaq, serves as a real-time proxy for mainstream financial market activity and economic health. The Case-Shiller Home Price Indices, calculated and kept monthly by the statistical rating organization Standard & Poor, are well-respected indicators of real estate performance in the U.S. Even esoteric asset classes have their own benchmarks. But the film industry has no such like-for-like barometer. For better or worse, film “comps” are the currency by which film projects are evaluated — and yet statistically valid comparisons are becoming ever harder to mine. Independent cinema is in urgent need of greater plasticity and transparency. It is into this informational void that Slated is now jumping.
As film executives so often like to say: It is all about the story. Create something special and people will line up and bust blocks around the world. Nothing else should matter. But anticipating what will strike a chord with audiences has proven elusive to film producers and studio bosses since the dawn of cinema. For the longest time, executives had no choice but to rely on their honed intuitions and the added protection of a well-diversified film slate. These days, they are leaning more on technological wizardry to supplement those hunches with more objective data analysis. Netflix uses collaborative filtering algorithms to predict customer preferences; others have turned to brain scans and biometric data to pinpoint levels of audience engagement with trailers, scenes, and characters. And yet for all this predictive science, box office “sleeper hits” still happen and films that flopped in one medium end up as enduring classics in another. Such surprises are part of cinema’s very appeal, of course — proof that, hey, you never know.
Until now, the response to this audience uncertainty has been to switch focus to what the film industry likes. Until such time that producers become their own publishers, reaching their paying audience directly through their own distribution mechanisms, there has been no crying need to understand the impulses of the ticket-buying public. Because for all intents and purposes, that public isn’t a filmmaker’s true audience anyway; the real audience is the packagers, sales agents, and distributors who will guide a film idea’s complicated journey towards the screen. After all, unless the film industry responds well to a particular project and buys it for distribution, there simply won’t be any box office or VOD revenues to predict.
By focusing on realistically budgeted projects that are packaged around their sales appeal to distributors, investors have the best chance of crafting a diversified portfolio that has a decent shot of withstanding the volatility of individual film performances. That at least was the risk-mitigating argument originally laid out in these White Papers two-and-a-half years ago. Compelling as that might seem, it is an investment strategy now in need of a New Act. There are just too many adverse and contradictory forces at play: The increased volume of filmmaking means that distributors can afford to be so much more selective these days; in an effort to appeal to these increasingly choosy buyers, every project is chasing after the same shrinking pool of bankable stars who can trigger pre-sales financing; and yet production slates have to be so much larger now to compensate for the shrinking odds of a blockbusting success. Unless you have the capital to fully finance an extensive slate of films, preferably one that speaks multiple languages and appeals to a diversity of demographics, the investment picture is becoming ever riskier — even as more money is pouring in.
An alternative response, to return to an earlier theme, is to find a way to invest across the entire independent storytelling spectrum, or at least a substantial portion of that spectrum. All the trends in media and entertainment point one way only: To a world of ever-increasing consumer demand for high-calibre content. Not just films showcased in theatrical venues, but premium television series and stories that premiere on online distribution platforms. Put those together and you have a very attractive asset class indeed. The problem comes, of course, in identifying which film projects will make the grade and finding a way to invest behind the tailwinds of their combined success. Even if it was practicable, investing a small amount in every one of the more than 4000 film projects submitted to Sundance makes no sense from a financial return point of view since such a small percentage of these will secure some kind of paying audience. But if Slated’s new script analysis and projection tools come even close to establishing which ideas have the strongest likelihood of commercial viability — based on their global audience appeal at retail level as opposed to their discounted sales value to distributors — then the foundations have been set for an independent film benchmark or series of benchmarks. Those like-for-like measures will not only serve as an invaluable reference tool for investors but create new trading possibilities that mirror the market fluctuations of the sector as a whole. For investors, any passive index fund that emerges out of this will have the added bonus of minimal expenses compared to actively managed funds.
If index funds — and by extension some kind of independent film exchange of measurable projects — sound far-fetched then once more at what is happening in the sports world. In October 2013, a San Francisco outfit by the name of Fantex launched the first trading platform for stock linked to the value and performance of athletes. Laughed off at the time as an elaborate gimmick, Fantex has already signed up seven football players, each of them lured by a one-time fee in return for a set percentage of all future earnings. In the case of Chicago Bears receiver Alshon Jeffery, that paycheck totaled an upfront $7.94 million, a sum that Fantex covered through the equivalent of an IPO. His “stock’ is currently trading at implied valuation of $70.7 million. There are many solid reasons why this sports exchange won’t translate directly to film investing, not least of which might well be that ban on film futures. But it does show the appetite for alternative forms of investment and the desire of entrepreneurs to keep experimenting with new financing mechanisms. Unless they do, the film world will be stuck in a fearful rut where no one dares break new creative ground. Someone, somewhere, has to find a way to bring back risk within a business model that works for film. Cinema is a risky business — which is precisely what makes it so special.
Download the PDF of this white paper for offline reading
White Paper 4 in a 4 part series.
Part I: Filmed Entertainment as an Attractive Asset Class
Part II: The Benefits of Film Investing
Part III: Key Considerations in Film Finance
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https://www.pbs.org/video/on-writing-action-ambulance-with-chris-fedak-nj5rry/
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en
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On Writing Action: Ambulance with Chris Fedak
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2023-05-13T00:00:00
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The writer of Michael Bay’s film Ambulance discusses writing compelling action.
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en
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PBS.org
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https://www.pbs.org/video/on-writing-action-ambulance-with-chris-fedak-nj5rry/
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[lounge music] ♪ ♪ ♪ ♪ [Narrator] On Story is brought to you in part by the Alice Kleberg Reynolds Foundation, a Texas family providing innovative funding since 1979.
"On Story" is also brought to you in part by the Bogle Family Vineyards, six generation farmers and third generation winemakers based in Clarksburg, California.
Makers of sustainably grown wines that are a reflection of the their family values since 1968.
[waves] [kids screaming] [wind] [witch cackling] [sirens wail] [gunshots] [dripping] [suspenseful music] [telegraph beeping, typing] [piano gliss] From Austin Film Festival, this is "On Story."
A look inside the creative process from today's leading writers, creators, and filmmakers.
This week's "On Story," Chris Fedak discusses "Ambulance" and the art of writing the action sequence.
- The action movie is related to musicals and comedies, especially silent comedies.
And so when you think about the way movies worked back in the day, it's that they worked in 1,000-foot reels and that's 10 minutes.
I think that there's still something in that kind of natural evolution of what makes a movie is that like if a movie kind of works within like these 10-minute kind of intervals, it keeps the audience's attentions, they're involved.
[paper crumples] [typing] [carriage returns, ding] [Narrator] In this episode, Chris Fedak uses his feature screenplay "Ambulance," which he wrote for Universal Pictures and which was directed by Michael Bay, as a case study on writing complex action sequences that drive the plot forward.
[carriage returns, ding] It feels like it should have had a warning card at the beginning of the movie- - Why?
- About the adrenaline.
Like it's the ultimate, ultimate car chase, sort of that who knew you could do it for, what was the run time?
- It's over two hours, yeah.
- Right.
I'd love to hear sort of the beginnings of the development of how, you know, this script came about.
- It actually took about 10 years.
I was finishing "Chuck" and it was the final season of the show and I have a Danish manager and Mikkel calls me, he says, "I just saw a movie" and this is how he talks.
"I saw something you have to, you have to watch it."
And it was like, "Okay."
And it was this small movie, a European film, "Ambulancen" from Denmark.
And it is a taut 80-minute thriller with also a lot of like really cool European touches, like ethereal touches.
It's like it actually has an angelic EMT character and it's these two brothers and it was a very interesting thing.
And what I liked about this movie was it was this tight little thriller, was really three characters inside a van.
And then my thought was, "What if you take that van, you put it in Los Angeles and you just [bleep] blow up half of the city?"
[audience laughing] You know, just like lay waste to the city 'cause like it's also one of those things, like every time I sit in traffic, I'm like, "What the [bleep] keeping me from getting to where I want to go?
It better be something good."
So I want bodies, I want blood.
Now, I take that idea and I go meet with my friend Jamie Vanderbilt.
And I had this notion of, it was a fusion of a bunch of things that had happened back when we were in school.
There was a number of robberies in Los Angeles.
Then there was another robbery, it was a giant, it was a big, it wasn't as dramatic, but it was a giant robbery where $32 million were stolen.
So I was like, "I wanna fuse all those things together and I wanna take a bunch of these pieces of this and that."
And also at the end of the North Hollywood shootout, there was a picture in "The L.A. Times" the next morning and it was of one of the robbers bleeding out on the ground.
His eyes open.
Now, he might have been dead, but the story was did they let him bleed out 'cause of what had just happened?
And so I was like, "I want a story where the EMT, who spent this entire movie trying to save this cop in the back and these two guys have [bleep] you know, I wanna see her try to have to save him.
I want to get to that point, where we're all the way through the looking glass emotionally, we've gone through all these crazy, you know, moves and that she now has to do simply her job."
'Cause I love that notion of it's like when you get out into the world, it's like fireman's got one job, cops got another job, EMTs got another job, doctors got a different job.
And I love when they all run into each other.
And I think that's so cool.
That feels like Los Angeles.
It feels like the world we live in.
And I love when they don't quite agree.
So I pitched that to Jamie.
He's like, "Cool" 'cause like we're just all writers now.
So instead of it being like executives and you gotta go convince people, it's just like "Cool."
I was like, "Great.
It'll be great."
And so I kind of got to a point years later, "Jamie, I got the script."
"What?"
Send it to him and then he's like, "Oh wow, okay, yeah."
And then we started just, you know, we started and I developed it with a number of different directors over the years.
And I was always working on other TV shows.
And it was fun though 'cause like, okay, I'll go sit down with this director and we would talk about it and we'd work on the script.
Everyone had their own kind of influence of what they wanted to do with it and we'd get close and then something would happen.
But the pandemic rolls around and I was doing the second season of "Prodigal Son," but I got a call, which was like, "Michael Bay needs a movie and he needs a movie that's COVID-friendly."
Like something that they could do with the protocols.
And we were thinking "Ambulance."
I'm like, "Really?
We blow up half of Los Angeles with the ambulance?
But it was like, but there was, but the fact that we shot so much of it inside of a contained location, it was actually kind of made a bit of sense.
So Jamie, my friend, we send off the script to Michael Bay and then you'd go like, "That's not gonna [bleep] happen, that's crazy."
Well, next thing I know it's like, "Oh, he read it, he's in."
And then it's like, "All right, well let's see what in looks like."
"Jake's signing on too."
"What the [bleep] is going on here?"
[typewriter dings] - So we're actually gonna be starting to look at some of the clips- - Oh, God forbid.
- That you have chosen.
This is one of my favorite scenes in the movie.
The one, the bank scene, walking into the bank scene.
Which because of so much that's in it, that gives you the stuff for later, the payoff part.
- Kim, you have a visitor.
But make it quick.
- Hi.
Hello.
This is gonna sound a little crazy.
- What is it?
- Well, I, I've, I've been in here, in the bank a few times.
Wow, it's really just me in here.
I, I was personally gonna, gonna try and play it a little cooler, but my, my partner in there, he's, he's right out there in this, in the car.
He just wanted me to come and say something to you.
'Cause I told myself that if I ever got the chance to that I would ask you out on a date.
- Like right now?
- Doesn't have to be.
- It's the worst timing on the planet for that guy, right?
All he wants to do is hook up.
- In the original movie "Ambulancen," it's like one shot where the guys just rush out of a bank and they get into an ambulance and there's a person having a heart attack in the back.
And I was like, "I know it has to be a police officer in the back of the ambulance and that's gonna make it much more like it's going to, it's important."
I remember knowing that this scene would be in this part of the story and that a coincidence, a small thing of like, just like a guy wants to go ask a girl out on a date is gonna literally lead to so much freaking chaos.
That's what I love.
Like your inciting incident doesn't always have to be like, you know, some huge thing or like, you know, pulling a sword out of a stone.
That's fine.
But like, it can be a guy just wants to go out on a date.
'Cause like this movie was also going to pull from a lot of the films that I grew up loving, you know, being "Die Hard" or another really important one is the original "Taking of Pelham 123."
And so when you look at those movies, there's always these small incidents, these small things, these little twists and turns.
And so, the tension is like, like you can do all these different things and we do a lot of explosions and whatnot and that's all in there.
But like I love that tension is you don't know what movie you're in yet.
Like, there's a moment early in "Die Hard" where I remember watching like the truck pull up and it's the first time I, when I was a little kid and I just remember watching that.
I was like, "I bet this is a movie where someone's gonna get run over by that truck."
And I was like, "No, no, no."
At a certain point you realize that's not what this movie is going to do.
- Let's go, let's go, let's go.
Let's go, Will, come on.
- Move.
[dramatic music] [guns firing] [dramatic music] [people screaming] [bleep]!
- What'd you do, man?
[guns firing] [dramatic music] ♪ ♪ - You so quickly got rid of a bunch of people in a really gruesome way that I was honestly not expecting.
There's so many formulaic action films that get made and it was like, "Whoa, whoa.
I wasn't expecting that guy to go and that guy to go."
The feeling that I had when I was watching this was Michael Bay was saying, "These guys are getting assaulted.
I want you to feel assaulted too."
- It's all about maximum impact.
It's all about like, how do we take this thing on the page?
You know, you're trying to like tell a story.
So that's, there's a difference between you're trying to sell the script and then when you're in it with your director, now you're in like, it's almost like you're speaking a language that only he or she needs to really understand.
It's like you're trying to make it their movie.
You're trying to, so when they're looking at it, they know what they're going to do with it.
It was really about translating it into like this movie which could have been directed by a number of different people had to turn into a movie that was going to be directed by a very specific filmmaker who thinks about action in a very specific and knowledgeable way in regard to "I know how to do this, I know how to shoot this, and I know how to do it in the smallest amount of time."
But the genius of Michael is that he knows exact, he's been doing this for so long and has made so many of these types of movies.
He's like, "I can take all that and I can put it into these days."
And so the script began to reflect that, which is like, that's how you take the, you know, what was, you know, them escaping from the bank robbery and turn it into this kind of compressed action sequence where you could have, it was all these things kind of working together to kind of maximize, you know, what was actually gonna show up on screen, you know?
And also that it was important that Will shoot the cop.
That had to be him having made this terrible mistake.
The thing he could, like his worst day was compounding on top of itself.
Everything's compounding constantly.
So for Will, it had to be him, you know, 'cause for Danny, I'm gonna go back to the holy text, "Die Hard."
[audience laughing] There is one holy text, I go back to it often.
The first time John McClane comes up against a terrorist, what does he do?
He tries to arrest him.
You're under arrest.
It's so important because it means he's not an action star yet.
He's not like in, you know, in like one of the sequels.
It's like, "I'm gonna try to do my job."
And so for here, it was important to watch Will's beginning his evolution from home, trying to, you know, save his wife to now having done this terrible thing.
- We got it, baby.
Insurance coming through.
- I lose faith in this world on a daily basis.
Not in you though.
- I mean, we gonna be all right.
You think you can handle him for a few hours?
- Oh yeah, we're gonna sleep, right?
[baby crying] Maybe not.
Another interview?
- Yeah, a warehouse job.
Forklift driver.
- That's good, baby.
You can drive anything.
[soft music] [door creaking] [door shutting] Celebrate when you get back.
Somebody called from a blocked number earlier.
- I know what you're thinking.
It's not Danny.
- Good.
I know you love him.
I know why.
But we don't need your brother.
- I got all I need right here.
Turn on the alarm.
- I wanna backtrack for a real quick second and ask about the relationship of the brothers and how that is really this architectural piece of the whole film, they're so opposite each other.
- There was brothers in the original movie.
In 2011, when I first heard the idea, somewhere it fused into my mind the VA was going through this terrible, you know, bureaucratic problems, and we had servicemen not getting, you know, medical care.
And I was like, "But that's [bleep] up."
And for me, that realness of like some real thing that like is happening in the world is like usually you don't put that into an action movie for a mass audience.
I was like, "That's a perfect setup for a character who we are are going to identify with."
You go and you serve for your country and then you come back and your wife isn't gonna get the medical care that she needs.
Will did come up, you know, on the wrong side of the tracks.
And that you know, that he had a brother who he wasn't supposed to be talking to.
And it's one of those things that like as you're working on your story and there was always a scene where his wife would say, "I got a call from a blocked number" and we know it's the older brother that he's not supposed to be talking to.
And it's like, even as you write it, the mystery in your head is you're starting to fill in like, "Well, why wouldn't you talk to your brother?
And who is that, you know, what is that dynamic between the two of them?"
And then Michael included like this notion of like, "Well, let's seek glimpses of their past."
And it's one of those examples, like as a writer I'm like, "Scenes are scenes" and you know, I didn't see that, I didn't think to include that.
But when you're a director who's done as much as, you know, it's like he knows what he can do and it works.
It's like it's this neat kind of ethereal element kind of infused into the story.
- Well, but when you go back to the Bible, John McClane is clearly our protagonist.
- Right.
- In here, I would not go into this and say that any one of them is clearly our protagonist, right?
You may.
I didn't watch it that way.
It was like- - No, I like it, I like criticism here up on stage, it's great.
[audience laughing] No, it's great.
Here's the thing, it's like this was, this movie was designed to be messy.
It's not here to say it's like "Will's a good guy and he does everything the right way."
No, he shoots a police officer.
It's like, this is not okay.
The notion that the good guys show up and they shoot the bad guy and then everybody succeeds and wins and walks away, that doesn't always happen, you know?
And I thought that was such an interesting thing to explore is like sometimes when the cops show up, it's like, you know, it's bad, more bad things happen.
And it's not because they're not trying to do something, it's just because they don't have the information.
They don't know who is, who's dangerous or if even if the cop's alive in the back of the ambulance.
I think that's what's neat.
John McClane though is like, going back to the holy text, but in that movie it's like, behind it is the husband-wife relationship.
It's about a guy trying to get back to his wife to apologize for being a [bleep].
Whereas in this one, it is about Will trying to get back to his wife, but he's doomed.
- So let's go into this, which should have almost gotten an X rating, I think.
- Skin is open.
- Then you and your criminal friend right there put both of your hands in the wound and I need you to spread the muscle apart.
- Man, the way people drive in this city.
- Stop yelling.
- Slow down.
You cannot do this at 60 miles an hour.
- That was just an amazing, amazing layered like something.
So again, also rewound that one a couple of times when I watched it 'cause it was like so much stuff in there, the whole layering of the guys on the cell phone.
- I always go back to Elmer Leonard and I went to see him speak at the WGA a million years ago and he was just like, "You know, people are always asking like how do I come up with this stuff?
Or how am I funny or witty?"
It's just like, or quick.
And I'm like, "I'm not," but I write it and then I come back to it when I have that quick thing and I put it in there.
So what happens in this story is that this scene was always in the script, but then what you realize is that as you kind of lay the thing out, you start to compound it and compress it and then you can have three or four things going on.
Because not only is this the coolest scene where she saves the guy, but it's also because the doctors don't see it, it's the inciting incident for the next sequence.
If you're thinking about 10-inute reels, the next sequence will be the sniper sequence where the cops think he's dead.
We're also setting up our next 10-minute problem, which is, you know, how we're gonna get into that.
And this also would speak to Cam, it would speak to her character, it would speak to who she wanted to be.
Originally, she wanted to be a doctor, you know, and she's good at it.
And there was a moment in the script, it's not in the movie, but it was where it was like the surgeons are watching and they're like, "She's got good hands.
Because this is the type of thing that only some people can do.
I can't pull somebody's guts out of them.
And now it's, what's interesting is the criminal friend, that line is improv by the guy on the golf course who's a real surgeon.
Those are real surgeons.
And it was shot in Florida.
So Michael had gone back to Florida and we were like, "Okay, we'll pick up this scene in a hospital somewhere in Florida."
But of course, it's COVID.
So I'm like, "Why don't we just put it on a golf course?
You know, doctors are there too, you know?"
And so he had his, he had, you know, friends who were surgeons.
So they were like, "Well, yeah, we can do this."
And so it's the two of them out there on a real golf course.
And then, you know, and everything happening inside the van is that kind of contained thriller.
That's the original contained thriller that was COVID-friendly.
So it's about compacting and taking tensions and kind of putting them all on top of themselves and setting up your next problem that is gonna be coming down the road.
- Well, so let's talk about that part, that 10-minute thing you're talking about.
This 10-minute reel.
I mean, is this how you approached the entire film?
It's like in these modules.
- The action movie is related to musicals and comedies, especially silent comedies.
And so, when you think about the way movies worked back in the day, it's that they worked in 1,000-foot reels and that's 10 minutes.
So one reeler would be 10 minutes.
So I think that there's still something in that kind of natural evolution of what makes a movie is that like, if a movie kind of works within like these 10-minute kind of intervals, you know, like how Charlie Chaplin would've like learned how to make a movie, then it keeps the audience's attention sitting in a theater, especially in more painful seats back in the day, is like they're involved.
They know that you have to keep kind of moving the problem and changing the story and also kind of like, you know, twisting it, you know, twisting it constantly along the way.
So I do sometimes view things in ten-minute intervals.
- You know, I mean, you really are always setting something else up that's crucial to the rest of the story, right?
- But I think one of the things that you notice with writers that write scripts that are, that you wanna read, that you find yourself enjoying as you're going through them is that they're doing a lot of setup, especially at the beginning of the story.
But then, you know, they probably have written the 200 page draft of this thing and then what what they do is they start to shrink it and they start to kind of know that if I'm gonna keep somebody's interest, if I'm going to kind of drive that story along, then you're kind of like, oh, all the layers can kind of be on top of themselves.
You can be doing two, three, four things at the same time in a scene.
- Let's take scene five.
- Green to go.
Take, take the shot if you got it.
[suspenseful music] [Man] Target one green.
- Kill shots.
Nothing gets in the back.
We've got friendlies.
- On my call.
[Man] Target two red.
Target two not clear.
- What about Zach?
I can't protect him.
Can you?
- What are you talking about?
He's alive?
- Yes, he's alive.
- Hey, he's alive.
Our cop's alive.
- God.
- Three.
- No.
[Danny] Cam.
- No.
- Two.
[suspenseful music] - Snipers.
[Driver] What?
- Snipers.
- Where?
- Black building.
- One.
Engage.
[guns firing] [tires screeching] [cars exploding] - That's also just one of those moments where it feels like everybody is just trying to do their job, but nobody really knows what's going on.
- There's no bad guys.
- Yeah, there's no bad guys.
- I mean, there are bad guys, but there's also no bad guys, in the sense that, well, there are bad guys.
I'm not saying it's okay to rob banks.
I'm not not saying it's okay to rob banks.
But just like, just think about your problems that the scene before leads to the sniper sequence.
Now the sniper sequence leads to Danny losing it.
And so now the guy who is emotionally volatile, psychopathic, he is in a bad state.
So now it leads to the next sequence.
Now it's pushing us back to Cam's gonna become the possible victim.
That Cam is now, even though she saved them, she becomes the representation of authority for Danny and now he's gonna focus on her.
So we're now going into an even darker place of like, "Is he gonna lose it?"
Because we've set up in the dynamic of the brothers, there's one brother who left.
Going to the military was Will getting out, getting away from their poisonous father.
Danny stayed, he's a criminal.
He was destroyed by his father.
He's the powder keg now.
So now the story kind of folds back inside into the ambulance and it's about the powder keg is gonna blow, it's gonna be an emotional thing.
It's gonna be about Danny and Jake and his incredible performance.
But all those things are set up.
They're all moving and causing new problems to form.
- Will!
Somebody help him.
- Ma'am.
- Will!
Will!
- Come on.
- Don't let him die.
Please, don't let him die.
Will!
Will!
Somebody help him.
Will!
Please somebody help my husband.
- You need to forget him.
- No.
I didn't finish the job.
- He's gonna die.
He's my husband, please.
[man gasping] - Hey, stop, this is a crime scene.
- Get off of me.
Back up.
Back off.
[dramatic music] Will.
Come on, Will, come on.
Come on.
Hey, look at me.
Look at me.
Your wife is right here.
You can do this.
You can do this, Will.
Will, you got this.
What is wrong with you?
Oh my God.
- We'll get to him soon.
- He'll be dead soon.
Help me now.
- All right, it's the teary part of the action film.
- It's an action film with emotions.
- Yes, I'm actually even worried about how long he's going to jail and when the kid will see him again and stuff, so.
- Yeah.
Or is he is even gonna survive?
It's like, and it's interesting because there was iterations of the story where it ended pretty much here.
A lot of the things that were added, even the money, like in the first drafts of the script, there was no money being placed into a baby carrier.
You know, those were all things that as I worked on it with different directors, you know, we found opportunities for like there to be these, it's not like we're saying everything's okay, but we're just saying that there's a part of this story which is there can be some reconciliation, there can be some hope.
And it was interesting, especially with Michael that in our first conversation, like, you know, talking to him, he had like a couple of ideas and one of the ideas was "I want to go back to the six-year-old girl at the end of the story."
And it's an emotional thing.
Your gut says, "I know what the story is, I know how to tell that story."
I didn't know how to tell this story until I figured out Cam.
And when Cam, in the original "Ambulancen" the Cam is a almost an angelic character.
It's very cool, but it wouldn't work for this story.
And then once I realized that Cam was the best EMT in that she had this drive that she could keep anybody alive for 15 minutes.
And once I had that, I knew that, you know, her saving Will was the north star of the movie.
I was gonna head toward that.
And then what's great is that that's her technical, like I can physically do this thing, but then going back to see the little girl at the end of the movie, it means she cares.
Like she is touched emotionally.
You know, she does have this heart that she hides from everyone.
'Cause like even if we can kind of intellectually say to ourselves that like, "You know, I don't, I'm fine, I'm fine.
I don't have feelings or emotions, stuff like that.
You do.
They're beneath there.
And that's what I loved about it.
So Michael was like another addition where you're just like, "That's great."
You know, it's like it allows you to have hope and it also tells you something about the character.
- But so that would be my argument as to the conflict over the protagonist because I would call her the protagonist.
- Yes.
But, and I agree with that and I think that was also one of the reasons why the movie didn't get made originally.
Because when you go out to kind of like put together a movie, you usually start with your leads.
And I think a lot of actors looked at that script and they were like, "I think Cam's the main character."
And what's so awesome about Yahya and Jake is that they fully commit to characters who are flawed.
And that's the kind of amazing thing for me is to hand the script over and to watch, like these people all at the top of their game, fully commit to characters who are flawed and then secretly, the female lead is the hero of the story.
You know, and that for me, is awesome.
There's a lot of action movies and I love action movies, all of them.
Not all of them.
But you know what's gonna happen.
And I think that, hope that anyone who went into the theater, you don't know how this movie's gonna end.
[typewriter dings] [Narrator] You've been watching "On Writing Action: Ambulance with Chris Fedak" on "On Story."
On Story is part of a growing number of programs in Austin Film Festival's On Story project that also includes the "On Story" radio program, podcast, book series, and the "On Story" archive accessible through the Wittliff Collections at Texas State University.
To find out more about On Story and Austin Film Festival, visit onstory.tv or austinfilmfestival.com.
♪ ♪ ♪ ♪ [projector clicking] [typing] [typewriter ding] [projector dies]
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https://www.slantmagazine.com/film/understanding-screenwriting-28/
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Understanding Screenwriting #28: The Hangover, The Brothers Bloom, The Taking of Pelham 1 2 3, & More
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2009-07-13T08:10:05+00:00
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Wait a minute, isn’t success supposed to have a thousand fathers?
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en
|
Slant Magazine
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https://www.slantmagazine.com/film/understanding-screenwriting-28/
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Coming Up In This Column: The Hangover, The Brothers Bloom, The Taking of Pelham 123 (2), The White Sister, Ten Wanted Men, Night Train to Munich, Berlin Express, but first…
Fan Mail: Since there were as of this writing no comments on US#27, let me just throw in a promotion for any fans of the column who may be in or around Bloomington, Indiana on Saturday, August 1st. I will be doing a discussion and book signing that day from 2 to 4 p.m. at the Borders Bookstore in Bloomington. The address is 2634 E. Third Street. I would love to meet any of the column’s readers who can drop by.
The Hangover (2009. Written by Jon Lucas & Scott Moore. 100 minutes): A thousand fathers…
As I have mentioned, I am not a fan of movies about men behaving like little boys, but I like the team of Lucas & Moore as writers. In addition, the first weekend exit polls were showing that a lot of women were going to see the film, and the weekday business was staying high. So off I went to see it on June 11th, the Thursday after it opened.
Lucas & Moore have set the situation up nicely. We learn at the beginning that Phil, Stu and Alan have somehow misplaced the groom during a weekend bachelor party in Las Vegas. Then we get nearly twenty minutes of flashback setup as the guys go to Vegas. This establishes their characters, which is crucial to the film working. We LIKE these guys, even if they are crude. And each one is different. Phil is the horndog, Stu the uptight one and Alan is only semi-housebroken. Doug, the groom, is rather bland, but we lose him fairly quickly. Lucas & Moore then cut from their arrival in Vegas to the next morning, when they discover not only that Doug is missing, but their suite now has baby, a chicken and a live tiger in the bathroom, among other things. So we have likable characters, some mysteries and a quest, if not quite a Hero’s Journey. The writers come up with some funny gags and a couple of very nice scenes including one with that old charmer, Mike Tyson. Tyson’s scene is a great change of pace in the middle of the film. Needless to say, all works out well in the end.
There are downsides. The characterization, while adequate, is not up to the usual Lucas & Moore standard. The one older character, the bride’s father, is standard issue. The real downside in characterization is the women. Jade, the hooker, is about as standard issue heart-of-gold as you can get, and it does not help that she is played by Heather Graham, who has done many better versions of this part over the last fifty years. The bride here is not as interesting as the bride in Lucas & Moore’s Ghosts of Girlfriends Past. And Stu’s girlfriend is about as obnoxious a woman as we have seen lately in the movies. What happened?
In the interview with Danny Munso in the May/June issue of Creative Screenwriting, written and published before the film opened, Lucas & Moore talk about how they developed the idea on their own, with no mention of other writers or producers working on it. The day I saw the film, Patrick Goldstein’s regular column The Big Picture appeared in the Los Angeles Times. He was reporting that Todd Philips, the director of The Hangover, “checked in the other day, calling from London.” Why would a director call the Times from London? Philips told Goldstein that the Lucas & Moore script was really intended as a PG-13 film and he and Jeremy Garelick had done an uncredited rewrite in which “we really pushed the limits and turned it into an R comedy.”
There is a longstanding Hollywood tradition that when a picture opens really well, as The Hangover did, any number of writers come out of the woodwork to claim they did “uncredited rewrites” on the film. When Speed opened well in 1994, there were at least two writers who claimed to have written the final drafts, although the script I saw, which was essentially the film, only had the name of the credited writer, Graham Yost, on it. When Erin Brockovich was released in 2000, suddenly the word on the street was that Richard LaGravenese had actually done the final drafts. That may have caused the credited writer, Susannah Grant, to lose the Oscar. Thanks, Richard.
When I was walking home from seeing The Hangover, I picked up a copy of the freebie LA Weekly, which includes a column, Deadline Hollywood, by Nikki Finke. She is a very snarky writer, but her batting average for accuracy is fairly high. Her column in this issue was all about not only the writers who were claiming to have worked on The Hangover, but the assorted producers who claim to have contributed to the story, none of whom were mentioned by Lucas & Moore. Success has a thousand fathers…I assure you that the same week there were no writers coming out of the woodwork to claim to have done “uncredited rewrites” on Land of the Lost.
When Finke mentions Philips and Gerelick’s rewrites, she says, “Some say the duo was ‘robbed’ of a credit by the WGA arbitration.” Probably not, although they may not see it that way. Time for a brief—I hope—discussion of the Writers Guild of America arbitration process. Take out your crayons and notebooks children, there will be a quiz later. Back in the thirties, before the Guild, the studios assigned the screenwriting credits. Favoritism abounded, and the tendency was to give credit to whoever worked on the film last. Writers felt this was unfair, since the hard work of “breaking” the story defined the film more than a few additional dialogue bits. So when the studios finally recognized the Guild, the Guild wanted to establish an arbitration process. The studios fought it, as they saw it as giving up their power, but as screenwriter Philip Dunne said to me in the early seventies, “Now of course the studios couldn’t agree with you more. This takes a big headache off them and puts it on the Guild.”
The arbitration process works this way. When a film is completed, the producer submits to the Guild his suggestion of what the writing credits should be. Every writer who ever worked on the project is then informed of the suggested credits. If everybody agrees (and it does happen. Really), those are the credits. If a writer disagrees, then the credits go to arbitration. Every writer involved submits the material he thinks shows his contributions to the film. (This is why I always tell my screenwriting students to save EVERYTHING.) Three panelists for the Guild, working screenwriters, read through the material without, in theory at least, knowing who the writers actually are. The panel then decides on the credits, with writers having to have written specific percentages of the script to get credit. Usually the writer or writers who worked on the material first are given the first credit. As Winston Churchill said of democracy, it’s the worst system ever invented, except for all the others. Every writer sometimes feels he gets screwed. Some writers even feel they get credits they are not sure they deserve. But generally writers accept the system as a necessary evil and figure if they lose this one, they will win on the next one.
The people who complain about the arbitration system the most are directors. William Wyler was upset that Christopher Fry, who was on the set of Ben-Hur constantly rewriting the dialogue, did not get a credit. Barry Levinson threw one of his patented hissy fits when the Guild awarded top credit on Wag the Dog to Hilary Henkin with David Mamet only sharing the credit. Directors, like the studio producers of the thirties, tend to favor their little pet writers, whose work, when looked at (more or less) objectively was not as big a contribution to the film as the directors thought.
There is nothing, alas, in the Guild rules that say that the contributions of the additional writers have to be improvements. Which leads me to suspect that the problems I had with the script of The Hangover came from the uncredited rewrites. Those problems may have also come from the development process. Producer Chris Bender worked with Lucas & Moore and the material was submitted to New Line, which has released such “chick flicks” as Ghosts of Girlfriends Past and My Sister’s Keeper. New Line passed, and the film ended up at Warner Brothers. Warner Brothers Group President Jeff Robinov, whom Finke describes as “little-liked,” was quoted last year as saying that there would no longer be any films at Warners starring women, since he did not think they could carry a picture. He sort of denied saying it, but the fact that industry people believe he did say it tells you something. Finke includes a quote from Warners studio chairman Alan Horn, Robinov’s boss, giving all credit to Robinov for shepherding The Hangover to its great success. Wait a minute, isn’t success supposed to have a thousand fathers? Finke did not seem to realize that what Horn may have been doing was telling people in Hollywood that the partial reason the women in the film were so misogynistically portrayed was Robinov’s stewardship of the film. Welcome to Hollywood, Jeff.
The Brothers Bloom (2008. Written by Rian Johnson. 113 minutes): I like the movie it started out to be.
As you can tell from the trailers to this film, it is a con-man movie, with lots of charm from Rachel Weisz as a madcap heiress and Rinko Kikuchi as the “muscle” in the con. The film starts quirky: we see the two brothers Bloom, the older one called Stephen, the younger one just Bloom—uh-oh, cuteness alert—as kids running their first con. It’s fun, as is the next one we see now that they are grown up. But Bloom wants to get out of the business. Stephen pulls him back in for one more, this one involving Penelope, the aforementioned heiress. Except Penelope, who has been locked up in her family’s mansion, LOVES the idea of being part of a con. She pushes them further and Bloom of course falls in love with her. OK, it’s not Lubitsch’s (and Samson Raphelson’s) Trouble in Paradise, but what is? Still, we are with it. But remember that the story started with the two brothers. And it keeps getting serious about them. Now if there is one thing I do NOT want in a con-man movie, it is for it to get serious. Especially when, as in this case, it begins to lose the charm that pulled us into it in the first place. I am not saying you cannot change tone in the middle of a film (Psycho, enough said), but we had better want to go where the tonal shift is taking us. In the case of The Brothers Bloom, it is taking us away from what we like in the film. Not a smart move. I kept expecting Johnson to pull off another con or two, either on the characters or on us, but what I take to be his final con is not all that interesting, or much of a surprise.
Still you do get Weisz and Kikuchi, who are terrific. This is a very different part for Weisz and her performance should inspire someone to write a great screwball comedy for her.
The Taking of Pelham 1 2 3: (Two versions: 1974. Screenplay by Peter Stone, based on the novel by John Godey. 104 minutes. 2009. Screenplay by Brian Helgeland, based on the novel by John Godey. 106 minutes): Directors, can’t kill ‘em, can’t make a movie without ‘em.
The 1974 version is one of those gritty, New York City crime dramas that multiplied like alligators in the sewers in the early seventies as a result of the huge success of The French Connection in 1971. The setup is simple: Four guys take a car of the New York subway hostage and the good guys try to figure out how to stop them. The idea of taking a subway car hostage is at the ingenious heart of the story. Peter Stone’s screenplay plays like a procedural, following the mechanics of the heist and the efforts to stop it. Since Stone is also the screenwriter of Charade, one of the two best Hitchcock movies Hitchcock did not make, there is a certain amount of wit in the dialogue and characterization (I love the mayor in bed with the flu), which are a nice counterpoint to the suspense. The actors are all journeyman actors who look like New Yorkers, and those that are still alive work on the various Law & Orders. The director is the competent journeyman Joseph Sargent and he gives it speed and a New York attitude, making it the best Sidney Lumet movie Lumet did not make.
So why bother to remake it?
Well, it is highly thought of, and the setup is still ingenious. The writer this time is Brian Helgeland, who did the screenplays for L.A. Confidential and Mystic River. I don’t know what the budget was on the 1974 version, but it probably was not much over $5 million, if that. The budget for this version is reported to be in the $100 million range. For a gritty little thriller? No, for a star vehicle. The two leads of the ’74 version were played by Walter Matthau and Robert Shaw, who were terrific actors and gave excellent performances, but for a Major Studio Motion Picture today, you need STARS. Matthau’s Garber was a New York City Transit Inspector, Denzel Washington’s Garber is a shlub of a guy who is working the phones in the situation room. In the ’74 version Garber was more of an everyman, in spite of his position. In the ’09 version Garber is an EveryMan Played by A Star. In ’74, the methodical and efficient head crook was coolly played by Robert Shaw. In ’09, Ryder is a raging psychopath overacted by John Travolta. Helgeland has focused on the relationship of the two, while Stone focused on the mechanics of the two men’s story. Helgeland has Ryder come to like Garber and to demand he talk only to him. Garber also gets an elaborate backstory that plays into the situation. Scenes of the mechanics of the story in ’74, such as a look at how the ransom money is counted and packaged, are dropped so we can get more of the two stars.
While the sick mayor in ’74 is fun, Helgeland’s ’09 mayor is even more fun, more of a tough guy and more involved in the story. Which means scenes and lines for James Gandolfini, who reminds us he is a lot more than Tony Soprano. Helgeland has also added a hostage negotiator, Camonetti (John Tuturro), who comes to respect Garber. Wit is not Helgeland’s strong suit, so we don’t get Stone’s zingers spread out among the more minor supporting roles. Helgeland has also had to drop the original’s naming of each of the hijackers with colors: Blue, Green Grey, since Tarantino stole that and made it his own in Reservoir Dogs. I don’t know how much Washington was paid, but it was probably a lot, which means that Helgeland has to turn him into something of an action hero in the last twenty minutes. Since Washington put on weight for the character, he is not quite believable running around the streets and bridges of New York without appearing to be winded.
So. Helgeland’s script is not awful and has some nice moments. Then they got Tony Scott to direct it. The credit sequence alone has more cuts than in the entire ’74 version. The camera whips around a LOT, and various film speeds are used, too often. When Scott gets into the scenes with Washington and Travolta, the camera slows down and we watch the stars. In very big closeups. This may be one of those films that plays better on television than on a big theater screen, since the jerky-cam shots and the huge closeups will be a little less obnoxious.
I’ve been thinking about why Washington has now done three films with Scott. The closeups may be the answer. Scott, for all his flashy style, appears to love his stars and gives them their head. Washington is better than Travolta here, though the scenes where they finally meet in person are rather nice. But that is Scott getting out of the way of the script and the stars. The rest of the time he is just showing off. Joseph Sargent, by the way, shot the original in not-as-casual-as-they-seem medium shots, and the performances work just as well, if not better.
The White Sister (1923. Scenario by George V. Hobart and Charles E. Whittaker, titles by Will M. Richey and Don Bartlett, based on the novel by Francis Marion Crawford. 135 minutes): They had FACES then.
This is the second of at least four different films made from this novel. I cannot recommend it as an example of great screenwriting for silent films, particularly in terms of plotting, although the problems there may come from the potboiler novel it was based on. Angela, the daughter of an Italian nobleman, is done out of her inheritance by her wicked sister in ways that defy any kind of reality but at least get the story going. Angela falls in love with the dashing officer, Giovanni, but before they can be married, he is sent off to Africa, where he is reported killed. What’s a girl to do? She becomes a nun. Guess who’s not dead? And he shows up just as she is taking her final vows, and the writers really have to twist and turn the action to keep him away from her until after she has taken her vows. In the novel, apparently, he persuades her to renounce her vows and run away, but being an expensive picture, this was changed so they don’t run away. He dies a noble death trying to save people from an eruption of Mount Vesuvius, placating the Catholic Church, which in those days had a certain power over which movies its flocks would attend. The Church in return loaned director Henry King the director of ceremonies at the Vatican to stage the taking of Angela’s vows.
So why bring this movie up in a column on screenwriting? Because it shows you how much story you can tell and how much emotion you can get without dialogue. Unlike a lot of middle-to-late silent films (such as King’s Romola, which like this film was shot in Italy), there is not an overabundance of titles to disrupt the flow of the film. King has been an underrated director, but if great film historians like Kevin Brownlow and David Shepard tell you he was good, pay attention. King understood emotion. Lillian Gish is Angelina and more restrained and subtle here than in many of her Griffith films. Her brilliant leading man was a young actor who had done small parts in a few films. I wrote in US#19 how screenwriter Casey Robinson had created the definitive Errol Flynn part for Flynn. In this case I think the credit for this actor’s impact goes to Henry King for realizing and using the way the camera loves him. A few years later when sound came in, at least some people worried that the actor, who was by then sort of a junior-varsity John Gilbert, would not make the transition to sound. They thought he had a strange voice. If you ever see The White Sister, try NOT to hear Ronald Colman’s voice as you watch him.
Ten Wanted Men (1955. Screenplay by Kenneth Gamet, story by Irving Ravetch & Harriet Frank. 80 minutes): Not quite one of the Ranown westerns, but you can see them coming.
IN US#13, 17 and 18, I wrote about the Budd Boetticher DVD box set and the films in them, which are known as the Ranown films, Ranown being the name of the company formed by producer Harry Joe Brown and actor Randolph Scott. The films in the box set are considered the classics, but Brown and Scott had been making films before those. This is one of them, and its cast includes not only Scott, but Richard Boone and Skip Homeier, all three of whom appear to better effect in other Ranown films.
The story is by Ravetch & Frank before they became famous. He had been writing westerns for several years, and he did two before this one that were particularly good, Vengeance Valley and The Outriders, both from 1950. He did the screenplays as well as the stories for them. In this case, the screenplay was done by Kenneth Gamet, whose credits are mostly run-of-the-mill westerns. The ending of this is such a mess that I suspect it came from Gamet rather than Ravetch & Frank. Ravetch & Frank were about to do a couple of adaptations of Faulkner (The Long Hot Summer [1958] and The Sound and the Fury [1959]), and you can see a hint of that in here with Wick Campbell’s lusting after his Mexican ward. The characterization is not as sharp as in the Burt Kennedy or Charles Lang scripts for the later films.
The director is H. Bruce “Lucky” Humberstone, who directed films from the twenties through the early sixties without making a good film. Why did he work so much, other than being “Lucky”? To use Nunnally Johnson’s phrase, he got the stuff. Not great stuff, sometimes not very good stuff, but the stuff. He got the action and the acting, which is not all that good here, on the screen. He shot Ten Wanted Men in the Arizona desert, in and around the classic western town set at Old Tucson. He’s no Budd Boetticher, but he gives good cactus for the money.
Night Train to Munich (1940. Screenplay by Sidney Gilliat and Frank Launder, based on a story by Gordon Wellesley. 90 minutes): Train Day on Turner Classic Movies, Track One.
In US#3 I wrote that The Lady Vanishes was the granddaddy of all train thrillers, but I had fogotten that Sidney Gilliat wrote the real granddaddy of all train thrillers, Rome Express, in 1932. His regular partner was Frank Launder and in 1938 they wrote The Lady Vanishes. As a result of the enormous success of that, they got hired to do this one. Boy, experience tells. A world at war helps to. The Lady Vanishes is very much a between-the-wars thriller, with very general details about spies and their ilk. By the time they came to write this one, the war in Europe had started, and it gives the film a little more weight. The film begins with a newsreel montage of the events leading up to the war. Then we are in Czechoslovakia as the German invasion is about to begin. We are in a munitions plant that the Nazis are aiming for, and as planes fly over, one of the executives says, “Ours?” Another replies, “No, theirs.” See what I mean about experience counting? That is simple and effective screenwriting. The scientist/technician the Nazis want manages to escape to England, but his daughter is left behind and thrown into a concentration camp. Her escape is the model of efficient screenwriting: a searchlight is turned off by a mysterious hand, the light comes back on, the camera pans to a hole in the fence. We know she’s gone.
Watching this today, we know she is in good hands because the man who helped her escape is identified as “Karl Marsen,” but we know he is really Victor Laszlo in disguise, since he is played by Paul Henreid. Look at the date of the film again. If you don’t know the film, it’s a shock to learn Victor Laszlo is a Nazi. He has been assigned to get her to England to find her father, so Marsen can kidnap him and take him back to Germany, which he does. Look at the exchange of closeups between Anna and Marsen at the submarine when she realizes he’s not a nice man. That’s depending on your actors and not your dialogue.
So now the father is back in Germany, and how are we going to get him out? Gus Bennett (and look at how inventively Gilliat and Launder set up him up), part of British Intelligence, pretends to be a Nazi officer, finds the father and soon we are on the train of the main title. How can you believe a Britisher as a Nazi officer? Well, he’s played by Rex Harrison, whose natural imperiousness seems perfectly at home in a Nazi uniform.
Two of the more amusing characters that Gilliat and Launder created for The Lady Vanishes show up here, again touring Europe. There are two very obtuse Englishmen, Charters and Caldicott. In the first film they were comedy relief, constantly worried more about the England-Australia Test Match results than the intrigue. Here they are involved in the final rescue, and because they are so obtuse, we are not confident they will not mess things up. This is a perfect example of taking characters from an earlier film and using them in inventive ways. Experience tells.
And in answer to the question you want to ask, yes, I do think it is better than The Lady Vanishes, even if the director is “only” Carol Reed. This is the other best Hitchcock movie that Hitchcock did not make.
Berlin Express (1948. Screenplay by Harold Medford, story by Curt Siodmak. 87 minutes): Train Day on Turner Classic Movies, Track Two.
TCM was running these together in the middle of the night, so since I was DVR-ing the first one… As Ernie Banks used to say, “It’s great day. Let’s play two.” Alas, this is not quite up to Night Train to Munich.
The earlier film was almost entirely studio bound, but this is very much one of those late forties films where the studios sent the cast and crew to foreign countries to use up the theatrical revenues that were frozen by those countries. So we get scenes shot in Paris, Frankfurt, and Berlin. Boy, did our bombers do some damage on those last two. It also has the late forties documentary style of narration. Too much narration. Way too much narration.
A group of multi-national passengers on a train from France to Germany are sort-of witnesses to the killing of a peacemaker who has a plan for the unification of Germany. Except that it was someone pretending to be him on the train and not the main guy himself. OK, I realize this was only the late forties, but wouldn’t a politician/statesman as important as this guy have had his photograph in the newspaper at least a couple of times? And wouldn’t one of the passengers realize it was not him on the train?
Well, since he is still alive, he almost immediately gets kidnapped. Why didn’t they just kidnap him at first? And why is it so crucial to the neo-Nazis (who are interestingly portrayed as thugs, not suave villains) that they learn his plan? After all, it is just a political plan, not the specs for an atomic bomb.
So he is kidnapped and several of the passengers join in the hunt for him. This being a late forties film supervised at RKO by Dore Schary (see the item on Millard Kaufman in US#22 for more on Schary), each of the passengers is from one of the four countries running Germany. The film becomes a message-y model for international cooperation. It was released in May 1948, which means it was probably written before the famous October 1947 HUAC hearings in Washington. This may explain why the Russian soldier in the group is not portrayed as the epitome of evil. Everybody connected with this film wants us all to get along, which is not quite how it all worked out in the years following 1948.
This article was originally published on The House Next Door.
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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Submit your screenplay, manuscript, or prose to the best writing competitions, fellowships, and labs in the world, curated for you by Coverfly.
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https://writers.coverfly.com/competitions
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2023 SCRIPT COMPETITION SEMIFINALIST JUDGE ANNOUNCEMENTS!
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[
"Travis Broughton"
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2023-08-30T18:34:31+00:00
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https://austinfilmfestival.com/wp-content/themes/AFFest-wp-theme/images/favicon.ico
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Austin Film Festival
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https://austinfilmfestival.com/blog/news/2023-script-competition-semifinalist-judge-announcements/
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Nadya Panfilov
Nadya was born in Uzbekistan and has spend the last twenty years trying to figure out how to fit into the microcosm of the United States. Her saving grace was film & television and when it came time to apply for colleges her immigrant parents “were very cool about film school.” She graduated from Chapman University with a degree in Screenwriting which is ironic because she actually hates writing. Like so much. Post college she got into TV development and went from intern to Coordinator at Parkes+MacDonald for their first look with Universal Studios. While at Parkes she helped sell two shows to NBC, one to STARZ and the last project she had the honor of working on is pending release from Amazon. After finally admitting to herself that she hated to write and that she loved to help people, she pivoted to representation and started at Writ-Large in January 2020 and quickly rose through the ranks. Now she spends her days grateful to be fulfilled in her career and not having to force herself to write. That can be left to people who actually enjoy it. But she is more than happy to share her opinions, of which she has a lot.
Liz Kelly
Liz Kelly is Senior Manager of Creative Talent Development & Inclusion at Disney Entertainment. In this role, she works with the network and studio to staff writers and directors across ABC, ABC Signature, Freeform, Disney Channel, 20th TV, FX, Nat Geo, Disney+ and Hulu’s scripted television shows. She manages the industry-leading Disney Writing Program and Disney Directing Program. She has staffed talent on THE GOOD DOCTOR, THE ROOKIE, A MILLION LITTLE THINGS, DAVE, HOW I MET YOUR FATHER, SINGLE DRUNK FEMALE, THE GOLDBERGS, STATION 19, RAVEN’S HOME, and BLACK-ISH, among other scripted series. Prior to Disney, Kelly worked for 6 years at Fox, most recently as Associate Director of Production and Development Labs – Film & TV, for 21CF Global Inclusion. Kelly staffed writers and directors on FOX’s scripted television shows, including THE GIFTED, THE COOL KIDS, LUCIFER, LAST MAN ON EARTH, THE EXORCIST, THE RESIDENT, and LETHAL WEAPON, among others. She managed the Fox Writers Lab, Fox Directors Lab, Fox DP Lab, and Fox Filmmakers Lab, tracked and maintained network diversity statistics regarding on-air and behind-the-camera creative talent, and managed the department’s partnerships and sponsorships with non-profits and film and TV festivals.
Kelly has been a judge, script reader, or panelist for numerous film and TV festivals across the country, including the Tribeca Film Festival, New York Television Festival, Austin Film Festival, ATX Television Festival, SeriesFest Denver, CAAMFest San Francisco, San Diego Latino Film Festival, NALIP Media Summit, LA Skins Fest, Outfest, BlackStar Philadelphia Film Festival, and Humanitas New Voices. In 2017, she was invited to be part of Creative Artists Agency’s “Amplify: Next Gen” group of up-and-coming entertainment artists, agents, and executives.
Kelly is a member of the Hollywood Radio & Television Society. She has a BA from UCLA and is a graduate of UCLA School of Theater Film & Television’s graduate-level Professional Program in Screenwriting.
Craig Brody
Craig Brody is the founder of Map Point Management, a boutique literary management and production company.
Brody began his career in New York City as a lawyer, specializing in intellectual property law at a large corporate law firm before making his move to Hollywood. He wanted to continue representing clients, but was more passionate about advocating for creators than large corporations. Brody’s first stop was at CAA, where he spent 11 years in the motion picture literary department. As an agent, he loved discovering emerging talent and breaking writers and directors from television and theater into film. As the TV renaissance continued, and more of his clients had an interest in working in TV, Brody decided that he would be most valuable in building his clients’ careers if he could work with them in all areas. In 2016, he made the jump to become a manager at The Shuman Company. In 2019, Brody started Map Point Management to further nurture the creative visions of his clients and elevate previously underrepresented voices.
Craig’s clients include writers, directors, and playwrights, such as: Academy Award-nominated writer Virgil Williams (Mudbound, upcoming The Piano Lesson), two-time WGA Award-winning writer Debora Cahn (creator of The Diplomat, Homeland, The West Wing), writer/director Ben Younger (Snowfall, Bleed for This, Boiler Room, Prime), writer/director Stephen Scaia (Tulsa King, co-creator of Blood & Treasure, Limitless), playwright/writer Zakiyyah Alexander (co-showrunner of Grown-ish, Russian Doll), playwright/writer Lauren Yee (Pachinko, Billions, upcoming Interior Chinatown, upcoming The Sterling Affairs), author/writer Sandra Chwialkowska (Alaska Daily),author/writer Sarah Cornwell (Mayfair Witches) writer/director Sherif Alabede (upcoming The Craving, Perry Mason).
Craig lives in Los Angeles with his wife, their two children, and their pet turtle, Jerry.
Erwin More
Erwin More is currently a founding partner of More/Medavoy Management. As a partner at More/Medavoy he manages a wide array of talents focusing on clients who have multiple platforms in acting, writing, directing, and content creation. More has a passion for representing and inspiring talent. “Pushing the boundaries of what is attainable is my primary goal in the representation business”, says More. More co-ran the talent department at the famed William Morris Agency for seven years where he also focused on television packaging. He also spent five years at the premier talent agency, Paradigm. He got his start working for Norman Lear and Bud Yorkin’s legendary television companies T.A.T and Tandem Productions where he watched television history being made in the company that produced iconic programs such as “All In The Family”, “One Day At A Time”, “Maude”, and “The Jeffersons” to name a few. More has produced such successful series as “Dharma and Greg”, “Just Shoot Me”, “Sweet Justice” and receive an Emmy for one of the first network docu-series, “American High”.
Erwin served on the Board Of Directors and served as Board Chair for the academic institution, The Willows” He is currently the Co-Chair of the Board of Governors for The Willows. “Finding inspiration through educating children has been a rewarding experience”, says More.
Glenn Cockburn
Glenn Cockburn is the founder of Meridian Artists. Along with the rest of the Meridian Artists team, Glenn currently represents a select roster of some of Canada’s most talented writers, directors and producers.
Glenn’s career started in 1996 when he began working as script reader for New Line Cinema and Innovative Artists Agency. From 1997 through 1999, Glenn worked as a Creative Executive at Templeton Production’s first look deal with New Line Cinema. In 1999, Glenn returned to Toronto and joined The Characters Talent Agency where he ran the Packaging Department. Glenn also acted as Executive Producer on the feature film, Young People Fucking, which premiered at the Toronto International Film Festival in 2007 and became one of the most successful and highest grossing Canadian comedies of all time.
Glenn’s other professional activities include teaching the course, The Business of Film and Television, at Sheridan College as well as being a board member for the Humber Comedy program. Glenn has a B.F.A. Honours in Film and Television Production, from York University and a M.B.A. from the Ivey School of Business.
Jared Negrón
Veteran development executive Jared Negrón is the founder of Writers Management, a literary management company focused on representing diverse creators from a variety of backgrounds.
Negrón, who himself identifies as Queer, Latinx, and Jewish, previously served as a member of the cable development team at CBS Television Studios before joining the television division at Scott Free Productions, and ultimately running U.S. scripted television development for Simon Cowell’s Syco Entertainment. He then went on to work as a programming manager for Disney Parks, Entertainment and Products before founding Writers Management. Negrón began his career with an apprenticeship at FX networks.
During his time in development, Negrón contributed to such notable series as Common Law, Power, Man in the High Castle, The Terror, and Jean-Claude Van Johnson. Under his tenure at Syco, the company saw several high-profile pilot sales including the adaptation of the Emma Sayle novel Behind the Mask to Fremantle and Dead Pop Star to Fox.
The mission of Writers Management is to amplify unheard voices and tell entertaining and impactful stories on any screen.
The roster at Writers Management includes Humanitas playwright and screenwriter Jami Brandli, UCB writer and Tonya Harding the Musical star Heather Woodward, novelist and Bread Loaf alumnus Will Clarke, and novelist and Atlantic contributor Jon Methven. In addition to established writers, the firm represents fresh voices such as up-and-coming indie Queer Armenian American filmmaker Dave Sarrafian.
Jason Lubin
Jason Lubin is a manager-producer and the principal at First Story Entertainment, which he founded in 2018. The lit management company represents a diverse roster of talented writers and directors with fresh voices in all genres for Film and TV. The company’s clients have been staffed on shows on multiple networks including Showtime, CW, Apple+ and Netflix and have sold series to Disney and HBO Max. In 2021, two of the nine participants selected for the highly competitive WBTV Writers Workshop were clients. In the feature space, First Story clients have written films starring Robert De Niro and John Malkovich, sold specs to financiers including Searchlight Pictures and Sony International, and directed projects selected by the Cannes Film Festival. Jason also develops both feature film and television projects under the company’s banner. Prior to starting First Story, Jason was a seasoned development executive. He worked at Lynda Obst Productions as the Head of Development & Production and at Lionsgate, where he rose to Story Editor in the Motion Picture Group. Jason cut his teeth as the assistant to CEO Jon Feltheimer and was named one of Variety’s Ten Assistants to Watch in 2013. A graduate of USC, Jason currently sits on the university’s Board of Governors as the School of Cinematic Arts’ representative and is a former President of the Trojan Entertainment Network.
John K.D. Graham
John K.D. Graham is an auteur filmmaker whose diverse body of work can be found on major distribution platforms across the world on major platforms including Netflid, Walmart, Tubi, Pureflix and in a variety of project types. He is an accomplished Director, Writer, Producer, Editor, who attributes the success of his projects, including seven feature films, miniseries, music videos and travel docs, to his ability to navigate all aspects of a film’s creation.
Growing up in the wild Chihuahuan deserts of New Mexico, John K.D. Graham’s love for the natural world turned into a discovery that everything around tells a story. His fascination with storytelling, collaboration and technology led to the Savannah College of Art and Design where he graduated Magna Cum Laude with a BFA in Film and Television. John began his career shooting music videos and working as a member of IATSE Local 480 as set electrician, craft service and video assist in New Mexico. John soon gained recognition in the film industry for his ability to plan, film and deliver cinema consistently and began his career as an independent filmmaker.
John K.D. Graham is an award-winning filmmaker; including Best Screen Play in the Kairos Pro Awards for his script, “Switched” and most recently a bronze Telly Award for his mini-series, “Unstained”.
To find out more visit: www.johnkdgraham.com
John Zaozirny
John Zaozirny oversees feature film production for Bellevue and the Literary Management Team.
His clients’ writing and directing credits include INFINITE, PARALLEL, ELI, BAD MATCH, TEXAS CHAINSAW MASSACRE (2022), HEAVY TRIP, OFFICE UPRISING, JOLT, and SPLINTER amongst others. His clients have written feature scripts that are set up at Warner Bros, Paramount, Fox, Lionsgate, New Line, Focus Features, Fox 2000, Sony, Universal, amongst others. As well, his clients have had 30 scripts on the last 8 Black Lists, the annual list of the best unproduced feature scripts, including BLONDE AMBITION, the number one script on the 2016 Black List, HEADHUNTER, the number one script on the 2020 Black List, and CAULIFLOWER, the number one script on the 2021 Black List.
His clients have also written on TV shows such as SHANTARAM, FBI INTERNATIONAL, BOSCH: LEGACY, MR ROBOT, TRAINING DAY, TINY PRETTY THINGS, HAWAII FIVE-O, THE MAN IN THE HIGH CASTLE and HAND OF GOD, amongst others. He also reps the writer of the Eisner nominated comic book LITTLE BIRD.
He was an executive producer on the feature films ALWAYS WATCHING and PARALLEL and produced ELI, which was released by Netflix. He most recently produced INFINITE, directed by Antoine Fuqua and starring Mark Wahlberg, Chiwetel Ejiofor, and Dylan O’Brien, which was released by Paramount Plus.
Raised in Vancouver, Canada, John is a graduate of the Tisch Film and Television program at New York University.
Katie Cates
Katie Cates has spent over a decade working in the talent management and agency business. She is currently a manager based in the Los Angeles office of Artists First, a premiere management/production company and partnership led by Peter Principato. Previously, Katie spent 12 years as a television literary and packaging agent, most recently at ICM Partners, where she worked with leading writers, directors, actors, comedians, musicians, authors, playwrights and on-air personalities to bring their scripted work to the screen. As a manager Katie now focuses primarily on representing writers, directors and multi-hyphenate talent, from creators and emerging voices to critically acclaimed filmmakers and showrunners. A great joy and priority for Katie has been not only elevating female and underrepresented artists, but also working with talent to expand their vision and artistry beyond their “core” area of expertise.
Katie views the future of representation as a true partnership where she is excited to not only work “for,” but most importantly “with,” clients building a relationship based on values of mutual integrity, transparency and the relentless pursuit of art across all platforms. She relishes her role as an innovative strategist, career architect and creative collaborator to all of her clients. Katie is a graduate of Ohio University’s Honor Tutorial College.
Lee Stobby
Lee Stobby has over 15 years of management and producing experience, and focuses on championing strong independent voices and quality cinema and television. He is a literary manager, producer and principal of 2B CONT’D. His success can be attributed to his passion, extensive knowledge, and enthusiasm for films. This has enabled him to, on numerous occasions, discover raw, exciting new talent and build them into juggernauts in Hollywood.
Some of his client highlights include: Shay Hatten (JOHN WICK: CHAPTER 3, JOHN WICK 4, ARMY OF THE DEAD, ARMY OF THIEVES, DAY SHIFT), Kate Trefry (STRANGER THINGS), Isaac Adamson (#1 Black List script BUBBLES), Rodney Ascher (ROOM 237, THE NIGHTMARE, A GLITCH IN THE MATRIX), and Myroslav Slaboshpytskiy (Cannes winner THE TRIBE and upcoming THE TIGER starring Alexander Skarsgård and Dane DeHaan).
Recently, he produced dark comedy feature FOIBLES, a dark comedy starring John Karna, Carina Conti, and Deborah Wilson, which is currently in post and is the Fantasia alum Ryan Oksenberg’s feature film debut. Stobby’s other Producing highlights and credits include SISTER AIMEE, which premiered at the 2019 Sundance Film Festival and was released by 1091; WILDLING starring Bel Powley, Liv Tyler and Brad Dourif and which sold to IFC and premiered at the 2017 SXSW; HOW TO BE ALONE staring Maika Monroe and Joe Keery; PEOPLING, starring Kimmy Robertson and Josh Fadem which played at Fantasia, Fantasic Fest, and Sitges and has over 30 million online views; MUNCHAUSEN written and directed by Ari Aster; PLAY ME, a new horror short by Caleb Phillips (SXSW winning filmmaker behind THE OTHER SIDE OF THE BOX, which has over 10 million views online).
As for development, Stobby has a horror satire from Sundance and Cannes Auteur filmmaker Rodney Ascher with Greg Silverman’s Stampede Ventures producing alongside Stobby, as well as feature development set up with Matt Reeves’ 6th and Idaho, Charlize Theron’s Denver and Delilah, Darren Aronofsky’s Protozoa, Universal, Timur Bekmambetov’s Bazelevs, and Netflix.
Monique Nash
MONIQUE NASH is an award-winning producer and Head of Creative Affairs of Kronicle Media, the entertainment industry’s first Black female led production & literary management company which she co-founded in 2017 with Korin D. Williams. Kronicle Media’s mission is to produce content for and about women from diverse perspectives and champion inclusion and representation, both in front of and behind the camera.
Currently, Nash has a number of projects in various stages of development, including a drama series for Peacock, inspired by the founding of the iconic Black women’s magazine, Essence; a romantic comedy for Netflix, a series adaptation of the book, Shakespeare’s Conspirator, which centers on the life of Emilia Bassano Lanier, a biracial ingenue who many believe was the enigmatic “Dark Lady” in Shakespeare’s works, written by the legendary Tom Fontana & playwright Gabrielle Fulton-Ponder for Will Smith’s Westbrook Studios; and a family drama series inspired by the women behind the Bill Pickett Invitation Rodeo, a real-life all-Black rodeo.
Most recently, Nash executive produced Hallmark Media’s first movie under its newly created Mahogany banner, UNTHINKABLY GOOD THINGS, shot entirely on location in Rome, Italy in partnership with ITV Studios’ Cattleya Productions. The film, starring Karen Pitman, Erica Ash, Joyful Drake and Lance Gross, premiered in August 2022 and was recognized with a 2023 Gracie Award for Best Movie for Television.
In 2021, she developed and produced a psychological thriller, SINGLE BLACK FEMALE starring Amber Riley, Raven Goodwin and K. Michelle for Lifetime. The movie ranked as television’s top entertainment telecast across all key demographics when it premiered in February 2022, leading immediately to talks of a sequel, becoming the second movie franchise she helped create for the network.
The first franchise being, MERRY LIDDLE CHRISTMAS, which she developed and produced in 2019, starring Kelly Rowland, Bresha Webb & the legendary Debbi Morgan. The film was beloved by audiences and was Lifetime’s highest rated Christmas movie of the season and the network’s most socially buzzed about movie of all time, prompting the network to order its first-ever sequel to a holiday movie. The sequel, MERRY LIDDLE CHRISTMAS WEDDING premiered in 2020, delivering the highest ratings in the key demo of any holiday movie on Lifetime in 3 years.
In addition to producing, Nash is also a literary manager who represents screenwriters and directors through Kronicle Media’s management division which supports and advocates for some of the most talented diverse voices in the business. Her clients are currently working on a variety of popular series including A MILLION LITTLE THINGS (ABC), THE WONDER YEARS (ABC), THE NEIGHBORHOOD (CBS), GRAND CREW (NBC), A BLACK LADY SKETCH SHOW (HBOmax), FAMILY REUNION (Netflix) and SOUTH SIDE (HBOmax), as well as films for studios and networks including Sony/Tristar, Paramount, Lifetime, Hallmark and Netflix.
Previously, Nash served as Director of Current Programming & Development at Will Packer Productions, working on the hit BET drama, BEING MARY JANE, starring Gabrielle Union, the ABC comedy, UNCLE BUCK, starring Mike Epps and Nia Long, as well as the Emmy®-nominated remake of the ROOTS miniseries for History Channel, Lifetime and A+E Networks. She has also served as Manager, Current Programming at Fox Broadcast Company, where she oversaw series including BONES, THE SIMPSONS, BACK TO YOU, THE SARAH CONNOR CHRONICLES and THE WAR AT HOME. She has also consulted for the National Association of Television Program Executives’ (NATPE) Navigator Program and for the Walter Kaitz Foundation to help promote diversity in cable television. During a stint working outside of the entertainment industry, Nash served as Director of Development & Project Management for American Gonzo Food Corp, where she was a member of the 5-person executive leadership team operating the $35 million restaurant company, contributing to the exponential expansion of the Los Angeles-based company from nearly 150 employees to over 600, growing the Pitfire Artisan Pizza concept from 4 units to 9 and developing & launching several other restaurant concepts, including the Superba brand (Superba Snack Bar, Superba Food + Bread and Superba Snacks + Coffee), ultimately leading to the sale of the 3-unit concept for $12 million in less than 3 years.
Nash currently serves on the board of directors for The Shakespeare Center of Los Angeles, which produces world-class Shakespeare-inspired plays and offers arts education & award-winning arts-based workforce development programs targeting under-served youth and veterans. A graduate of University of Massachusetts at Amherst, Nash began her television career at Creative Artists Agency. She lives in Los Angeles with her two dogs, Clyde & Pearl.
Meredith Riley Stewart
Meredith Riley Stewart is an actor, producer, and a founding partner of Aegis Creative Media. Born and raised in Alabama, Meredith has spent the past two decades living in 3 of the 5 largest cities in America, now calling Los Angeles home. Her first feature film, The Greatest Inheritance, starring Mena Suvari and Jaleel White, was distributed by Vertical Entertainment, premiered in spring 2022 and is currently available on Amazon.
Her award-winning short, American Dream, is wrapping up its successful festival run, after a premiere at the Cannes Film Festival. Her most recent feature to produce, For When You Get Lost, is ramping up for a late 2023 festival premiere.
As a multimedia producer, Meredith has created multiple digital series (Women In Film’s Flip The Script, AutocorrectFU, Shaping Our State), short films (Orphan is the New Orange, Miss Underwater, No Backsies) and a virtual reality experience (See Me).
Meredith is a Film Independent fellow (with fiscal sponsorship for the upcoming project Parent-Teacher) and recently served as a Women In Film Peer Mentor. She has served as a script judge for the Austin Film Festival for the past two years. Above all, Meredith is passionate about using media as a platform for social change.
Tom Carter
Tom Carter is a literary manager and film and television producer living in Los Angeles. He is the founder of Artillery Creative, a multimedia development, production, and literary management company, and co-founder of film and
television development fund, Oil & Cattle.
In 2006, Carter co-founded Station3, a talent management and production company. Within a few years Station3 became one of the most sought-after boutique representation and independent film production companies in Hollywood, representing lead actors in nearly every Broadway show, and 20+ series regulars on primetime and premium series television. Carter’s first film, GARDENS OF THE NIGHT, opened the Berlinale International Film Festival in 2008, in main competition, alongside Martin Scorsese’s SHINE A LIGHT, and Paul Thomas Anderson’s THERE WILL BE BLOOD.
In 2009, Carter founded Artillery Creative Collective, a literary management focusing on identifying, developing and supporting the careers of both emerging and established writers and filmmakers. ACC is committed to creating a landscape of storytelling that is both authentic and representative of the diverse global community in which we all live. ACC’s clients are currently writing and producing film and television projects across current and emerging digital platforms including HBO, Amazon, FX, Netflix, Starz, Freeform, FOX, ABC, Hulu.
In 2016, Carter co-founded Oil & Cattle, an entertainment acquisition and development fund focused on identifying unique and commercially viable stories for a global audience. O&C has optioned properties such as Octavia Butler’s “Dawn” (Macro/Ava Duvernay/Amazon), Sean Flynn’s GQ article “Murder in the
Meth Lab,” and David Kushner’s Rolling Stone article “The Rise and Fall of a Bitcoin Kingpin” (Jon Chu directing), Kirk Wallace Johnson’s Edgar-nominated “The Feather Thief” (Amazon).
Carter and O&C are developing stories around several sensitive subjects such as a premium series with the presidential detail of the Secret Service, the first and only company ever to have access. They continue to push the boundaries of storytelling and regularly work with high-end journalists such as Patrick Radden Keefe, Sean Flynn, Josh Dean and many others, often before their stories even go to print.
Carter and O&C currently have film projects and premium series set up at Amazon, Apple, Netflix, and FX. For more information, visit: https://oilandcattle.com.
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https://writers.coverfly.com/projects/view/ac7dda01-549e-4d02-a111-6497e51c8662/XCHANGE
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XCHANGE by Scott Hawthorne, Jim Goode
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https://d1jfvbenit32ik.cloudfront.net/share/eyJpZCI6Njc1MzYsImNhY2hlX2tleSI6IjA1ZDM5Yzg0NWEiLCJ0eXBlIjoicHJvamVjdHMiLCJjb250ZW50X2hhc2giOiIxMmU3OWRlN2EyIn0=
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Top 4% of discoverable projects on Coverfly. A high school student attending an exchange program in Paris is forced to learn spy-craft and made to work against her country upon returning to her Washington D.C. area home. Always being watched by others in "the Program", she struggles to find a way to stop having to commit acts that put our national security in peril. ALIAS meets THE OUTER BANKS.
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https://writers.coverfly.com/projects/view/ac7dda01-549e-4d02-a111-6497e51c8662/XCHANGE
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Pitch Week
Apply to meet virtually with literary managers, agents, and producers.
Fee Waiver Program
Apply to have fees for submissions to top programs on Coverfly waived.
Industry Mandates
Submit to industry partners looking for specific types of projects.
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https://www.filmpreservation.org/preserved-films/screening-room/a-trip-through-china
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National Film Preservation Foundation: A Trip through China (1915)
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China Travelogues
A Trip through China (1915)
Production Company: China Film Company. Producer: Benjamin Brodsky. Distributor: Supreme Feature Films, Inc. Transfer Note: Copied at 18 frames per second from a 35mm tinted print provided by the New Zealand Film Archive and preserved by UCLA Film & Television Archive. Running Time: 18 minutes (silent, no music, 1 reel of 10).
China and the Chinese, Part 2 (1917)
Distribution Company: Educational Films Corporation of America. Transfer Note: Copied at 18 frames per second from a 35mm tinted print provided by the New Zealand Film Archive and preserved by The Museum of Modern Art. Running Time: 16 minutes (silent, no music, incomplete? [Part 2 of a 5-part series]).
On the eve of World War I, as the political struggles in China made the news, Americans knew little about the vast and mysterious country of more than four hundred million people. But by the end of 1917 there were at least 10 documentaries available to satisfy curiosity about America’s new ally in the Far East. Virtually all were short subjects that, like the Burton Holmes travelogues from Paramount, played alongside features. Travel shorts with a more educational slant continued in circulation through schools and nonprofit groups for years afterward.
Of these offerings, the hugely ambitious Trip through China was “so vastly different from the general run of tour films that it stands in a class by itself,” wrote Motion Picture News. Five years in the making (or a less probable ten, in some tellings), the documentary was the brainchild of Benjamin Brodsky, a widely traveled Russian-born businessman who claimed to speak 11 languages. According to a 1912 Moving Picture World profile, the young entrepreneur had moved to China from San Francisco after the 1906 Earthquake and set up shop as a film exhibitor. Soon, as the American representative of Variety Film Exchange, he had a hand in distribution and by 1909 branched into film production in Shanghai and Hong Kong. While juggling business interests, he filmed his travels.
A Trip through China was probably fashioned from the 20,000 feet of negative that Brodsky brought back to San Francisco in 1915. Versions screened locally nine months later and in Los Angeles the following year. When distribution went national in March 1917, the ten-reeler was heralded as a “revelation.” As a “comprehensive” portrait of “every conceivable feature of Chinese life—her customs, fashions, and beliefs. It is at once geographical, historical and scenic, hence very interesting,” applauded Motion Picture News. Motography recommended booking A Trip as a featured attraction and predicted “limitless” advertising possibilities.
No complete copy survives today in the United States but the 18-minute fragment found in New Zealand gives a glimpse of the film’s all-inclusive approach. The section tours Beijing from the foreign legations to the Forbidden City, stopping along the way to sample the bustling markets and meet various dignitaries—American diplomats, revolutionary heroes, and faculty members of what is now Tsinghua University. (Another fragment at the Library of Congress surveys Shanghai.) Brodsky documented both the magnificent and the mundane and commented in the intertitles on what he saw. Always the showman, Brodsky concluded with a memorable finale (not seen in this fragment) of “fifty native maidens, whose headgear both in English and Chinese bore the legend ‘China Cinema Company’.”
Educational Film Corporation’s China and the Chinese had wider markets. As five one-reelers issued sequentially after the national release of Brodsky’s epic, the series packaged its moving-image survey of China in short installments perfect for both the classroom and as short travelogues for commercial movie theaters. Part 2, found at the New Zealand Film Archive, zeros in on urban Chinese workers—peddlers, barbers, cooks, street performers, laborers, and rickshaw drivers—and includes scenic views of Hankou and Chongqing from the water. Today, just watching the street traffic is fascinating.
The material is of such high quality that one wonders if Brodsky licensed footage for reuse in the Educational series, a common practice at the time. Although the footage from Part 2 is not found in the print of A Trip through China acquired by Taiwan's Chinese Taipei Film Archive from the Brodsky family nor the VHS copy deposited with the Library of Congress, both archival copies are far from complete. (Indeed the Chinese Taipei Film Archive restored their 108-minute copy in 2013 and reports that the New Zealand reel includes footage missing from their copy.) If any of you have stumbled on additional reels from either China travelogue, please let us know.
Many thanks to Teresa Huang from the Chinese Taipei Film Archive and Zoran Sinobad from the Library of Congress for helping with the research.
About the Preservation
This fragment from A Trip through China was preserved in 2013 at Colorlab Corp. from a 35mm tinted nitrate release print found at the New Zealand Film Archive. The work was supervised by UCLA Film & Television Archive and funded by the National Film Preservation Foundation.
China and the Chinese, Part 2 was preserved in 2013 at Colorlab Corp. from a 35mm tinted nitrate release print found at the New Zealand Film Archive. The work was supervised by The Museum of Modern Art and funded by the National Film Preservation Foundation.
Further Reading and Viewing
Under the sponsorship of the Imperial Japanese Railroad, Benjamin Brodsky returned to East Asia in 1917 to make a second travel feature, Beautiful Japan (1918). The film survives as a 16mm print at the Smithsonian’s National Museum of Natural History. Excerpts are included in the NFPF’s DVD anthology Treasures from American Film Archives: Encore Edition (2005). Brodsky also repurposed some of his footage in A Trip through Japan with the YWCA, a section of which was recovered through a preservation partnership with the National Film and Sound Archive of Australia and viewable here.
Li-Lin Tseng has written several articles about Brodsky, including “The Story Teller: Benjamin Brodsky and His Epic Travelogue, A Trip Through China (1916),” in The Journal of Northeast Asian History (Winter 2013), pp. 7-46.
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https://tv.apple.com/gb/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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Christopher Pelham Films and Shows â Apple TV (UK)
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Learn about Christopher Pelham on Apple TV. Browse shows and movies that include Christopher Pelham, such as Xchange.
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https://tv.apple.com/gb/person/christopher-pelham/umc.cpc.2vz82o36mvwoc3gknukttef7r
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https://www.jtmanagement.co.uk/clients/ishy-din/
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JTM
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Visit the post for more.
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https://www.jtmanagement.co.uk/clients/ishy-din/
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TV and Film: Ishy is writing for PHOENIX PARK (CBBC) and HOLLYOAKS (Lime/C4); he is on the writing team for ATOMIC BAZAAR (Netflix/Pulse Films). Other credits include: SHAKESPEARE & HATHAWAY (BBC, 1 ep) and ACKLEY BRIDGE (The Forge/C4, 2 eps). In 2018 TAXI TALES, produced by Tamasha, was broadcast on BBC2 as part of BBC LIVE, (BAC/ACE/BBC) live theatre broadcast. Ishy took part in the prestigious Media XChange Advanced Writing For Television Drama Programme (2017) and the BBC TV Drama Writers Programme (2016) and wrote LIFE’S LIKE THAT for the the BBC TV Brief Encounters strand. He also participated in the Bush/Kudos new writing scheme. In 2013 half hour standalone comedy-drama DOUGHNUTS was broadcast on C4 as part of the ‘Coming Up’ season and short film OUR LAD was produced, directed by Rachna Suri, which was selected for multiple international festivals. Ishy has two feature films in development, FRAUD with Bend It Networks (Gurinder Chadha) and PAAK UNITED, with producer Paul Kewley, both projects development funded by Creative England. In 2013, he wrote short film PERFUME for Eclipse Theatre’s ’10 x 10′ online project.
Theatre: Currently Ishy is under commission to both the Royal Shakespeare Company and National Theatre. APPROACHING EMPTY, a co-production between Tamasha/The Kiln/Live Theatre, Newcastle opened at The Kiln in January 2019 and toured. In 2016, his play WIPERS, a Leicester Curve/Watford Palace/Belgrade, Coventry co-production toured to those three theatres. In 2014 his monologue for Company TSU played in double bill BEATS NORTH at Edinburgh Fringe Fest and on tour. His play SNOOKERED was produced by Tamasha/Oldham Coliseum/The Bush and toured in 2012 taking in the Traverse Edinburgh and a 4 week run at the Bush Theatre, London. Ishy was the 2012 Pearson Writer in Residence at the Manchester Royal Exchange and in 2013 Snookered won ‘Best New Play’ at the Manchester Theatre Awards.
Radio: Ishy Din’s first radio play was JOHN BARNES SAVED MY LIFE for BBC Radio 5 Live. Other credits include WHOSE BABY for BBC Radio 4 and PARKING AND PAKORAS for local radio.
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https://www.jsu.edu/english/stuwrite.html
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Department of English
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Rick Bragg, former JSU English Student was awarded the Pulitzer Prize in Feature Writing, 1996. To the Pulitzer Prize site
See below for more on Rick Bragg.
Strong Emphasis on Writing Pays Off for JSU English Students
- Opal Lovett
This article first appeared in the Jacksonville News in the Spring of 1996. It was reprinted in the Department of English Alumni Newsletter, Postcripts (July 1996), and is posted here in updated form.
Long known for its efforts to maintain high standards, JSU's English department is receiving state recognition. Dr. Clyde Cox, department head (now retired), and Dr. Robert Felgar, director of writing and current department head, are pleased with the teachers of writing classes and the results they see in the work of students. Felgar says, "We are pleased with the writing program. I just try to stay out of the way and let these teachers who are so skilled and effective do their work."
Students of Eugene Williams Win State Award Four Consecutive Years
Rose Ledbetter received honorable mention and a stipend for the 1997 Mary Evelyn McMillan Undergraduate Writing Award at the annual meeting of the Association of College English Teachers of Alabama held in Mobile, February 7-8, 1997.
Charles Kevin Driskill, a senior, received the 1996 Mary Evelyn McMillan Undergraduate Writing Award at the annual meeting of the Association of College English Teachers of Alabama held at Auburn University February 16-17. Driskill, a biology major and business and technical writing minor, who graduated in April, is the third consecutive winner from the JSU English department.
Michael Ballard, a double major in English and art, received the award in 1995 and is now working on an MA in English in graduate school at JSU. Jamie Fike, a double major in English and art, received the award in 1994. All three of these students were nominated by Eugene Williams, who taught them in Advanced Composition. Papers are judged by an impartial ACTE committee.
Computer-assisted Instruction in Composition Proves Effective
For several years a computer lab has been available to faculty members willing to teach composition on computers. Eugene Williams was the first to begin such computer-assisted instruction. Williams says, "It's most effective. Their ideas go directly from the mind to the computer. Their thinking appears in front of them in words. The computer separates them from being so personally involved. They revise better from typescript."
Gena Christopher says, "I look forward to the computer-assisted classes. The students enjoy it, too. They are less self-conscious. They are able to talk and help each other in a different way."
Deborah Prickett says, "I love it. The difference in the classroom atmosphere is remarkable. They are soon doing better writing and finding writing easier. We need more software and more sections, which limited funds now prohibit."
Randall Davis says, "Many students are already proficient at the keyboard. The computer lab and computer-assisted teaching are an asset to the program. Research papers and longer assignments are easier for students who work with computers. They are more likely to do better revisions because so much drudgery is eliminated."
Joanne Gates says, "I think it's the only way. I see my students engaged in more real writing. More sections are needed. We could benefit with more opportunities through the advanced technology available. Now that our students in Computer-Assisted writing sections work in a lab that is connected to the Internet, we could make use of connections from across the globe--be involved with peer reviews from other campuses. There is the potential for using the Internet for research and composition exercises."
National Writing Project Looking Forward to Eleventh Year
The eleventh five-week summer institute of the JSU National Writing Project is scheduled for July- August, 1998. Directed by Lisa Williams in cooperation with Gloria Horton, co-director, the institute is open to classroom teachers across all subject matter content from kindergarten through college. One of 165 affiliate sites, the purpose of NWP is to improve writing instruction in Alabama.
The teacher-participants study writing methods, write themselves and critique one another, and prepare and present lessons on writing.
Since 1988 when the first institute was held, over 175 teachers from northeast Alabama have benefited from this program.
A workshop series for area schools is an outgrowth of the NWP institute. Also incorporated into the NWP is an older English department program, Writing Instruction Technology, a one-day conference for teachers of English. WIT brings mostly secondary teachers together for a day of learning and sharing. This year's conference was March 13 at Stone Center.
Lisa Williams says, "The institute gives teacher-participants a heightened sense of their own value as teachers. They gain a much larger repertoire of approaches to use in teaching writing in their classrooms and see many opportunities for enriching their writing programs. They gain valuable insight about teaching during their five weeks together. They enjoy and learn from all the information that is available."
Camp Write--An Outgrowth of JSU-NWP
Gena Christopher has directed Camp Write, a program for area children from grades four through six. Over 225 children's lives have been changed through this program, an effort to extend and broaden the ideal of NWP.
"We run a lively program that includes opportunities to write plays, poetry, short stories and nonfiction," says Gena. "The children like the informality and the opportunity to coordinate crafts and art with their written work."
You have only to visit Camp Write for a few minutes to realize what a hectic, busy, inspirational, happy learning experience it is for kids and teachers.
English Competency Examination Checks Proficiency and Offers Chance to Polish Skills
The English Competency Examination, a basic skills writing test, is administered by the JSU English department to insure that anyone who graduates from this university has both attained and maintained writing skills necessary in the society at large.
The ECE has gained positive attention across the state as it is the only examination of its kind in Alabama's colleges. Requiring this examination follows the practice of many states, including Georgia.
Felgar says, "I have deep satisfaction that we do require it [ECE], and the department is proud of the results we get."
Gena Christopher, who has coordinated administration of the ECE, says "Our students report that completing the ECE gives them not just a feeling of accomplishment but of preparedness. They are confident that their writing skills are satisfactory when they have passed this examination. The ECE is a matter of pride for the English department and the students at JSU."
Special Course Emphasizes Writing and Oral Presentation
With so much emphasis on enrichment, the teaching of elementary age children, it is good to place more emphasis on the communication skills of those who will teach them. EH 348, Composition and Speech, is the course designed by Jelene Cuff to meet the needs of students planning to be teachers in Special Education, Early Childhood, and Elementary Education. The main objective is to provide these majors with the strong writing and speaking skills they will need to relay knowledge clearly and appropriately in written and oral forms. This course provides opportunities for the students to draw on their background development and use their knowledge and skills to communicate effectively with peers, students, administrators, parents and community leaders as they themselves become professionals. In short, the course allows students to present themselves and their ideas with clarity and confidence.
Creative Writing Program Gives Students Opportunities for Recognition
Susan Herport Methvin teaches creative writing classes year round--short story in the fall and poetry in the spring. Students from these classes appear as part of the English department lecture series, coordinated by Steven Whitton and Teresa Reed, and give public readings from their short stories in the fall and their poetry in the spring.
The Writers' Club publishes the campus literary magazine, Dress for Breakfast, in which work from the creative writing classes, Writers' Club members, Sigma Tau Delta submissions, and advanced compositions and advanced expository classes may appear.
Sigma Tau Delta--English Honorary Society Encourages Writing
Gloria Horton, sponsor of Sigma Tau Delta, says, "We have about 30 active members on campus now. We stress writing through an annual writing competition which is open to all JSU students. Cash prizes for first and second place in each category are awarded at the April meeting. Winners are submitted to Dress for Breakfast and to the Sigma Tau Delta national publication, The Rectangle.
Sigma Tau Delta, the English honorary society, is one of the oldest organizations on campus. The programs presented and the projects engaged in offer academic and intellectual stimulation.
Entire Department Sound and Energetic
The required composition, speech, and literature survey courses strengthen the entire student body and make for knowledgeable students, aware of the need to communicate well in both the oral and written language and to understand and be able to work well with fellow human beings, regardless of their specific professional goals. The advanced courses prepare students for becoming public school teachers, continuing in graduate school, going into public relations, finding jobs with publications, and on and on...
Cox says, "We think our department is strong because the teachers work to meet the needs of their students. We are pleased that our advanced classes in writing give our students the opportunity to develop and be recognized."
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https://newmusicusa.org/events/paradise-laboratory-derelict-portent-by-jay-afrisando-with-gamin-and-okvan-pramudya/
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Paradise Laboratory: DERELICT PORTENT by Jay Afrisando with gamin and Okvan Pramudya
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2022-07-13T19:19:42-04:00
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CRS (Center for Remembering & Sharing) presents DERELICT PORTENT, a solo music and multimedia concert by Jay Afrisando. Also on the bill are gamin (Korean winds) and Okvan Pramudya (percussion). Derelict Portent showcases Jay Afrisando’s works in music composition and multimedia arts aimed to raise the awareness of aural diversity (diversity of hearing profiles), acoustic
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en
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New Music USA - Supporting the sounds of tomorrow. We envision a thriving, connected, and equitable ecosystem for new music across the United States.
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https://newmusicusa.org/events/paradise-laboratory-derelict-portent-by-jay-afrisando-with-gamin-and-okvan-pramudya/
|
CRS (Center for Remembering & Sharing) presents DERELICT PORTENT, a solo music and multimedia concert by Jay Afrisando. Also on the bill are gamin (Korean winds) and Okvan Pramudya (percussion). Derelict Portent showcases Jay Afrisando’s works in music composition and multimedia arts aimed to raise the awareness of aural diversity (diversity of hearing profiles), acoustic ecology, and everyday wonders often neglected.
Through multisensory approaches, Jay invites us to rethink our co-existence with other human beings, other living beings, and the whole universe. His solo concert will show his interdisciplinary approaches, including improvised and collaborative compositions, participatory piece, field recording work, and experimental films.
This event is supported in part by Jerome Foundation through Jerome Hill Artist Fellowship 2021-2022.
Tickets are $20 and are available online through eventbrite.com (see the link below) and at the door for cash only, if not sold out. All patrons must show proof of vaccination at the door in order to be admitted, no exceptions. In addition, masks must be worn throughout.
PARADISE LABORATORY is a playground for sonic and visual experimentation. Conceived of during the pandemic by the renowned Korean traditional multi-instrumentalist, curator, and scholar gamin, Paradise Laboratory provides musical artists with opportunities to rehearse, record, film, and perform with other musical, visual, and dance artists in an experimental, process-oriented, and artist-centered fashion.
ABOUT THE ARTISTS
Jay Afrisando is an award-winning multimedia artist, music composer, researcher, and educator. Employing multisensory approaches, he shares awareness of aural diversity, acoustic ecology, and everyday technological interactions. His works invite others to (re)examine our notions of living entities, ecosystems, and technology. He challenges conventional artistic disciplines and boundaries using various approaches, including video, spatial audio, fixed media, improvisation, and various collaborative methods.
He is a Jerome Hill Artist Fellow 2021-22. He also received the Ambassador’s Award for Excellence 2019 by the Ambassador of the Republic of Indonesia for the United States and the 2016 Minnesota Emerging Composer Award by the American Composers Forum. He is also a OneBeat Fellow 2015 and a Cultural Partnership Initiative Fellow at the 2014 International Fellowship in Study of Korean Music at the National Gugak Center.
He has published various works, including a book chapter “Music-making in Aurally Diverse Communities” in Aural Diversity (Routledge, 2022—forthcoming) and a telematic improvisational film “Expanding the Frame Live” in collaboration with Lee Noble (Walker Art Center’s Bentson Mediatheque, 2021).
https://www.jayafrisando.com/
gamin is a Korean-born NYC-based multi-instrumentalist specializing in traditional Korean wind instruments. She tours the world performing both traditional Korean music and cross-disciplinary collaborations. She is a scholar and designated Yisuja, official holder of Korea’s Important Intangible Cultural Asset No. 46. From 2000 to 2010, gamin was the principal player at the National Gugak Orchestra. gamin has received several cultural exchange program grants, including Artist-in-Residence at the Asian Cultural Council, and has collaborated in cross-cultural improvisation with world-acclaimed musicians, presenting premieres at Roulette Theater, New School, and Metropolitan Museum. gamin was featured artist at the Silkroad concert, Seoul, 2018, performing on-stage with the founder, Yo-Yo Ma. For 2020, gamin was selected as artist-in-residency at the HERE Arts Center, NYC, and her album “Nong” was released by Innova Records. gamin’s Carnegie Hall solo début, accompanied by Nangye Gugak Orchestra, scheduled for March 2020, was postponed by Covid 19.
“Gamin is one of the most celebrated piri, taepyeongso and saengwhang performers in Korea today.” — Silkroad
http://gaminmusic.com
Okvan Pramudya is a drummer who was born and raised in Indonesia. He first learned to play drums at the age of seven and began playing with bands since junior high school. In 2010, he moved to Yogyakarta to pursue his bachelor’s degree at Gadjah Mada University. In Yogyakarta, he formed a band called Airbatu and released an album with the band. Besides, he also joined Solo Big Band, Jay & Gatra Wardaya, and Aditya Ong Trio as drummer. In 2020, he moved to the United States and started working for the Consulate General of the Republic of Indonesia in New York at the Division of Culture.
ABOUT THE PRESENTER
CRS (CENTER FOR REMEMBERING & SHARING) is a spiritual healing and art center founded in 2004 by the writer/lecturer/spiritual counselor Yasuko Kasaki and artist Christopher Pelham. Our mission is guided by A Course in Miracles (ACIM). ACIM says that recognizing that you and your brother are actually one is the only way to experience peace. The mission of CRS is to promote the awareness that limitless creativity lives within each of us. We train minds to recognize the light in themselves and others and provide them opportunities to share their inner vision through the healing and creative arts. Since its founding CRS has provided numerous residencies and performance and exhibition opportunities to artists from all over the world. Currently, CRS is a lead sponsor of M³ (Mutual Mentorship for Musicians), a platform created to empower, elevate, normalize and give visibility to women, non-binary musicians and those of other historically underrepresented gender identities in intersection with race, sexuality, or ability across generations in the US and worldwide, through a radical model of mentorship and musical collaborative commissions.
https://crsny.org
TICKET LINK:
https://www.eventbrite.com/e/paradise-laboratory-derelict-portent-jay-afrisando-gamin-okvan-pramudya-tickets-380583895677
COVID POLICY:
Proof of full vaccination is required to enter, no exceptions. Masks must be worn throughout. Seating is limited and includes seating on the floor. Please do not come if you are symptomatic. Ask for a refund instead or donate your ticket.
VENUE LOCATION:
The White Room at CRS
123 4th Ave FL3
New York, NY 10003
212-677-8621
DIRECTIONS:
CRS is located on the 3rd floor of a walk-up building above Think Coffee, between 12th & 13th streets, one block east of The Strand Bookstore. There is no elevator or wheelchair access.
NEAREST SUBWAY STATIONS:
4/5/6, N/R/Q, L trains to 14th St / Union Square
Photo of Jay Afrisando by Terry Perdanawati. Photo of gamin by Christopher Pelham
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nailhed: The Film Exchange Building
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[] | null |
Dedicated to telling the stories of the faded empire of Michigan through its ruins and remote, forgotten places. With attitude, of course.
|
en
|
https://www.nailhed.com/favicon.ico
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https://www.nailhed.com/2014/05/i-can-haz-filth-exchange-building.html
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3509
|
dbpedia
|
0
| 76 |
https://coolidge.org/films/tenet
|
en
|
Tenet
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[] | null |
Christopher Nolan’s time-bending thriller will be given the Science on Screen treatment by Harvard physicist Dr. Jacob Barandes, who will provide an overview of entropy and the nature of time.
|
en
|
/themes/coolidge/favicon.ico
|
Coolidge Corner Theater
|
https://coolidge.org/films/tenet
|
Christopher Nolan’s time-bending thriller will be given the Science on Screen treatment by Harvard physicist Dr. Jacob Barandes, who will provide an overview of entropy and the nature of time.
A secret agent (John David Washington) is given a single word as his weapon and sent to prevent the onset of World War III. He must travel through time, win the trust of the estranged wife of a Russian oligarch, exchange witty banter with a fellow spy (Robert Pattinson), and bend the laws of nature in order to be successful in his mission. Featuring some of the most stunning action sequences in recent cinema, Tenet demands to be seen on the big screen, and the Coolidge is thrilled to be presenting it on 35mm.
About the Speaker
|
||||
3509
|
dbpedia
|
2
| 80 |
https://www.shelbycountyreporter.com/2024/05/08/pelham-boe-renews-employment-contract-with-superintendent-ledbetter/
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en
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Pelham BOE renews employment contract with Superintendent Ledbetter - Shelby County Reporter
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[
"Donald Mottern"
] |
2024-05-08T00:00:00
|
Heartfelt comments, compliments and congratulations were in abundance during a regularly scheduled meeting of the Pelham City Schools Board of Education as the board addressed retirements, promotions and contract extensions on Tuesday, April 30.
|
en
|
Shelby County Reporter
|
https://www.shelbycountyreporter.com/2024/05/08/pelham-boe-renews-employment-contract-with-superintendent-ledbetter/
|
Getting your Trinity Audio player ready...
By DONALD MOTTERN | Staff Writer
PELHAM – Heartfelt comments, compliments and congratulations were in abundance during a regularly scheduled meeting of the Pelham City Schools Board of Education as the board addressed retirements, promotions and contract extensions on Tuesday, April 30.
In total, the board addressed a total of 29 personnel adjustments that primarily consisted of retirements from some of the most recognized faces in PCS.
Among the staff members included on the list was that of Pelham City Schools’ Chief Academic Officer Shannon Bogert, who drew particular comment and praise from Superintendent Chuck Ledbetter.
“I’ve been able to work with her closely for the last two years and she has been phenomenal,” Ledbetter said. “We are very sorry to see her retire but we are really excited to hear that she is going to continue to work with us part time.”
Ledbetter further spoke on how Bogert worked to help create Pelham’s virtual school program, which offers unique and individualized schooling for kids that have trouble finding success in a traditional school environment and need alternative routes for achievement.
“Her heart is there (in that program) and she is going to continue to work with us there in a part time capacity,” Ledbetter said. “We hate to see her go, but I want to say how much we appreciate how much she has done for us and what she will do for us in the future.”
Multiple members of the board, who also made comment on Bogert’s commitment to her role and to PCS as a whole, congratulated her on achieving retirement while also expressing thankfulness that she would continue to be a presence within the school system.
Ledbetter also announced at the meeting that Pelham Ridge Assistant Principal Khadidr Jones would be recommended for promotion to principal of the school following the retirement of current Principal Lisa Baxter.
“I knew going into this process of looking for a new principal that Mrs. Jones was going to be very difficult to beat,” Ledbetter said. “She was the standard and someone was going to have to beat her. I have seen her work for two years and I have seen the work that she does. To me, that means more than the actual interview—and she had done the work. You can see that she knows so well all of the work she has been doing.”
Jones’ new position was made official when the recommendation for her promotion, the retirements and other personnel adjustments were unanimously approved in a single motion by the board.
Other staff at PCS that have announced their retirements, and were among those included were:
Amy Moore at Pelham Park Middle School
Virginia Fleming at Pelham Park Middle School
Ria Brooks at Pelham Ridge Elementary
Jennifer Gray at Pelham High School
Alisa Creel at Pelham High School
Kim Harrison at Pelham High School
Doug Allen at Pelham High School
Ginger Aaron Brush at Pelham Oaks Elementary
“Retirement is the ultimate goal for all of us and I am so proud for each of you,” said Angie Hester, board president. “There will be a big hole missing from a lot of these (educators) that aren’t coming back part time, but I truly wish them nothing but many blessings in their next adventures.”
Following the approval of the adjustments, the board also addressed two items of new business by approving the purchase and installation of lockers from BSN Sports for the volleyball, wrestling, cheer and basketball locker rooms at Pelham High School in the amount of $147,987.47 and approving the creation of a new student assistant position for the 21st Century Program’s Summer Camp.
Among the biggest decisions of the night came toward the meeting’s conclusion when the board also unanimously elected to extend the employment agreement of Superintendent Ledbetter in a revised agreement that will extend his time as PCS superintendent for another three years with an option for extension at the conclusion of that three-year period.
“I’ve been on the board for a year now,” board member Jeff Adams said. “Dr. Ledbetter’s availability when needed has been invaluable, and we appreciate his efforts.”
Speaking in response to his renewal, Ledbetter put the focus on the board, staff and educators within PCS and described how he would move forward throughout the next period.
“One of the things a lot of boards don’t do is plan for the succession in leadership,” Ledbetter said. “I want to make sure that I do my job now and, when the time comes, that we have a smooth succession of leadership so that we don’t have pendulum swings in what is happening within our school system. Part of my job as I see it—in this new contract, is to continue to build to capacity in our school system for continued leadership that is headed in the same direction. I always believe that if I walk out and get hit by a bus tomorrow, that the work should continue because we are all on the same page. It is not about me.”
To close out the meeting, Assistant Superintendent Floyd Collins delivered remarks on a number of ongoing construction and renovation projects at Pelham’s schools.
Those projects included the nearing completion of Pelham Oaks’ canopy project and Pelham High School’s culinary arts area and roofing projects now being underway with plans for them to worked on through the summer break. The high school was also announced to have received its new band chairs ahead of schedule and the new Pelham Ridge Elementary camera installations had been completed.
Collins further announced that new areas for bus parking had been completed at Pelham Park Middle School.
Also announced at the meeting was that the Pelham BOE will convene for a special called board meeting on Wednesday, May 15, at 6:30 p.m. at Pelham Park Middle School and will hold the next regularly scheduled meeting on Tuesday, May 21 at 6:30 p.m. at the Pelham City Schools central office.
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Facebook
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https://www.blu-ray.com/digital/Xchange-Digital/14593/
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Xchange Digital
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[] | null |
Xchange Digital. Digital reviews, news, specs, ratings, screenshots. Cheap Digital movies and deals.
|
https://www.blu-ray.com/favicon.ico
|
Blu-ray.com
|
https://www.blu-ray.com/digital/Xchange-Digital/14593/
|
You will get a notification at the top of the site as soon as the current price equals or falls below your price. You can also optionally receive an email notification (sent only once), this is specified in your Site preferences under "My price tracker".
You can also get an instant mobile notification with our iPhone- or Android app. The apps are synchronized with your account at Blu-ray.com, so you only need to install the app and login with your regular username and password.
|
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https://www.voicesfromthebalcony.com/2022/08/23/xchange-2001-review/
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en
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Xchange (2001) Review
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[
""
] | null |
[
"Jim Morazzini",
"Alison Slowski",
"Lukas Spathis"
] |
2022-08-23T00:00:00
|
The Xchange Corporation has made it possible to travel by trading bodies. This is fine until Toffler has his body hijacked by the terrorist who killed his boss.
|
en
|
Voices From The Balcony
|
https://www.voicesfromthebalcony.com/2022/08/23/xchange-2001-review/
|
Lukas Spathis
Xchange was directed by Allan Moyle (Empire Records, Pump Up the Volume), written by Christopher Pelham and Leopold St-Pierre (Diamond Dogs, La Maison Deschenes), and stars Stephen Baldwin (The Lost Treasure, Blood Pageant), Pascale Bussieres (When Night is Falling, August 32nd on Earth), Kyle MacLachlan (Twin Peaks, Tesla), Charles Edwin Powell (15/Love, Screamers), and Kim Coates (Neon Lights, See for Me). It’s about a man who has unknowingly swapped bodies with a contract killer, pursuing his own body to get it back and stop a potential attack.
The Plot: Swapping bodies or minds often works when the narrative allows itself to have fun with its concept and explore the abilities that the circumstances provide. Xchange starts off on the right foot by showing the innate silliness in the threat, but it loses itself with a generic and eventually convoluted approach to its story.
Evidently “tomorrow” will heighten the cutthroat business activities that litter today’s (yesterday’s?) landscape, as the CEO of a consulting firm is killed by Fisk (MacLachlan) with a small homing missile. Talk about overkill. In New York, businessman Toffler (Coates) suffers the consequences of the killing, as his boss tells him he needs to be at a board meeting later today to pick a new leader. New tech comes into play here, as Toffler uses the “Xchange” system to swap bodies with a willing host, who turns out to be Fisk, but this doesn’t mean much to Toffler yet.
It’s a decent premise, but there are some questions that needed to be answered that are left up in the air, like a) shouldn’t the people swapping bodies know who they are, and b) do conference calls not exist in the future? Pelham and St-Pierre tip their hands a little early by making this decision, allowing Quayle (Powell) to slip up by taking questions from reporters like Madeline (Bussieres) at a press conference, all but confirming he had something to do with his father’s death.
Xchange doesn’t continue on its corporate story though, instead, it complicates things by assigning Toffler to an artificial body (every one of these bodies looks like Baldwin) and tasking him and eventually Madeline to stop a terrorist attack with the Xchange corporation as an added threat.
Slip-ups are spotted easily, but the decision to completely dump the intriguing potential of an espionage story is the bigger mistake. The writers go the easy way, but they handle it competently.
The Characters: With the premise that Moyle is working with, there’s added difficulty to create differentiations between characters, as the actors are playing characters that are in different bodies, and the main character switches bodies a second time. This alone takes time to get used to, and any personalities are lost in the intersections.
Toffler is a man high up on the corporate ladder, but, other than taking the brunt of the press’s questions, Xchange doesn’t clue the audience in on what kind of man he really is. Run-of-the-mill traits like making him apprehensive about “floating” (the in-universe slang for swapping bodies) and a bit sleazy are there, but the writers don’t go farther than that. Clunky exposition confirms he used to have a relationship with Madeline – though we’re not treated to any chemistry.
It takes a longer, stiffer spiel to get any motivations for the actions (obviously) taken by Quayle to get an explanation, and when that does happen, it’s a flat one that doesn’t do much with the premise. Boiling it all down to money is fine, but underwhelming. Fisk isn’t on screen for long, in his own body anyways, so we’re left to assume the same thing is true for his involvement.
Relationships are shaky at best, with Xchange’s writers opting to focus more on the quest to return everyone’s bodies back to their respective consciousnesses but forget to make anyone identifiable before making the leaps required to keep all of the switching coherent.
The Thrills: Despite losing sight of the more interesting setup in favor of a lesser follow-up, Moyle is able to make Xchange moderately exciting with a number of threats that clamp down on Toffler’s already difficult task of catching a moving target.
Once he’s made his way into Fisk’s body, the realization that anyone could be in control of a body that isn’t their own, and on top of that, fostering an identity that doesn’t match. The writers never go overboard with the abilities, keeping the believability at least somewhat in check, and make good use of them too via scenes of Fisk’s men attempting to take Toffler down using stolen identities. For added effect, Xchange utilizes an AI smart home system to give the fugitive a fighting chance against his assailants, and at a later point reintroduces the homing missile from the intro.
Pelham and St-Pierre do add one too many time constraints onto the proceedings though; one coming from the impending attack being cooked up by the terrorist force, which fits the bill better than the second one, which is a time limit on the clone body that Toffler is inhabiting. He only has 53 hours in the body before it overloads and liquifies.
It’s over the top in its threat but ultimately doesn’t add anything because the movie doesn’t require anything aside from the permanent maneuvering the protagonist will have to do for the rest of his life, assuming he’s not taken out by a disguised hitman.
The chases and encounters with skeptical authority figures are decently done, but the subplot about the ambiguity of the Xchange corporation feels tacked on as the movie periodically cuts back to their headquarters to show their distress over the effects this incident could have on their image. It’s a misallocation of screen time since it barely links with the aforementioned stressors, but the movie as a whole is still engaging.
The Technics: Trimark studios specialized in releasing movies made on a budget, which helps to temper any expectations of a large scale that one might have before watching. That being said, Xchange is a decently put-together film; better than many of its contemporaries but still nothing exemplary.
Shooting largely on location instead of making sets that require more funds for lighting, set dressing, and storyboarding gives the movie a believability that it otherwise wouldn’t have had in different circumstances; it looks like any modern metropolis one could think of, but that’s partly the point. Some minor additions like stock market statistics being placed on taxis and occasional sights of future tech like freezers full of vacuum-sealed clone bodies and AI systems add to the setting too, but with the obvious limitations, the movie never looks like it’s in a future that would’ve invented something like body swapping.
Worldbuilding is sometimes present with slang for people on different rungs of the societal ladder (“corpie” for businessmen, “floaters” for those who enjoy the swapping of bodies, and “GEFs” (Genetically Engineered Facsimiles) for the clone bodies), but it doesn’t merit the screen time devoted to it, like watching Toffler venture into a club and meet a woman who explains everything he should already know to him. Since this is ultimately a routine thriller, it needed a bit of a trim because the 110 minutes of this plot can run ragged.
Ragged and familiarly plotted it may be, Xchange is at least able to put a different spin on tropes and have them performed by a good cast. It won’t blow (or swap) anyone’s mind, but it’s decent.
Xchange is currently available on DVD and Digital platforms, including free with ads on VUDU. And if you want more like it, FilmTagger can make some suggestions.
Where to watch Xchange
|
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3509
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dbpedia
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| 94 |
https://gracekingsley.wordpress.com/2020/05/22/theyre-in-the-money-week-of-may-22nd-1920/
|
en
|
They’re In the Money: Week of May 22nd, 1920
|
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[
""
] | null |
[
"Author Lisle Foote"
] |
2020-05-22T00:00:00
|
One hundred years ago this week, Grace Kingsley wrote a story that shows how the film industry was beginning to consolidate in the early 1920’s: Articles of incorporation were filed this week for a new distributing organization to be known as the Educational Film Exchange of Southern California. Sol Lesser and the Gore Brothers are…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Grace Kingsley's Hollywood
|
https://gracekingsley.wordpress.com/2020/05/22/theyre-in-the-money-week-of-may-22nd-1920/
|
One hundred years ago this week, Grace Kingsley wrote a story that shows how the film industry was beginning to consolidate in the early 1920’s:
Articles of incorporation were filed this week for a new distributing organization to be known as the Educational Film Exchange of Southern California. Sol Lesser and the Gore Brothers are interested in the enterprise and Dave Bershon, general manger of the First National exchange, will have supervision.
The company will handle for Southern California and Arizona the Christie comedies, the Chester Outing pictures, the Chester screenics, the Educational Films and a number of other short-reel comedies, travelogues and scenic.
The addition of an Educational Films distribution franchise (there were eight others) was just a small part of the rapidly expanding Abe and Mike Gore and Sol Lesser empire. They already owned the First National Exchange for Southern California and Arizona as well as a chain of theaters that included the Kinema in downtown Los Angeles.* Just four months later in September, they announced they were incorporating their four distribution companies (they’d also acquired the All-Star Feature Distributors and Equity Films Corporation) as West Coast Exhibitors Booking Corporation. Notices about their plans to build more theaters regularly appeared in the trade papers, and in November they signed a lease for the theater in the Ambassador Hotel. In February 1921, they decided to merge everything they owned into one company called West Coast Theaters. At that point their holdings included thirty-two theaters, four film exchanges and real estate holdings for theaters under construction. According to Camera magazine, “the policy of the West Coast Theaters Company will be the expansion and enlargement of businesses by erecting and operating picture theaters on the Pacific Coast and in Arizona.” That’s exactly what they did — the film business was really booming then!
A few years later, the company was part of the next big trend in the film business: studios buying up theaters and distributors, so they could control all aspects of selling movies to the public. In 1925 West Coast Theaters was bought out by the Fox Film Corporation. But Lesser and the Gores were fine. Sol Lesser had also been producing films, so he had plenty to keep him busy. Both Abe and Mike Gore stayed with Fox West Coast Theaters and continued to build theaters; Mike Gore’s obituary in Variety said they built at least 400 of them (August 1953).
This week, Kingsley got to interview Orpheum headliner and retired film star Olga Petrova, who managed to shock her during lunch by lobbing this “conversational bomb”:
Marriage is largely merely an economic question…My husband and I maintain separate ménages. Yet we’re deeply devoted as two people can be. My husband, you see, is a man of whom I’m very proud. I’m quite sure he feels the same way about me. He is Dr. John D. Stewart of New York, head of a big hospital there. His labors are many and heavy. So are mine. So I have my own home on Long Island, where I write and think and plan. When my husband comes to my home it is as my guest. If I happen to be too busy to see him I tell him so frankly. It works like a charm for us.
Petrova’s marriage did work for a long time: she was still married to Stewart during the 1930 census, but by the 1940 census she had divorced him and married Louis Willoughby. Kingsley seemed to find this interview much more interesting than one with the latest ingénue.
This week, Kingsley sat through a stinker, The Girl in Number Twenty-Nine. The woman of the title is prevented from committing suicide by a nice young man, who “from then on finds himself hounded by a gang of mysterious gentlemen, whose mission in life, it seems, is to get innocent people to shoot themselves, though the gang seems to carry no guns of their own. The hero gets deeper and deeper in trouble, but never thinks to tell the police.”
Seeing a bad movie is a perfectly ordinary occurrence, but what’s interesting in this case is that the director was John Ford. It’s useful to remember that not all lost Ford films are undiscovered gems. Furthermore, in the good old days, a director could make a turkey and not torpedo his career.
*You might remember that Kingsley wrote about the Kinema reopening last January, under Thomas Tally’s new ownership. Just two weeks later he sold it to Lesser and the Gores. (“Lesser Buys Out Tally,” Film Daily, January 27, 1920, p.1)
“First National Becomes Important Factor in Big West Coast Circuit.” Exhibitors’ Herald, July 25, 1925, p.25.
“Gore Brothers and Sol Lesser Exchanges Merged to Create One Distributing Center,” Moving Picture World, October 30, 1920, p.1257.
“Lesser and Gore Brothers Merge Big Interests,” Motion Picture News, November 20, 1920, p.3872.
“Lesser and Gore in Four Booking Groups,” Motion Picture News, September 25, 1920, p. 2407.
“New Theater Company” Camera, February 26, 1921, p.7.
|
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https://twitter.com/immmy
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x.com
|
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[] |
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[
""
] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
3509
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https://sbiff.org/the-taking-of-pelham-one-two-three/
|
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|
The Taking of Pelham One Two Three
|
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[] |
[] |
[
""
] | null |
[
"Sean Pratt"
] | null |
en
|
https://sbiff.org/the-taking-of-pelham-one-two-three/
|
Dear Cinephiles,
“What’s wrong dude?! Ain’t you never seen a sunset?!“
One of the things I’ve missed the most since our imposed hibernation of the past year set in has been visiting New York City. Because of business relating to the festival and my involvement on the board of my prep school, The Peddie School, I have to travel east a minimum of three times a year, sometimes more. I’m quite a different person in the Big Apple. I’m more myself. I’m much calmer, I sleep better and I act less neurotically. Could it be that in the context of all the nervous energy of Manhattan, I am indeed more zen by comparison?
My love for New York came out of the movies. In Panama, as a young man I saw films like “Klute” (1971), “The French Connection” (1971), “Mean Streets” (1973), “Dog Day Afternoon” (1975), “Annie Hall” (1977) and “Saturday Night Fever” (1977) amongst others, that albeit gritty showed a cinematic view of a turbulent, vibrant, at times depraved yet still alluring metropolis. The decay, crime, counterculture and cultural upheaval all simmering in one place and represented in films was enticing to me. I wanted to be part of it.
My mother took my brother and I to see “The Taking of Pelham One Two Three” in 1974 and what an exciting world this was. It was the first time (I was ten years old) that I recall being intrigued by the notion of parallel editing or cross-cutting. Parallel editing is a technique whereby cutting occurs between two or more related actions occurring at the same time in two separate locations or different points in time. It is used to create a sense of a chase, navigating between two or more scenes; for example, one establishing a person running away, and another cut showing you what’s after her. Editors Gerald B. Greenberg (Oscar winner for “The French Connection”) and Robert Q. Lovett keep the constant action moving from the Transit Authority command center in Manhattan, the Police Department, the Mayor’s Office, numerous city streets and a stalled subway car holding 18 people being held hostage by four highly efficient mercenaries. Wait, what was that? Yes, that’s the plot! Hijackers have taken over a subway car and want one million dollars delivered in one hour. If they don’t get what they want they will kill off one passenger every minute past the deadline. It is preposterous, a fact that is acknowledged by Lt. Garber (played with gruff shaggy dog command by Walter Matthau). “They’re gonna get away by asking every man, woman and child in New York City to close their eyes and count to a hundred.”
The movie’s title is derived from the train’s radio call sign. When a New York City Subway train leaves to start a run, it is given a call sign based upon the time it left and where; in this case, Pelham Bay Park station at 1:23pm. The film is based on a thriller novel of the same name by Morton Freedgood which became a bestseller and spawned three adaptations including a TV version in 1998 and a toothless remake starring Denzel Washington and John Travolta in 2009. A normal day on the subway is disrupted by the four men armed with submachine guns who detach the lead car and drive it into a tunnel with its passengers as hostages. The hijackers are led by “Mr. Blue” (played by a coldly menacing Robert Shaw), a former mercenary, and consist of disgruntled fired motorman “Mr. Green” who has a telltale cold (a memorable Martin Balsam), violent ex-Mafia “Mr. Grey” (a perfectly sleazy Hector Elizondo), and powerful, laconic brute “Mr. Brown.” It was screenwriter Peter Stone who gave the hijackers their color coded names. If this rings a bell to the cinephiles reading this, yes, this inspired Tarantino’s “Reservoir Dogs.”
The film moves swiftly. The set-up is established in the opening minutes, and the conflict is on a roll, staying surprising and entertaining through to the closing scene. The success of the operation hinges on the hijackers being able to override the “dead man’s switch” so that the train will run without anyone operating it in the booth. After lots of negotiations, The Transit Authority gave permission to the filmmakers to film and use their subway system. They had to take out $20 million in insurances including a special “kook coverage” in case the film inspired a real life hijacking. Most interestingly, and worth noticing, is that the MTA insisted on the subways be shown without graffiti for they didn’t want it to be glorified (it wasn’t until 1989 that the last subway car without any graffiti ran in the city).
Efficient director Joseph Sargent adds a lot of humor and gives focus on all the quirky characters in the Big Apple showing us the fortitude of the city as well as its vulnerability. From the incompetent flu-ridden Mayor running for re-election to the diverse hostages inside the car. Instead of just being a clump, this group emerges as well-delineated and memorable individuals. Watch for the closing credits to see their names, “the maid,” “the homosexual,” “the pimp” and “the prostitute.”
Lt. Rico Patrone: “What’s up, Z?”
Lt. Garber: “You won’t believe it.”
Lt. Rico Patrone: “You know me, I’ll believe anything.”
Lt. Garber: “A train has been hijacked.”
Lt. Rico Patrone: “I don’t believe it.”
Love,
Roger
The Taking of Pelham One Two Three
Available to stream on HBO Max and to rent on YouTube, iTunes, Google Play, Apple TV+, Vudu, Redbox, Amazon Prime and AMC Theatres on Demand.
Screenplay by Peter Stone
Based on the novel by John Godey
Directed by Joseph Sargent
Starring Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, Earl Hindman, James Broderick and Dick O’Neill
104 minutes
About Author Morton Freedgood
Morton Freedgood (1913-2006) was born in Brooklyn, New York and began writing at a young age. In the 1940s, he had several articles and short stories published in Cosmopolitan, Collier’s, Esquire and other magazines while working full-time in the motion picture industry in New York City. He held public relations and publicity posts for United Artists, 20th Century Fox, Paramount and other companies for several years before focusing on his writing. His novel “The Wall-to-Wall Trap” was published under his own name in 1957. He then began using the pen name John Godey—borrowed from the name of a 19th-century women’s magazine—to differentiate his crime novels from his more serious writing. As Godey, he achieved commercial success with the books “A Thrill a Minute With Jack Albany,” “Never Put Off Till Tomorrow What You Can Kill Today” and “The Three Worlds of Johnny Handsome.” He saw his Jack Albany stories turned into the 1968 Walt Disney film “Never a Dull Moment,” starring Dick Van Dyke. “The Taking of Pelham One Two Three,” his novel about the hijacking of a New York City Subway train, was a best seller in 1973 and was made into the 1974 movie starring Walter Matthau and Robert Shaw, a 1998 TV-movie remake of the same title, and a 2009 theatrical-feature remake, “The Taking of Pelham 1 2 3.” His work was later referenced in the film “Reservoir Dogs” and Beastie Boys song “Sure Shot”. (macdowell.org)
About Screenwriter Peter Stone
Peter Stone was an acclaimed Tony- and Oscar-winning writer who began in TV and moved to motion pictures and the theater. The son of a schoolteacher turned motion picture producer, Stone was raised in L.A., and after heading east for schooling, began his career in live TV. He went on to script such well-received motion pictures as “Charade” (1963) and “Father Goose” (1964, for which he won an Academy Award) and has provided the book for several Broadway musicals, notably “1776” (1969) and “Woman of the Year” (1981). Stone’s theatrical work began in 1958 when his play, “Friend of the Family,” was produced in St. Louis. By 1961, he had written the book for the unsuccessful Broadway musical “Kean.” His second venture, “Skyscraper” (1965), also didn’t fare well at the box office. His first real success was “1776,” an unlikely but powerful musical about the creation and signing of the Declaration of Independence. Winning the Tony as Best Musical, it had a healthy run on Broadway and was a modest success in London. Stone adapted Clifford Odets’ “The Flowering Peach,” about Noah and the ark, as a musical vehicle for Danny Kaye, with a score by Richard Rodgers. He later adapted the classic 1959 Billy Wilder film “Some Like it Hot” as “Sugar” (1972), which earned mixed reviews, and turned the 1942 Tracy-Hepburn comedy “Woman of the Year” into a 1981 star vehicle for Lauren Bacall. His polish of the book for “My One and Only” (1983) helped solidify Tommy Tune’s reputation, and Stone reportedly did uncredited work on Tune’s staging of “Grand Hotel” in 1990. He and Tune again collaborated on the award-winning “The Will Rogers Follies” in 1992, and Stone wrote the poorly reviewed “Titanic” in 1997. (pbs.org)
About Cinematographer Owen Roizman
A five-time Academy Award nominee — for “The French Connection” (1971), “The Exorcist” (1973), “Network” (1976), “Tootsie” (1982) and “Wyatt Earp” (1994) — Roizman was on the AMPAS Board of Governors from 2002-2011, representing the Cinematographers Branch. Among many other honors, Roizman was presented with the ASC Lifetime Achievement Award in 1997 and then the Camerimage Lifetime Achievement Award in 2001. Roizman was also the president of the ASC from 1997-’98 and a longtime member of the ASC board. Known for his pioneering and influential use of soft light and stylized naturalism, Brooklyn native’s diverse credits also include “Play it Again Sam,” “The Heartbreak Kid,” “The Taking of Pelham One Two Three,” “The Three Days of the Condor,” “The Return of A Man Called Horse,” “The Electric Horseman,” “Straight Time,” “The Black Marble,” “Absence of Malice,” “Taps,” “True Confessions,” “Havana,” “Grand Canyon” and “French Kiss.” Interestingly, Roizman did not aspire to be a cinematographer until later in life — far more focused on sports and then engineering studies in college. He got his start working during his summer breaks at a camera rental house in New York City, as his father, Sol, worked as a newsreel cameraman and then an operator on commercials.
After graduating college, Owen later joined his father working at MPO Videotronics — then the biggest commercial production house in the world — as an assistant to Gerald Hirschfeld, ASC. The three — cinematographer, operator and assistant — worked together until Sol’s death, after which future ASC great Gordon Willis briefly joined the team. Working his way up, Roizman began shooting for MPO, working with young directors who favored a single-source soft-light technique borrowed from the still-photography world that was revolutionary at the time in motion pictures. And the more he used it, the more he liked the effect — as did clients seeking a new, modern look. Roizman gradually moved away from the hard-light approach that he’d learned, favoring this more naturalistic style. While his first feature film was the unreleased drama “Stop!” in 1970, Roizman made his mark with his second: “The French Connection,” directed by William Friedkin. His camerawork in the Oscar-winning gritty crime drama would not only earn Roizman his first Academy Award nomination, but informally define his style for many years, making him known for his “gritty New York street photography” and using only “available light.” Noting his commercial background, Roizman appreciated the irony of the label, later noting, “I had totally changed everything I’d ever learned in order to shoot ‘The French Connection.’ People would later ask if in fact I really had shot everything with available light and I would say, ‘Yeah, everything that was available from the truck.'” Though Roizman delivered this look when it fit the picture, his creative signature was actually far more mercurial, as evidenced by his diverse credits. (theasc.com)
About Composer David Shire
American composer, pianist, and arranger David Shire (b. Buffalo, NY, 3 July 1937) has worked in theatre, film, recordings, and television since the early 1960s, earning multiple nominations for Tony® and Emmy Awards, and winning a Grammy® and an Academy Award®. He has frequently collaborated with lyricist Richard Maltby, Jr., writing scores for the Broadway musicals “Baby” (1983, nominated for Tonys® for Best Score and Best Musical) and “Big” (1996, nominated for Best Score), and creating the off-Broadway hit revues “Starting Here,” “Starting Now” (capturing a 1977 Grammy® nomination) and “Closer Than Ever” (1989, winning the Outer Critics Circle Awards for Best Musical and Best Score). David Lee Shire was the son of Buffalo society band leader and piano teacher Irving Daniel Shire. As an undergraduate at Yale University he met Maltby, his long-time theatre collaborator, and with him wrote two musicals, “Cyrano” and “Grand Tour,” which were produced by the Yale Dramatic Association. Shire, a double major in English and music, played also in a jazz group, earned a Phi Beta Kappa key, and graduated magna cum laude in 1959. After a semester of graduate school and six months in the National Guard, Shire moved to New York City to play the piano for dance classes, theatrical rehearsals, and pickup bands, and to continue his creative association with Maltby. Their show, “The Sap of Life,” was produced off-Broadway in 1961. As a rehearsal and pit pianist, Shire began to work with Barbra Streisand in “Funny Girl” (1964–67) and eventually became her regular accompanist and occasional arranger. She featured five of his songs on recordings and highlighted the Maltby/Shire “Starting Here, Starting Now” on her television special and associated recording “Color Me Barbra” (1966). Meanwhile Shire was writing incidental music for the stage (Peter Ustinov’s “The Unknown Soldier” and His Wife” at Lincoln Center 1967), as he has continued to do over the years: off-Broadway productions with his music have included “As You Like It” for the NY Shakespeare Festival in 1973, Smulnik’s “Waltz”in 1991, Donald Margulis’s “The Loman Family Picnic” in 1993, and Visiting Mr. Green in 1997. Shire had already written scores and theme music for television in the 1960s, and in 1970 decided to move to Hollywood.
Since then, his record in the film industry has been impressive, with music for at least 42 features from “The Conversation” in 1974 to “Beyond a Reasonable Doubt” in 2009, including “Two People,” “All the President’s Men,” “The Hindenburg,” “Farewell My Lovely,” “The Taking of Pelham One-Two-Three,” “2010,” “Return to Oz,” “Max Dugan Returns,” and “Zodiac.” For his original music for “Saturday Night Fever” (1977) he received a Grammy Award® (Album of the Year) and a Golden Globe nomination. Shire has also supplied nearly 90 scores for television series or movies made for TV (among them are “Alice,” “McCloud,” “Sarah Plain” and “Tall, Raid on Entebbe,” “The Kennedys of Massachusetts,” “Serving in Silence,” Christopher Reeve’s “Rear Window,” Oprah Winfrey’s “The Women of Brewster Place,” and “The Heidi Chronicles”), and so far has had five nominations for Emmy Awards. The 1980 Academy Award® for Best Song went to David Shire and Norman Gimbel for “It Goes Like It Goes,” the theme song from “Norma Rae” (1979) with Sally Field. That same year Shire was also nominated for “I’ll Never Say Goodbye” from the film “The Promise.” Back in New York, in the fall of 1976 Richard Maltby got a call from the Manhattan Theatre Club with the proposal that he stage a revue of songs that David Shire and he had written. It was a welcome opportunity, for neither Maltby nor Shire was satisfied that their work had been adequately represented before the public. Shire was called back from Hollywood to arrange the songs, and “Theater Songs by Maltby and Shire” took its bow at the MTC in late 1976. It was such an unqualified success that it moved to the Barbarann Theater Restaurant in March 1977 under the title of “Starting Here, Starting Now” and ran for 120 performances. The original cast album was nominated for a Grammy Award®, and thirteen years later the show, and another cast album, were produced equally successfully in London. Almost all of Shire’s work in the musical theatre has been in collaboration with Maltby.
After they contributed some material to the revue Urban Blight in 1988, a second off-Broadway revue of exclusively Maltby/Shire songs, “Closer Than Ever,” was launched in 1989 and won the Outer Critic’s Circle Award for Best Musical. Their 1983 Broadway musical Baby earned Tony® nominations for Best Musical and Best Score, and “Big,” opening in 1996, was nominated both for a Tony® for Best Score and for a Drama Desk Award for Outstanding Musical. All these shows have had hundreds of regional productions since. A new Maltby/Shire musical, “Take Flight,” with book by John Weidman, was first presented in concert versions in Russia and Australia…With librettist Gene Scheer, Shire recently completed a one-act opera for children about environmental stewardship, “A Stream of Voices,” commissioned by the Colorado Children’s Chorale and premiered during the National Performing Arts Convention in Denver in June 2008. He is currently working on a new musical with New Yorker writer Adam Gopnik. Among the many artists who have recorded David Shire’s songs are Maureen McGovern, Melissa Manchester, Jennifer Warnes, Julie Andrews, John Pizzarelli, Liz Callaway, Lynne Wintersteller, Nancy Lamont, Vanessa Williams, Glenn Campbell, Johnny Mathis, Kiri Te Kanawa, Kathy Lee Gifford, Robert Goulet, and Michael Crawford. The composer has also worked with lyricists Marilyn and Alan Bergman (the Oscar®-nominated “I’ll Never Say Goodbye”), Carol Connors (“With You I’m Born Again” recorded by Billy Preston and Syreeta), Sheldon Harnick (“Everlasting Light”), Ed Kleban, and David Pomeranz (“In Our Hands,” theme song for the United Nations World Summit for Children). Shire has conducted concerts with the Buffalo Philharmonic, the Rockland Symphony, the North Jersey Symphony and Yale’s Davenport Pops Orchestra; for his film scores he has conducted The London Symphony, the Los Angeles Philharmonic, the Irish Film Orchestra, the San Francisco Opera Orchestra, and the Munich Symphony Orchestra. (masterworksbroadway.com)
About Director Joseph Sargent
He directed 50 TV movies, including more Emmy-winning motion pictures for television or miniseries than any other director. The only time two TV movies tied for the same Emmy, both pictures were his. Working until he was 84, Sargent won four Emmys among nine nominations and three DGA Awards during his long career. He received Emmy nominations – and DGA Awards – for his last two HBO projects: “Something The Lord Made” and “Warm Springs.” Among his dozens of TV movies, minis and specials were “Amber Waves,” “Love Is Never Silent,” “Tomorrow’s Child,” “Choices Of The Heart,” “World War II: When Lions Roared,” “The Karen Carpenter Story,” “Miss Rose White,” “The Marcus Nelson Murders,” “Miss Evers’ Boys,” “Caroline?” and “A Lesson Before Dying.” Sargent also directed a handful of features — highlighted by the gripping 1974 thriller “The Taking Of Pelham One Two Three,” which starred Walter Matthau as an NYC dispatcher who faces off with the Robert Shaw-led hijackers of a subway train…“When it comes to directing Movies for Television, Joe’s dominance and craftsmanship was legendary — for the past 50 years,” said DGA president Paris Barclay. “With eight DGA Awards nominations in Movies for Television, more than any other director in this category, Joe embodied directorial excellence on the small screen. He was unafraid of taking risks, believing in his heart that television audiences demanded the highest quality stories. … His biographies demonstrated an exactitude for period accuracy while simultaneously infusing historical figures with true-to-life spirit and passion. Joe once said that he was ‘drawn to projects possessing edge’ — material that can make some comment or contribution to the condition of man,’ and it is this ‘edge’ that is his enduring directorial legacy.”
Along with the telepics, Sargent also directed episodes of such classic TV series as “Gunsmoke,” “Bonanza,” “Star Trek,” “The Fugitive,” “Lassie,” “The Man From U.N.C.L.E.,” “The F.B.I.,” “Daniel Boone” and “Kojak” …“Television can bring a certain amount of enlightenment,” he said in that interview. “You’re not gonna change the world with that one film, but you can make a little bit of a dent. If we can make enough dents, it’s a hell of a medium because it reaches out to so many young minds as well as some entrenched minds. It can be quite gratifying when certain things take place.” (deadline.com) Sargent passed away in 2014.
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https://www.rottentomatoes.com/celebrity/christopher_pelham
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Christopher Pelham
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Explore the filmography of Christopher Pelham on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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https://www.scripts.com/script/xchange_23732
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Xchange Movie Script
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Read, review and discuss the entire Xchange movie script by Christopher Pelham on Scripts.com
|
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Newscaster:
Scotland Yard
is still refusing to comment
on whether last week's bombing
of London's
Parliament Buildings
may have been the work
of N IA terrorists.
Fortunately,
due to the installation
of a new Yamashta
security system,
the damage was superficial,
owing to the fact...
How many times
have I told you?
You're here
to work, not watch.
Table six
needs bread.
Oh, do you have the 1 961
Quinta do Lisboa?
That's a wonderful port.
Well, it's a celebration.
What you've done
this quarter
is an absolute miracle.
Not everyone thinks so.
Okay, it's time.
Okay, his data's in.
Am I sure?
Yes, I'm sure !
Ross, you're great,
Ha ha !
No, really, is it safe
in Barbados now?
It's triangulating.
They must've left
the restaurant.
It cost us
half a billion dollars
to squeeze that scum
off that island.
Well, not all of them,
though.
You have to have
some caddies.
I swear to God,
if this doesn't work,
I'm gonna--
Enjoy your vacation,
Eisner.
( blast )
( screams )
Robot voice:
Good morning.
Sir, can you hear me?
It's 9:
1 5 a.m.,
and this is your seventh
wake-up call.
F*** off.
You have opted to snooze
six times.
Go away.
The snooze limit is 1 0.
Come on, give it
a break, George.
Do you wish to snooze?
The weather forecast
in N ew York City
is sunny and fair
- with a predicted high--
- Shut up. Quit.
and a low this evening
of 58.
Go away.
- Ah. Off!
- Do you wi--
Good morning, George.
You still there?
Yes, Mr. Toffler.
All right. You were upgraded
last night, George.
- It's test time. Ahem !
- Okay, Mr. Toffler.
- I would like my coffee strong.
- Strong.
Bathroom light on setting,
- dim.
- Dim.
Shower pressure pulsating,
temperature normal.
Specify normal.
Just do it, George.
Just do it.
It's the usual--
Would you say please,
pal, please?
Specify it.
Oh, boy.
So late.
You know, George...
I do not know
what is worse;
you or the people
who try to fix you.
Shall I return
to my defaults?
No. No, no, no.
No defaults.
I love you, George.
I'll always love you.
N ever change.
Again, at least 20 people dead
and dozens more remain buried.
And appearing today
for a third day
before the U S Senate
Oversight Committee
on Mind Transfer,
consumer advocate,
Madeline Renard.
Renard:
Apart from repeated
violations of the law,
Xchange is now
in the risky position
of policing itself.
Monopolies
are inherently unsafe
and we know that.
- H i, Madeline.
- Mind transfer
is a tremendous technology,
far too important
to be controlled
by a single company.
- I cannot stress...
- Give it a rest, Madeline.
Off!
Later, George.
You're late.
Mm-hmm.
Oh, oh. Tell me.
No, it's George.
I, uh, had him
upgraded yesterday.
H e is becoming tricky.
H e's, uh, trying
to run my life.
H e's completely
out of control.
Then reprogram it
and stop complaining.
Oh, gee, Ralpha.
With you around,
I can just deactivate
my entire therapy program.
I wouldn't.
Not before you've seen
the boss's message, anyway.
Play it.
Stuart, I need you
in my office now.
You're not here, are you?
Ahem !
Good morning, Josh.
What's up?
U h, why don't you tell him,
Mr. Lister?
No, that's Darren.
H e's my personal trainer.
H e puts my body
through its paces
once a week.
Josh.
That's you.
In that buff body.
And this is your trainer.
Darren.
You Xchange...
with your trainer?
Yeah. Well, why should I
bust my ass for good abs?
Let him do it.
I get more work done
that way.
This is very strange
to me, okay?
But it is your money, so...
If you wanna flit
from body to body,
go ahead.
If you ask me,
you're nuts.
You heard
about Eisner Scott?
Assassinated.
What?
You really got to start
waking up
earlier
in the morning.
They got him
with a seeker missile.
Oh, no.
That's horrible. What--
I just talked to him
last week. What happened?
Do we know
who did it?
Who else?
The N IA.
Wow.
So... who will be
the new CEO at...
Dinsey-Arthur-Mitland?
Probably his son,
but that's not a done deal.
They're having
a press conference in two hours
to reassure the investors,
so, uh...
You got to go.
You got to get there.
In two hours.
They're in San Francisco.
We're in N ew York.
That just can't happen.
You'll have to Xchange.
Xchange.
Travel will set it up
with you right now.
But I don't switch bodies.
You know that.
Jesus, Stuart, stop being
so 20th century!
You'll like floating !
It's a snap!
You won't believe it
when you take a sh*t
in somebody else's body.
Look at these biceps !
Yeah, I'm sure of it.
No way.
You got no choice.
Come on, Stuart.
You're our guy.
- D.A.M. loves you !
- They sure do.
We bill them a couple
of million dollars every year.
3.5.
The kid's gonna be
the new head honcho.
I think we'd like to stay
on his good side.
Please, Stuart.
Okay.
H ey, uh...
Do you want
the company limo?
No, thank you.
I have plenty of time.
I will walk.
Man:
Where the f***
have you guys been?
F***ing Xchange !
We needed those clones
an hour ago!
You know how much
those bodies are costing me?
Call Xchange.
It's their delay.
We can only afford them
for a couple of days.
Like the company
can't afford 20 minutes.
These clone bodies
are a bargain.
You got a stiff neck?
How come I always get stuck
with the crappy G.E.F?
I must be
on some kind of list.
S-sorry.
You must be Mr. Toffler.
How do you do?
I'm Propania Morgan,
VP at Xchange
for Corporate Affairs,
N ew York-Washington corridor.
I, uh, understand
you have some concerns.
U h, concerns.
No, no, uh, Propania.
I think having my consciousness
zapped 3,000 miles
into someone else's body
sounds like a lot of fun.
Mr. Toffler,
I'm sure you're gonna find
it's all...
very routine.
I'm sure I will.
You'll be just fine.
So we just need
two things from you.
If you'd like
to have a seat...
right here.
First we take
a blood sample.
So if you'll just
extend your forefinger
just like that... great.
Breathe.
Would you care
for a tranquilizer?
It's not habit-forming.
Oh, no, no.
Water would be great.
Maybe we could just do this?
We're done.
All your data's
been transferred
to our San Francisco
host center
and they'll be installed
in your temporary Xchange I D.
Now, your personal I D
will go under lock and key
here...
waiting for your return.
I just need you to sign
our standard contract,
negotiated by member nations
of the ICC.
In a nutshell, you agree
not to do anything illegal
with Mr. Pernfors' body--
that's your host.
So no illegal drugs,
no skydiving,
et cetera, et cetera.
Your insurance is liable
for any injury
to the host body.
Good. All set then.
Good. Follow me.
Oh. U h, you do have to spend
the night in San Francisco.
You mean...
I have to sleep
in someone else's body,
and they're gonna sleep
in mine all night?
Actually, you may find
that you enjoy it.
Most people do. It's...
exciting.
N ew sensations,
|
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Greenville's 50 Most Influential 2023
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Greenville's 2023 Hall of Fame
William W. Brown
President
Legacy Advancement
William Brown’s passion is for education, especially for helping children from under-resourced communities realize their dreams of success.
That passion was the driving force in creating Legacy Early College, the school that Brown founded in 2009. The charter school, which educates students from pre-K through college, serves 1,700 students with an educational model based on “academic excellence, physical education, and superior nutrition.”
Legacy Early College is the largest Title I school in Greenville County.
Brown spent much of his career as a CPA and in the field of investment management before making his mark in the educational world of the Upstate.
He says he believes that every child can succeed, and he has helped the school to shape its dedication to educating the whole child, an approach that melds social, emotional, and relationship skills with academic excellence. The ultimate goal is to see each student through college.
In addition to serving as Legacy Early College’s board chair, Brown is the president of Legacy Advancement, which is the central management organization for Legacy Early College.
Brown’s community involvement has included terms serving on the boards of the Peace Center, Greenville Tech Foundation, Greenville Symphony, and Artisphere.
A graduate of The Citadel, Brown says his proudest accomplishment is “seeing young people earn their college education because I know how much it will dramatically increase their quality of life.”
Matt Dunbar
Co-Founder and
Managing Director
VentureSouth
Matt Dunbar is a co-founder of VentureSouth, an investment firm that works with entrepreneurs in the Southeast, providing capital and sharing expertise in the early stages of the process.
The firm was launched in 2008 when Dunbar helped to create the Upstate Carolina Angel Network (UCAN), which has since become one of the Southeast’s largest and most active investment organizations. The network boasts more than 500 investors in the region.
VentureSouth has been recognized many times as a top 10 angel group in North America and has distributed more than $82 million over 110 countries.
Prior to his work with VentureSouth and UCAN, Dunbar worked as a project leader with the Boston Consulting Group in Atlanta.
A Rock Hill native, Dunbar holds a bachelor’s degree in chemical engineering from Clemson University and an MBS in education from the Stanford University Graduate School of Business. He began his career as an engineer with Eastman Chemical Company in Kingsport, Tennessee.
Community involvement is important to Dunbar, who serves as a deacon at Downtown Presbyterian Church. He also serves on many corporate boards, including Entegra Bank, Cirtemo, and Zylo Therapeutics.
Dunbar says the secret to his success is, “Embrace a growth mindset, learn continuously, treat people well, and work diligently.”
The accomplishment he is most proud of is “raising three great kids with my lovely wife Katherine.”
Jonathan “Jon” Good
CEO
NAI Earle Furman
Jonathan Good has worked in commercial real estate for more than two decades, and he has watched Greenville’s phenomenal growth in recent years.
As CEO of NAI Earle Furman, Good oversees six offices in North Carolina, and his responsibilities include executing the firm’s strategic plan, along with individual and division goal setting and implementation, along with managing shareholder accountability.
Since coming to NAI Earle Furman, Good has led the firm through many mergers and acquisitions of other firms in the Southeast. His experience extends to industrial sales and leasing, development, and investment sales. His deep knowledge of the Southeastern real estate market has helped him to complete more than $500 million in transactions over the past decade.
Good is also a director for Appian Investments, a private equity real estate platform managed by NAI Earle Furman. Since 2017, Appian Investments has completed more than $650 million in transactions.
He’s a member of the Young Presidents’ Organization, a global network of young chief executives which has more than 20,000 members in over 130 countries. He is a member of the Aspen Institute’s Liberty Fellowship Class of 2020 and serves as secretary and member of the investment committee for the Community Foundation of Greenville.
His community involvement is wide-ranging and includes serving as past chairman of the food rescue program Loaves and Fishes and as a past board member of the Greenville Housing Authority.
Good says the secret to his success is “to always see the best in people,” and his proudest accomplishment is his three children.
S. Richard Hagins
CEO
US&S, Inc.
Rich Hagins has served his country in the armed forces and continues to serve the business world and his community through his work with US&S.
Hagins spent 23 years in the United States Navy, achieving the rank of commander before retiring in 2000. He settled in Greenville after his retirement, and in 2003, he founded US&S, a facility maintenance and support service provider. The company specializes in operations and maintenance, repairs, renovation, grounds maintenance, and janitorial service.
While Hagins has made an indelible impact on the Upstate’s business community, he also strives to make a difference in the community as a whole. His commitment to service, Hagins has said, was a family trait passed down from his grandfather.
His community involvement is wide-ranging. Hagins has served on the boards of Upstate Warrior Solutions, Habitat for Humanity of Greenville, Medical University of South Carolina, the Blood Connection, and more.
In 2014, he was named South Carolina Veteran Entrepreneur of the Year by the U.S. Small Business Administration, and in 2019, Hagins was named Entrepreneur of the Year Southeast by Ernst & Young.
He currently serves on the board of directors for Prisma Health and the Board of Advisors for United Community and is board chairman for the Greenville Chamber of Commerce.
A graduate of Savannah State College, Hagins holds a master’s degree in business management from Webster University and recently completed the Executive Education program at Tuck School of Business at Dartmouth University.
Bob Stegner
Senior Vice President
of Marketing, North America
TD SYNNEX
Bob Stegner has been with SYNNEX since September 2007, but he has more than 30 years of marketing and sales management experience.
In his current role, Stegner is responsible for all marketing efforts in the United States and Canada, and since December 2021, after the company’s merger with Tech Data, Stegner has overseen North American marketing for the combined companies.
Over the past 15 years, SYNNEX has enjoyed phenomenal growth and has leapt more than 250 spots – to No. 109 – on the Fortune 500 list. During his tenure, Stegner has implemented new programs to help the company address the changing needs of its partners.
Stegner, who holds a bachelor’s degree in business from Ohio State University, was inducted into the CompTIA Hall of Fame in 2020 in recognition of his impact on the IT industry.
The recent growth of Greenville has made Stegner proud, and he says he especially enjoys showcasing the city to visitors from around the world.
After three decades in marketing, Stegner has developed a keen sense for how to get the best results. He says the secret to his success is, “Recruit the brightest minds. Surround yourself with people who know more than you do. Define transparent expectations. Trust in their capabilities to deliver results. Acknowledge that errors are inevitable yet view each as an opportunity for growth and enhancement. Invest your time in aiding their professional development and career growth. Cultivate a team that supports one another by fostering a culture of hard work and collaboration.”
Bruce White
Chairman and CEO
Bank of Travelers Rest
Bruce White has spent his whole career – more than 50 years – with the bank that his father founded in 1946. He has worked in virtually every banking role from teller to the C-suite.
White joined the bank in 1972 and worked alongside his father John before taking over as president in 1977. He retired as president in 2015, but he continues at the bank in the roles of chairman and CEO.
Under White’s leadership, Bank of Travelers Rest has expanded in size and scope, from creating an online system for checking and savings records in 1983 to launching a mobile app in 2015 to its expansion to 10 locations in recent years. It is the ninth-largest bank in South Carolina.
White has attributed the bank’s longstanding success to its employees and to the people in its hometown of Travelers Rest.
A graduate of Clemson University, White has served on the advisory board for the university’s College of Business and Behavioral Science and on the board of the Greenville Area Development Corporation.
His community involvement also includes working with Boy Scouts of America, Prisma Health, Public Education Partners, and Mental Health America of Greenville County.
In 2005, White was named Business Person of the Year by the Greater Travelers Rest Chamber of Commerce.
GREENVILLE 50 MOST INFLUENTIAL PEOPLE
Michael Allen
Founder and CEO
MOA Architecture Inc.
In 2019, Michael Allen founded MOA Architecture Inc., a full-service architecture, interior design, and planning firm in Greenville. With 22 years of experience in architectural design, business development and project management, Allen and his firm collaborate with individuals and organizations to create functional, inclusive and sustainable built environments.
He has deep knowledge of LEED and Green Globe Sustainability projects as well as a variety of project scales and budgets. His work has included leadership on higher education, K-12 education, civic, cultural, commercial and sports and recreation projects. In the community, Allen serves on the boards of several organizations, including Liberty Fellowship, Spartanburg Methodist College, and the State Chamber of Commerce Diversity Council.
Allen played football at Clemson University and was awarded the 2019 Brian Dawkins Lifetime Achievement Award. He also received the American Institute of Architects South Carolina Chapter 2021 Social Justice Award.
Gail Awan, Ph.D.
President and CEO
Urban League of the Upstate
Since September 2021, Gail Awan has served as president and CEO of the Urban League of the Upstate, an organization that works to empower the African American community and other underserved individuals throughout the region. The organization has been serving the Upstate for more than 50 years and is affiliated with the National Urban League, a nonpartisan historic civil rights organization.
Since leading ULUS, Awan has participated in leadership programs including the Riley Institute’s Diversity Leaders Initiative, Prisma Health’s Medical Scholars, and Leadership Spartanburg.
She serves on SC New Play Festival, REEM Greenville Board, and in 2023 was appointed to serve as a commissioner for the South Carolina Commission on National and Community Service
Awan previously worked with AmeriCorps City Year program in Columbia, South Carolina. She says the secret to her success is found in her organization’s partnerships.
Randall Bentley
President and managing principal
Lee & Associates Commercial Real Estate Services
Specializing in commercial real estate development projects, acquisitions, dispositions and leasing assignments, Randall Bentley has earned acclaim as an industrial CRE broker in the Upstate. His influence extends far beyond regional boundaries, evident in his 25-year tenure in the SIOR and CCIM organizations.
Throughout his career, Bentley has cultivated lasting relationships with numerous companies, property owners and developers, fostering a devoted clientele.
Bentley’s vision for introducing a higher-class industrial product to the market is exemplified by his involvement in helping develop the Interstate 85 and Pelham Road interchange with Class A buildings from the late 1990s to the early 21st century.
A native of Greenville County, Bentley has a passion for the local real estate market. He has used his talents to help shape the Upstate industrial market, setting the stage for its ongoing success into the future.
Kevin Bryant
Managing Director, U.S. Public Entity Practice Leader
Marsh
Kevin Bryant is a managing director and U.S. public entity leader at Marsh, the world’s leading insurance broker and risk adviser.
With 32 years of experience, Bryant helps public entities and other clients manage their risks and employee benefits strategies.
A graduate of Furman University, Bryant began his career with Mass Mutual. He joined Marsh in 1997 to establish its first South Carolina-based employee benefits practice. After a stint at Aon, he returned to Marsh in 2021 to lead its U.S. public entity practice.
Bryant is a member of the Marsh McLennan Advantage Global Public Entity Steering Committee and Marsh’s U.S. Inclusion & Diversity Council.
A trustee at Furman and Meharry Medical College, Bryant serves as the executive sponsor for Marsh McLennan’s African Heritage Colleague Resource Group and as a business adviser for Marsh McLennan’s Equity Equals Possibility.
Bryant is a recipient of Furman’s Wayne and Rubye Reid Career Service Award.
Matthew Caldwell
Market President
Bon Secours St. Francis Health System
Matthew Caldwell came to Bon Secours in Greenville after serving as president of Mercy Health in Springfield and, while he’s held leadership roles in hospital systems across the country, his roots are in nursing. He has experience in critical care, recovery room, orthopedic post-operative care, and as a case manager.
Caldwell says he’s had the privilege of running many hospitals in many states but calls the staff in Greenville the difference maker.
“They keep us true to who we are – welcoming everyone, regardless of faith, creed, ethnicity or beliefs, and knowing that quality care is just the baseline,” Caldwell says. “We are the healthcare system that will sit with you, hold your hand, pray with you, and call you by name, and I couldn’t be more proud to be a part of that.”
Mike Callahan
President
Duke Energy South Carolina
As president of Duke Energy South Carolina, Mike Callahan is focused on creating a 21st-century electric grid in the Palmetto State.
He oversees $7.6 billion in annual economic impact across the state, and he also manages Duke Energy’s energy transition in South Carolina, with the goal of achieving net-zero carbon emissions for electricity generation by 2050.
Callahan is excited to help drive the path to cleaner energy, which is further enabling companies in South Carolina to grow and encouraging others to locate in the state.
He joined Duke Energy in 2002 as a senior consultant in the audit services group. Prior to being named president in 2019, Callahan served in multiple leadership positions, including as Duke Energy’s vice president of investor relations.
Callahan earned bachelor’s and master’s degrees from the State University of New York at Buffalo. He serves on the board of the South Carolina Chamber of Commerce and the South Carolina Manufacturers Alliance.
Carey Ann Campbell
CEO
Southern Tide
Carey Ann Campbell's roots run deep in South Carolina, beginning in Beaufort, where she was raised in the coastal lifestyle. Later, she developed an affinity for fashion while studying at the College of Charleston.
Campbell embraces the philosophy that success can be achieved while "remaining true to one's values and making a positive impact on the world."
Her long career in retail management includes working for Belk and Macy's before she joined Southern Tide in 2020 as the Vice President of Direct to Consumer. Campbell's strategic vision and leadership prowess quickly propelled her to the forefront, leading to her appointment as interim CEO in 2021. A little later, she was appointed to the role of CEO.
Campbell spearheaded the company's digital transformation, enhanced its e-commerce platform, and expanded its omnichannel capabilities. Customer engagement surged and helped boost revenue.
Heather Carlton
Dealer Principal
Carlton Mercades-Benz
Halsey Cook
President and CEO
Milliken & Company
As president and CEO of Spartanburg-headquartered Milliken & Company, Halsey Cook leads a team of 8,000 associates in 70 plants and offices.
Milliken & Company is a global manufacturing leader focusing on materials science with customers in 135 countries around the world.
Prior to joining Milliken in 2018, Cook was president and CEO of Sonepar USA, president of Legrand Electrical, and president of Carrier Corporation’s Residential and Light Commercial division.
He previously held leadership roles in manufacturing, distribution, product marketing and development based in France, Italy, the U.K., and the U.S.
Cook graduated from the University of The South in Sewanee, Tennessee, and earned an MBA from the University of Virginia.
He serves on the boards of the Federal Reserve Bank of Richmond, Alliance to End Plastic Waste, National Association of Manufacturers (NAM), Palmetto Business Forum, and the Belle W. Baruch Foundation.
Mark H. Cooter
Partner
Cherry Bekaert Advisory LLC
Mark Cooter says his secret to success is to enjoy working with people and the relationships created through business. As a tax partner with more than 30 years of experience, he leads the Real Estate, Construction and Hospitality Industry Group at Cherry Bekaert, a regional full-service accounting firm based in Greenville.
Responsible for executing the industry growth and branding strategy across the firm, Cooter focuses his practice on the tax, consulting, and growth needs of real estate and construction companies. In addition, he works with both private, closely held and large, publicly traded middle market companies across the Southeast on a variety of issues including complex tax matters, due diligence for mergers and acquisitions, and growth advisory.
Before joining Cherry Bekaert, Cooter was a shareholder with a regional CPA firm where he served as real estate practice leader and spent four years with an international accounting firm.
Mark Cothran
CEO and president, Cothran Properties
CEO, Cothran Homes
In the decades since founding Cothran Properties and Cothran Homes, Mark Cothran has overseen the completion of more than 40 major commercial and residential projects across the Palmetto State.
The Greenville native has developed a diverse product portfolio, including income properties, residential communities, townhome projects, industrial and retail shopping centers, apartments, flex space, and industrial.
Cothran Properties acquires property for Class-A industrial and spec buildings for single- and multi-tenant occupants. The company also purchases redevelopment property for Cothran Homes, which Cothran started in 2012 to develop single-family and townhome developments and subdivisions, primarily in the Upstate.
Cothran received a BS in banking and finance from the University of South Carolina and is an organizer and board member of Southern First Bank. One of his proudest accomplishments is the development of Southern First Banks’ Greenville headquarters. He is also an active member of the NAIOP, the Commercial Real Estate Development Association.
Ashley Prickett Cuttino
Office Managing Shareholder
Ogletree Deakins
Working for one of the nation’s largest labor and employment law firms, Ashley Prickett Cuttino is a litigator representing employers in single and multi-plaintiff actions.
Cuttino is on the firm’s Trial Practice Group and is the co-chair of the Ogletree Covid-19 Litigation Practice Group. She’s previously worked in employment litigation, personal injury litigation, medical malpractice defense, asbestos defense, complex tort defense, and “bet the company” cases.
Cuttino is a member of the Greenville Chamber Board of Directors, the former chair and co-founder of the Ogletree Women’s Initiative, past president of the South Carolina Women Lawyers Association, and is a former member of the Clemson University Board of Visitors.
She says she is most proud of her mentorship to young lawyers entering the profession and to women lawyers in both her firm and the larger South Carolina legal community.
Tushar Desai
General Manager Heavy Duty Plant Engineering
GE Vernova – Gas Power
As the senior executive for Heavy Duty Plant Engineering in Gas Power at GE Vernova, Tushar Desai holds a wide range of responsibilities, including the design, technical proposals, and power plant performance guarantees for the key equipment that makes up the power plant.
Desai began his career with GER as a rotor design engineer in 2004. Since then, he has worked his way through key engineering and product management jobs in India and the United States, and along the way has played important roles in the introduction of nearly every new gas turbine product.
He earned his bachelor’s degree in mechanical engineering from University of Pune, India, and has a master’s degree in mechanical engineering from the University of Texas at Arlington.
Desai says his goals for the next three years including working on “cutting-edge solutions to decarbonize the world,” and on a personal level, “contributing to education right here in our community, especially around STEM careers.”
Jessica Donan
Greenville Office Managing Partner and U.S. Central Mobility Assurance Market Segment Leader
Ernst & Young
As managing partner for Ernst & Young’s Greenville office, Jessica Donan develops and maintains relationships with clients around South Carolina on behalf of EY.
Donan’s roles including making sure that her colleagues have all the tools they need to provide the best service to their clients. She also oversees EY’s lines of service in the areas of assurance, consulting, tax, and strategy and transaction services for South Carolina.
Donan has more than two decades of experience in the world of accounting, and over the years she has worked as a coordinating partner for public and private companies in such areas as media and technology, telecommunications, and health care.
She holds a bachelor’s degree from University of Memphis and a master’s in accounting from UNC-Kenan Flagler Business School.
Donan is chair-elect of the board of directors for the Greenville Chamber of Commerce; she will begin serving in this volunteer leadership role in 2024.
Stephen Edgerton
President and CEO
The Caine Companies
Stephen Edgerton has spent 15 years helping the 90-year-old real estate company evolve and grow its portfolio of real estate, property management, and insurance divisions. His tenure with the Caine Companies began as chief operating officer.
Under his leadership as president and CEO, the company has cemented its reputation as an organization known for its innovative business practices, its top-performing real estate professionals, and its focus on ensuring the Upstate is a thriving home to exceptional arts, education, and health.
Edgerton is past chair of the Coldwell Banker Large Office Group and past chairman of the board for Metro Greenville YMCA. Currently, he serves on the boards of Artisphere and The United Way of Greenville County.
His work for the community is also hands-on, including his long-time volunteer route with Meals on Wheels.
Ford S. Elliott
CEO and Co-Chairman
Contender® Development and Blackstream
Ford S. Elliott has built a successful career as a real estate developer and entrepreneur on a foundation of corporate partnerships with firms including Marriott, DR Horton, Lennar, NVR, Ford, Chevrolet, and Christie’s International Real Estate.
Elliott is a veteran real estate developer and entrepreneur with over 18 years of experience in development, construction, acquisitions and running multiple operating businesses. At Contender®, Elliott has led the team to over $1.25 billion in active real estate developments in different stages.
He founded Blackstream, which sells over $550 million worth of real estate annually and has over 350 team members in the Contender/Blackstream family of businesses. He has earned the Christie’s Affiliate of the Year Award, finishing as a Top 10 SVN office for five consecutive years, and won the RealTrends Emerging Leaders Award for which he was nominated by Christie’s International Real Estate.
Elliott attended Clemson University and is an advisory board member of Synovus Bank.
Robert Engelhorn, Ph.D
President and CEO
BMW Manufacturing Co.
Robert Engelhorn became president and CEO of BMW Manufacturing in 2021, and in that role he heads up the BMW Group Plant Spartanburg, the world’s largest BMW Group Plant.
Since his arrival, Engelhorn has helped the auto manufacturer deepen its impact on the economy in the Upstate and in South Carolinas as a whole. In 2022, BMW announced $1.7 billion of investment in the manufacture of electric batteries in South Carolina.
That sum includes $1 billion to prepare the Spartanburg plant for the production of fully electric vehicles, and another $700 million to build a high-voltage battery assembly plant in Woodruff.
Engelhorn, who joined BMW in 2011 and spent much of his career at facilities in China and Germany, said in 2023 that Plant Woodruff will be a major part of BMW’s legacy, and “it will play an important role for the future of electric mobility at Plant Spartanburg and in the United States.”
Chris Fincher
Regional Vice President, Commercial Banking, Upstate
TD Bank
Chris Fincher is regional vice president of commercial banking for TD Bank in the Upstate. TD Bank is one of the 10 largest banks in the U.S., providing more than 9 million customers with a full range of retail, small-business and commercial-banking products and services at more than 1,200 locations throughout the Northeast, Mid-Atlantic, Metro D.C., the Carolinas and Florida.
Fincher joined TD Bank in 2019, and he currently leads a team of talented bankers who provide a full range of financial services to operating companies and commercial real estate investors.
Fincher serves on the board of directors for the Greenville Chamber of Commerce, Metropolitan Arts Council, TreesUpstate, and Artisphere.
Alexis Garcin
President and CEO
Michelin North America
Alexis Garcin is responsible for coordinating all activities of Michelin in North America, which encompasses more than $9.1 billion in sales and approximately 23,000 employees across Canada and the United States.
Garcin joined Michelin in 2002 and has held numerous positions in France, Switzerland, Germany, and now in the U.S.
He began his Michelin career as sales director of the car dealer channel in France.
From 2011 to 2017, Garcin served as Michelin’s worldwide strategic marketing director for the truck and bus division and most recently led the global long-distance transportation business line.
As a leader, Garcin is guided by purpose, humility, boldness, and authenticity. He prioritizes people, ensuring they always come first. He relentlessly pushes for progress by challenging the status quo, learning and applying best practices and meeting regularly with people — employees, customers, industry professionals and the community — who he finds to be a great source of inspiration.
Chris Gatling
Water Design Center Manager, PE
Garver
When engineering firm Garver decided to open a new Water Design Center in Greenville, Arkansas native Chris Gatling was tapped as project manager, a key part of the company’s continued East Coast expansion.
With 13 years’ experience as a licensed professional engineer, Gatling was promoted to lead the company’s site civil design group for water and wastewater projects. In 2022 Gatling was elevated to firm partner and was chosen to open Garver’s third WDC in Greenville.
Gatling’s goal is to continue to grow Garver’s capabilities in the Upstate and ensure the firm plays a major role in helping to maintain the area’s natural resources and provide safe drinking water to the region.
Gatlingearned his Bachelor of Science in civil engineering from the University of Arkansas and a Master of Engineering in geotechnics from Missouri University of Science and Technology. He and his family live in Simpsonville and are members of Renovation Church.
Latorrie Geer
CEO
CommunityWorks
CommunityWorks is a Community Development Financial Institution focused on building brighter futures for underserved families and communities across South Carolina.
With Latorrie Geer at its helm, CommunityWorks has grown into a $30 million institution. Geer is committed to building solid networks of partner agencies, organizations, and individuals to work toward sustainable community growth.
Before assuming the role of CEO, she served as CommunityWorks’ director of operations and later as chief operating officer.
She previously worked as executive vice president and director of operations at SENIOR Solutions.
Geer graduated from the University of South Carolina and is a proud Gamecock. She holds board seats with Generation4, Greater Good Greenville, AIM, the SC Fair Lending Alliance Steering Committee, Self-Help Credit Union, South Carolina Capital Alliance, and the Business Development Corporation.
Her advice for startups is to trust the process, but remain adaptable — be willing to pivot, evolve, and embrace change as you progress.
Dan Hamilton
Operating Principal
Keller Williams Greenville Upstate
Dan Hamilton is co-founder and operating principal of Keller Williams Greenville Upstate.
Founded in 2003, it is the first Keller Williams office in South Carolina, and now one of the single largest and most productive real estate brokerage offices in the Upstate.
Additionally, Hamilton is the founder of Hamilton & Co., a real estate team that consistently ranks as one of the top real estate teams in the state.
Hamilton’s wide-ranging real estate experience includes starting and running a brokerage, land development and construction, property management and investment properties. He and his companies have sold over $1 billion in real estate sales and assisted thousands of families throughout his career.
Hamilton is a former South Carolina state representative. He has also served as chairman of the Greenville Housing Fund, director of the S. C. REALTORS Association, and as a director of Pinnacle Bank of South Carolina.
Hamilton serves on the board for Renewable Water Resources.
Bennie Harris, Ph.D.
Chancellor
USC Upstate
Bennie Harris, Ph.D. began serving as University of South Carolina Upstate’s fifth chancellor in July 2021. Serving about 5,000 students, the school has a more than $500 million annual impact on South Carolina.
Harris believes higher education offers uniquely transformative opportunities for students to experience possibilities and fulfill their dreams.
Harris is elevating USC Upstate’s profile in the region through a rebranding campaign encouraging the Upstate community to “Reach Greater Heights.” The campaign captures the aspirational nature of learning at USC Upstate and encourages students, faculty, and staff to pursue innovative ideas and excellence.
He’s previously worked at Washington State University, UAB, DePaul, Lipscomb, and at Morehouse School of Medicine.
He says he’s most proud of how his university community navigated the challenges of Covid-19 and maintained status as a competitive institution during one of the most challenging times in higher education.
Sean Hartness
CEO
Hartness Development
Sean Hartness is CEO of Hartness Construction and Hartness Development. His current projects include Hartness, an innovative, mixed-use urban community featuring homes, restaurants, office space, specialty retail, work-live spaces, and more. Since its launch, the award-winning urban community has welcomed many families and introduced a new offering to Greenville’s flourishing Eastside, including Hotel Hartness which opened in 2023.
Hartness is also embarking on an additional project, Crescent Startup Community, which is poised to continue the revitalization of the Poinsett Corridor and transform it into a large-scale destination for innovation and the exchange of entrepreneurial ideas.
Additionally, Hartness is an Emeritus trustee at Furman University and currently serves on the Furman University Real Estate Board and the Triple Tree Board. The Hartness community also continues to be the host site of TD SYNNEX Share the Magic, which raises critical funds for local children's charities.
Justin Hawkins
Region bank executive, South Carolina and Greater Georgia
Wells Fargo & Co.
Justin Hawkins leads a team of 1,044 Wells Fargo employees in 122 bank branches. Wells Fargo Bank holds the No. 1 market-share position in South Carolina at $21.4 billion.
A 20-year company veteran, Hawkins previously served as the area president of the Upstate market. Prior to that role, he held multiple leadership positions with Wells Fargo, including financial center manager, service leader, district manager, and regional sales and marketing manager for South Carolina.
Hawkins graduated from Furman University’s Riley Institute of Diversity in 2010 as a Diversity Fellow. He is committed to diversity, equity, and inclusion in his personal and professional lives.
Based in Greenville, Hawkins is an active community leader. He most recently served on the executive board of directors for the South Carolina Bankers Association as well as the Federal Legislative Committee.
Hawkins is responsible for representing Wells Fargo in all aspects of the community, including philanthropic giving.
Jackson Hughes
Owner and CEO
Hughes Commercial Properties
Jackson Hughes has been the owner and CEO of Hughes Commercial Properties since 1996.
During his decades in the industry, Hughes has developed countless commercial properties – including industrial, office and retail space – throughout the country.
He sets the tone and culture for the company and with him in charge, that means a culture of collegiality, respect, high standards, and even higher ethics.
Those standards and the company’s success were recognized in 2011 when Hughes was named Real Estate Person of the Year.
Additionally, Hughes is a member of the International Council of Shopping Centers and past president of the Carolina’s Golf Association. He previously served on the Advancement Board for the master’s in real estate development at Clemson University.
His future goals include repositioning the building his company owns at 300 E. McBee Ave. as an active hub of stores, restaurants, and offices anchoring the emerging North of Broad District.
Cal Hurst
President
Southern First Bank
With 16 total years of experience in banking throughout South Carolina, Cal Hurst has served as president of Southern First since 2022.
Hurst is passionate about making a positive impact on everyone possible. He says he loves Greenville and is proud to serve various organizations through volunteerism, financial support, and Board leadership.
He has been chair of the Greenville Chamber Board, serves on the board for United Way, and is a past chairman of the United Way’s Greenville County Campaign. He also serves at First Presbyterian Church and Furman University.
In his own words, Hurst is a proud son of public educators, brother of two fine men, father of two extraordinary and precious children, and husband to the most wonderful woman he has ever met.
His secrets to success are relationships, trustworthiness, and hard work; three things for which Hurst says there are no substitutes or shortcuts.
Will Huss
Chief Executive Officer
Trehel
Since 2007, Will Huss has led Trehel through its transformation into one of the Southeast’s premier general contractors.
Huss has more than 30 years of experience in construction and design. He began working with Trehel in 1997 after starting his career in commercial and residential architecture and project management.
In addition to his work with Trehel, Huss has served as chairman of the Greenville Chamber of Commerce Foundation and is on the board of United Ministries in Greenville.
Huss is a member of Liberty Fellowship. He serves as the national coordinator for Reformed University Fellowship, and as a Ruling Elder at Clemson Presbyterian Church. Huss also serves on the board of the Greater Area Parkinsons Society.
Huss says the secret to success is to love and develop people well; seek and give accountability; and focus on purpose and “why.” And to look to serve others.
Randy Jackson
Executive director
First Merchant Services LLC and Phillis Wheatley Community Center
As president of First Merchant Service in Greenville, Randy Jackson provides processing and payment support to businesses across the continent, including Canada and Mexico.
An alumnus of the Phillis Wheatley Community Center himself, Jackson joined the center as executive director in March 2019 and currently serves residents and families in Greenville County with a special focus on individuals from underserved and underdeveloped communities. Jackson works to provide the center’s clients with the resources and tools to achieve upward mobility and sustainability.
During Covid-19’s onset, he added a client advocate outreach coordinator, emergency food services, and other programming in a virtual format so participants could stay healthy and engaged.
Jackson is a graduate of the University of South Carolina.
Marjorie Jenkins, M.D.
Dean
University of South Carolina School of Medicine Greenville
Since arriving in Greenville in 2019, Dr. Marjorie Jenkins has brought transformational leadership to the USC School of Medicine Greenville (SOMG). Record-setting, the school received the first eight-year national accreditation and has had a record number of applicants -- more than 4,750. It also had the largest number – 440 –of medical students enrolled in a given year.
The school had a $450 million economic impact in the Upstate during its first 10 years, 2012-2022.
Jenkins, who also is chief academic officer for Prisma Health Upstate, is an author/editor and national speaker on medical education innovation, women's health equity, and personalized medicine. Jenkins received an honor in 2021 from Women We Admire as one of the Top Women Leaders in Medicine, and she received the Education Spirit Award from the Community Foundation of Greenville.
Her community service extends to local boards, including the Greenville Symphony Orchestra, Artisphere, Greenville Chamber, SCbio, and the South Carolina Institute of Medicine and Public Health.
Scott Johnston
Founding Principal
Johnston Design Group
Scott Johnston is the founding principal of Johnston Design Group, an architectural, planning and interior design studio.
Johnston Design Group focuses on creating a restorative built environment that values wellness, economic resilience, and connecting people to each other and to nature.
The studio creates urban mixed-use, hospitality, commercial, cultural, and custom residential buildings, as well as community-led master plans throughout the Southeastern United States.
The studio has been recognized by the Environmental Protection Agency, the U.S. Green Building Council, the American Institute of Architects, and the National Urban League for leadership in these restorative design principals.
When not in the studio, Johnston serves as board chair for the Urban League of the Upstate and as guest faculty at Clemson University, Anderson University, the South Carolina Governor’s School for the Arts & Humanities, and the American College of Building Arts.
James Jordon
CEO and President
Jordon Construction Company and Jordon Development Company
James Jordon, an entrepreneur and community leader, is the founder of Jordon Development Company (JDC) and Jordon Construction Company (JCC).
Under his leadership, JDC has significantly contributed to Greenville's real estate development by focusing on housing. They have successfully renovated and managed multiple residential properties, collaborating with the Greenville Housing Authority and Community Works.
JCC is a certified minority-owned business that specializes in commercial and facilities support services. The company’s notable clients include the Department of Defense and Coca-Cola.
This year, Jordon Construction was ranked as the 13th fastest-growing company in the state and the fastest in revenue growth.
Known for his commitment to the Greenville community, Jordon is passionate about mentoring youth.
His honors include being selected for the March of Dimes Person of the Year Award
in Real Estate and Economic Development and the Business of the Year Award from the MEDC.
Tony Kouskolekas
President
Pelham Medical Center
Tony Kouskolekas has served as president of Pelham Medical Center, part of the Spartanburg Regional Healthcare System, since 2012.
Pelham Medical Center is a 48-bed acute care hospital. The Pelham campus also includes Gibbs Cancer Center and a medical office building with physician specialties and primary care.
Pelham Medical Center is the first hospital in the Carolinas to become an Orthopedic Center of Excellence – a DNV designation that recognizes an organization as a demonstrated leader in the safe delivery of orthopedic services.
This year, the hospital achieved the Healthgrades Outstanding Patient Experience Award for the third year in a row and was named among the top 5 percent in the nation for outstanding patient experience.
Kouskolekas’ community involvement includes serving on the boards of the Greenville Chamber of Commerce, Greer Development Corporation, Greer Middle College Charter High School, and the Leukemia and Lymphoma Society GA/SC Chapter.
Brian McKay
President and CEO
Spero Financial
Brian McKay began his career with Spero Financial (formerly SC Telco Federal Credit Union) Greenville in 2004. Since 2007, he has been a part of the executive leadership team and, in April 2020, was named president and CEO. The first six of his almost 25 years in banking were spent at First Citizens Bank in Columbia, where he held many different positions.
In addition to his role as president/CEO of Spero Financial, he is actively involved in the community as chair of the Langston Charter Middle School board of directors; trustee, Anderson University board of trustees; vice chairman and board member of the Carolinas Credit Union League; and an active member at Rocky Creek Church.
The Columbia native graduated from the University of South Carolina with a Bachelor of Arts degree in journalism and mass communications. He currently lives in Simpsonville with his wife and two teenage daughters.
Patrick Michaels
President and CEO
Goodwill Industries Upstate/Midlands of South Carolina
Patrick Michaels has worked with Goodwill for a quarter-century, which has allowed him to see the “Power of Work” for thousands of people whose lives are impacted by Goodwill.
Michaels says he is motivated by seeing individuals build their skills, make progress toward goals, and boost their self-esteem, as they work toward financial independence for themselves and their families through employment.
A graduate of Central Washington University, Michaels served in the United States Army, working as assistant operations officer, company executive officer, and company commander. His military experiences helped prepare him for his career with Goodwill.
During his tenure, Goodwill Industries Upstate/Midlands of South Carolina has launched a number of new initiatives, including programs to help military veterans and young people find employment.
In addition to his work with Goodwill, Michaels serves on the South Carolina Workforce Development Board, the Greenville County Workforce Development Board, and the South Carolina Department of Employment and Workforce Review Committee.
Mark O’Halla
President and Chief Executive Officer
Prisma Health
Prisma Health President and CEO Mark O’Halla says his primary goal over the next few years is to support Prisma Health’s physicians and team members in providing exceptional patient care as the health care system navigates challenging terrain.
O’Halla plans to deepen the system’s community and business partnerships, and Prisma Health will continue to move the needle on health care transformation by leveraging the benefits of academics, research, and innovative practice to make health care more affordable and accessible.
Prisma Health is South Carolina’s largest health system, with 18 acute care and specialty hospitals across a 21-county service area.
O’Halla, who has more than 30 years of health care experience in senior executive roles, joined Prisma Health as president and CEO in 2019. He lists his greatest career accomplishment as navigating Prisma, with nearly 30,000 employees, through the COVID pandemic.
“I could not be prouder of our nearly 30,000 Prisma Health team members who stepped up to the challenge of serving our state and our patients during the pandemic,” he said. “Beyond the pandemic, I am filled with incredible pride in all Prisma Health has accomplished.”
Krish Patel
Founder/CEO
KVP Inc.
Krish Patel has been involved in the business world since childhood, when he worked the drive-through window at his parents’ dry-cleaning business. In college, he opened a Verizon Wireless store in Greenville after he was assigned to write a business plan for a class at USC Upstate.
He financed that store by putting up his home as collateral for the loan.
Patel grew that one store into 50, employing 300 people, before selling his stores in recent years.
These days, Patel concentrates much of his energy on KVP Inc., the private equity management and real estate development firm that he founded. The company’s work can be seen at Unity Park and on Woodruff Road, among other areas of the Upstate.
Patel also owns yoga studios in Simpsonville and in Austin, Texas, and storage facilities in South Carolina. In his free time, Patel enjoys cycling, and two years ago completed the 275-mile Alzheimer’s Ride to Remember to support a friend whose mother died of the disease.
Beth Paul
General manager
Bon Secours Wellness Arena
With more than 20 years of experience in arena and venue management, Beth Paul serves as general manager of Bon Secours Wellness Arena, where she oversees the arena’s vision and execution of strategies leading to operational and financial performance. Paul continues to increase the arena’s operating revenues and profits as well as its number of annual events, which has led to numerous awards and accolades both locally and on the industry level.
Paul’s leadership extends beyond the arena’s walls through her dedication to the venue’s community-outreach program designed to bridge the power of live entertainment with the critical needs of Upstate South Carolina. Today, Paul simultaneously manages the Greenville Arena District’s 30-year Capital Improvement Plan and long-term financial obligations and sits on the on the board of directors for VisitGreenvilleSC, where she holds an officer position, as well as holding a board position for Habitat for Humanity of Greenville.
Chad Prashad
President and Chief Executive Officer
World Acceptance Corp.
A Greenville-native, Chad Prashad is active in the business, nonprofit, and education communities to improve life in South Carolina.
Prashad and his wife have been active foster parents for 12 years and he serves on the board of directors of nonprofits Build Carolina, Fostering Great Ideas, The Family Effect, National CASA/GAL Association, American Financial Services Association, and Presbyterian College.
Prashad also operates a charitable foundation, CHAM Innovation Fund, which has partnered with Presbyterian College (PC) to offer two innovative programs. Starting with 16 freshmen in August 2023, Jacobs Scholars offers a full-scholarship and wrap-around support in what has become the largest program of its kind in the U.S. for college students who experienced foster care.
In 2022, Prashad and PC launched what is now the largest Service Entrepreneurship Case Competition in the nation for high-school students (including scholarships, mentoring, and start-up capital) to help mold South Carolina’s next generation of community leaders. He leads Greenville-based World Acceptance Corporation, parent company of World Finance, which is one of the largest small-loan consumer finance companies in the nation. He has been with World since 2014 and has been instrumental in developing a successful business strategy.
Michelle Seaver
President for Greenville, Spartanburg and Cherokee Counties
United Community
Michelle Seaver believes in treating people the way she likes to be treated. “I have always tried to treat everyone I meet equally, no matter how varied our backgrounds or experiences might be,” says Seaver, who leads United Community’s banking operations in Greenville, Spartanburg and Cherokee counties.
Passionate about family, customers and community, she is a graduate in accounting from the University of South Carolina and a graduate of the S.C. Bankers School.
She has served on boards or held leadership positions with organizations including Prisma Health Board of Directors, Greenville Health System board of trustees, South Carolina Jobs-Economic Development Authority, Greenville County Museum of Art, Greenville Chamber of Commerce, Charity Ball Board of Greenville, South Carolina Bankers School, Community Foundation of Greenville, and Artisphere.
Allen Smith
President and CEO
OneSpartanburg, Inc.
A native of Greenville, North Carolina, Allen Smith honed his community development skills through work with the Greenville-Pitt County Chamber of Commerce and the Greater Greer Chamber of Commerce. In 2014, he was named president and CEO of the Spartanburg Area Chamber of Commerce.
Those experiences prepared Smith well when he led the 2020 effort to consolidate the chamber, economic development, and tourism.
Under his leadership, OneSpartanburg Inc. and its community partners have recruited $5.9 billion in new investment, creating 5,454 new jobs through 90 new projects continuing the streak of leading South Carolina in new investment and job creation.
Smith says the secret to his success is found in the people of OneSpartanburg Inc. “It's been said if you give good people possibility, great things happen. We have the best team in and outside the building and historic things are happening in Spartanburg.”
Steve Smith
Managing Director
CBRE
Steve Smith is a South Carolina native and College of Charleston graduate. He focuses on integrating CBRE’s service lines, including property leasing, management, project management and investment sales, to help clients across the state. Smith has a passion for connecting the right people and the right skills on every opportunity.
Smith spent the first nine years of his commercial real estate career in Charleston before moving to Greenville in 1993 when he joined the Furman Co. In 1997, he was named vice president of the Office Group and in 2000 he became a principal in the firm and was named vice president. By 2008 Smith had taken over as executive vice president and managing principal.
In 2014, CBRE acquired the commercial real estate brokerage, investment property sales and property management services business of The Furman Co. and Smith took over as managing director of CBRE in South Carolina. In his role, Smith has executive oversight over all company operations in Charleston, Columbia, and Greenville-Spartanburg.
Smith sits on the boards of several entities, including the South Carolina Chamber of Commerce, and the Greenville Tech Foundation.
G.T. “Toby” Stansell
CEO
Cargo, LLC
As the CEO of Cargo LLC, a Greenville-based business strategy and marketing consultancy, G.T. “Toby” Stansell guides his team in collaborations with some of the world’s largest brands to more effectively market and sell to small- to medium-size enterprises.
Over the past four decades, Stansell has taken on a variety of leadership roles in the community. In 2020, he completed an 11-year stint as co-chair of Accelerate!, the Greenville Chamber’s economic development initiative, and he continues to serve on Prisma Health’s Medical Experience Academy’s Steering Committee.
Stansell is also the author of the recently released Forbes book, “The Winding Road to Excellence,” in which he recounts some of the challenges he faced in his career and the leadership principles and practices he learned from those experiences.
Among Stansell’s community awards are the Buck Mickel Award and the Greenville/Clemson University Small Business Development Center Small Business Ally of the Year.
David Stefanich
Founder and CEO
Rymedi
David Stefanich is founder and CEO of Rymedi, a digital health company focused on improving patient access and quality of care through its data automation and workflow platform.
Prior to Rymedi, Stefanich was at the forefront of automating global quality management and logistics across the automotive industry. He later helped streamline pharmaceutical manufacturing.
Across all he does, Stefanich is most passionate about enabling others to achieve their potential, live healthier and more fulfilling lives, and pay their blessings forward.
Stefanich also serves as board chairman at SCbio and is an active member of the Clemson University Industry Advisory Board. He also advises various entrepreneurship and innovation initiatives.
His advice for anyone with a new startup is to “be true to yourself. Don't change who you are; believing it is what the market expects. The market can sense your passion, honesty, and focus.”
Betty Temple
Chair and CEO
Womble Bond Dickinson (U.S.) LLP
As chair and CEO of Womble Bond Dickinson, Betty Temple led the 2017 combination of US firm Womble Carlyle with U.K. firm Bond Dickinson to create the trans-Atlantic law firm of Womble Bond Dickinson. The combined firm has more than 1,000 attorneys and 32 offices in the U.S. and the U.K., including an office in Greenville.
Temple's career at Womble began in 1989, right after she received her law degree from the University of North Carolina School of Law. A practicing corporate and securities lawyer, Temple twice received BTI Consulting Group's Client Service All Star Award – an honor that speaks to how much global companies trust her work.
Temple also spearheaded the firm's expansion into the new markets of Boston, Denver, Houston, Nashville, New York, and Southern California.
She also championed Womble Bond Dickinson's participation in the Mansfield Rule Pilot Project, which has the goal of improving diversity within the legal profession.
Jeff Tennyson
President and CEO
Lima One Capital
Jeff Tennyson is President and CEO of Lima One Capital, and since joining the company in 2018, he has led Lima One to exponential growth, as well as recognition by Inc. Magazine as one of America’s Fastest Growing Companies on the Inc. 5000 list, and as a Top Workplace and Best Place to Work.
In 2021, Tennyson led Lima One’s acquisition by MFA Financial Inc., ensuring a consistent source of growth capital and further cementing Lima One as America’s premier lender for real estate investors.
In 2023, Lima One announced its new 65,000-square-foot U.S. headquarters as the anchor tenant in Greenville, South Carolina’s new County Square development to support its 300+ current employees and future growth plans.
Lima One also led the financing for The McDaniel, a new $28 million luxury townhome community at the intersection of East McBee and McDaniel avenues in downtown Greenville.
Erik Weir
Principal
WCM Global Wealth LLC
Erik Weir's investment career path has included his producing award-winning and multi-billion-dollar films, including "Unbroken: Path to Redemption," "Surprised by Oxford," "[Mister Rogers] Won't You Be My Neighbor," and the Erwin Brothers' film, "I Can Only Imagine."
Weir's investments include five Topgolf locations in the U.S. and partnering to develop 20 locations in Europe.
The Georgia State University and Harvard University graduate believes in persistence and applying it with "mentorship, daily strategic planning, and the realization that success is the journey not the destination."
Weir overcame a debilitating stutter that developed when he had a traumatic brain injury as a child. After 30 years of working to speak without a stutter, he now talks to large audiences, inspiring them to embrace their limitations and persevere.
"I like to ask my mentors a simple question, 'Knowing what you now know, what would you do today if you were starting over?'"
A martial artist and 25-year pilot, Weir also wrote the Amazon best-seller, "Who's Eating Your Pie? Essential Financial Advice That Will Transform Your Life."
Evans P. Whitaker, Ph.D.
President
Anderson University
Evans Whitaker has served as Anderson University’s 12th president since 2002. During his tenure, Anderson University, the state’s largest private university, has seen unprecedented growth.
One major change is Anderson’s jump in enrollment – a 164 percent increase from 1,600 to more than 4,000 students. Related to the increase in the number of students is the growth in the size of the campus, from 68 acres to 400.
A native of Shelby, North Carolina, Whitaker earned an undergraduate degree from Gardner-Webb University, a Master of Education from George Peabody College for Teachers at Vanderbilt University, and a Ph.D. from Vanderbilt.
Whitaker has taken on numerous leadership roles. Among them are serving as a trustee for AnMed Health and the Committee for Economic Development of the Conference Board, chairing the Presidents’ Council of the South Carolina Independent Colleges and Universities and the Presidents’ Council of the South Atlantic Conference, and serving on the boards of trustees for Brookgreen Gardens and the University Center of Greenville.
Will Whitley
Director of State, Local Government, and Community Relations
Michelin North America
Will Whitley is the liaison for Michelin's state and local government affairs activity, encouraging employee involvement where Michelin can have the greatest impact in the areas of education and workforce development, protecting the environment, and boosting local economic growth.
Whitley's career with Michelin began in 2008. He worked in various engineering, maintenance, and other technical leadership positions, before transitioning into the Corporate Recruiting Department. His current role began in 2019.
As part of Whitley's personal and professional interest in community and business leadership, he serves as the 2023-‘24 Chairman of Executive Committee for the South Carolina State Chamber and is a member of the Kentucky and Oklahoma State Chambers, County Chambers of Greater Greenville and Anderson County, and a South Carolina Manufacturing Alliance Board Member.
His championing for diversity initiatives has led him to be an inaugural member of the REEM Commission (Racial Equity and Economic Mobility) of Greenville County.
Whitley is also a graduate of the Riley Institute of Diversity Leaders Initiative of Furman University.
Tony Williams
Founder
Infinity Marketing
After being the driving force behind Infinity Marketing, the company he opened three decades ago, Tony Williams has stepped back from running the business, naming Bo Rogers as Infinity’s new president.
The Greenville native’s roots run deep in the Upstate. He grew up in the Overbrook neighborhood and attended St. Mary’s Catholic School on a hardship scholarship. He also served in the Army and earned a degree from Greenville Technical College.
Infinity now includes more than 75 marketing professionals who have earned the agency around 300 honors, awards, and accolades. Williams himself has also received an array of professional honors during his career. In 2016 he received the American Advertising Federation’s Silver Medal Award, an award established in 1959 to recognize men and women who have made outstanding contributions to advertising and who have been active in furthering the industry.
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https://www.penguinrandomhouse.com/books/210744/the-sandcastle-girls-by-chris-bohjalian/9780307743916/readers-guide/
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The Sandcastle Girls by Chris Bohjalian
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NATIONAL BESTSELLER • From the bestselling author of The Flight Attendant, here is a sweeping historical love story that probes the depths...
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en
|
PenguinRandomhouse.com
|
https://www.penguinrandomhouse.com/books/210744/the-sandcastle-girls-by-chris-bohjalian/
|
READERS GUIDE
An epic story of love and war, The Sandcastle Girls will captivate your reading group. We hope this guide will enrich your discussion.
Introduction
Over the years, bestselling novelist Chris Bohjalian has taken readers on a spectacular array of journeys, ranging from the Vermont farmhouse in Midwives, where a homebirth goes tragically wrong on an icy winter’s night, to the precarious world of Poland and Germany at the close of World War II in Skeletons at the Feast. In his fifteenth book, The Sandcastle Girls, Bohjalian takes us to a time and place—Syria, 1915—that left haunting legacies for his Armenian heritage, making this his most personal novel to date.
A sweeping historical love story, The Sandcastle Girls introduces us to Elizabeth Endicott, an adventure-seeking graduate of Mount Holyoke College who travels to Syria just as the Great War has begun to spread across Europe. With only a crash course in nursing, Elizabeth has volunteered on behalf of the Boston-based Friends of Armenia to deliver food and medical aid to refugees of the genocide. She soon befriends a striking Armenian engineer. He is young, but he has already lost his wife and infant daughter to Turkish brutality. When Armen leaves Aleppo to join the British army in Egypt, he and Elizabeth begin a daring correspondence, bridging their very different worlds with words of love and hope.
Interwoven with their tale is the story of Laura Petrosian, a contemporary novelist living in suburban New York. Although her grandparents’ ornate Pelham home was affectionately nicknamed “The Ottoman Annex,” Laura has never really given her Armenian heritage much thought. But when an old friend calls, claiming to have seen a newspaper photo of Laura’s grandmother promoting an exhibit at a Boston museum, Laura embarks on a journey back through her family’s history that reveals love, loss—and a wrenching secret that has been buried for generations.
Questions and Topics for Discussion
1. Though The Sandcastle Girls is a novel, author Chris Bohjalian (and fictional narrator Laura Petrosian) based their storytelling on meticulous research. What can a novel reveal about history that a memoir or history book cannot? Before reading The Sandcastle Girls, what did you know about the Armenian genocide? How does this history broaden your understanding of current events in the regions surrounding Armenia?
2. What lies at the heart of Armen and Elizabeth’s attraction to each other, despite their seemingly different backgrounds? What gives their love the strength to transcend distance and danger?
3. The novel includes characters such as Dr. Akcam, Helmut, and Orhan, who take great risks opposing the atrocities committed by their superiors; Bohjalian does not cast the “enemy” as uniformly evil. What do these characters tell us about the process of resistance? What separates them from the others, who become capable of horrific, dehumanizing acts?
4. Discuss the bond between Nevart and Hatoun. What do they demonstrate about the traits, and the trauma, of a survivor? How do they redefine motherhood and childhood?
5. Bohjalian is known for creating inventive, authentic narrators for his novels, ranging from a midwife to a foster child. Why was it important for The Sandcastle Girls to be told primarily from the point of view of a woman? How was your reading affected by the knowledge that the author is a man?
6. In chapter 9, Elizabeth courageously quotes the Qur’an to appeal to the conscience of the Turkish lieutenant. What diplomacy lessons are captured in that moment? For the novel’s characters—from aid workers to Armenians who tried to convert—what is the role of religion?
7. When Laura describes the music of her 1960s youth, her steamy relationship with Berk, her belly-dancing aunt, and other cultural memories, what is she saying about the American experience of immigration and assimilation? Culturally, what did her grandfather sacrifice in order to gain security and prosperity in America?
8. Discuss the various aid workers depicted in the novel. What motivated them to assist in this particular cause? Do Alicia, Sister Irmingard, and Elizabeth achieve similar outcomes despite their different approaches? What overseas populations would you be willing to support so courageously?
9. Does Ryan Martin use his power effectively? How does Elizabeth gain power in a time period and culture that was marked by the oppression of women?
10. The vivid scenes of Gallipoli bring to life the global nature of war over the past century.
As Armen fights alongside Australians, what do we learn about the power and the vulnerabilities of multinational forces? What did it mean for his fellow soldiers to fight for a cause so far removed from their own homelands, and for his own countrymen to rely on the mercy of outsiders?
11. At the end of chapter 19, does Elizabeth make the right decision? How would you have reacted in the wake of a similar tragedy?
12. How do Laura’s discoveries enrich her sense of self? Discuss your own heritage and its impact on your identity. How much do you know about your parents’ and grandparents’ upbringing? What immigration stories are part of your own family’s collective memory?
13. As she tries to explain why so few people are aware of the Armenian genocide, Laura cites the fact that the victims perished in a remote desert. The novel also describes the problem of trying to document the atrocities using the cumbersome photography equipment of the day. Will the Information Age spell the end of such cover-ups? For future generations, will genocide be unimaginable?
14. Which aspects of The Sandcastle Girls remind you of previous Bohjalian novels you have enjoyed?
About this Author
Chris Bohjalian is the author of more than a dozen books, including the New York Times bestsellers The Night Strangers, Secrets of Eden, Skeletons at the Feast, The Double Bind, Before You Know Kindness, The Law of Similars, and Midwives. He won the New England Book Award in 2002, and his novel Midwives was a selection of Oprah’s Book Club. His work has been translated into over 25 languages and twice before become movies (“Secrets of Eden,” “Midwives” and “Past the Bleachers”). He has also written for a wide variety of magazines, including Cosmopolitan, Reader’s Digest, and the Boston Globe Sunday Magazine, and he has been a Sunday columnist for Gannett’s Burlington Free Press since 1992. A graduate of Amherst College, Bohjalian lives in Vermont with his wife and daughter.
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Christopher Pelham
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https://www.wlox.com/2024/08/01/he-had-everyone-fooled-former-fbi-agent-sentenced-life-child-rape-alabama/
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‘He had everyone fooled’: Former FBI agent sentenced to life for child rape in Alabama
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[
"KIM CHANDLER and JIM MUSTIAN"
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2024-08-01T00:00:00
|
A former FBI agent has been sentenced to life behind bars for sexually assaulting an 11-year-old girl
|
en
|
//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wlox/favicon.ico?d=425
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https://www.wlox.com
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https://www.wlox.com/2024/08/01/he-had-everyone-fooled-former-fbi-agent-sentenced-life-child-rape-alabama/
|
MONTGOMERY, Ala. (AP) — A former FBI agent was sentenced to life in prison Thursday for sexually assaulting an 11-year-old girl while serving as an Alabama state trooper.
Alabama's state police hired Christopher Bauer even after he was kicked out of the FBI amid earlier claims he raped a co-worker at knifepoint.
An Associated Press investigation showed Bauer, 45, moved from one law enforcement job to another with the help of a forged letter making it appear he was "eligible for rehire."
The forgery prompted an FBI investigation but federal authorities held off charging Bauer as the state proceedings played out.
A jury convicted Bauer in June of first-degree sodomy and sexual abuse of a child under 12 following a weeklong trial in which defense attorneys claimed the girl made up the allegations.
Shackled and wearing an orange jail uniform, Bauer told Montgomery Circuit Judge Jimmy Pool that he never imagined he would end up on the prisoner side of a jail cell. He said juries don't always get it right.
“It seems no matter what I say, no one wants to believe I’m innocent,” he told the judge. “All it took was an accusation to strip me of everything.”
The girl’s mother stood with prosecutors, who asked for the maximum sentence. Daryl D. Bailey, the Montgomery County district attorney, called Bauer a “sexual predator” following his conviction, saying he needed to be “removed from our streets forever.”
“He’s a monster,” the girl's mother told the judge. Bauer, she added, used the badge to project the “image of a good person.”
“He had everyone fooled,” she said.
Pool told Bauer as he pronounced the life sentence that he “believed every single word” of the victim's testimony.
Bauer's defense attorneys argued the disgraced lawman deserved leniency following his own abusive childhood in foster homes and orphanages. He was removed from his parents at the age of 5 and later diagnosed with oppositional defiant disorder.
“Several instances stick out to Mr. Bauer, including once when he was pushed out of the third floor of a building and another when he was left in a burning apartment,” his attorneys wrote in a court filing.
Bauer, who was arrested in 2021, faces similar child sex abuse charges outside New Orleans. Louisiana State Police said they intended to extradite him following the Alabama case.
During the Alabama trial, the child — who is now a young teen — testified through tears that she was repeatedly abused by Bauer for years, too scared to say no or to tell anyone what was happening.
Jurors saw a recording of her interview with a child abuse investigator in which she described the same abuse. Law enforcement became involved after the girl eventually told a friend and the friend’s parent alerted the school.
Bauer took the stand in his own defense during the trial, responding “no, never” when asked if he had abused or sodomized the child. “If she said I did something to her, then yes that’s a lie.”
Bauer’s time in the FBI was not discussed in detail at the trial. The judge granted a defense request to exclude statements about allegations by a co-worker in Louisiana that he had raped her at knifepoint.
The FBI has said Bauer forged a letter that scrubbed his record clean and helped clear the way to his hiring by the Alabama state police in 2019. The document, obtained by AP, confirmed his decade of “creditable service” and deemed him “eligible for rehire," but the FBI told AP the letter in question was “not legitimate.”
Alabama authorities have refused to explain how Bauer's earlier misconduct was overlooked. AP’s investigation found he omitted his ouster from the FBI on his application to the state police, including that he had been suspended without pay and stripped of his security clearance in 2018 amid a string of sexual misconduct allegations he faced working in the FBI’s New Orleans office.
Many of the allegations played out in Louisiana court filings that had been public for a year when Bauer was hired in Alabama. The woman who accused him of rape, a co-worker at the FBI, wrote in an application for a restraining order that Bauer had choked her and made her “scared for my life.”
Bauer disputed those claims, telling colleagues the acts were consensual. But the woman previously told AP that Bauer sexually assaulted her so frequently her hair began to fall out.
“It was a year of torture,” she said. “He quite literally would keep me awake for days. I couldn’t eat. I couldn’t sleep, and in six months I went from 150 pounds to 92 pounds. I was physically dying from what he was doing to me.”
The Alabama Law Enforcement Agency did not immediately respond to a request for comment on Bauer's sentence. The agency has refused to release records from its internal investigation into Bauer's hiring, with a spokeswoman saying only “there were no disciplinary actions taken as a result of the review.”
___
Mustian reported from Miami.
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https://vault.si.com/vault/1969/09/15/sport-was-boxoffice-poison
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en
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Sport was Box-Office Poison
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1969-09-15T00:00:00
|
Midway through an early baseball movie Billy Bevan, playing an ace pitcher, is discovered by an irate husband hiding in his wife's bathtub. Bevan's presence
|
en
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/.image/icons/favicon-32x32.png
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Sports Illustrated Vault | SI.com
|
https://vault.si.com/vault/1969/09/15/sport-was-boxoffice-poison
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Midway through an early baseball movie Billy Bevan, playing an ace pitcher, is discovered by an irate husband hiding in his wife's bathtub. Bevan's presence there is innocent. To avoid any impression of wrongdoing, he submerges, breathing through a shower tube—the sort of thing that might happen to anyone. But the husband is the pitcher for the rival team, and mixed up with crooked gamblers, too. He holds Bevan's head under the water until Bevan gladly agrees not to pitch, which means throwing the game.
So we see Bevan disconsolately in the outfield, the wrong team winning. The husband hits a long fly in Bevan's direction. Bevan is so inept an outfielder that he cannot even find the ball, which bounces into a tar barrel. It looks like a clear case of injustice triumphant. But wait. All is not lost. The villain jumps exultantly on first base and the base sticks to the spikes in his shoes. He races for second like a man trying to run on one snowshoe. The third-base coach waves him on because Bevan cannot throw the ball. It sticks to his fingers. Finally Bevan gets off a throw to the plate just as the villain, great clouds of dust rising from bases affixed to both feet, slides for home. What happens next is obscure. We see the catcher and the umpire searching everywhere for the ball, which they finally locate stuck in the hair of the villain's head. It all ends happily: Bevan wins. And that's the way it used to be with sport and the movies. Then it got worse. But not for lack of trying. There have been 75 hilarious years of trying.
Bevan's out-of-the-bathtub-and-into-the-tar-barrel scene was a brief sequence in a forgotten two-reel Keystone comedy, but it was representative of a light-hearted view of sport that flourished in the early days of the movies. The Keystone company was the property of a pair of enterprising gentlemen from Brooklyn, Adam Kessel and Charley Bauman, who really did know something about sport. They were bookmakers. In fact, most of the early moviemakers were mixed up in sport in one way or another. Bronco Billy Anderson, the original Western hero, was a baseball enthusiast: he signed movie rights in 1908 with the Chicago Cubs and the Detroit Tigers for the first World Series ever filmed. In his early days in Hollywood Charlie Chaplin never missed a Tuesday night fight at the old Vernon Arena, and one of the first and funniest of his masterpieces was The Champion, made in 1915, with its classic portrayal of an alarmed fighter in the ring with a stony-faced giant who obviously possessed no sense of humor. Harold Lloyd's first comedy roles included Lonesome Luke and the Bangtails, filmed at the racetrack in Tijuana, with Lloyd playing a stableboy so astoundingly lazy he would not even lift a bale of hay that had fallen on a recumbent horse owner. He let the horse eat it. Buster Keaton worked a rundown between bases into a scene in College and climaxed the film with a pole vault into the window of a second-story room where the villain had imprisoned his girl. In A Night at the Opera the Marx brothers craftily inserted the music for Take Me Out to the Ball Game for the score of Il Trovatore and sold peanuts to the operagoers. They also won the big race in A Day at the Races by rerouting the track and scored a touchdown in Horse Feathers in an improvised chariot made from a garbage cart.
Plainly, it did not matter in the movies whether you won or lost and certainly did not matter how you played the game. In The Freshman Harold Lloyd became unforgettably entangled with a tackling dummy. W. C. Fields reached into his golf bag for a club and drew out a garden hoe, or played pool with a wavy cue. Consider Giddap, another Keystone comedy. Andy Clyde, Billy Bevan and other unlikely horsemen are playing polo. The ball is knocked over the fence and the horses follow. The game is suddenly a steeplechase, the horses leaping fences and galloping neck and neck down a road, pursuing a bewildered bicyclist. The ball had landed in a basket on his handlebars. Moments later the ball is lost among some cantaloupes in a fruit stand. The players recover it and pound on, and we catch a glimpse of a fruit-stand owner sitting amid appalling wreckage. Whacking the ball ahead of them, the players race into a quiet residential section, where a well-groomed family is sitting down to dinner. The ball rolls through the open door, and in an instant the house is filled with horses and flailing mallets. A lucky shot propels the ball outdoors again, leaving the dazed residents staring wonderingly about them. "The townspeople didn't think very highly of actors as a class," Hedda Hopper wrote in her nostalgic recollections of Hollywood's early days. "When a picture company secured the use of a private home as a location it was left in such a mess." That was something of an understatement.
Sports remained standard movie material for nearly 40 years. Thomas Edison put the first baseball game on film as early as 1898 and made the first comedy, Casey at the Bat, the following year. David Wark Griffith filmed In Old Kentucky in 1909, a melodrama in which the heroine replaces a crooked jockey at the last moment and wins the big race. Home Run Baker became the first famous athlete to turn movie actor when he starred in The Short Stop's Double in 1913. In The Pinch Hitter (1917) Charles Ray, who was a good baseball player in private life, is a country boy mercilessly hazed in college until remarkable coincidences leave him the only player available to bat with two out in the ninth inning.
As the years went on there were hundreds of others. But somewhere along the way sport movies became a special category of filmmaking, not quite as stylized as Westerns or serials, but nearly so. And they also began to form their own record in Hollywood annals—one of fiscal catastrophe. So many bad sport movies were made that they virtually died out as a popular art form. The culmination of it all was probably The Babe Ruth Story. It was so awful—and such a staggering box-office failure—that most of the big movie companies shuddered at the very sight of ball and bat. All told, there were only two baseball movies made in 14 years. When Ted Williams retired, Producer Spyros Skouras was approached with the idea of a film on Williams' career. "No, no," he said. "People wouldn't even go to see a baseball picture with Babe Ruth in it." In 1968 Films in Review analyzed almost a hundred old baseball pictures and commented editorially: "Baseball has been so indifferently dramatized it has practically been sabotaged." During the 1920s and 1930s there were, on the average, films about one sport or another released every other week, many of them with big-name stars and top directors. And almost always they were poison at the box office. Now sport films appear at the rate of one or two a year.
The familiar sport-movie product—the one about the star quarterback kidnapped on the eve of the big game, the boxer who is ordered to throw the championship fight by gangsters who have made off with his girl, the rookie pitcher who gets the big head—has disappeared. The bad repute of sports films is even seen in television reruns. In Los Angeles about 200 old movies are now projected each week on local TV stations. No more than a dozen are sports films. You can sometimes see them if you have insomnia—things like Clifford Odets' insufferably highbrow prizefighter in Golden Boy or Ronald Reagan making a comeback from drink as Grover Cleveland Alexander in The Winning Team, with Doris Day and the St. Louis Cardinals standing around looking embarrassed, or Pat O'Brien in Knute Rockne—All-American, with Reagan as the dying George Gipp.
If you prefer to sleep between 3 and 5 a.m. and are willing to pay $20 an hour for a projectionist, the film companies will sometimes dig into their archives and produce one of these turkeys for a private screening. If we had a decent economic system they would pay you $20 to watch them. In any case, after a few hours, no matter how camp your tastes, you are going to conclude that there is some better use for your money. All of which leaves unanswered the engaging, if somewhat esoteric, question: How did Hollywood and sport come to such an unpretty pass?
The first sports film ever made was shown in New York City in August 1894, four months after the first movie house opened. Michael Leonard and Jack Cushing, two lightweights, were filmed in a 10-round fight. It was a real fight—that is, there was no scenario—except that the ring was only 10 feet square so the camera could catch all the action. Leonard caught Cushing with a right to the jaw, Cushing dropped, and that was the end of the picture.
There happened to be an unusual theatrical interest in boxing that year. On the night of Sept. 3, 1894 three plays opened in New York starring fighters and ex-fighters. At Jacobs Theater, ex-champion John L. Sullivan opened in A True American. At the American Theater, James J. Corbett, then the champion, stepped forth in a revival of Gentleman Jack. Down on 14th Street, Steve Brodie, an ex-fighter not then famous for his real or imagined leap off Brooklyn Bridge, made his bow in On the Bowery. All on the same night. And all three were successful, at least at first. "Mr. Sullivan was manly," said a review, "and spoke his lines distinctly."
During those days boxing matches were stag affairs, so the simulated fights on the stage attracted audiences that had no opportunity to experience the real thing. But fight films ended the vogue for prizefights in the legitimate theater. Late in 1894 Corbett left the stage and traveled to Thomas Edison's new studio in New Jersey—built at a cost of $637—and made a fight film of his own, the second sports film ever made. Corbett, who was a good actor, took no chances. He picked an unknown Trenton heavyweight, Pete Courtney, for his opponent, and he prepared a script calling for him to knock out Courtney in the sixth round.
The shadowy background, the tense figures at ringside, the awkwardness of Courtney and the poise and stage presence of the champion made the occasion historic. And two influential developments in filmmaking were started by the picture: huge profits from a small investment and the practice of dubbing films after they were made.
The third fight film was shown six months after the Corbett-Courtney fight. It starred Young Griffo, an Australian featherweight, renowned as the fastest fighter of his time. "He was a marvel," said Corbett, who was very fast himself. Griffo was also an eccentric, even in that age of spectacularly individualistic fighters. He never trained, drank to excess and sometimes refused to sit in his corner between rounds, standing by the ropes and making speeches instead. His opponent was Charles Barnett, the setting was Madison Square Garden and Griffo quickly put Barnett away. The fight and the film lasted only four minutes.
There was another sports film made in 1895. It was essentially a newsreel—the 116th running of the Derby at Epsom Downs, a thriller won by Lord Rosebery's Sir Visto. This marked horse racing's debut on the screen. Twelve sports events were filmed in 1896. By 1898 Edison was able to persuade a Newark amateur baseball team to play before the camera in the backyard of his home.
One of the many paradoxes in movie history is that these early films are better preserved than those made after the movies became big business. Film cost a lot, so the pioneer moviemakers deposited paper prints of their reels with The Library of Congress for copyright purposes, and these lasted long after the old nitrate films disintegrated. Now the paper prints have been remade into movies and The Library of Congress has a superb collection of films dating up to 1912. But after that there are almost none until 1939.
By 1904, or 10 years after the first was shown, there were about a hundred sports movies on view. They amounted to an early version of ABC television's Wide World of Sport. Moviegoers could see a cockfight, a hurdle race, a harness race, a game of jai alai, a caber toss, a crew race, a practice session of the unbeaten Yale football team and various oddities, including something entitled A Unique Race Between Elephant, Bicycle, Camel, Horse and Automobile. Most of these are of interest only as social history, like Casey at the Bat, the comedy that Edison made in 1899. Whatever Edison's genius, it did not include a sense of comedy, but his film of the old poem was inadvertently funny. The pitcher lofts the ball very slowly, so the camera can follow it. Casey swings at everything, missing so badly that his reputation as a great slugger can only be accounted a mass delusion. After he strikes out, Casey argues with the umpire, stealthily crooking his leg behind the umpire's knee. When the official trips backward players rush in swinging, two well-dressed men wearing derbies appear mysteriously and join the fight and the movie ends in a confused pileup of struggling figures. As a dramatic effort, it could hardly have brought joy to Mudville.
The big financial successes were fight pictures, and the moviemakers began backing these and other sports events—much as television does today. The first movie-financed fight of substance was Bob Fitzsimmons against Peter Maher in Mexico on Feb. 21,1896. The producers put up $10,000, and movie history lists it as a fiasco because Fitzsimmons knocked out Maher with the first punch. There was no fight to film. Sports history records the event somewhat differently. Maher was a tough Irish heavyweight; Fitzsimmons was lucky to have won their first fight by a knockout in the 12th round. For various legal reasons the 1896 fight was held in Mexico, across the Rio Grande from the town of Langtry, Texas (pop. 75). A special train carried 182 fight fans on a 16-hour trip from El Paso. They stumbled across a stretch of desert, descended a steep trail to the riverbed, waded and splashed to a heaving pontoon bridge across the flooded river and paid $20 for their tickets. They saw Maher rush out and land a left on Fitzsimmons' mouth. Fitzsimmons came back with a left and a right, but Maher smashed a left to Fitzsimmons' head. Fitzsimmons clinched. His nose and mouth were bleeding and he seemed badly shaken. He backed away when they broke, Maher following. Maher led with a left that missed. Fitzsimmons sidestepped and swung a right that caught Maher on the chin. Maher hit the canvas, going over backward. The moviemakers had wanted a real fight—no Corbett-Courtney scenario—and they certainly got one. But they wished they had used a script after all.
In addition to the sudden ending the sky was so stormy that nothing showed on the film except gray spectral shapes. So for the first time the weather had become a major factor in heavyweight fights. When Corbett defended his championship against Fitzsimmons in Carson City, Nev. in 1897, the New York Herald's account of the fight began: "The day was clear and beautiful and just right for the kinetoscope." Corbett was knocked out in the 14th round, and, the paper reported, "The films alone should net a hundred thousand dollars to each pugilist." But sentiment soon turned against the moviemakers as fight promoters. When Terry McGovern fought Pedlar Palmer for the world bantamweight title in Tuckahoe, Sept. 12, 1899, the headlines went like this: MCGOVERN KNOCKS OUT PALMER FOR THE BENEFIT OF PICTURE MEN.
The movies were now being patronized by sports fans who questioned official decisions. For example, the decision in the 25-round fight of Jim Jeffries and Tom Sharkey at Coney Island in 1899—awarded to Jeffries—was so bitterly resented that the opening of the film on Broadway, the first time a movie was presented as a complete theatrical performance, was packed with Sharkey partisans who threatened to riot over visual evidence that their man had won.
The great barroom argument of the time was whether Domino or Henry of Navarre won their match race. This was the race that immortalized George E. Smith, later known as Pittsburgh Phil. He stood impassively munching figs at the rail as the horses crossed the line in what the judges ruled was a dead heat. Smith had bet $100,000 on Domino and, by keeping his cool, became the prototype of innumerable steely-eyed movie gamblers who risked fortunes with less agitation than the average citizen feels when ordering a steak. A melodrama, The Suburban (written by the same Charles Dazey who wrote In Old Kentucky), was a hit. It was made into a movie with King Baggott, the first of the male movie stars, and retitled The Kentucky Derby. With this the gambler as a Pittsburgh Phil type became a movie fixture: he appeared in The Thoroughbred, in Princess O'Hara, in Sporting Blood (with Clark Gable) and right down to Saratoga, the classic of the type, the movie Jean Harlow was making when she died.
Addie Kessel and Charley Bauman were two gambling contemporaries of Pittsburgh Phil. A recent movie history disparages them as "a pair of credit bookies," but in fact they were well-known operators, though not plungers. Adam Kessel was born in 1866 and grew up in Brooklyn, where he and his brothers had a small printing business. As a sideline they turned out a sheet of baseball scores and race results called the Sporting Gazette, which they distributed in pool halls and barbershops throughout New York City. "This brought us into a sporting crowd," Kessel said, "and what with one thing and another we began making book."
Kessel was tall, slim, wiry and wore a small mustache, the classic gambler's get-up. Bauman was short, dark, and heavy-set, a Brooklyn boy who claimed to have gotten his start as a streetcar conductor pocketing coins handed him for fares. Among their customers at the track was Charlie Streimer, who, in 1907, operated a small film exchange and who owed them $2,500. Unable to pay, Streimer made them partners in his firm. Soon Kessel was head of the New York Motion Picture Corp., with an office on 14th Street near Tom Sharkey's saloon. Prospering, he opened another office near the theatrical district. Two of his brothers did the office work, and Kessel himself lived in considerable style at the Hotel Savoy.
By now the movies were becoming a sizable business. A survey of fire hazards in New York in 1908 revealed the astonishing fact that there were 180 movie houses in the city. But there were only half a dozen movie producers. One of them, a Chicago-based firm owned by Colonel William Selig, had profits of $5,000 a week. Yet the whole movie business was hampered by uncertainty over patents and copyrights. An exhibitor could rent or buy a film and then make as many copies of the film as he wanted.
By the time Kessel and Bauman became moviemakers it was impossible to film a subject of immediate interest, such as a fight picture, and not have it duplicated within 24 hours. Adding to the confusion was the practice of some pioneer movie men, notably Sigmund Lubin, a Philadelphia optician, of reenacting fights. He hired actors who went through the motions of the fighters as the round-by-round newspaper accounts described them. He reenacted the 42-round fight of Joe Gans and Battling Nelson in Goldfield, Nev. that was Tex Rickard's first promotion, the fight of Jimmy Britt and Nelson for the lightweight championship, the George Dixon-Terry McGovern fight that ended when Dixon's manager threw in the towel so Dixon could keep his record of never having been knocked down, the Corbett-Kid McCoy fight that was rumored to have been fixed until the punishment that McCoy took made it plain he was really trying. When Harry Thaw shot Stanford White in Madison Square Garden, Lubin even reenacted that, giving unsuspecting customers the impression he had a camera on hand as the murder took place.
In December 1908 the major film companies organized a trust, the Motion Picture Patents Company. They agreed to pay Edison royalties and were in effect licensed by him. More than 10,000 exhibitors in the U.S. paid $2 a week for the right to use projectors and to rent films. To further control output, the trust bought up the entire film output of the Eastman Kodak Company, the only U.S. producer of motion picture film. Edison got a royalty of one-half cent per foot for all the film used, amounting to about $500,000 a year. In 1912 antitrust laws dissolved the organization, but in the intervening period all filmmakers outside the trust worked at a decided disadvantage.
Meanwhile, sports was, in a way, getting a New York vaudeville performer, Mack Sennett, into the movie business. Sennett owed Kessel and Bauman so much money from his racetrack bets that they could see no way to get the money except to put Sennett to work making movies out West. With Sennett when he reluctantly headed for California was Mabel Fortescue, known as Mabel Normand, a winning little 17-year-old girl who had been working as a model in New York. Also in the company was Fred Mace, later well-known as the villain who used to drop safes and other heavy objects on Charlie Chaplin. He was then famous as the leading man in The Umpire, a musical comedy that had a record-breaking run of 350 performances in Chicago.
A little later Kessel sent Charlie Chaplin himself to join Sennett. Chaplin's film career had an exceptional beginning. He did not owe Kessel any money. Kessel's brother Charles happened to catch Chaplin's vaudeville act and asked Kessel to hire him, which he did for $150 a week, or $85 more a week than Chaplin was getting. Soon Keystone included Charles Murray, Louise Fazenda, Fatty Arbuckle, Gloria Swanson, Chester Conklin, Ben Turpin, Mack Swain, Hank Mann, Marie Dressler, Ford Sterling and Henry Lehrman, an Austrian army officer known as Pathé Lehrman because he claimed to be able to operate a French-made (and hence patent-free) Pathé movie camera. (He couldn't.) So the Keystone comedies began, founded by a pair of New York bookies who were to make as important a contribution to popular art as anyone in their time. For this reason alone it is possible to argue that the movies took far more out of sport than they ever gave back.
I estimate that I went through about a hundred old sports movies in the course of this study, and I came away with one strong impression: the shows were by and large entertaining when they were comedies—or melodramas—and disasters when they were tragic or sentimental. The movie colony was simply too knowing about sports to shed an honest tear over a horse race or a football game. On the stage it was different. In the durable stage plays, such as Paul Armstrong's Blue Grass, or Cecil Raleigh's Sporting Life or Rida Johnson Young's Brown of Harvard, the sports events took place offstage, with only a portion of the crowd shown responding to victory or defeat. But in the movies the audience was right in the ring or the backfield, and the transition from violent action to profound emotion was never pulled off convincingly. The moviemakers, wrapped up in sports themselves, couldn't fake it.
This Los Angeles fascination with sport even predated the arrival of the movie men. In 1910 Los Angeles had a population of 319,000—there's a statistic that can stop a man. Los Angeles fight crowds soon became bigger than those in New York or Chicago. (By 1925 the two fight arenas in Los Angeles were drawing a total of 610,000, compared to 120,000 for Madison Square Garden and 104,000 for Chicago Stadium.) The movie people simply picked up the sport tempo. Jim Jeffries' saloon became the most popular bar in town. Jack Root, the former light heavyweight champion who ran the Olympic arena, had been filmed in one of the earliest of fight pictures. Tom McCarey—"the greatest fight promoter in the world," according to Bill Henry, the sports editor of the Los Angeles Times—was a distinguished, silver-haired diplomat whose two sons, Leo and Ray, went on in time to direct some of the few good sports films that were made. Fred Newmeyer, who became a director and scriptwriter for Harold Lloyd and Buster Keaton, was a southpaw pitcher with Denver in the American Association who spent the winters as an extra on the Universal lot. Ted Wilde, another baseball enthusiast, became a gag writer for Lloyd. Wilde eventually became a director and made a pleasant comedy, Babe Comes Home, starring Babe Ruth. It was the slugger's only untroubled and profitable connection with the movies.
Some of the people who eventually made sport movies were already living in Los Angeles when the filmmakers arrived. Sam Wood, who became the best known of this group, was a high school dropout from Philadelphia who drifted to Los Angeles in 1901, became a real-estate dealer and got into movies in 1914 as an aide to Cecil B. DeMille. Wood had played football and baseball in Philadelphia and won a rowing championship. He also boxed at the Los Angeles Athletic Club and played baseball on the club team. As a moviemaker he directed Wallace Reid in his pioneer auto-racing picture, Double Speed. This established him as a specialist in sports films, a reputation that lasted throughout his long career. He even directed Ramon Novarro, a rival of Valentino, in a football picture, For Glory and the Girl, and helped Robert Montgomery, another actor unlikely to be cast as a football player, through So This Is College. It was Wood who directed the Marx brothers in A Day at the Races.
Actually, Wood had no fondness for sport films, but one just seemed to lead to another. When he wanted Gary Cooper to star in For Whom the Bell Tolls, Goldwyn told him he would not lend Cooper unless Wood agreed to first direct Cooper in Pride of the Yankees for Goldwyn. That film, based on the life and death of Lou Gehrig, did manage to blend baseball and sentiment with a certain degree of success.
Tom McCarey's son Leo first worked as a Los Angeles sportswriter. He started his directing career with a college football comedy, The Sophomore, became celebrated for Ruggles of Red Gap and went on to direct the Marx brothers and Laurel and Hardy. The latter, in one of their best comedies, Should Married Men Go Home?, had Laurel as an elegantly attired golfer with an uncanny resemblance to Fred Astaire get involved in an epic mud-throwing scene on a golf course. The brawl started when Laurel tried to replace a toupee that had fallen off Edgar Kennedy's head. He inadvertently picked up a toupee-like area of turf, a glorious sort of divot that had daisies growing from the closecropped grass, and placed it on Kennedy's head, causing Kennedy to go into his famous slow burn. Ray McCarey also mixed sport and comedy successfully, especially in a funny film about the Dodgers, It Happened in Flat bush, that stood out in the dismal record of movies about baseball.
Nor did the British actors in Los Angeles residence ignore the sporting scene. There was the Hollywood Cricket Club set, led by C. Aubrey Smith, who usually played the role of an English lord with a drooping mustache. Smith had once competed for England in international matches. The spectators at the cricket club's games included the likes of P. G. Wodehouse, Basil Rathbone, David Niven, Errol Flynn and Victor McLaglen, who had been a boxer and once fought an exhibition match with Jack Johnson before Johnson became world champion.
The history of the movies might well have been different had it not been for handball. Harold Lloyd and Hal Roach were handball players, and the 1936 national handball championships were held on Lloyd's private court. The locker-room crowd at the Los Angeles Athletic Club included such diverse types as comedian Snub Pollard, director Charles Ruggles and David Butler, a onetime theater manager and local handball champion who became another prime director of sports films.
It was Butler who gave sports movies a sudden boost in 1936—after they were thought to be hopelessly outdated—when he put together Pigskin Parade, a musical about a small Texas college that received, by mistake, an invitation to play Yale and hastily assembled a football team built around a cantaloupe tosser from the farmlands. The movie was quickly and inexpensively made, with Stuart Erwin and Betty Grable starring, and was an enormous financial success, in part because of the singing of a 14-year-old girl, Judy Garland, and in part because it expertly ridiculed the innumerable tedious college football movies of the past.
To this rather closely knit fraternity of sports-minded movie talent there came from outside a continual infusion of sports celebrity nontalent, and part of Hollywood's problem was its tendency to have stars in its own eyes when it dealt with the athletically famous. Among the early athlete-actors were Jim Corbett, who starred in a serial, The Midnight Man, in 1919 and Jess Willard, who had a brief film career in Heart Punch. Jack Dempsey was once cast as a football player, surrounded by the University of Southern California team, but survived this dreadful artistic moment to make an adequate serial, Daredevil Jack. Johnny Mack Brown made such an impression on Hollywood with his last-minute touchdown passes when Alabama beat Washington 20-19 in the 1926 Rose Bowl that the movie colony never let him go; he jumped to stardom as Marion Davies' leading man in The Fair Coed and then faded into Westerns and serials. Babe Ruth struck out in a Hollywood venture that ended with him suing the movie company for $250,000 and the company suing him for $50,000. Lou Gehrig made one film, a weird mixture of tropical isles, cowboys and baseball, called Hawaiian Buckaroo.
But the high point came when Red Grange, riding a tidal wave of publicity, made One Minute to Play. The film was hastily shot at Pomona College and cost less than $100,000. It grossed $750,000, and Grange was immediately cast in a big auto-racing feature, with Jobyna Ralston as his leading lady. Famous race drivers were added to the cast. As one historian noted, "It looked like a perfect setup for success, but the fates decreed otherwise." One instrument of the fates was Joseph P. Kennedy. He was reorganizing Film Booking Offices, the company making the movie, and became involved in a quarrel with Grange's manager, who wanted a percentage of the take for Grange. Kennedy ordered that Grange be dropped to a minor role in the billing and, except for a slight return when Glenn Davis almost married Elizabeth Taylor, running backs were benched by Hollywood until Jim Brown kissed Raquel Welch.
Were the critics right in condemning the sports movies as bombs? Was the public correct in avoiding Hollywood's best sporting efforts as stinkers? Was Variety speaking for the entire sports movie genre when it dismissed Saturday's Heroes with "Pic is crammed with hoke"? Face up to it. The answer to all three questions is yes. Hoke is nothing new for Hollywood, but Hollywood was never able to fuse hoke and sports in the way it fused hoke and every other human endeavor. The proof? Close your eyes, pretend your TV is tuned in on the Very, Very, Very Late Show, and imagine the scene as:
Jimmy Stewart, beginning his otherwise distinguished career, is a football player in Navy Blue and Gold. And what is it that the old Captain (Lionel Barrymore) is saying to him? "As long as you wear the Navy uniform nobody cares whether you win or lose. But Navy cares greatly how you play the game!"
The trainer, leaning on the fence next to Wendy Barrie in Breezing Home, observes that the Thoroughbred is nature's noblest creation. And what's that Wendy is saying? "Don't ever change, Steve; don't ever stop thinking that."
Nelson Eddy, that toothy musical-comedy baritone, is cast as a West Point football hero in Rosalie. He hurries to Vassar after winning the big game, posts himself beneath Eleanor Powell's window and sings:
I'm your dream soldier
Reporting for duty....
It is The Babe Ruth Story. William Bendix, playing Ruth, leans forward to speak to a boy who has been hopelessly crippled all his life. "Hiya, kid," says the Babe. The words so inspire the youngster that he rises from his wheelchair and walks.
Oh, yes, he does, sports-movie fans. Yes, he does.
PHOTO
Bases nailed to his feet, a Keystone comic launched sport-movie humor.
PHOTO
Boxing saw a new defense when, in 1915, Chaplin made "The Champion."
PHOTO
Bert Lytell acted and then some in the oh-so-serious "Sporting Life."
PHOTO
What Chaplin could do, Keaton could too, and down went boxing again.
PHOTO
In 1925 a tackling dummy was a leg up on shocked Harold Lloyd.
PHOTO
A master of the comic cue, fields tried his sport in "Six of a Kind."
PHOTO
Sport and sentiment rarely mixed well, but Cooper as Gehrig was teary.
PHOTO
"Navy Blue and Gold" could have sunk young Jimmy Stewart.
PHOTO
"Breezing Home" starred Wendy Barrie-and the odor blew in off the barn.
PHOTO
Nelson Eddy was dreamy with Eleanor Powell.
FIVE ILLUSTRATIONS
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Co-Creator / Showrunner of Halt and Catch Fire.
EP / Showrunner of The Terror: Devil in Silver.
Wrote Iron Man, Doctor Doom, other comics.
Writing Briar, Star Trek: Defiant.
Plastic Man No More is out this September.
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12 Best Classic Horror Movies You Can't Miss
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2022-03-30T17:30:35
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Are you looking for the best classic horror movies of all time? Horror movies are one of the most popular picks, with over 100 years in the film industry.
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en
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Mega Media Xchange
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https://megamediax.com/12-best-classic-horror-movies-you-cant-miss/
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Are you looking for the best classic horror movies of all time? Horror movies are one of the most popular picks, with over 100 years in the film industry. Anytime you need a thrilling experience, simply play one of the horror movies on this list for some serious chills, goosebumps, and jumpscares.
Classic horror movies have a lot of setbacks compared to modern horror movies. They may lack props, proper stages, or special effects, but the taste of film culture is adequately conveyed through them. That’s one of the many reasons why those old classic horror movies still have a cult following.
Horror movies are categorized into a variety of film genres, from slasher to supernatural. Evil entities, villains, serial killers, demons, spirits, or supernatural forces lure the viewers into otherworldly adventures.
Not everyone is a big fan of horror movies, but if you are, you can’t miss these twelve best classic horror movies.
1. The Amityville Horror -1979
The Amityville Horror is one of the most terrifying and creepy horror movie clips. The story follows a young couple who move into a house haunted by the spirits of a mass-murdered family. The movie was based on the book that was written by Jay Anson.
2. The Shining -1980
Based on Stephen King’s novel, The Shining is one of the most iconic horror movies ever made. Jack Nicholson plays Jack Torrance as an author who has to face his demons and try to keep them together for his family to survive in their new surroundings. This psychopathic horror movie will leave you questioning your own sanity.
3. The Exorcist -1973
Starring Linda Blair, this film is still considered one of the best classic horror movies to date. It ranked number 1 in Rotten Tomatoes’ list of best horror movies. It also won two Academy Awards: Best Actress (Blair) and Best Editing (William H. Reynolds). This is not a jump-scare horror movie but a slow burner that will still be with you long after the closing credits.
4. The Birds -1963
One of the most successful and beloved horror movies, The Birds is a classic horror movie with an incredible story and great acting. This movie is based on the short story “The Birds” by Daphne du Maurier. The leading actress, Tippi Hedren, plays a photographer who moves into a house with her boyfriend. The birds start to attack them one after another, and as time goes on, we learn that it’s not just the birds attacking them but also something else.
5. The Blair Witch Project -1999
This is another terrifying and creepy found-footage horror movie that will keep you on edge! A couple goes missing while trying to film a documentary in rural Maryland. Their friends find the couple’s footage, and they decide to go to the site to find them. The movie is based on the book “The Blair Witch Project” by Michael C. Williams.
6. Psycho -1960
One of the most famous horror movies ever of all time; this is a classic that still gives you chills to this day. Alfred Hitchcock’s film was based on the novel by Robert Bloch. The movie revolves around Norman Bates, an emotionally disturbed man who commits murders, but with no knowledge of any wrongdoing. The plot has an excellent psychological play that keeps you shaken up for an entertaining one hour and fifty minutes.
7. Night of the Living Dead -1968
George Romero’s Night of the Living Dead is a classic horror film that tells the story of several people who are trapped in a rural Pennsylvania farmhouse. The group must find a way to escape from the zombie-infested house and get to safety. This movie has become a genre classic, and it will still give you chills when you watch it for the first time.
8. Eyes Without a Face -1962
The movie begins with a woman who loses her husband in a car accident. Later on, she meets an attractive doctor, and they fall in love. However, he is actually a cold-blooded killer who kidnaps women and surgically removes their faces. This film was directed by Georges Franju and starred Jean Seberg as the beautiful protagonist who falls for the villian. The movie relies psychological material and gruesome scenes to drop our jaws in terror.
9. The Texas Chainsaw Massacre -1974
This classic is still spine-chilling today! The story revolves around a group of teenagers traveling to relatives in Texas. Along the way, they are attacked by Leatherface, one of the most famous antagonists in this horror film series. The film had such a significant impact that there was a remade released in 2003, which was also successful in theaters worldwide.
10. Halloween -1976
The movie takes place on, you guessed it, Halloween, and it revolves around a group of people who are stalked by Michael Myers, a psychotic man who wears a mask with a jack-o’-lantern carved into it. The teenage girl is the main protagonist in this story, and she ends up fighting against Myers and his murderous ways. This film was directed by John Carpenter, who also wrote the script for this great horror movie.
11. Poltergeist -1982
This movie is about the Freeling family that goes through many terrifying incidents and supernatural events. The family consists of Steven (Craig T Nelson), Diane (JoBeth Williams), Robbie (Casper Van Dien), Carol Anne (Heather O’Rourke) and Robbie’s son Robbie Jr. This film was directed by Tobe Hooper. It stars an amazing cast of actors like Ellen Burstyn and Craig T Nelson as the parents of the Freeling family.
12. A Nightmare on Elm Street -1984
This is one of the most famous characters in the horror movie franchise, Freddy Krueger’s It debuted in 1984 with this first movie starring Robert Englund as nightmare fuel Freddy. The plot revolves around teenagers who fall asleep and then wake up to find themselves in the dream world of Freddy Krueger. The movie was directed by Wes Craven and starred Heather Langenkamp, Johnny Depp, Robert Englund and John Saxon as the main protagonists.
Out of horror movie ideas? Come get them at Mega Media Xchange at low prices. We have a massive horror collection to keep you restless.
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https://www.amazon.com/Terminator-3-Rise-Machines-Blu-ray/dp/B00IO8XU66
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Amazon.com
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https://physicalculturestudy.com/2017/02/22/the-amazing-physique-of-a-schwarzenegger-how-he-developed-it-1967-article/
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en
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The Amazing Physique Of A. Schwarzenegger & How He Developed It (1967 Article)
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2017-02-22T00:00:00
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Published in Iron Man Magazine in 1967 by Arnold's friend Albert Busek, the following article details Arnold's rise to fame alongside his working routine of the time. A fine biography and reminder that even during the 60s, people marvelled at the Austrian's successes. JUST a short year ago his name was still generally unknown, but on October 30,
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en
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Physical Culture Study - A Website Dedicated to the Study of Strength, Health, Fitness and Sport Across Centuries, Countries and Contests.
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https://physicalculturestudy.com/2017/02/22/the-amazing-physique-of-a-schwarzenegger-how-he-developed-it-1967-article/
|
Published in Iron Man Magazine in 1967 by Arnold’s friend Albert Busek, the following article details Arnold’s rise to fame alongside his working routine of the time. A fine biography and reminder that even during the 60s, people marvelled at the Austrian’s successes.
JUST a short year ago his name was still generally unknown, but on October 30, 1965, in Stuttgart, his meteoric rise to international fame began.
However, let us review his story from the very beginning. Arnold Schwarzenegger was born on July 30, 1947, the son of police inspector Gustav Schwarzenegger and his wife, Aurelia. As a child he was taken along by his father to curling contests, and very soon the desire to emulate his father’s interest in sports awakened in him. At the same time he realised that that wouldn’t be a very easy thing to do, for his father was – and still is – an outstanding sportsman. Among other things, his father was the European title holder in distance curling, and several times he won awards as state champion in gymnastics and calisthenics. In his early efforts to achieve distinction in athletics, Arnold had to content himself with a merely average performance, and was very disappointed in this result. That happened in February, 1962, at the Graz City Championship in Distance Curling for Juniors. Arnold only won sixth place. For the son of a well-known sportsman that was naturally an unfortunate start, but Arnold was simply too weak to assert himself against the best performers. Thus, for the moment, his drive to reach the top came to a sudden halt.
So it began…
One day in the late fall, on one of the last warm days of the season, on the beach of Thaler Lake near Graz, Arnold struck up an acquaintance which was destined to have perhaps the most important consequences for him. For a long time he had been watching a young man whose outstanding physique literally commanded attention. He tried to approach this young man, but didn’t trust himself to strike up a conversation. KURT MARNUL, who was at that time the ideal of all Austrian bodybuilders, had naturally noticed the admiring glances of the youngster, and spoke to him directly. The conversation ended with an invitation to Arnold to come along to a training session. The very next day Arnold appeared in the training rooms of the weightlifting club Athletic Union in Graz and met Kurt Marnul, who was employed there as a trainer. Under the guidance of this experienced bodybuilder and weightlifter he made rapid progress, and in a comparatively short time it became clear to all that here an extraordinary talent was developing. At the beginning of his training. Arnold’s measurements, as recorded by Kurt Marnul, were as follows:
Bodyweight 154; Height 5’11½”; Upper arm 13; Chest 41¼; Waist 27½; Thigh 21; Calf 14¾.
Early successes
By the following summer, Arnold’s measurements had improved markedly:
Bodyweight 176; Height 6′; Upper arm 16; Chest 45¾; Waist 28; Thigh 23; Calf 16.
As early as January of 1964, Arnold was able to reap the first benefits of his intensive training, naturally enough, in curling. In addition to working out with the barbells, he still went with his father to curling meets, and by now he enjoyed considerable success. He outdistanced his former competitors by far, and became not only state and provincial champion (Junior Class) in curling, put also won second place in the general European meet held in Yugoslavia. Thus Arnold had achieved his first ambition while barely 17 years of age, and his father was justly proud of him. After the general European meet, the young victor was able to concentrate completely on the forthcoming Mr. Austria 1964 contest, the date of which had been set for April. With almost fanatic zeal, Arnold trained for two to three hours a day, was able to make even further improvements in the little time left him, and made an impressive showing in his first major contest. He became Junior Mr. Austria, and took third place in the Senior Class after Kurt Marnul and Helmut Cerncic. Since he trained in a weightlifting club, it was natural for him to take part in the weightlifting competitions too.
Master of weightlifting
In autumn of the same year he became Styrian champion (Juniors) with a total of 705 lbs. In the spring of 1965 he continued his string of victories by winning the Mr. Styria title. It is perhaps worth mentioning that the victory trophy was donated by the Austrian Chancellor of the time, Dr. Alfons Gorbach. In spite of his many successes, Arnold was never content to rest on his laurels, and kept trying to improve himself. Perhaps that is the secret of his success in general. One must, however, esteem his mental attitude and his modesty even higher than his athletic successes. These qualities, together with his outstanding physical development, made him stand out even early in his career in the competitions in which he participated.
As early as the summer of 1965, he occupied an undisputed first place in the list of Austrian weightlifters, thus outstripping all his former teachers and training companions, and at the age of hardly 18. In September Arnold passed his examinations in business school, and thus his commercial apprenticeship ended. On the first of October, he was drafted into the army, where he served as a tank driver. Everyone knows that basic training for military service involves, even for a highly trained athlete, great hardships and deprivations. And one is astonished to discover how, in spite of it all, Arnold still found time to prepare for the Best Built Athlete of 1965 in Stuttgart. Naturally he wasn’t able to improve markedly; he was only able to stay in condition. Nevertheless, that didn’t damage his unshakable optimism. And thus he appeared for the first time in an international competition and had to compete at the very outset with some of Europe’s finest among the Juniors, such as Dischinger and Fluck. That he walked away with the victory here too, at his very first attempt, and that he was able to do so with the very highest number of points possible, proved even then his exceptional standing in weightlifting circles. The underdeveloped beginner had, in three short years, turned into an athletic young man of incomparable size and muscularity, as can be seen by his measurements, which were then:
Bodyweight 198; Height 6’1″; Upper arm 17¾; Chest 50; Waist 30; Thigh 24½; Calf 16¼.
He awakens admiration, however, not only by his measurements, but equally by virtue of his extraordinary harmonious total development and definition. His appearance in Stuttgart impressed the experts so much that he was signed up immediately for the next Mr. Germany contest, as a guest star, by the president of the DKV, Mr. Putziger. When his basic training was over, Arnold was able to devote himself increasingly to his training with barbells. In the barracks his experiences in the army were similar to those of Reinhard Lichtenberg. He was frequently asked by his buddies to remove his shirt and put his muscles on display. That there was also strength and endurance in those muscles (which was doubted by some of the skeptics) Arnold proved at the military meets held in Graz.
At those meets he took a distinguished third place, although he hadn’t prepared himself for specifically these disciplines at all. For example, he did a shot putt of 13.85 metres, threw the baseball 95 metres, and broad jumped 6.10 metres.
Then on March 6, 1966, when Arnold appeared as a guest at the Mr. Germany contest, many of the experts were convinced that he had then reached his peak development, and from there on could only improve minimally. On the basis of his measurements, he could be numbered even then among the best of European bodybuilders. Since Arnold made such great progress in the last half of the year, he entered the Mr. Universe contest with the official association of the NABBA in London.
On August 1, Arnold moved to Munich where he took a job in a sporting goods store. His employer, himself a great sports enthusiast, left him enough time to prepare for the Mr. Universe contest.
Those who had thought earlier in the spring that Arnold had already attained his best possible form and peak development, were now forced to change their opinions. It is difficult to believe how, in the space of two short months, Arnold built up and increased in massiveness. It contradicts every traditional law and norm. In this short time he almost equaled his great ideal, Reg Park. It is hard to imagine where Arnold picked up the strength of will and found sufficient training energy to carry out his staggering programme; for now he was training seven times (!) a week, in training sessions that lasted from five to six hours. During training he pays particular attention to his ‘weak’ spots. His thighs and calves he trains daily. He worked his upper arms three times a week for two to three hours, doing a total altogether of 60 sets. His preparation demanded not only great physical exertion, but also the most careful way of living. That means ten hours of sleep daily, no alcohol, and no nicotine.
Breaking through to international fame
The time had finally come. Arnold had done everything possible to make the best impression he could at his first participation in an international contest. Shortly before his flight to London, he had himself measured once more. It seems hardly possible, but the following measurements are strict fact:
Bodyweight 235; Height 6’1″; Upper arm 20½; Chest 54½; Waist 31; Thigh 26¼; Calf 17¾.
Although many of those who saw him only a short time before were convinced that he would be the new Mr. Universe, Arnold repeatedly pointed out the heavy competition, and said that if he placed somewhere among the first six, he would have achieved the ambition of his dreams. It was a ‘youngster’ of 19 who said that; a young man who, for his age, had the best measurements possible and had no need to fear any opponent of his age group in the world. Oscar Heidenstam, the organiser of the Mr. Universe contest, said later of Arnold that it was refreshing to see how little the young man realised how good he actually was. Oscar Heidenstam also mentioned that he had never seen a better built 19 year old-and Mr. Heidenstam has been organising these international competitions for many years and has seen all the great figures in the iron game. This opinion carries great weight. Arnold Schwarzenegger, it can be said without exaggeration, was the sensation of the Mr. Universe contest of 1966. To be sure, he had to yield first place to the experienced and tremendously defined Chester Yorton, but he didn’t consider that a defeat, for his second place was a triumphant success.
All the members of the judges’ panel were enthusiastic about Arnold, and concede him leading chances for the title in 1967. In point of fact, Arnold had the largest measurements of all the participants in the international meet. During the competition in the huge Victoria Palace Arnold had to appear on the stage a second time and repeat his performance, because the public literally overwhelmed him with applause and demanded it. In the history of the Mr. Universe contests, only two athletes up to that point in time had been caned back to the stage a second time, Reg Park and Earl Maynard. On October 9 and again on October 30, Arnold was chosen the best built athlete of Europe in Cologne and Stuttgart respectively.
Invitation to England
Among the English public Arnold created such a sensation that he was immediately invited to three competitions in England, among them also to the Mr. Britain contest. He was signed up by Umberto Devetak to appear as a guest star at the Mr. Italy contest. On November 12 in Amsterdam he was jubilantly greeted at the Mr. Holland contest. A well deserved reward for hard and steady training. It is typical of Arnold that after his return from London he allowed himself only two days of rest and then immediately resumed his training. His goal: the Mr. Universe title in 1967. If we can assume that he continues to work towards his goal as dedicatedly and single-mindedly as he has in the past, then in 1967 his name will have to be mentioned in the same breath with those of Reeves, Park and Pearl
His measurements
Bodyweight 235 (formerly 154); Height 6’1″; Neck 18; Chest 55 (formerly 41¼); Waist 31; Upper arm 20½ (formerly 13); Thigh 26¼ (formerly 21); Calf 17¾. (measurements taken before training, cold.)
His best lifts
Full squats 430 Bench press 410 Curl 285 Deadlift 605 Three Olympic Lifts total 805 Press 265 Snatch 242 Clean and Jerk 300
His training programme
Monday, Wednesday and Friday: Upper arms and shoulders. Tuesday, Thursday and Saturday: Chest and Lats. Sundays: All muscle groups. Thighs and calves daily.
In any case, we wish him all the best, and we hope that he will be the first German-speaking Mr. Universe. That Arnold not only has fantastic measurements, but also belongs among the strongest athletes alive (and in this connection we must remember that he hasn’t yet reached his natural limits by any means), he proved on October 30 in Stuttgart, where, in three major lifts he beat the winner of the previous year, Pelekies, with a total of 1290 in power-lifting.
ARNOLD’S TRAINING PLAN
Monday, Wednesday, Friday LATS- Chins–15 sets of 15 reps.
Bent-over rowing–15 sets of 10 reps. CHEST- Incline-press 8 sets of 8 reps.
Bench press 8 sets of 8-8-6-6-5-5-3-3.
Flys on flat bench 8 sets of 8 reps.
Dips 5 sets of 10 reps.
Pullover on flat bench, 5 sets of 10 reps. SHOULDERS- Press behind neck 8 sets of 8 reps.
Side laterals 8 sets of 8 reps.
Bent-over raise, 8 sets of 8 reps. Tuesday, Thursday, Saturday ARMS – TRICEPS- Bench press with narrow grip 7 sets of 8 reps.
Tricep barbell lying 7 sets of 8 reps.
Dumbbell French press 7 sets of 10 reps.
Pull down on lat machine 7 sets of 10 reps. ARMS BICEPS- Barbell curl 7 sets of 8 reps.
Seated dumbbell curl with one arm 7 sets of 8 reps.
One arm concentration curl with dumbbell 7 sets of 12 reps. LEGS- Squat 5 sets of 8 reps.
Front squat 5 sets of 8 reps.
Sissy squat 5 sets of 8 reps.
Leg curls with leg machine 10 sets of 10 reps. CALVES- Heel raises 10 sets of 20 reps. Sunday CALVES AND ABDOMINALS Donkey raise 15 sets of 20 reps.
Sit-ups 10 sets of 20 reps.
Leg raise on incline 10 sets of 20 reps.
PHOTO CAPTIONS
– Arnold Schwarzenegger is reputed to be the greatest physique prospect in the bodybuilding horizon and he was a sensation at the recent Mr. Universe, and is predicted as a sure winner next year. Those arms are now up to 21½, with a 56 chest. At 6’3″ and weighting over 235, he wants to become the biggest bodybuilder in the world. He is quite strong and has done well in lifting, and is a champ at swimming and other sports.
– Arnold uses conventional exercises known to all bodybuilders but has been training hard since he was 13, though not on weights that long. At upper left he does seated press behind neck, then rowing, curl and dumbbell concentration curl.
– Even tho a big man with huge measurements Arnold presents a clean, well proportioned appearance.
– Arnold doing the squat and seated dumbell curl, very much as you who read this do this exercise.
– Performing the chin and bench press. You will note that tho using these conventional exercises, the secret of his success is first that he was given a good foundation by his healthy parents and he works extremely hard and is very dedicated.
– You could not guess that Arnold weighs 235 as he is so well proportioned and poses very well. He wants to improve his legs considerably and feels that he will have attained closer to perfection when he does this.
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https://www.usmagazine.com/celebrity-news/pictures/arnold-schwarzenegger-through-the-years-photos/
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Arnold Schwarzenegger Through the Years: Photos
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2023-06-02T23:00:46+00:00
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Arnold Schwarzenegger has had an interesting career over the years from bodybuilder and action star to governor and more — photos
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/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
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Us Weekly
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https://www.usmagazine.com/celebrity-news/pictures/arnold-schwarzenegger-through-the-years-photos/
|
From Terminator to Governator! Arnold Schwarzenegger played many roles throughout his impressive career.
The Jingle All the Way star was born in Thal, Austria in July 1947 as the son of a police officer. As a teenager, Schwarzenegger developed an interest in weight training when his football coach brought him to a local gym. After finding his passion for bodybuilding, he chose to give up football as a potential career path.
While doing his required military service in 1965, the athlete went AWOL during basic training so he could participate in the Junior Mr. Europe contest — which he won. The following year, he went on to place second in the Mr. Universe competition. In 1968, Schwarzenegger accomplished his dream of moving to the United States to train at Gold’s Gym in Los Angeles. Throughout his impressive bodybuilding career, he won seven first-place titles at the Mr. Olympia competition.
As the Austria native grew more prominent in the athletic community, he felt the desire to transition into acting. He booked his first movie role as the titular character in the 1970 film Hercules in New York. The True Lies star later snagged roles in more flicks including 1973’s The Long Goodbye and 1976’s Stay Hungry, which earned him his first Golden Globe win.
After gaining critical acclaim, Schwarzenegger cemented himself as a movie superstar, especially in the action genre. In the 1980s, he starred in blockbuster flicks including Conan the Barbarian (1982), Commando (1985), Raw Deal (1986), The Running Man (1987), Predator (1987), Red Heat (1988) and his most noteworthy role as the titular character in James Cameron’s Terminator franchise.
As the Batman & Robin actor continued to achieve box office success, he found love with Maria Shriver. The pair tied the knot in 1986 after meeting at a tennis event nine years prior. They welcomed four children: Katherine, Christina, Patrick and Christopher in 1989, 1991, 1993 and 1997, respectively.
In addition to his budding film career and growing family, Schwarzenegger decided to pursue another passion: politics. In 2003, Schwarzenegger was elected as Governor of California to replace Gray Davis after he was recalled and removed from office. The actor, who was dubbed “The Governator,” served two terms.
Following his time in office, the Total Recall star and Shriver called it quits after nearly 25 years of marriage in 2011. The I’ve Been Thinking author filed for divorce from Schwarzenegger after she learned he had an affair with their family’s former housekeeper, Mildred “Patty” Baena, in 1997 and fathered a child, son Joseph Baena.
“I understand and deserve the feelings of anger and disappointment among my friends and family,” the Commando actor said in a statement at the time. “There are no excuses and I take full responsibility for the hurt I have caused. I have apologized to Maria, my children and my family. I am truly sorry.”
A decade after filing, Us Weekly confirmed that the former couple were officially divorced in 2021. Two years later, Schwarzenegger opened up about the infamous split and how he and Shriver deserve “Oscars” for how they managed to coparent throughout the difficult period.
“We are very proud of the way we raised our kids,” he explained to The Hollywood Reporter in May 2023. “Even though we had this drama, we did Easter together, Mother’s Day together, the Christmases together, all birthdays — everything together.”
Keep scrolling to see Schwarzenegger throughout the years:
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Arnold Schwarzenegger
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Arnold Alois Schwarzenegger (born July 30, 1947) is an Austrian-American former professional bodybuilder, model, actor, director, businessman and politician who served as the 38th Governor of...
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DWTSGame Season 4
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Schwarzenegger's inauguration speech
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SACRAMENTO, California -- Following California's historic recall election, Arnold Schwarzenegger was sworn-in today as the state's 38th governor. After the 56-year-old Austrian immigrant took the oath of office, he said: "I must bring about the miracle of Sacramento."
SCHWARZENEGGER: Mr. Chief Justice, Governor and Mrs. Davis, Governor and Mrs. Wilson, Governor and Mrs. Deumejian, Governor Brown, legislative leadership, constitutional officers, my fellow Californians.
I am humbled, I am moved and I am honored beyond words to be your governor.
To the thousands of you who came here today, I have taken the oath to serve you. To the others across this state, Democrats, Republicans, and independents, it doesn't matter, I took the oath to serve you. To those who have no power, to those who have dropped out, disappointed in politics as usual, I took the oath to serve you.
I say to everyone here today, and to all Californians, I will not forget my oath, and I will not forget you.
Let me first thank Governor Davis and Mrs. Davis, and the entire administration for a smooth transition. There has been a spirit of mutual respect in our cooperation, and I want to thank you for that. Thank you very much. Thank you. My fellow citizens, today is a new day in California.
I did not seek this office to do things the way things have been done. What I care about is to restoring your confidence in your government.
When I became a citizen 20 years ago, I had to take the citizenship test. I had to learn about the history and principles of our republic. And what I learned and what I have never forgotten is that sovereignty rests with the people -- not with the government.
In recent years, Californians have lost confidence. They felt that the action of their government did not represent the will of the people.
This election was not about replacing one man. It was not about replacing one party. It was about changing the entire political climate of this state.
Everywhere I went during my campaign, I could feel the public hunger for our elected officials to work together, to work openly and to work for the greater good. This election was the people's veto for politics as usual.
With the eyes of the world upon us, we did the dramatic. Now we must put the rancor of the past behind us and do the extraordinary.
It is no secret that I'm a newcomer to politics. I realize I was elected on faith and hope. And I feel a great responsibility not to let the people down.
As soon as I go inside the capital behind me, I will sign my first order as governor. I will sign Executive Order No. 1, which will repeal the 300 percent increase in a car tax.
I will issue a proclamation convening a special session of the legislature to address California's fiscal crisis.
I will issue a proclamation convening a special session to reform our worker's compensation system.
I will call on the legislators to repeal SP-60.
And I will work hard to reform government, but bringing openness and full disclosure to public business.
I enter this office beholding to no one, except you, my fellow citizens.
I pledge my governorship to your interests, not to special interests.
So I have appointed to my cabinet the Republicans, Democrats, and independents because I want the people to know that my administration is not about politics, it is about saving California. The state of California is in a crisis. As I've said many times, we have spent ourselves into the largest deficit in the nation. We have the worst credit rating in the nation. We have the highest worker's compensation costs in the nation. And next year we will have the highest unemployment insurance costs in the nation. And we have the worst business climate in the nation.
But even though these problems are staggering, they do not even compare in what Californians have overcome in the past. Our state has endured earthquakes, floods and fires. The latest fires have destroyed lives, homes, businesses, and devastated [hundreds] of thousands of acres of land that we love.
On behalf of my fellow citizens, I salute all of those who have served on the front lines of the battle. The firefighters, emergency worker, law enforcement officials, National Guards and the thousands of volunteers.
As we watched the fires storms raging, we saw bravery that never faltered and determination that never wavered in a fight that never flagged.
To the families of those who gave their lives and those who have lost the lives, your loss is ours. As Californians, we mourn together. We fight together. And we will rebuild together.
And just as California will come back from the fires, we will also come back from fiscal adversity. I know there are some of you who say that the legislature and I will never agree on the solutions to their problems. But I have found in my life that people often respond in remarkable ways, to remarkable challenges.
In the words of President Kennedy, I am an idealist without illusions. I know it will hard to put aside years of partisan bitterness, I know it will be hard overcome the political habits of the past. But for guidance, let's look back in history to a period that I started when I became a citizen.
The summer of 1787. Delegates of the original 13 states were meeting in Philadelphia. The dream of a new nation was falling apart. Divisions were deep. Events were spiraling downward. Merchant against farmer, big states against small, north against south.
Our founding fathers knew that the fate of the union is in their hands. Just as the fate of our California is in our hands. What happened in that summer of 1787 is that they put their differences aside and produced the blueprint for our government, our constitution.
They are coming together, has been called the miracle of Philadelphia. Now the members of the legislature and I must bring about the miracle of Sacramento. A miracle based on cooperation, good will, new ideas and devotion to the long-term good of California.
What we face may look insurmountable. But I learned something in all these years of training and competing. I learned something from all of these years of lifting and training hard. I thought I couldn't lift another ounce of weight. What I learned was that we are always stronger than we know.
And California is like that, too. We are stronger than we know.
There is a massive weight we must lift off our state. Alone, I cannot lift it. But together, we can.
It is true that things may get harder before they get better. But I have never been afraid of the struggle. I have never been afraid of the fight. And I have never been afraid of the hard work.
I will not rest until our fiscal house is in order. I will not rest until California has a competitive job creating machine. I will not rest until the people of California come to see their government as a partner in their lives, and not a roadblock to their dreams.
Today I ask all of you to join me in a new partnership for California. One that is civil and respectful of our diverse population. One that challenges each and every one of us to serve our state in a joyful, productive and creative way.
Ladies and gentlemen, I have an immigrant's optimism, that what I have learned in citizenship class is true, the system does work, and I believe that with all my heart.
I have big hopes for California. President Reagan spoke of America as the shining city on a hill. I see California as the golden dream by the sea.
Perhaps some think that this is fanciful and poetic, but to an immigrant like me, who as a boy saw the Soviet tanks rolling through the streets of Austria, to someone like me who came here with absolutely nothing and gained absolutely everything, it is not fanciful to see California as the golden dream.
For millions of people around the world, California has always glimmered with hope and glowed with opportunity. Millions of people around the world sent their dreams to California, with the hope that their lives will follow.
My fellow citizens, I have taken the oath to uphold the constitution of California. And now, with your help, and with God's, I will also uphold the dream that is California. Thank you very much. And may God bless California. Thank you very much. Thank you.
Click Here to try 4 Free Trial Issues of Time!
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https://www.britannica.com/on-this-day/November-16
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On This Day - What Happened on November 16
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On This Day In History - November 16: anniversaries, birthdays, major events, and time capsules. This day's facts in the arts, politics, and sciences.
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Encyclopedia Britannica
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https://www.britannica.com/on-this-day/November-16
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https://www.commercialpropertyadvisors.com/arnoldschwarzeneggerempire/
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Arnold Schwarzenegger Started His Empire with a 6 Plex
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[
"Peter Harris",
"www.facebook.com"
] |
2023-01-31T18:14:54+00:00
|
Discover how Arnold Schwarzenegger successfully grew his empire with a 6 unit apartment building, before his rise to fame.
|
en
|
Commercial Property Advisors
|
https://www.commercialpropertyadvisors.com/arnoldschwarzeneggerempire/
|
Arnold Schwarzenegger's empire did not start with a 6 pack; it started with a 6 plex! You're about to discover how Arnold Schwarzenegger, the Terminator, started his empire with a 6 unit apartment building. Even before Schwarzenegger became the godfather of modern bodybuilding, before he became a mega movie star, or even before he was the governor of California, he was a beginning commercial real estate investor. The foundation of Arnold's success was not his 6 pack abs. The foundation of his success was a 6-plex apartment building he purchased in Santa Monica, California a long time ago.
Arnold's Beginning
When Arnold first came to this country, he needed to figure out a way to pay for his competitions, to pay to get to auditions, to pay to market himself, because he had a vision. To do all that, without having a 9 to 5 job, he saved every last penny he had from earning money in competitions, in giving workshops, and giving seminars, until he had enough money to purchase a 6-plex.
Arnold Schwarzenegger had a vision, and in that vision, he had a belief. That belief was he should first buy an income producing property. First, before buying a home to live in. That's exactly what he did. He purchased a 6-plex, he lived in apartment number 6, and he rented out the other 5. That afforded him to do what he had to do.
Growing His Commercial Portfolio
Three years later, he sold his 6-plex, and bought a 12 unit. From his 12 unit down the road, he sold it, and bought a 36 unit. At this point, now he's seeing the possibilities of the power of commercial real estate, so it led him to build his empire, that consisted of hundreds of apartment units, office building, and retail space, in west Los Angeles. Today, Arnold Schwarzenegger has a real estate empire worth 300 million dollars. That's not the moral of this story. The moral of this story is, Arnold did all of this, all of that, before he became Governor of California. What I want you to get here, is Arnold used his real estate, his income producing real estate, to fuel his passions, and to fuel his dreams.
Fund Your Dreams
Arnold didn't have a lot to begin with when he got started. Something I want you to think about. Us here, at commercial property advisors, I personally believe that we are the best in getting people started here. We can't guarantee you, that you're going to build a 300 million dollar portfolio, no one can. We can surely help you here, to get started on this journey. Again, the moral of the story is, to let your real estate endeavors and investments fund your dreams and your passions. I want to share a quick story with you, hopefully to encourage you. This is the license plate to our car, California. It says Dad, that's me, and high 5 PJ, Peter Junior, that's my son. You see, I had a dream many years ago, driving down the California coast with a Daytona yellow Corvette stingray with a 427.
Some of you car buffs know exactly what that is. To me, it was the most beautiful car in the world. That was my dream. I mentioned that to my mentor, my mentor challenged me. "Peter, buy the car, but buy it with your real estate." That's what I did. I bought a small apartment building that cashed over 1,100 dollars a month. I saved up 6 or 7 months of the cash flow, went out and got the car. The payments were 300 per month. With my cash flow, I'd pay it off in a year and a half, but the coolest part was on one chilly April morning, it was really foggy that day, my son and I jumped in that car ... I was a single parent, and a full-time engineer, and just a part time real estate investor. That morning, we drove down the California coast, and my dream was realized. It was funded through my apartment investment.
The Question is: What are Your dreams?
|
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https://www.essentiallysports.com/tag/arnold-schwarzenegger/
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Arnold Schwarzenegger: 2024 Net Worth, Stats, Salary, Wife and More
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Find the latest news about Arnold Schwarzenegger, his current net worth, endorsements, childhood, achievements, and more on EssentiallySports.
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en
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EssentiallySports
|
https://www.essentiallysports.com/tag/arnold-schwarzenegger/
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Who is Arnold Schwarzenegger?
A man of many talents, Arnold Schwarzenegger is a true icon. Beginning his legendary career as a bodybuilder, Arnold Schwarzenegger cemented himself in different realms, be it acting, business, or politics. He was once the highest-paid actor in Hollywood, with The Terminator being one of his most famous roles.
Arnold Schwarzenegger’s early life
On July 30, 1947, Arnold Schwarzenegger was born to a police chief and a homemaker, named Gustav and Aurelia, in a tiny village in Thal, Austria. He grew up in a Catholic household with strict parents. Though he excelled in sports, academically, he was an average student.
Until the age of 14, he played soccer. It was in 1960 that he took his first step toward becoming a bodybuilder when his soccer coach took him to the local gym and introduced him to the world of bodybuilding.
After finishing high school in 1965, Schwarzenegger enlisted himself in the Austrian military. It was here, that he won his first bodybuilding contest, Mr. Junior Europe. Schwarzenegger has never looked back ever since.
Arnold Schwarzenegger's wife and children
While in Austria, Arnold Schwarzenegger's family consisted of four members. Apart from his parents, Schwarzenegger had an elder brother named Meinhard Schwarzenegger, who unfortunately passed away in a traffic collision in 1971 at the age of 24. Years after moving to America, Arnold Schwarzenegger married television journalist and American royalty, Maria Shriver. The wedding took place in Hyannis, Massachusetts on April 26, 1986.
The couple has four children, namely Katherine, Christina, Patrick, and Christopher Schwarzenegger. However, the two ended their marriage and parted ways in 2011 after Schwarzenegger's alleged infidelity came to light. Schwarzenegger fathered a child named Joseph Baena during his extramarital affair with his former housekeeper, Mildred Baena.
Arnold Schwarzenegger's net worth 2024
A successful entrepreneur before he ventured into the film industry, Schwarzenegger had a net worth of $450 million. During his peak, he earned $20-30 million per movie while also forging a career in real estate. The real estate portfolio of Arnold Schwarzenegger is $100 million.
In movies, Arnold earned $2 million for "Commando", $3.5 million for "Predator", $11 million for "Total Recall", and $12 million for both "Kindergarten Cop" and "Terminator 2". In Terminator 2, Arnold only had 700 words of dialogue, equating to $21,429 per spoken word. At his peak, Schwarzenegger earned $20 million to $30 million per movie. He receives royalties from various projects, with Terminator 3: Rise of the Machines being a notable example. He earns 20% of gross profits, along with additional income from TV airings, video sales, merchandise, and other revenue streams.
Arnold Schwarzenegger’s career timeline
In 1960, Arnold Schwarzenegger initiated his weight training journey under the guidance of his football coach, who led the team to a local gym. Making a pivotal decision at the age of 14, he opted for bodybuilding as a career over football. Throughout his early years in bodybuilding, Schwarzenegger actively participated in Olympic weightlifting and powerlifting competitions. He marked his professional debut in 1963 and secured victories in weightlifting contests in 1964 and 1965, along with powerlifting triumphs in 1966 and 1968.
Among his early successes was winning the Junior Mr. Europe contest in 1965, followed by claiming the title of Mr. Europe the next year at the age of 19.
While pursuing his bodybuilding career, Arnold Schwarzenegger also gave his childhood dream a shot. In 1969, he landed the role of Hercules in the fantasy comedy, Hercules in New York. However, due to his thick Austrian accent, Schwarzenegger's dialog in his debut movie was dubbed by another actor.
Nearly a decade later, his bodybuilding-centric sports documentary, Pumping Iron, was released in 1977. The movie was well received not only in Hollywood but in the entire bodybuilding world. This film's success turned him into a household name. Apart from Schwarzenegger's popularity, the film also helped popularize bodybuilding.
After this, Schwarzenegger starred in the 1980s film series, Conan The Barbarian. The first installment of the 3-movie film series was released in 1982. Made on a budget of $20 million, the film performed immensely well, earning $68.9-79.1 million at the box office. However, this wasn't the role that helped him break through in the international market.
The Terminator, released in 1984, was what made Arnold Schwarzenegger an internationally acclaimed actor. With a budget of merely $6.4 million, The Terminator grossed a whopping 78.3 million at the box office. Directed by James Cameron, this science fiction movie was well-received by the audience. Its initial success laid the foundation for its next 5 sequels that were released over the next few decades, the last being in 2019.
While it is undoubtedly one of his most famous movies, this wasn't the movie that earned him the heftiest paycheck. The 1988 film named 'Twins' was the one that helped him make the big bucks. However, it wasn't a direct paycheck deal. Instead of getting paid while filming the movie, Schwarzenegger had cracked a deal to have a share of 45% of the profits. With the $18 million movie earning $216 million at the theaters, Schwarzenegger's income is estimated to be around $35-40 million dollars.
Despite his enormous success in the film industry, when the time came to move on to his next endeavor, Arnold Schwarzenegger quit acting. In 2003, Arnold Schwarzenegger pulled the plugs on his acting career in order to try his hands at politics.
Arnold Schwarzenegger's political career officially began in 2003 when he ran for the office of Governor of California. It was a recall election that Schwarzenegger won, and took office for the remaining term (2003-2007) of the then-governor Gray Davis. The Republican Party member was re-elected in 2006 and served another term from 2007 to 2011.
Arnold Schwarzenegger made a comeback to Hollywood and featured in movies such as The Expendables 2, The Last Stand, and Terminator: Dark Fate. He continued to uphold his dedication to bodybuilding and fitness through his collaboration with Lorimer. In recognition of his significant contributions, Schwarzenegger was honored with induction into the inaugural class of the International Sports Hall of Fame in 2012.
In 2023, Arnold Schwarzenegger broadened his fitness initiative by introducing a daily email newsletter for subscribers and unveiling his "Arnold’s Pump Club" app. Additionally, he became part of the cast for the Netflix series FUBAR and became the focal point of a three-part documentary titled "Arnold," scheduled for release on June 7, 2023.
Arnold Schwarzenegger’s partnerships and endorsements
Arnold Schwarzenegger endorses several companies, including Dimensional Fund Advisors, Lidl, Planet Hollywood, and State Farm Insurance. I
In 2018, Arnold Schwarzenegger collaborated with basketball player LeBron James to create Ladder, a company focused on developing nutritional supplements designed to assist athletes dealing with severe cramps.
Arnold Schwarzenegger’s achievements
After the Mr. Junior Europe title, Schwarzenegger won the Mr. Universe title in 1967, followed by three more titles, thereafter. After his win in 1967, he moved to California and trained to compete for Mr. Olympia. He was 23 years old when he won his first Mr. Olympia title in 1970. Those rigorous workouts and training fetched him six consecutive Mr. Olympia titles from 1970 to 1975.
After the 1975 Mr. Olympia title, he retired from bodybuilding and shot his documentary, Pumping Iron. However, he soon returned to bodybuilding in 1980 to compete and won his seventh Mr. Olympia title. With this glorious curtain call, Schwarzenegger moved on from his bodybuilding career.
Here are some of his major achievements:
1966 Mr. Europe – Winner
1966 NABBA Mr. Universe – Tall, Second Place
1967 NABBA Mr. Universe – Winner
1968 IFBB Mr. Universe – Second Place
1968 NABBA Pro Universe – Winner
1969 IFBB Mr. Europe – Winner
1969 IFBB Mr. International – Winner
1969 IFBB Mr. Olympia – Second Place
1969 IFBB Universe – Winner
1969 NABBA Pro Universe – Winner
1970 IFBB Mr. Olympia – Winner
1970 NABBA Pro Universe – Overall Winner
1970 AAU Mr. World – Winner
1971 IFBB Mr. Olympia – Winner
1972 IFBB Mr. Olympia – Winner
1973 IFBB Mr. Olympia – Winner
1974 IFBB Mr. Olympia – Winner
1975 IFBB Mr. Olympia – Winner
1980 IFBB Mr. Olympia – Winner
Arnold Schwarzenegger’s charity and foundation
Beyond his achievements in bodybuilding, acting, and politics, Arnold Schwarzenegger has been actively involved in various charitable endeavors. He not only lends support to charitable causes but has also initiated the Schwarzenegger Climate Initiative, a foundation dedicated to raising awareness about the climate crisis and emphasizing the urgent need for action daily. The foundation focuses on promoting practical solutions, endorsing top-notch climate action projects, and acting as a facilitator for climate leaders.
Arnold Schwarzenegger is actively involved in charitable endeavors, supporting organizations such as After-School All-Stars, Alliance to Stop Slavery and End Trafficking, Barbara Davis Center for Childhood Diabetes, Celebrity Fight Night Foundation, Children Affected by AIDS Foundation, Children's Medical Research Institute, Clinton Global Initiative, Focus the Nation, Habitat For Humanity, Jeans for Genes, Keep Memory Alive, Muhammad Ali Parkinson Center, etc. These charities span various causes, reflecting Schwarzenegger's dedication to diverse social and environmental issues.
In September 2006, he signed the Global Warming Solutions Act of 2006. The purpose of the act was to cut the emissions to what they were in 1990 by 2020. These activities contributed to California's position as a global leader in tackling climate change, fostering renewable energy, and developing creative environmental solutions.
Towards the end of his first tenure, Schwarzenegger approved a law mandating health indemnification providers to provide homosexual partners with the same benefits as unmarried heterosexual couples.
Arnold Schwarzenegger’s house
Arnold Schwarzenegger’s ring
This extremely rare, Arnold Schwarzenegger's Seal of the Governor of the State of California Ring was made for Arnold to give out to members of his staff, friends, and family members. Crafted by Masters of Design, the ring is made of sterling silver, measures approximately size 11, and has a weight of 18.4 grams. It is in near-mint condition, exhibiting only a few light dings or scratches.
Arnold Schwarzenegger’s social media
|
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7995
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dbpedia
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2
| 83 |
https://www.forbes.com/sites/entertainment/article/arnold-schwarzenegger-movies/
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en
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The 10 Greatest Arnold Schwarzenegger Movies
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[
"Toni Fitzgerald"
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2024-06-01T12:00:00-04:00
|
Discover the best Arnold Schwarzenegger movies, from iconic action classics to unforgettable sci-fi adventures. Find your next Schwarzenegger film here.
|
en
|
Forbes
|
https://www.forbes.com/sites/entertainment/article/arnold-schwarzenegger-movies/
|
Arnold Schwarzenegger made a name for himself as power-lifting champion Mr. Universe before he transitioned to action movie star and, later, to governor and unexpected social media sage in wild political times. But it was in entertainment, not politics, where he made his biggest splash. Schwarzenegger appeared in some of the biggest movie hits of the ‘80s and ‘90s, including the Terminator franchise, Total Recall and Predator. His movies balance a mix of action, sci-fi and humor, and Schwarzenegger has made notable strides in his delivery over the years. The best and greatest Arnold Schwarzenegger movies have aged well and become cultural touchpoints that remain a lot of fun to watch.
Arnold Schwarzenegger’s Life And Career Synopsis
Arnold Schwarzenegger was born in 1947 in the tiny Austrian village of Thai. Raised by parents Gustav and Aurelia, Schwarzenegger was an average student but a gifted athlete who began lifting weights as a teenager at the urging of a coach. He served the mandatory one year with the Austrian Army after high school.
At that point, he turned his attention to bodybuilding, winning Junior Mr. Europe and capturing Mr. Universe and then seven Mr. Olympia titles, his first at age 23. He moved to the U.S. and took classes at Santa Monica College, UCLA and University of Wisconsin–Superior to earn his bachelor’s degree. In that period, he began taking movie roles, starting with an appearance as himself in 1970’s Hercules in New York. Schwarzenegger retired from bodybuilding in 1975 to focus on his acting career and became a U.S. citizen in 1983.
He has appeared in 47 movies, including cameos, direct-to-video and documentaries. In 1993, he earned his first executive producer credit on the action movie The Last Action Hero. He has now produced eight films, including nearly all his movies since 2014. However, his production flagged in the 2000s as the registered Republican entered a runoff for California governor in 2003 and improbably won. He served two terms before returning to movie-making. It also came out that he had a child with his housekeeper while married to Maria Shriver. The two divorced in 2021. More recently, Schwarzenegger has authored a self-help book, posted frequently to social media about life improvement, and verbally tussled with former President Donald Trump.
Top Arnold Schwarzenegger Movies
These top 10 Arnold Schwarzenegger movies are ranked on box office success, critical and audience reaction, and how the films have held up over the years. Schwarzenegger is best known for the Terminator franchise, leading to the nickname “the Governator” when he was in office.
His other well-known movies include Red Heat, True Lies, Eraser and Batman & Robin, the latter of which earned him some of the worst reviews of his career. Three Terminator films (Terminator 2: Judgment Day, Terminator 3: Rise of the Machines and Terminator: Genisys) are the highest-grossing of his career, with the second and third combining for box office of almost $1 billion. His least-popular movie was 2013’s The Last Stand, which had his worst-ever opening weekend for a lead role when adjusted for inflation, taking in $6.3 million. Here is a list of the 10 top Arnold Schwarzenegger movies.
10. Commando (1985)
Schwarzenegger plays ex-Special Forces soldier John Matrix, who comes out of retirement after a deposed Latin American dictator named Arius kidnaps his daughter to blackmail Matrix into getting him back into power. Of course, that doesn’t end well for Arius, as Matrix retrieves his daughter and exacts revenge.
The movie earned solid reviews for its entertainment value. Rae Dawn Chong and Alyssa Milano also star. Directed by Mark L. Lester, Commando (rated R) is available to watch on AMC+, Philo, Sling TV, Fandango at Home, Apple TV, YouTube, Amazon Prime Video and Google Play Movies & TV.
9. Twins (1988)
Schwarzenegger made his first foray into comedy with this film co-starring Danny DeVito. The two play twins separated at birth who’ve had very different upbringings. The stars display a fun chemistry as Schwarzenegger shows he can do more than just beat people up.
The movie, with the cute catchphrase “only their mother can tell them apart,” became a pop culture phenom and was referenced in a recent Super Bowl ad Schwarzenegger filmed for State Farm. Directed by Ivan Reitman, Twins (rated PG) is available to watch on Fandango at Home, Apple TV, Amazon Prime Video and Google Play Movies & TV.
8. Conan the Barbarian (1982)
Schwarzenegger’s first leading role came in this film about young Conan, a man enslaved after necromancer Thulsa Doom destroys his village. Years later, Conan escapes and seeks revenge as he traverses the Hyborian Age for the person who stole his dad’s sword and killed his friends and family.
Is this great cinema? No, but it’s campy fun cinema, and often that’s exactly what you need from an action movie. James Earl Jones co-stars as Thulsa. Directed by John Milius, Conan the Barbarian (rated R) is available to watch on Philo, Amazon Prime Video, YouTube, Google Play Movies & TV, Apple TV and Fandango at Home.
7. Predator (1987)
The U.S. government hires Dutch (Schwarzenegger) for a secret rescue mission to Guatemala, where American politicians are being held hostage. But Dutch soon discovers the bigger problem is a mysterious being with superhuman strength who’s killing people, then immediately blending into what’s around him.
The film was so successful that it had four spinoffs, including a 2018 crossover with the Alien franchise. It also features the oft-repeated Schwarzenegger line “get to the chopper!”—often parodied as “get to the choppa!” Carl Weathers and Jesse Ventura also co-star. Directed by John McTiernan, Predator (rated R) is available to watch on Hulu, AMC+, Sling TV, Roku Channel, Philo, Amazon Prime Video, YouTube, Google Play Movies & TV, Apple TV and Fandango at Home.
6. The Running Man (1987)
This is worth watching simply for the fact that it imagines a dystopian world set in, gulp, 2019. In this future America, everyone watches the reality program “The Running Man,” where inmates try to escape death. Wrongly imprisoned Ben Richards (Schwarzenegger) tries to win so he can tell his story.
The movie is based on a Stephen King book and received decent reviews, better than Schwarzenegger’s earlier efforts. It co-stars Maria Conchita Alonso and Richard Dawson. Directed by Paul Michael Glaser, The Running Man (rated R) is available to watch on Pluto TV, Philo, Amazon Prime Video, Google Play Movies & TV, Apple TV and Fandango at Home.
5. The Expendables (2010)
What’s more fun than bringing together the biggest action heroes of all time, including Schwarzenegger, Sylvester Stallone and Jason Statham? The homage to action films follows a group of mercenaries hired to overthrow a Latin American dictator, but it soon becomes apparently the real target is someone else.
The film didn’t get great reviews, but it spawned a franchise and had fun moments between the action stars. Directed by Stallone, The Expendables (rated R) is available to watch on Max, YouTube, Hulu, Amazon Prime Video, Google Play Movies & TV, Apple TV and Fandango at Home.
4. Total Recall (1990)
This twisty sci-fi adventure follows Douglas Quaid (Schwarzenegger), a well-muscled everyman in 2084 whose attempt to do a fun memory add of a trip to Mars uncovers a deep conspiracy. It seems Douglas’s dull life may be the real false memory.
The movie also stars Sharon Stone and Michael Ironside. The well-reviewed movie earned Schwarzenegger some of the best notices of his career. Directed by Paul Verhoeven, Total Recall (rated R) is available to watch on MGM+, Paramount+, Sling TV, Roku Channel, Philo, Amazon Prime Video, Google Play Movies & TV, Apple TV and Fandango at Home.
3. Pumping Iron (1977)
What does it take to become the world’s best bodybuilder? This documentary follows rising star Schwarzenegger as he trains to defend his Mr. Olympia title against upstart Lou Ferrigno. It received great critical acclaim and captures the golden era of bodybuilding.
Directed by George Butler and Robert Fiore, Pumping Iron (rated PG) is available to watch on Tubi, Pluto TV, Roku Channel, Amazon Prime Video, PLEX, YouTube, Google Play Movies & TV and Fandango at Home.
2. The Terminator (1984)
You could, arguably, include all of the Terminator movies on this list. They’re all that good. It starts with the Terminator (Schwarzenegger), a cyborg disguised as a human, traveling from 2029 to 1984 to kill Sarah Connor and prevent the birth of her child, who leads a future uprising against the machines.
The movie included one of the most-repeated movie quotes of all time when the Terminator promises Sarah after failing at his mission, “I’ll be back.” The film has a rare 100% fresh rating on Rotten Tomatoes, and it also helped launch Linda Hamilton’s career. Directed by James Cameron, The Terminator (rated R) is available to watch on Tubi, Pluto TV, Roku Channel, MGM+, Amazon Prime Video, Sling TV, Philo, Apple TV, YouTube, Google Play Movies & TV and Fandango at Home.
1. Terminator 2: Judgment Day (1991)
And indeed, the Terminator did come back in this blockbuster, which featured now-bona-fide-movie-star Schwarzenegger switching sides and becoming teenage John Connor’s protector rather than his tormentor. The T-1000 is sent after John, who bonds with Schwarzenegger’s cyborg as he saves him from the more sophisticated rival machine.
The movie was a huge box office and critical hit. It also starred Hamilton, Edward Furlong as teenage John and Robert Patrick as the rival Terminator. Directed by Cameron, Terminator 2: Judgment Day (rated R) is available to watch on Paramount+, Hulu, Sling TV, Roku Channel, Amazon Prime Video, Apple TV, YouTube, Google Play Movies & TV and Fandango at Home.
New Arnold Schwarzenegger Movies
Arnold Schwarzenegger is still making movies, though his focus lately has been his Netflix series, FUBAR, an action-comedy that debuted in 2023 and was renewed for a second season. Schwarzenegger’s most recent movie role was in 2019, when he appeared in Terminator: Dark Fate.
He co-stars in Kung Fury II, a sequel to 2015’s Kung Fury, but that film’s release has been delayed by legal issues, and it’s unclear when it will come out. The film also stars Michael Fassbender, and it follows up on the earlier short film, about a martial artist who uses time travel to kill Kung Fuhrer (Adolf Hitler). Schwarzenegger declined to appear in the fourth Expendables film, which came out in 2023.
Bottom Line
The top Arnold Schwarzenegger movies demonstrate his impressive camera presence and many exceptional action sequences. They will entertain you and sometimes make you laugh. While new Arnold Schwarzenegger movies are far and few between, there are more than enough classics to fill your watchlist!
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Arnold Schwarzenegger — Latest News and Updates
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Distractify has the latest news and updates on Austrian actor and politician Arnold Schwarzenegger
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Arnold Schwarzenegger is an Austrian-American actor, politician, and retired professional bodybuilder. His career began as a bodybuilder at the age of 20 when he won Mr. Universe and numerous competitions thereafter. His success as a bodybuilder transferred over to success as an actor. His very first film was released in 1970 titled Hercules in New York. He found major success after his roles in Conan the Barbarian(1982) and the infamous The Terminator (1984).
His acting career took a hiatus while he worked as Governor of California from 2003-2011. He returned to acting afterward, but not without scandal. In 2011, it was made public that Arnold had fathered a child named Joseph Baena with his housekeeper. The news contributed to his divorce from Maria Shriver, with whom he shares four kids — Katherine Schwarzenegger-Pratt, Christina Schwarzenegger, Patrick Schwarzenegger, and Christian Schwarzenegger.
Full Name: Arnold Alois Schwarzenegger
Birthday: July 30, 1947
Relationship Status: Currently single. Previously married to Maria Shriver.
Instagram: @shwarzenegger
Twitter: @shwarzenegger
Net Worth: $450 million
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2021-06-13T04:30:00+00:00
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One of the pioneers of body building set up a gym in the city
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Austrian-born Arnold Schwarzenegger is mostly known for his body building, staring in the Terminator films and standing as the governor of California.
What is less known is that in the 1960s the world famous body builder spent some time living and training in Portsmouth.
Schwarzenegger began lifting weights at the age of 15 and went on to win the Mr Universe title at age 20 in 1967.
He would then become Mr Olympia at aged 23 making him the youngest person to ever win the title.
It was during this time that Schwarzenegger also lived and trained in Portsmouth, and the city would prove vital in his success as an athlete.
In the 1960s, Schwarzenegger moved to England to further his body building career as he sought to win titles such as Mr Universe and Mr Olympia.
He trained with former competitive amateur bodybuilder Gordon Allen, who established Ed's Gym in Southsea.
The gym on Albert Road is one of two where Schwarzenegger would train. Rumours suggest that Schwarzenegger would often pay his gym membership with pints of milk when he was short of funds.
The Hollywood star also has connections to the Lougars Gym on Hellyer Road, which was originally owned by Bob Woolger.
Woolger was a pioneer of bodybuilding in the 1930s and formed a close friendship with Schwarzenegger in the 1960s.
He encouraged the young Austrian and invited him to Portsmouth - his training would later lead on to many body building titles for Schwarzenegger.
His friendship with Schwarzenegger lasted years and the Austrian would return to London to organise his 80th birthday party.
After retiring from bodybuilding, Schwarzenegger gained worldwide fame as a Hollywood action film star.
In 2003, he was elected as the Governor of California, a position he would hold until 2011.
Even though Schwarzenegger has not made a return to Portsmouth, it's undeniable that his success as a body builder is a credit to the city and its gyms.
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http://news.bbc.co.uk/onthisday/low/dates/stories/october/8/newsid_3659000/3659108.stm
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2003: The Terminator takes on California
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ON THIS DAY 8 October Graphics version >> BBC News >>
Search ON THIS DAY by date
Front Page | Years | Themes | Witness 2003: The Terminator takes on California
VIDEO : California votes in Schwarzenegger
The film star Arnold Schwarzenegger has been elected governor of California, ousting the incumbent, Gray Davis, three years before his term was due to end.
It is the first time in the state's history that a governor has been sacked mid-term.
With most of the ballots counted, Mr Schwarzenegger has won almost 48% of the vote.
In a victory speech before jubilant supporters, Mr Schwarzenegger thanked the people of California for giving him their trust.
"I want to be the governor of the people," he said. "I know that together we can make this the greatest state in the greatest country in the world."
He pledged to restore trust in California's government and to re-impose discipline on the state's out-of-control budget.
Frustration
Gray Davis has already accepted defeat, telling supporters voters had decided "it was time for someone else to serve and I have accepted their judgement."
The vote was triggered by Republican activists, frustrated at high levels of unemployment, struggling schools, and the state's budget deficit, which now runs into tens of billions of dollars.
In a two-part ballot, voters were first asked if they wanted to recall - or sack - Governor Davis.
The only other governor in US history to be recalled was North Dakota's Lynn Frazier, in 1921.
Then - regardless of their answer to the first question - they had to indicate who they preferred as an alternative among the 135 alternative candidates running.
Brutal fight
With 96.8% of the results in, 54.4% wanted a recall.
Mr Schwarzenegger was running ahead with 47.9% support. His closest rival, Lieutenant Governor Cruz Bustamante, was on 32.4%.
The Austrian-born film star and former body builder - who made his name in action films such as The Terminator and Total Recall - galvanised the campaign when he announced he would be running on talk show host Jay Leno's television show earlier this year.
Large crowds have gathered to see him at campaign speeches and rallies.
But the political fight has been brutal at times, with Mr Schwarzenegger accused of sexually harassing a number of women, and allegations that he once praised Hitler.
He has denied the allegations, although he made an apology for "rowdy behaviour" on film sets.
In Context
The final result was 55.4% in favour of a recall, with 44.6% opposing it.
Arnold Schwarzenegger won a decisive victory with 48.7% support, 16% ahead of his nearest rival.
He was sworn in as Governor of California on 17 November 2003.
His first act was to abolish an unpopular car tax rise imposed by Governor Davis. He also formally ruled out tax rises - one of the big question marks overhanging his campaign.
Later policies, however, have caused controversy.
In February 2004 he ordered his top legal official to act against the city of San Francisco for allowing gay marriages in defiance of state law, saying they represented "an imminent risk to civil order".
After weeks of wrangling with senators, Governor Schwarzenegger secured a last-ditch agreement on California's $103bn (£56bn) budget in July 2004.
The budget neither raised taxes, nor cut spending too deeply, instead committing the state to borrowing heavily to keep its finances on track.
Some economists have warned the policy only postpones - and could exacerbate - the state's economic problems.
Search ON THIS DAY by date
Front Page | Years | Themes | Witness ^^ Back to top | ©
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Arnold Schwarzenegger
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Arnold Schwarzenegger. Actor: Terminator 2: Tag der Abrechnung. With an almost unpronounceable surname and a thick Austrian accent, who would have ever believed that a brash, quick talking bodybuilder from a small European village would become one of Hollywood's biggest stars, marry into the prestigious Kennedy family, amass a fortune via shrewd investments and one day be the Governor of California!?
The amazing story of megastar Arnold Schwarzenegger is a true...
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IMDb
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https://www.imdb.com/name/nm0000216/bio/
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With an almost unpronounceable surname and a thick Austrian accent, who would have ever believed that a brash, quick talking bodybuilder from a small European village would become one of Hollywood's biggest stars, marry into the prestigious Kennedy family, amass a fortune via shrewd investments and one day be the Governor of California!?
The amazing story of megastar Arnold Schwarzenegger is a true "rags to riches" tale of a penniless immigrant making it in the land of opportunity, the United States of America. Arnold Alois Schwarzenegger was born July 30, 1947, in the town of Thal, Styria, Austria, to Aurelia Schwarzenegger (born Jadrny) and Gustav Schwarzenegger, the local police chief. From a young age, he took a keen interest in physical fitness and bodybuilding, going on to compete in several minor contests in Europe. However, it was when he emigrated to the United States in 1968 at the tender age of 21 that his star began to rise.
Up until the early 1970s, bodybuilding had been viewed as a rather oddball sport, or even a mis-understood "freak show" by the general public, however two entrepreneurial Canadian brothers Ben Weider and Joe Weider set about broadening the appeal of "pumping iron" and getting the sport respect, and what better poster boy could they have to lead the charge, then the incredible "Austrian Oak", Arnold Schwarzenegger. Over roughly the next decade, beginning in 1970, Schwarzenegger dominated the sport of competitive bodybuilding winning five Mr. Universe titles and seven Mr. Olympia titles and, with it, he made himself a major sports icon, he generated a new international audience for bodybuilding, gym memberships worldwide swelled by the tens of thousands and the Weider sports business empire flourished beyond belief and reached out to all corners of the globe. However, Schwarzenegger's horizons were bigger than just the landscape of bodybuilding and he debuted on screen as "Arnold Strong" in the low budget Hercules in New York (1970), then director Bob Rafelson cast Arnold in Mister Universum (1976) alongside Jeff Bridges and Sally Field, for which Arnold won a Golden Globe Award for "Best Acting Debut in a Motion Picture". The mesmerizing Pumping Iron (1977) covering the 1975 Mr Olympia contest in South Africa has since gone on to become one of the key sports documentaries of the 20th century, plus Arnold landed other acting roles in the comedy Kaktus Jack (1979) opposite Kirk Douglas, and he portrayed Mickey Hargitay in the well- received TV movie Die Jayne Mansfield Story (1980).
What Arnold really needed was a super hero / warrior style role in a lavish production that utilized his chiseled physique, and gave him room to show off his growing acting talents and quirky humor. Conan, der Barbar (1982) was just that role. Inspired by the Robert E. Howard short stories of the "Hyborean Age" and directed by gung ho director John Milius, and with a largely unknown cast, save Max von Sydow and James Earl Jones, "Conan" was a smash hit worldwide and an inferior, although still enjoyable sequel titled Conan der Zerstörer (1984) quickly followed. If "Conan" was the kick start to Arnold's movie career, then his next role was to put the pedal to the floor and accelerate his star status into overdrive. Director James Cameron had until that time only previously directed one earlier feature film titled Fliegende Killer - Piranha II (1982), which stank of rotten fish from start to finish. However, Cameron had penned a fast paced, science fiction themed film script that called for an actor to play an unstoppable, ruthless predator - Terminator (1984). Made on a relatively modest budget, the high voltage action / science fiction thriller Terminator (1984) was incredibly successful worldwide, and began one of the most profitable film franchises in history. The dead pan phrase "I'll be back" quickly became part of popular culture across the globe. Schwarzenegger was in vogue with action movie fans, and the next few years were to see Arnold reap box office gold in roles portraying tough, no-nonsense individuals who used their fists, guns and witty one-liners to get the job done. The testosterone laden Phantom Kommando (1985), Der City Hai (1986), Predator (1987), Running Man (1987) and Red Heat (1988) were all box office hits and Arnold could seemingly could no wrong when it came to picking winning scripts. The tongue-in-cheek comedy Twins - Zwillinge (1988) with co-star Danny DeVito was a smash and won Arnold new fans who saw a more comedic side to the muscle- bound actor once described by Australian author / TV host Clive James as "a condom stuffed with walnuts". The spectacular Total Recall - Die totale Erinnerung (1990) and "feel good" Kindergarten Cop (1990) were both solid box office performers for Arnold, plus he was about to return to familiar territory with director James Cameron in Terminator 2: Tag der Abrechnung (1991). The second time around for the futuristic robot, the production budget had grown from the initial film's $6.5 million to an alleged $100 million for the sequel, and it clearly showed as the stunning sequel bristled with amazing special effects, bone-crunching chases & stunt sequences, plus state of the art computer-generated imagery. Terminator 2: Tag der Abrechnung (1991) was arguably the zenith of Arnold's film career to date and he was voted "International Star of the Decade" by the National Association of Theatre Owners.
Remarkably, his next film Last Action Hero (1993) brought Arnold back to Earth with a hard thud as the self-satirizing, but confusing plot line of a young boy entering into a mythical Hollywood action film confused movie fans even more and they stayed away in droves making the film an initial financial disaster. Arnold turned back to good friend, director James Cameron and the chemistry was definitely still there as the "James Bond" style spy thriller True Lies - Wahre Lügen (1994) co-starring Jamie Lee Curtis and Tom Arnold was the surprise hit of 1994! Following the broad audience appeal of True Lies - Wahre Lügen (1994), Schwarzenegger decided to lean towards more family-themed entertainment with Junior (1994) and Versprochen ist versprochen (1996), but he still found time to satisfy his hard-core fan base with Eraser (1996), as the chilling "Mr. Freeze" in Batman & Robin (1997) and battling dark forces in the supernatural action of End of Days - Nacht ohne morgen (1999). The science fiction / conspiracy tale The 6th Day (2000) played to only mediocre fan interest, and Collateral Damage - Zeit der Vergeltung (2002) had its theatrical release held over for nearly a year after the tragic events of Sept 11th 2001, but it still only received a lukewarm reception.
It was time again to resurrect Arnold's most successful franchise and, in 2003, Schwarzenegger pulled on the biker leathers for the third time for Terminator 3: Rebellion der Maschinen (2003). Unfortunately, directorial duties passed from James Cameron to Jonathan Mostow and the deletion of the character of "Sarah Connor" aka Linda Hamilton and a change in the actor playing "John Connor" - Nick Stahl took over from Edward Furlong - making the third entry in the "Terminator" series the weakest to date.
Schwarzenegger married TV journalist Maria Shriver in April, 1986 and the couple have four children.
In October of 2003 Schwarzenegger, running as a Republican, was elected Governor of California in a special recall election of then governor Gray Davis. The "Governator," as Schwarzenegger came to be called, held the office until 2011. Upon leaving the Governor's mansion it was revealed that he had fathered a child with the family's live-in maid and Shriver filed for divorce.
Schwarzenegger contributed cameo roles to Welcome to the Jungle (2003), In 80 Tagen um die Welt (2004) and The Kid & I (2005). Recently, he starred in The Expendables 2 (2012), The Last Stand (2013), Escape Plan (2013), The Expendables 3 (2014), and Terminator - Genisys (2015).
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https://www.kanw.com/new-mexico-news/2023-11-17/today-in-history-november-17-arnold-schwarzenegger-becomes-governor-of-california
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Today in History: November 17, Arnold Schwarzenegger becomes governor of California
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Today in History: November 17, Arnold Schwarzenegger becomes governor of California
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KANW | New Mexico Public Radio
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https://www.kanw.com/new-mexico-news/2023-11-17/today-in-history-november-17-arnold-schwarzenegger-becomes-governor-of-california
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Today in History
Today is Friday, Nov. 17, the 321st day of 2023. There are 44 days left in the year.
Today's Highlight in History:
On Nov. 17, 2003, Arnold Schwarzenegger, the Austrian-born actor who had become one of America's biggest movie stars of the 1980s and '90s, was sworn in as the 38th governor of California.
On this date:
In 1800, Congress held its first session in the partially completed U.S. Capitol building.
In 1869, the Suez Canal opened in Egypt.
In 1917, French sculptor Auguste Rodin (roh-DAN') died at age 77.
In 1947, President Harry S. Truman, in an address to a special session of Congress, called for emergency aid to Austria, Italy and France. (The aid was approved the following month.)
In 1969, the first round of Strategic Arms Limitation Talks between the United States and the Soviet Union opened in Helsinki, Finland.
In 1973, President Richard Nixon told Associated Press managing editors in Orlando, Florida: "People have got to know whether or not their president is a crook. Well, I'm not a crook."
In 1979, Iran's Ayatollah Khomeini (ah-yah-TOH'-lah hoh-MAY'-nee) ordered the release of 13 of the 66 American hostages being held at the U.S. Embassy in Tehran.
In 1989, the Walt Disney animated feature "The Little Mermaid" opened in wide release.
In 1997, 62 people, most of them foreign tourists, were killed when militants opened fire at the Temple of Hatshepsut (haht-shehp-SOOT') in Luxor, Egypt; the attackers were killed by police.
In 2002, Abba Eban (AH'-bah EE'-ban), the statesman who helped persuade the world to approve creation of Israel and dominated Israeli diplomacy for decades, died near Tel Aviv at age 87.
In 2012, a speeding train crashed into a bus carrying Egyptian children to their kindergarten, killing 48 children and three adults.
In 2013, Doris Lessing, an independent and often irascible author who won the Nobel Prize in 2007, died in London at age 94.
In 2018, Argentina's navy announced that searchers had found a submarine that disappeared a year earlier with 44 crewmen aboard; the government said it would be unable to recover the vessel.
In 2020, President Donald Trump fired the nation's top election security official, Christopher Krebs, who had refuted Trump's unsubstantiated claims of electoral fraud and vouched for the integrity of the vote.
In 2022, House Speaker Nancy Pelosi said she would not seek a leadership position in the new Congress, a pivotal realignment making way for a new generation of leaders after Democrats lost control of the House to Republicans in the midterm elections.
Today's Birthdays: Sen. James Inhofe (IHN'-hahf), R-Okla., Singer-songwriter Bob Gaudio (GOW'-dee-oh) is 82. Movie director Martin Scorsese (skor-SEH'-see) is 81. Actor Lauren Hutton is 80. Actor-director Danny DeVito is 79. "Saturday Night Live" producer Lorne Michaels is 79. Movie director Roland Joffe is 78. Former Democratic National Chairman Howard Dean is 75. Former House Speaker John Boehner (BAY'-nur) is 74. Actor Stephen Root is 72. Rock musician Jim Babjak (The Smithereens) is 66. Actor Mary Elizabeth Mastrantonio is 65. Actor William Moses is 64. Entertainer RuPaul is 63. Actor Dylan Walsh is 60. Former National Security Adviser Susan Rice is 59. Actor Sophie Marceau (mahr-SOH') is 57. Actor-model Daisy Fuentes is 57. Blues singer/musician Tab Benoit (behn-WAH') is 56. R&B singer Ronnie DeVoe (New Edition; Bell Biv DeVoe) is 56. Rock musician Ben Wilson (Blues Traveler) is 56. Actor David Ramsey is 52. Actor Leonard Roberts is 51. Actor Leslie Bibb is 50. Actor Brandon Call is 47. Country singer Aaron Lines is 46. Actor Rachel McAdams is 45. Rock musician Isaac Hanson (Hanson) is 43. Former MLB outfielder Ryan Braun is 40. Musician Reid Perry (The Band Perry) is 35. Actor Raquel Castro is 29.
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https://www.amazon.com/prime-video/actor/Arnold-Schwarzenegger/amzn1.dv.gti.adfcae4b-bf1d-4d04-89f9-954a9e3efa0f/
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Arnold Schwarzenegger: Movies, TV, and Bio
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Browse Arnold Schwarzenegger movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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en
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https://www.amazon.com/prime-video/actor/Arnold-Schwarzenegger/amzn1.dv.gti.adfcae4b-bf1d-4d04-89f9-954a9e3efa0f/
|
With an almost unpronounceable surname and a thick Austrian accent, who would have ever believed that a brash, quick talking bodybuilder from a small European village would become one of Hollywood's biggest stars, marry into the prestigious Kennedy family, amass a fortune via shrewd investments and one day be the Governor of California!?
The amazing story of megastar Arnold Schwarzenegger is a true "rags to riches" tale of a penniless immigrant making it in the land of opportunity, the United States of America. Arnold Alois Schwarzenegger was born July 30, 1947, in the town of Thal, Styria, Austria, to Aurelia Schwarzenegger (born Jadrny) and Gustav Schwarzenegger, the local police chief. From a young age, he took a keen interest in physical fitness and bodybuilding, going on to compete in several minor contests in Europe. However, it was when he emigrated to the United States in 1968 at the tender age of 21 that his star began to rise.
Up until the early 1970s, bodybuilding had been viewed as a rather oddball sport, or even a mis-understood "freak show" by the general public, however two entrepreneurial Canadian brothers Ben Weider and Joe Weider set about broadening the appeal of "pumping iron" and getting the sport respect, and what better poster boy could they have to lead the charge, then the incredible "Austrian Oak", Arnold Schwarzenegger. Over roughly the next decade, beginning in 1970, Schwarzenegger dominated the sport of competitive bodybuilding winning five Mr. Universe titles and seven Mr. Olympia titles and, with it, he made himself a major sports icon, he generated a new international audience for bodybuilding, gym memberships worldwide swelled by the tens of thousands and the Weider sports business empire flourished beyond belief and reached out to all corners of the globe. However, Schwarzenegger's horizons were bigger than just the landscape of bodybuilding and he debuted on screen as "Arnold Strong" in the low budget Hercules in New York (1970), then director Bob Rafelson cast Arnold in Stay Hungry (1976) alongside Jeff Bridges and Sally Field, for which Arnold won a Golden Globe Award for "Best Acting Debut in a Motion Picture". The mesmerizing Pumping Iron (1977) covering the 1975 Mr Olympia contest in South Africa has since gone on to become one of the key sports documentaries of the 20th century, plus Arnold landed other acting roles in the comedy The Villain (1979) opposite Kirk Douglas, and he portrayed Mickey Hargitay in the well- received TV movie The Jayne Mansfield Story (1980).
What Arnold really needed was a super hero / warrior style role in a lavish production that utilized his chiseled physique, and gave him room to show off his growing acting talents and quirky humor. Conan the Barbarian (1982) was just that role. Inspired by the Robert E. Howard short stories of the "Hyborean Age" and directed by gung ho director John Milius, and with a largely unknown cast, save Max von Sydow and James Earl Jones, "Conan" was a smash hit worldwide and an inferior, although still enjoyable sequel titled Conan the Destroyer (1984) quickly followed. If "Conan" was the kick start to Arnold's movie career, then his next role was to put the pedal to the floor and accelerate his star status into overdrive. Director James Cameron had until that time only previously directed one earlier feature film titled Piranha II: The Spawning (1982), which stank of rotten fish from start to finish. However, Cameron had penned a fast paced, science fiction themed film script that called for an actor to play an unstoppable, ruthless predator - The Terminator (1984). Made on a relatively modest budget, the high voltage action / science fiction thriller The Terminator (1984) was incredibly successful worldwide, and began one of the most profitable film franchises in history. The dead pan phrase "I'll be back" quickly became part of popular culture across the globe. Schwarzenegger was in vogue with action movie fans, and the next few years were to see Arnold reap box office gold in roles portraying tough, no-nonsense individuals who used their fists, guns and witty one-liners to get the job done. The testosterone laden Commando (1985), Raw Deal (1986), Predator (1987), The Running Man (1987) and Red Heat (1988) were all box office hits and Arnold could seemingly could no wrong when it came to picking winning scripts. The tongue-in-cheek comedy Twins (1988) with co-star Danny DeVito was a smash and won Arnold new fans who saw a more comedic side to the muscle- bound actor once described by Australian author / TV host Clive James as "a condom stuffed with walnuts". The spectacular Total Recall (1990) and "feel good" Kindergarten Cop (1990) were both solid box office performers for Arnold, plus he was about to return to familiar territory with director James Cameron in Terminator 2: Judgment Day (1991). The second time around for the futuristic robot, the production budget had grown from the initial film's $6.5 million to an alleged $100 million for the sequel, and it clearly showed as the stunning sequel bristled with amazing special effects, bone-crunching chases & stunt sequences, plus state of the art computer-generated imagery. Terminator 2: Judgment Day (1991) was arguably the zenith of Arnold's film career to date and he was voted "International Star of the Decade" by the National Association of Theatre Owners.
Remarkably, his next film Last Action Hero (1993) brought Arnold back to Earth with a hard thud as the self-satirizing, but confusing plot line of a young boy entering into a mythical Hollywood action film confused movie fans even more and they stayed away in droves making the film an initial financial disaster. Arnold turned back to good friend, director James Cameron and the chemistry was definitely still there as the "James Bond" style spy thriller True Lies (1994) co-starring Jamie Lee Curtis and Tom Arnold was the surprise hit of 1994! Following the broad audience appeal of True Lies (1994), Schwarzenegger decided to lean towards more family-themed entertainment with Junior (1994) and Jingle All the Way (1996), but he still found time to satisfy his hard-core fan base with Eraser (1996), as the chilling "Mr. Freeze" in Batman & Robin (1997) and battling dark forces in the supernatural action of End of Days (1999). The science fiction / conspiracy tale The 6th Day (2000) played to only mediocre fan interest, and Collateral Damage (2002) had its theatrical release held over for nearly a year after the tragic events of Sept 11th 2001, but it still only received a lukewarm reception.
It was time again to resurrect Arnold's most successful franchise and, in 2003, Schwarzenegger pulled on the biker leathers for the third time for Terminator 3: Rise of the Machines (2003). Unfortunately, directorial duties passed from James Cameron to Jonathan Mostow and the deletion of the character of "Sarah Connor" aka Linda Hamilton and a change in the actor playing "John Connor" - Nick Stahl took over from Edward Furlong - making the third entry in the "Terminator" series the weakest to date.
Schwarzenegger married TV journalist Maria Shriver in April, 1986 and the couple have four children.
In October of 2003 Schwarzenegger, running as a Republican, was elected Governor of California in a special recall election of then governor Gray Davis. The "Governator," as Schwarzenegger came to be called, held the office until 2011. Upon leaving the Governor's mansion it was revealed that he had fathered a child with the family's live-in maid and Shriver filed for divorce.
Schwarzenegger contributed cameo roles to The Rundown (2003), Around the World in 80 Days (2004) and The Kid & I (2005). Recently, he starred in The Expendables 2 (2012), The Last Stand (2013), Escape Plan (2013), The Expendables 3 (2014), and Terminator Genisys (2015).
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https://www.npr.org/2023/10/06/1203694351/arnold-schwarzenegger-has-one-main-guiding-principle-be-useful
|
en
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Arnold Schwarzenegger has one main guiding principle: 'Be Useful'
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2023-10-06T00:00:00
|
Champion bodybuilder, Hollywood superstar, Governor of California — Arnold Schwarzenegger offers a few pieces of advice about living a successful life in his new book Be Useful.
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en
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NPR
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https://www.npr.org/2023/10/06/1203694351/arnold-schwarzenegger-has-one-main-guiding-principle-be-useful
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Champion bodybuilder. Hollywood superstar. Governor of California.
Not a bad resume.
Arnold Schwarzenegger has achieved more than most of us could ever hope to. And he's sharing some of his secrets to success in his new book Be Useful: Seven Tools for Life.
Morning Edition host A Martinez spoke with Schwarzenegger about his latest project.
A MARTINEZ
When did becoming useful become something that you thought was important?
ARNOLD SCHWARZENEGGER
Well, I think that ever since my father stressed when I was a kid to be useful. I think it had an impact on me, and it stayed with me as a method, so much so that I always wanted to perform and do more. It became such a big part of my life that even when I sleep in - sometimes past 6:00 in the morning - I feel guilty because I hear my father's voice saying, "Arnold, that's not how this country was built, by sleeping in. Be useful, do something. What are you doing today?" And so, you know, I think that it just stayed with me.
A MARTINEZ
But even at that young of an age, you understood what that meant. You understood a deeper meaning of what being useful meant.
ARNOLD SCHWARZENEGGER
Well, let's assume for a second I didn't know what it meant. My father would make sure that I knew. Just to give you an example, I was studying bodybuilding at the age of 15, and my father would say, "Why are you lifting these dumbbells and barbells? Don't you think it would be better to just go out and chop some wood and shovel some coals for some poor people that don't have anyone?" It was common in those days: neighbor kids would go and do that kind of chore for older people so that when the fall comes, they have it for the winter.
I looked up to this famous boxer by the name of Laszlo Papp. He's a Hungarian boxer, European champion, and he trains by chopping wood. And so, "Why couldn't YOU chop wood? And then therefore, you would get muscles, you get strong, get great energy, you will look great. But at the same time, you're doing something useful. You're doing something for somebody rather than just for yourself and looking in the mirror." So he would make sure that you knew what being useful meant.
A MARTINEZ
Is being useful the same as not being useless?
ARNOLD SCHWARZENEGGER
Well, it's more proactive. I mean, being useful is not just hanging back and making mistakes. It's going out and using your energy and your time for something good, which means for yourself but also and always to think about other people. I think that we have to be aware of the fact that we are creations by a lot of people. We are not self-made. I hate when someone says, "Oh, Schwarzenegger is the perfect example of a self-made man" because I'm not. I'm a creation of my parents. I'm a creation of my coaches, my teachers. I have been helped by my training partners, by my friends. Especially when I think about coming to America, it was Joe Wheeler that helped me to come over here, got me the airline ticket, helped me get the apartment and the car. The people of California voted for me to be governor of California. So I didn't become governor because I'm self-made; I became governor because people voted for me.
A MARTINEZ
But it was a compliment. I mean, I think people meant it as a compliment that you were able to motivate yourself to accomplish these things.
ARNOLD SCHWARZENEGGER
Yeah, absolutely. I mean, it is a compliment, but it is very important to let people know: I really appreciate you saying that, but I'm a creation of all of this help.
I would not have done Twins if it wouldn't have been for Ivan Reitman. I would not have been able to do Conan the Barbarian if it wouldn't have been for John Milius. So there's so many people that helped me. And the reason why that is important, that we recognize that we are creations of people's help, is because that makes us then understand that we are responsible for going out and helping other people, that it is not a one-way street. You know, people help us to get to be where we are today, and therefore I now have the responsibility to go out and help other people to become successful.
A MARTINEZ
Well, just how wide of a scope, then, does being useful need to be? Because I can imagine for you, I think you probably have to feel useful to a lot [more] people than I would. I mean, if I feel useful to my grandkids or to my wife, I feel pretty good about the day.
ARNOLD SCHWARZENEGGER
I think that it really depends on you how far you want to go with that. One thing we know for sure: the majority of people really don't feel like they're useful enough or they are successful enough. And this is what this book is all about: Be Useful is to give people the tools. How can they go and become more useful? How can they become more successful? How can they become happier with their lives, their jobs and everything that they are doing?
You have to understand that no matter what we do, there's someone there that can help you with that. If I want to go and learn how to ski, I take ski lessons. If I want to learn about bodybuilding, I'll go and get a fitness instructor. But there's really no one that provides usually the tools to success. I think what this book does is basically just say, look, here are some tools that I've used in my life. And the reason why I've become so successful in so many different areas is because I follow those rules and I applied those rules.
A MARTINEZ
So, for example, last year when you put out that video calling out Russia's misinformation campaign — and also telling Russia to stop the war in Ukraine — were you just expressing an opinion or were you trying to be useful?
ARNOLD SCHWARZENEGGER
Both. Both to let the Russian soldiers and the Russian people know that this is an unjust war that is not provoked. There was no one there challenging Russia. This was a peaceful country, Ukraine, and they were minding their own business. All of a sudden, they're getting attacked. So that is not right. I think that we have to speak out because something's wrong, to help them to understand it — and at the same time to let people know around the world how I feel about it. It was just my opinion and also trying to be useful at the same time.
But, you know, this is not what this book is about. It's just really helping people to go to the next level when it comes to success. What I wanted to do is just let people know you don't have to have a job that you hate. If you take some time and create a vision for yourself and create a goal for yourself — and then chase that goal no matter how difficult it may be — life becomes kind of fun. Because to me, my life was always a lot of fun, even though I struggled a lot and I was battling it out, losing a lot of the battles and then winning some. It was always interesting and spicy and exciting because I knew what I was chasing all the time — to become Mr. Universe, or becoming the greatest bodybuilder in the world, or coming to America, or getting into movies and becoming a leading man, or running for governor. It doesn't matter what it is. It was always a fun chase.
A MARTINEZ
You mentioned losing some battles. Which battles did you lose? I think when people think of your life, they think that almost anything you've tried, you've been a success.
ARNOLD SCHWARZENEGGER
Well, maybe it was successful in the end, but to get there... One of the things I talk about is to not be afraid of failure. Because you're going to fail. When I was 19 years old, I was competing in the Mr. Universe contest and I lost. I came second. It was no big drama because I was hoping to be in the top six, but I came second so it was terrific. When I came to America, I lost the Mr. Olympia competition against Sergio Oliva. I lost one of the Mr. Universe contests in America against Frank Zane. I remember I lost power-lifting championships, weightlifting championships. I had movies that went in the toilet. I had policy issues and referendums that went in front of the people that I lost. There was a lot of things.
And of course, in my personal life, you know, my marriage is a big loss and this is a big failure. So there's a lot of losses and failures that I've had in the past in my life. And I think that it is important that we recognize that. But no matter what it is, I always had an exciting life and always chased something, and that made the whole thing worth it.
So many people — young people especially — when you ask them what do you want to do in life, they look at you kind of like the deer in the headlights and just don't know what to say. To me, that is a big problem, because I always felt that I was enriched by the fact that I always knew where I was going.
And then there were some things that were unexpected, like running for governor. That was something that kind of unfolded only because there was a recall election in California.
A MARTINEZ
You had the opportunity.
ARNOLD SCHWARZENEGGER
All of a sudden, I had this vision: me being governor. And so I chased that vision. Going from promoting Terminator 3 and being this huge hit to all of a sudden going the other direction and saying, "I want to be a public servant." It was fun to chase that. I had this exact vision. I knew exactly what to say to the people and how to sell that idea, how to market myself, how to promote myself. I think this is the important thing: there's so many people that think small. They set a goal for themselves — a small goal because they're afraid to fail. And I tell people, don't be afraid to fail.
A MARTINEZ
Wait a second, YOU can have big goals. I think most people have to be happy with small goals in their lives. I don't think they can aspire to the things you can aspire to.
ARNOLD SCHWARZENEGGER
No, because remember: when I was 15 years old, I was this ordinary Austrian boy, just like everyone else. I always had this dream that I want to be another Reg Park – a Mr. Universe who then did Hercules movies. So he became my idol. I wanted to win, like him, Mr. Universe several times and then be discovered in Hollywood. He was a fellow from England, from Leeds, from a factory town. I come from a factory down. Why could I not do that?
So I right away had a big vision to be like Reg Park (or to be Steve Reeves, an American version of Hercules). So, friends of mine wanted to be Mr. Austria; I right away thought of Mr. Universe, winning the world championship.
I remember when I was getting into movies, they said to me, maybe we can get you a job to play, maybe with your German accent, the Nazi officer. Or a bouncer or something like that. I mean, that's not what I wanted to do. I said I want to be a leading man. I right away shot for the big goal. And yes, it was riskier. It's very hard to climb the ladder. I said, forget about climbing the ladder — I'm going to create my own ladder and I'm going to climb that.
Now I'm going to show people how to do it.
A MARTINEZ
When it comes to having a clear vision, that's the first rule in your in your book, Be Useful: Seven Tools for Life. How do you get rid of the clutter to be able to have that clear vision? Because so much clutters up our lives.
ARNOLD SCHWARZENEGGER
That's the key thing. You cannot go create a vision if your face is in the iPhone or iPad or the computer. That is not what creates a vision. That maybe makes you copy someone else, but it doesn't create a vision of something that you're really in touch with, that you feel like, I need to do this. I'm born to be this artist. I'm born to be a mechanic. I'm born to create my own garage and build muscle cars or whatever it may be. Everyone has something in them that makes them really want to go all out on something. You just need to apply those rules. Don't shoot for something small, shoot for something big. Don't be afraid of failure.
The key thing is: you work your ass off. One of the things that I know now being 76 years old: everything is directly related to work. The more you work your ass off, the further you're going to go. If you look for shortcuts, it's not going to happen. I've seen people in bodybuilding try to look for shortcuts. They never made it. I've seen it in acting. They have not made it. Everyone that was willing to work hard was able to make it and to become successful.
Selling yourself, selling your ideas, selling your vision is another very important part of this whole success formula. You have to convince people. You have to kind of communicate well. I mean, imagine when I was Governor of California and I said we have to reduce our greenhouse gases by 25% by the year 2020. Well, it was a great idea, but I now have to go and convince 40 million people in California that this is very important, that pollution kills people. We've got to have more renewable energy in California. We got to get rid of fossil fuels. We got to keep our nuclear reactors and nuclear power and blah, blah, blah, noise. And the people went along. The people went along because I sold the thing while I promoted it well, I marketed it well, I was communicating well. All of this is important in order to be successful.
The other one that I always tell people: let's do less talking and more listening. I have a chapter that says, shut your mouth and open your mind. It's very important because I think that if you always just talk, talk, talk, talk, you're not going to learn anything. The way you learn is if you just shut your mouth and listen to other people talk. Yes, you have to talk and yes, you have to communicate. But be aware that listening is really what makes you smart.
When I went into the capitol in Sacramento, I did a lot of listening because I had to learn very quickly about the various different policies, the various different issues. I mean, you go from one minute about prison guards' overtime, then you talk about the firefighters and talk about law enforcement. They talk about the nurses, the teachers. They talk about the crime. You're dealing with so many different subjects that from morning to night, it's better if you listen. Then if you sit down by yourself, without having the computers and the iPhone/iPads, that's how you get to be successful.
A MARTINEZ
The last tool in your book is called Break Your Mirrors. What does that mean, break your mirrors?
ARNOLD SCHWARZENEGGER
This is a saying that comes from my father-in-law [Sargent Shriver]. My father-in-law gave a speech at Yale University, a commencement speech, and there he said to the students: Break that mirror that makes you always look at yourself. And you will be able to look beyond that mirror and you will see the millions and millions of people that need your help.
My father-in-law was one of my idols. He created the Job Corps and the Peace Corps, legal aid to the poor and all of these various different organizations. And he was always out there trying to find something to help the less fortunate. He was also the chairman of the Special Olympics, and his wife Eunice Kennedy Shriver created the Special Olympics. They always worked on helping the people that needed help. So to me, that saying said it all: we should not be consumed about ourselves. Yes, you have to deal with yourself. You have to build itself. But don't ever think that this is the only responsibility you have. You have the responsibility to break the mirror and to look beyond yourself and see the millions of people that need your help. And to go out and help, giving back to the community, giving back the city, to your state, your country is the ultimate that you have to do. And everyone has the ability to give back something. If you have no money, you can give your time to the kids — in reading or in English or to collect clothes so that homeless people can go to job interviews. There's so many simple things that we can do to help the community.
I got addicted to it because I started working with Special Olympics and helping Special Olympians, you know, train with weights and then go into powerlifting. It felt so good to be able to help kids that normally are not included, not getting equal rights. Then I started getting caught up with the President's Council of Physical Fitness for President Bush. [I] travelled through all 50 states to promote health and fitness and exercising in the schools. And it just one thing led to the next, and eventually I ran for governor.
It just feels so good to give something back. I think that this is without any doubt the greatest country in the world. And I always want to tell people that, you know, to me, giving something back was absolutely a necessity because of everything that I have ever achieved was because of America. And so to me, to give back to America is the greatest kind of honor and pleasure.
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https://physicalculturestudy.com/2017/10/21/the-amazing-physique-of-a-schwarzenegger-how-he-developed-it-1967-article-2/
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The Amazing Physique Of A. Schwarzenegger & How He Developed It (1967 Article)
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2017-10-21T00:00:00
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Published in Iron Man Magazine in 1967 by Arnold's friend Albert Busek, the following article details Arnold's rise to fame alongside his working routine of the time. A fine biography and reminder that even during the 60s, people marvelled at the Austrian's successes. JUST a short year ago his name was still generally unknown, but on October 30,
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en
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Physical Culture Study - A Website Dedicated to the Study of Strength, Health, Fitness and Sport Across Centuries, Countries and Contests.
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https://physicalculturestudy.com/2017/10/21/the-amazing-physique-of-a-schwarzenegger-how-he-developed-it-1967-article-2/
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Published in Iron Man Magazine in 1967 by Arnold’s friend Albert Busek, the following article details Arnold’s rise to fame alongside his working routine of the time. A fine biography and reminder that even during the 60s, people marvelled at the Austrian’s successes.
JUST a short year ago his name was still generally unknown, but on October 30, 1965, in Stuttgart, his meteoric rise to international fame began.
However, let us review his story from the very beginning. Arnold Schwarzenegger was born on July 30, 1947, the son of police inspector Gustav Schwarzenegger and his wife, Aurelia. As a child he was taken along by his father to curling contests, and very soon the desire to emulate his father’s interest in sports awakened in him. At the same time he realised that that wouldn’t be a very easy thing to do, for his father was – and still is – an outstanding sportsman. Among other things, his father was the European title holder in distance curling, and several times he won awards as state champion in gymnastics and calisthenics. In his early efforts to achieve distinction in athletics, Arnold had to content himself with a merely average performance, and was very disappointed in this result. That happened in February, 1962, at the Graz City Championship in Distance Curling for Juniors. Arnold only won sixth place. For the son of a well-known sportsman that was naturally an unfortunate start, but Arnold was simply too weak to assert himself against the best performers. Thus, for the moment, his drive to reach the top came to a sudden halt.
So it began…
One day in the late fall, on one of the last warm days of the season, on the beach of Thaler Lake near Graz, Arnold struck up an acquaintance which was destined to have perhaps the most important consequences for him. For a long time he had been watching a young man whose outstanding physique literally commanded attention. He tried to approach this young man, but didn’t trust himself to strike up a conversation. KURT MARNUL, who was at that time the ideal of all Austrian bodybuilders, had naturally noticed the admiring glances of the youngster, and spoke to him directly. The conversation ended with an invitation to Arnold to come along to a training session. The very next day Arnold appeared in the training rooms of the weightlifting club Athletic Union in Graz and met Kurt Marnul, who was employed there as a trainer. Under the guidance of this experienced bodybuilder and weightlifter he made rapid progress, and in a comparatively short time it became clear to all that here an extraordinary talent was developing. At the beginning of his training. Arnold’s measurements, as recorded by Kurt Marnul, were as follows:
Bodyweight 154; Height 5’11½”; Upper arm 13; Chest 41¼; Waist 27½; Thigh 21; Calf 14¾.
Early successes
By the following summer, Arnold’s measurements had improved markedly:
Bodyweight 176; Height 6′; Upper arm 16; Chest 45¾; Waist 28; Thigh 23; Calf 16.
As early as January of 1964, Arnold was able to reap the first benefits of his intensive training, naturally enough, in curling. In addition to working out with the barbells, he still went with his father to curling meets, and by now he enjoyed considerable success. He outdistanced his former competitors by far, and became not only state and provincial champion (Junior Class) in curling, put also won second place in the general European meet held in Yugoslavia. Thus Arnold had achieved his first ambition while barely 17 years of age, and his father was justly proud of him. After the general European meet, the young victor was able to concentrate completely on the forthcoming Mr. Austria 1964 contest, the date of which had been set for April. With almost fanatic zeal, Arnold trained for two to three hours a day, was able to make even further improvements in the little time left him, and made an impressive showing in his first major contest. He became Junior Mr. Austria, and took third place in the Senior Class after Kurt Marnul and Helmut Cerncic. Since he trained in a weightlifting club, it was natural for him to take part in the weightlifting competitions too.
Master of weightlifting
In autumn of the same year he became Styrian champion (Juniors) with a total of 705 lbs. In the spring of 1965 he continued his string of victories by winning the Mr. Styria title. It is perhaps worth mentioning that the victory trophy was donated by the Austrian Chancellor of the time, Dr. Alfons Gorbach. In spite of his many successes, Arnold was never content to rest on his laurels, and kept trying to improve himself. Perhaps that is the secret of his success in general. One must, however, esteem his mental attitude and his modesty even higher than his athletic successes. These qualities, together with his outstanding physical development, made him stand out even early in his career in the competitions in which he participated.
As early as the summer of 1965, he occupied an undisputed first place in the list of Austrian weightlifters, thus outstripping all his former teachers and training companions, and at the age of hardly 18. In September Arnold passed his examinations in business school, and thus his commercial apprenticeship ended. On the first of October, he was drafted into the army, where he served as a tank driver. Everyone knows that basic training for military service involves, even for a highly trained athlete, great hardships and deprivations. And one is astonished to discover how, in spite of it all, Arnold still found time to prepare for the Best Built Athlete of 1965 in Stuttgart. Naturally he wasn’t able to improve markedly; he was only able to stay in condition. Nevertheless, that didn’t damage his unshakable optimism. And thus he appeared for the first time in an international competition and had to compete at the very outset with some of Europe’s finest among the Juniors, such as Dischinger and Fluck. That he walked away with the victory here too, at his very first attempt, and that he was able to do so with the very highest number of points possible, proved even then his exceptional standing in weightlifting circles. The underdeveloped beginner had, in three short years, turned into an athletic young man of incomparable size and muscularity, as can be seen by his measurements, which were then:
Bodyweight 198; Height 6’1″; Upper arm 17¾; Chest 50; Waist 30; Thigh 24½; Calf 16¼.
He awakens admiration, however, not only by his measurements, but equally by virtue of his extraordinary harmonious total development and definition. His appearance in Stuttgart impressed the experts so much that he was signed up immediately for the next Mr. Germany contest, as a guest star, by the president of the DKV, Mr. Putziger. When his basic training was over, Arnold was able to devote himself increasingly to his training with barbells. In the barracks his experiences in the army were similar to those of Reinhard Lichtenberg. He was frequently asked by his buddies to remove his shirt and put his muscles on display. That there was also strength and endurance in those muscles (which was doubted by some of the skeptics) Arnold proved at the military meets held in Graz.
At those meets he took a distinguished third place, although he hadn’t prepared himself for specifically these disciplines at all. For example, he did a shot putt of 13.85 metres, threw the baseball 95 metres, and broad jumped 6.10 metres.
Then on March 6, 1966, when Arnold appeared as a guest at the Mr. Germany contest, many of the experts were convinced that he had then reached his peak development, and from there on could only improve minimally. On the basis of his measurements, he could be numbered even then among the best of European bodybuilders. Since Arnold made such great progress in the last half of the year, he entered the Mr. Universe contest with the official association of the NABBA in London.
On August 1, Arnold moved to Munich where he took a job in a sporting goods store. His employer, himself a great sports enthusiast, left him enough time to prepare for the Mr. Universe contest.
Those who had thought earlier in the spring that Arnold had already attained his best possible form and peak development, were now forced to change their opinions. It is difficult to believe how, in the space of two short months, Arnold built up and increased in massiveness. It contradicts every traditional law and norm. In this short time he almost equaled his great ideal, Reg Park. It is hard to imagine where Arnold picked up the strength of will and found sufficient training energy to carry out his staggering programme; for now he was training seven times (!) a week, in training sessions that lasted from five to six hours. During training he pays particular attention to his ‘weak’ spots. His thighs and calves he trains daily. He worked his upper arms three times a week for two to three hours, doing a total altogether of 60 sets. His preparation demanded not only great physical exertion, but also the most careful way of living. That means ten hours of sleep daily, no alcohol, and no nicotine.
Breaking through to international fame
The time had finally come. Arnold had done everything possible to make the best impression he could at his first participation in an international contest. Shortly before his flight to London, he had himself measured once more. It seems hardly possible, but the following measurements are strict fact:
Bodyweight 235; Height 6’1″; Upper arm 20½; Chest 54½; Waist 31; Thigh 26¼; Calf 17¾.
Although many of those who saw him only a short time before were convinced that he would be the new Mr. Universe, Arnold repeatedly pointed out the heavy competition, and said that if he placed somewhere among the first six, he would have achieved the ambition of his dreams. It was a ‘youngster’ of 19 who said that; a young man who, for his age, had the best measurements possible and had no need to fear any opponent of his age group in the world. Oscar Heidenstam, the organiser of the Mr. Universe contest, said later of Arnold that it was refreshing to see how little the young man realised how good he actually was. Oscar Heidenstam also mentioned that he had never seen a better built 19 year old-and Mr. Heidenstam has been organising these international competitions for many years and has seen all the great figures in the iron game. This opinion carries great weight. Arnold Schwarzenegger, it can be said without exaggeration, was the sensation of the Mr. Universe contest of 1966. To be sure, he had to yield first place to the experienced and tremendously defined Chester Yorton, but he didn’t consider that a defeat, for his second place was a triumphant success.
All the members of the judges’ panel were enthusiastic about Arnold, and concede him leading chances for the title in 1967. In point of fact, Arnold had the largest measurements of all the participants in the international meet. During the competition in the huge Victoria Palace Arnold had to appear on the stage a second time and repeat his performance, because the public literally overwhelmed him with applause and demanded it. In the history of the Mr. Universe contests, only two athletes up to that point in time had been caned back to the stage a second time, Reg Park and Earl Maynard. On October 9 and again on October 30, Arnold was chosen the best built athlete of Europe in Cologne and Stuttgart respectively.
Invitation to England
Among the English public Arnold created such a sensation that he was immediately invited to three competitions in England, among them also to the Mr. Britain contest. He was signed up by Umberto Devetak to appear as a guest star at the Mr. Italy contest. On November 12 in Amsterdam he was jubilantly greeted at the Mr. Holland contest. A well deserved reward for hard and steady training. It is typical of Arnold that after his return from London he allowed himself only two days of rest and then immediately resumed his training. His goal: the Mr. Universe title in 1967. If we can assume that he continues to work towards his goal as dedicatedly and single-mindedly as he has in the past, then in 1967 his name will have to be mentioned in the same breath with those of Reeves, Park and Pearl
His measurements
Bodyweight 235 (formerly 154); Height 6’1″; Neck 18; Chest 55 (formerly 41¼); Waist 31; Upper arm 20½ (formerly 13); Thigh 26¼ (formerly 21); Calf 17¾. (measurements taken before training, cold.)
His best lifts
Full squats 430 Bench press 410 Curl 285 Deadlift 605 Three Olympic Lifts total 805 Press 265 Snatch 242 Clean and Jerk 300
His training programme
Monday, Wednesday and Friday: Upper arms and shoulders. Tuesday, Thursday and Saturday: Chest and Lats. Sundays: All muscle groups. Thighs and calves daily.
In any case, we wish him all the best, and we hope that he will be the first German-speaking Mr. Universe. That Arnold not only has fantastic measurements, but also belongs among the strongest athletes alive (and in this connection we must remember that he hasn’t yet reached his natural limits by any means), he proved on October 30 in Stuttgart, where, in three major lifts he beat the winner of the previous year, Pelekies, with a total of 1290 in power-lifting.
ARNOLD’S TRAINING PLAN
Monday, Wednesday, Friday LATS- Chins–15 sets of 15 reps.
Bent-over rowing–15 sets of 10 reps. CHEST- Incline-press 8 sets of 8 reps.
Bench press 8 sets of 8-8-6-6-5-5-3-3.
Flys on flat bench 8 sets of 8 reps.
Dips 5 sets of 10 reps.
Pullover on flat bench, 5 sets of 10 reps. SHOULDERS- Press behind neck 8 sets of 8 reps.
Side laterals 8 sets of 8 reps.
Bent-over raise, 8 sets of 8 reps. Tuesday, Thursday, Saturday ARMS – TRICEPS- Bench press with narrow grip 7 sets of 8 reps.
Tricep barbell lying 7 sets of 8 reps.
Dumbbell French press 7 sets of 10 reps.
Pull down on lat machine 7 sets of 10 reps. ARMS BICEPS- Barbell curl 7 sets of 8 reps.
Seated dumbbell curl with one arm 7 sets of 8 reps.
One arm concentration curl with dumbbell 7 sets of 12 reps. LEGS- Squat 5 sets of 8 reps.
Front squat 5 sets of 8 reps.
Sissy squat 5 sets of 8 reps.
Leg curls with leg machine 10 sets of 10 reps. CALVES- Heel raises 10 sets of 20 reps. Sunday CALVES AND ABDOMINALS Donkey raise 15 sets of 20 reps.
Sit-ups 10 sets of 20 reps.
Leg raise on incline 10 sets of 20 reps.
PHOTO CAPTIONS
– Arnold Schwarzenegger is reputed to be the greatest physique prospect in the bodybuilding horizon and he was a sensation at the recent Mr. Universe, and is predicted as a sure winner next year. Those arms are now up to 21½, with a 56 chest. At 6’3″ and weighting over 235, he wants to become the biggest bodybuilder in the world. He is quite strong and has done well in lifting, and is a champ at swimming and other sports.
– Arnold uses conventional exercises known to all bodybuilders but has been training hard since he was 13, though not on weights that long. At upper left he does seated press behind neck, then rowing, curl and dumbbell concentration curl.
– Even tho a big man with huge measurements Arnold presents a clean, well proportioned appearance.
– Arnold doing the squat and seated dumbell curl, very much as you who read this do this exercise.
– Performing the chin and bench press. You will note that tho using these conventional exercises, the secret of his success is first that he was given a good foundation by his healthy parents and he works extremely hard and is very dedicated.
– You could not guess that Arnold weighs 235 as he is so well proportioned and poses very well. He wants to improve his legs considerably and feels that he will have attained closer to perfection when he does this.
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https://www.theatlantic.com/magazine/archive/2023/04/arnold-schwarzenegger-ukraine-covid-speech/673089/
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Arnold Schwarzenegger’s Last Act
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] |
[] |
[] |
[
"Arnold Schwarzenegger",
"Schwarzenegger’s own beautiful profession",
"foggy day",
"82-year-old Heide Sutter",
"Schwarzenegger’s chief",
"Schwarzenegger",
"Auschwitz Jewish Center Foundation",
"double-taking driver of a landscaping van",
"only memorable thing",
"mutual friend",
"Big deltoids",
"best-developed body",
"first try",
"Mister Arnold",
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"honor of Jamie Lee Curtis",
"celebrity visits",
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"Patrick Knapp Schwarzenegger",
"late ’60s",
"former Mr. Universe",
"first issues",
"Auschwitz-Birkenau State Museum",
"incoming FaceTime calls",
"pectoral work",
"special election",
"homemade PSA videos",
"point of no return.The reminders",
"business partner",
"Gold’s Gym",
"housekeeper-love-child-divorce episode",
"big word",
"kind of vigorous nostalgia trip",
"Gustav Schwarzenegger",
"hardest loss",
"Hollywood Boulevard",
"year Schwarzenegger’s own massive hands",
"three-mile bike ride",
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"Holocaust research group",
"roster of other deaths",
"early promoter",
"post office",
"Whitney Museum",
"stay-at-home Arnold character",
"balance beam"
] | null |
[
"Mark Leibovich"
] |
2023-03-08T17:00:00+00:00
|
What happens when the Terminator turns 75
|
en
|
https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico
|
The Atlantic
|
https://www.theatlantic.com/magazine/archive/2023/04/arnold-schwarzenegger-ukraine-covid-speech/673089/
|
Updated 3:33 p.m. ET on March 15, 2023
This article was featured in One Story to Read Today, a newsletter in which our editors recommend a single must-read from The Atlantic, Monday through Friday. Sign up for it here.
Arnold Schwarzenegger nearly killed me.
I had joined him one morning as he rushed through his daily routine. Schwarzenegger gets up by six. He makes coffee, putters around, feeds Whiskey (his miniature horse) and Lulu (his miniature donkey), shovels their overnight manure into a barrel, drinks his coffee, checks his email, and maybe plays a quick game of chess online. At 7:40, he puts a bike on the back of a Suburban and heads from his Los Angeles, California, mansion to the Fairmont Miramar Hotel in Santa Monica. From there he sets out on the three-mile bike ride to Gold’s Gym, where he has been lifting on and off since the late ’60s. The bike ride is his favorite part of the morning. It is also, I learned while following behind him on that foggy day in October, a terrifying expedition.
Schwarzenegger can be selective in his observance of traffic signals. He zipped through intersections with cars screeching behind him. I braked hard and, being neither an action hero nor a stunt double, barely stayed upright. Drivers honked and yelled at the speeding cyclist in the lead until they realized who he was. “Heyyyy, Mister Arnold!” the double-taking driver of a landscaping van shouted out his window.
Schwarzenegger does not wear a helmet and seems to enjoy being recognized, startling commuters with drive-by cameos. He describes his ride as a kind of vigorous nostalgia trip, a time when the former Mr. Universe, Terminator, Barbarian, Governor of California, etc.—one of the strangest and most potent alloys of American celebrity ever forged—can reconnect with something in the neighborhood of a pedestrian existence. “It’s like a Norman Rockwell,” Schwarzenegger told me. “We talk to the bus driver. We do the garbage man, the construction worker. Everyone’s got their beautiful, beautiful jobs and professions.” These days, Schwarzenegger’s own beautiful profession is to essentially be an emeritus version of himself.
We made it intact to Gold’s Gym in Venice, the birthplace of bodybuilding in the ’60s and ’70s, and a cathedral to the sport ever since. Schwarzenegger will always be synonymous with the place, and with the spectacle of specimens at nearby Muscle Beach. The Venice Gold’s is a tourist attraction but also a serious gym—loud with the usual clanking and grunting, and redolent with the pickled scent of sweat.
“Say hi to Heide,” Schwarzenegger told me, pointing to 82-year-old Heide Sutter, who was working out in a skintight tracksuit. “She is a landmark,” he said. “She’s actually the girl who is sitting on my shoulder in the Pumping Iron book. She was topless in the shot.” Perhaps I recognized her? Not immediately, no. I didn’t even realize that Pumping Iron was a book. I knew it only as a movie, the 1977 documentary about the fanatical culture of bodybuilding. “Everybody wants to live forever,” went the opening refrain of the title song. Schwarzenegger, then 28, was the star of the film and a testament to the idea that humans could mold themselves into gods—bulging comic-book gods, but gods nonetheless.
“The most satisfying feeling you can get in the gym is the pump,” he says in the movie. “It’s as satisfying to me as coming is, as in having sex with a woman and coming … So can you believe how much I am in heaven?”
Now the aging leviathan jumped into a series of light repetitions. He likes to emphasize a different body part each day of the week. He was focused today (a Thursday) on his back and chest muscles. He did light bench presses, pectoral work on an incline chest machine, and some lat pull-downs. I did a few reps myself on an adjacent machine, to blend in.
For the most part, the muscled minions at Gold’s left the king alone. “This is one of the few places where Arnold is treated normally,” said Daniel Ketchell, Schwarzenegger’s chief of staff, who hovered between us. A few tourists from Germany defied protocol and approached the bench, asking for selfies. “Don’t worry about it,” Schwarzenegger said, blowing them off. “We have a mutual friend,” tried another intruder, and Schwarzenegger scowled, muttering indecipherably, possibly in German.
As someone who spent years perfecting his body, Schwarzenegger has always been attuned to the nuances of decline. Paul Wachter, a friend and business partner, first met him in 1981, when Wachter was about to turn 25. “Arnold said, ‘Once you hit 26, it’s all downhill with the body,’ ” Wachter recalled. “He said, ‘You can still be in shape, but the peak is over at 26.’ ”
Schwarzenegger is now 75. He observed his birthday on July 30 by trying not to notice it. The only memorable thing about the milestone was that he tested positive for COVID that morning. He felt lousy for a few days and recovered.
I wanted to talk with Schwarzenegger because I was curious about what aging felt like for someone with a name, body, and global platform so huge that they hardly seemed subject to time. What does it feel like to be perpetually compared with your long-ago peak? “They play Pumping Iron in a loop in some of the gyms,” Schwarzenegger told me, grinning at the idea of his souped-up old self still presiding over the pretenders. We all get soft and dilapidated, but it cuts much harder when you’ve been “celebrated for years for having the best-developed body,” as he put it. “You get chubby. You get overweight, you get older and older.” Just imagine, he added wistfully, “the change I saw.”
As I watched him complete his workout, Schwarzenegger was barely clearing 120 pounds on the bench press. After decades of abuse, the man’s shoulders are toast. His knees are shot, his back is sore, and he has undergone multiple heart procedures, including three separate valve-replacement surgeries, the last in 2020. Two of them devolved into 10-plus-hour ordeals that nearly killed him on the table. Still, let it be recorded that on a foggy October morning at Gold’s Gym in Venice, I was lifting heavier weights than Arnold Schwarzenegger was.
After our workout, Schwarzenegger stood a few feet away and looked me over, paying particular attention to my bare legs.
“You have very good calves,” he observed. “Very well defined.” And calves are important, he added: “They are one of the muscles that the old Greeks used to idolize.” Big deltoids are also coveted. In addition to abs and obliques. But he always takes note of a person’s calves. This was easily the highlight of my day, if not my five decades among Earth mortals.
A couple of years ago, Howard Stern asked Schwarzenegger on the air where he thought we all go after we die. “The truth is, we’re six feet under, and we’re going to rot there,” Schwarzenegger said. Some other authority gets to play the Terminator, and on a schedule of their choosing. Schwarzenegger wasn’t afraid of death, he added. “I’m just pissed off about it.”
Emotionally, Schwarzenegger has always been a padlocked gym. But he’s felt a change lately, a more reflective shift. People close to him have noted a degree of openness, a desire to confide, that wasn’t present back when he was young and invincible. Schwarzenegger told me that he recently attended the premiere of the new Avatar film (directed by his old friend James Cameron) and found himself crying in the dark. Someone will tell a story and he’ll choke up out of nowhere. He asks himself: “Why did this have an impact on me today when it would have had none in the 1970s?”
The day before our helter-skelter bike ride, I had caught Schwarzenegger leaning against a doorway of the Chinese Theatre, on Hollywood Boulevard. He was waiting to give a brief speech in honor of Jamie Lee Curtis, who was about to get her hand- and footprints embedded in cement.
“I was trying to think of a big word,” Schwarzenegger told me. “You know, a forever thing, or something like that.” He kept landing on verewigt; German for “immortalized.” “It means ‘forever,’ ” he said. Ketchell encouraged the boss to not overthink it. “Just say ‘immortalized,’ ” Ketchell told him. This is Hollywood—speak in the native platitude.
Curtis walked into the theater and greeted Schwarzenegger. They performed ritual Hollywood shoulder rubs on each other. The two go way back: Schwarzenegger once did a Christmas special with her father, Tony Curtis. They have houses near each other in Sun Valley. In 1994, Schwarzenegger and Curtis co-starred in True Lies, the Cameron action comedy. That was the same year Schwarzenegger’s own massive hands and feet were set at the Chinese Theatre. He mentioned this more than once.
Schwarzenegger introduced me to Curtis, who told me how much she appreciated Arnold’s “showing up” for her. “Showing up” was a big part of the job these days. Then Curtis headed to the stage, while Schwarzenegger stayed behind in the doorway, squinting out into the glare. He looked fidgety, maybe bored. He asked me whether I had seen the spot where his hands and feet were imprinted.
Yes, I’d seen it. I’ll be back, Schwarzenegger had signed in the concrete—his signature line, first uttered in The Terminator, before his character circled back and murdered two dozen police officers. Schwarzenegger has been tossing out “I’ll be back”s ever since. The phrase carries “intimations of the eternal return,” an overheated critic once wrote in The Village Voice. But it lands a little differently now that the aging gargantuan is inching closer to the point of no return.
The reminders are everywhere, the worst one being that Schwarzenegger’s friends keep dying. Jim Lorimer, a sidekick and business partner of more than 50 years, and an early promoter of bodybuilding in America, died in November (Schwarzenegger spoke at his funeral). George Shultz, the Reagan-era secretary of state who became a close mentor, died in early 2021. The hardest loss was the Italian champion Franco Columbu, another Pumping Iron icon, known as the “Sardinian Strongman,” who died of an apparent heart attack in 2019. “I love you Franco,” Schwarzenegger wrote in an Instagram tribute. “You were my best friend.” Schwarzenegger listed a roster of other deaths, each depleting him more. “It’s wild, because these are not just friends,” he told me. “If people have a tremendous impact on your life, that means that a chunk of you is being ripped away.”
On the morning when we went to Gold’s, Schwarzenegger made a small detour afterward to show me the one-bedroom apartment he used to share with Columbu at 227 Strand Street, in Santa Monica. They lived there for about a year in the late ’60s, not long after each had landed in the States, while they were both making a living laying bricks. The dwelling, a blue-and-beige box with institutional windows, betrayed no trace of the behemoths who’d once resided there.
Schwarzenegger stared up at the soulless space. “He was the best,” he said of his friend.
For my ninth birthday, my parents got me a subscription to Sports Illustrated. One of the first issues I received featured photos from the 1974 Mr. Olympia contest, in New York. It was won, naturally, by the man SI called “enough of a legend for his first name to evoke a response wherever a barbell is picked up with purpose.”
Schwarzenegger won Mr. Olympia seven times, and Mr. Universe four. But he is dissatisfied by nature, and from a young age not easily contained. At 21, he set out for America. He felt alienated by the complacency of his boyhood friends: They aspired to a government job with a pension, maybe; church on Sunday; the usual. “I say to myself, Are we really just clowns? And just do the same fucking things as the guy before? … And I’m like, What the fuck? I better get out of here.” Standing on a stage in South Africa after winning Mr. Olympia yet again, Schwarzenegger felt the same old restlessness. “I looked around and said to myself, I’ve got to get out of this.”
He charged into showbiz and became similarly huge, making $35 million a film at his peak. “But then I outgrew that,” he said, mentioning Terminator 3, which brought in a burly $433 million at the box office in 2003. “And somehow I feel like I was standing on that stage again in South Africa.”
Next? Politics! He’d always been intrigued by the business; he married a Kennedy, and George H. W. Bush appointed him chairman of the President’s Council on Physical Fitness and Sports (he claims to have presented 41 with a calf machine). And then, oh look, California was about to recall its pencil-necked governor, Gray Davis. Schwarzenegger jumped in and won his first attempt at elected office, also in 2003. He loved the job, telling me that of all the titles he has racked up, Governor is the one he cherishes the most.
Schwarzenegger was reelected by 17 points in 2006, though his popularity cratered by the time he left office, devoured by the usual bears of budgets, legislatures, and ornery voters. At that point he was not only term-limited by California law; he was also promotion-limited by Article II, Section 1 of the U.S. Constitution. He has often said he would definitely run for president if he could, except he was born in Austria.
Instead, upon leaving Sacramento, Schwarzenegger was greeted by scandal. He admitted to fathering a son in the 1990s with Mildred Patricia Baena, a family housekeeper for 20 years. Mildred and Schwarzenegger’s wife, Maria Shriver, had been in the house pregnant with his children at the same time.
After the story came out, Schwarzenegger retrenched for a while, tried to repair relations with his five kids, including his no-longer-secret teenage son, Joseph Baena. He and Shriver tried marriage counseling. It did not suit him, and it did not save the marriage. “I think I went two or three times,” Schwarzenegger told me. He dismissed the therapist as a “schmuck” who was “definitely on her side.” He admitted that he’d “fucked up” but did not believe the situation required any deeper exploration. “The fucking weenie gets hard and I fucking lose this brain and this happened,” he said. “It’s one of the biggest mistakes that so many successful people make, you know, so what am I going to say?”
What to do next? Susan Kennedy (no relation to Maria), Schwarzenegger’s chief of staff during the Sacramento years, told me that he missed his position as governor. “He had to learn a new role as a senior statesman”—one who was no longer in office. He took on a few film projects and did his various events and causes and summits. His friends saw that he was struggling. “To wake up without a purpose is a dangerous place to be,” Jamie Lee Curtis told me.
Meanwhile, another celebrity tycoon, Donald Trump, jumped into politics and landed in the White House on his first try, leaving Schwarzenegger with the dregs of The Celebrity Apprentice. Arnold’s Apprentice went about as well as Trump’s presidency.
“Hey, Donald, I have a great idea. Why don’t we switch jobs?” Schwarzenegger tweeted in response to the president’s taunting of the show’s ratings, before it was killed in 2017.
During the scary early months of the pandemic, Schwarzenegger began posting homemade PSA videos on social media as a lark. They showed him drowsing around his 14,000-square-foot mansion in L.A.’s Brentwood neighborhood, smoking cigars and sitting in his hot tub. He led exercise tutorials and taught proper hand-washing techniques. “I wash my hands a minimum of 50 times a day,” he blustered into the camera from the kitchen sink. An ensemble of whimsical pets roamed in and out of the frame—Whiskey, Lulu, an assortment of tiny and massive (Twins style) Yorkies and malamutes.
Suddenly, Schwarzenegger was enjoying one of those random social-media moments—quarantined and yet everywhere at once. He was a goofball colossus called back into action. People loved the role: Arnold in winter. Conan the Septuagenarian. I watched the clips again and again. Wear a mask! Don’t party with your friends like a dumbass! Exercise! The videos were an escape from my remote-work quicksand. The protagonist looked unsettled but also purposeful. Or maybe I was projecting. I very well could have been projecting.
Then Schwarzenegger watched the ransacking of the U.S. Capitol by Trump’s supporters on January 6, 2021. He was horrified, and felt moved to make a different kind of video. Flanked by American and Californian flags, he talked about coming as “an immigrant to this country.” He compared January 6 to Kristallnacht, the “Night of Broken Glass,” in 1938, which, he said, had been perpetrated by “the Nazi equivalent of the Proud Boys.” According to Schwarzenegger’s team, the video was viewed 80 million times. It was the biggest thing he’d done since he’d left office. “You never plan these things,” he told me.
As he ended the message, Schwarzenegger brandished his famous Conan sword. Because of course he did.
“The more you temper a sword, the stronger it becomes,” he said, suggesting that the same was true of American democracy. “I believe we will come out of this stronger, because we now understand what can be lost.” I remember thinking this was a hopeful take.
Schwarzenegger was born two years after World War II ended and grew up, as he put it, “in the ruins of a country that suffered the loss of its democracy.” His father, Gustav Schwarzenegger, was a police chief in Graz, Austria, and fought for the Nazis. Schwarzenegger has spoken more freely of late about his father’s activities and his own attempts to reconcile with them. History need not repeat—that has been his essential theme. Hatred and prejudice are not inevitable features of humanity. “You don’t have to be stuck in that,” he told me. Humans “have the capacity to change.”
When Schwarzenegger first made it big in Hollywood, he approached the Simon Wiesenthal Center, the Holocaust research and human-rights group, seeking to learn about his father’s complicity. Gustav’s record came back relatively clean. He “was definitely a member of the Nazi Party, but he worked in areas like the post office,” Rabbi Marvin Hier, the founder and CEO of the center, told me. Researchers there found “no evidence whatsoever about war crimes.” But it may be more complicated than that. According to Michael Berenbaum, a Holocaust scholar at American Jewish University, records suggest that Gustav was “in the thick of the battle during the most difficult times,” when some of the “most horrific military and nonmilitary killings” occurred.
Schwarzenegger rarely spoke publicly about his father’s past until Trump became president and emboldened a new generation of white nationalists. “Arnold always told us the goal after he left office was to stay out of politics and focus on policy,” Ketchell told me. “But when the president is calling neo-Nazis good people, it’s hard to just focus on gerrymandering.”
After the violent march on Charlottesville, Virginia, by torch-bearing white nationalists in 2017, Schwarzenegger went hard at the neo-Nazis in a video. “Let me be just as blunt as possible,” Schwarzenegger said. “Your heroes are losers. You’re supporting a lost cause. And believe me, I knew the original Nazis.” The video drew nearly 60 million views.
Schwarzenegger can be a bit of a brute and a pig and could easily have been canceled half a dozen times over the years. Just days before the special election for governor in 2003, several women came forward to say that Schwarzenegger had groped them, and a few other accusations of sexual misconduct followed. He denied some and didn’t directly address others, but he issued a blanket apology for his behavior. “I have done things that were not right which I thought then was playful,” he said at the time. “But I now recognize that I have offended people. And to those people that I have offended, I want to say to them, I am deeply sorry.”
The stay-at-home Arnold character from the pandemic videos changed how people viewed him, he believes. “The whole fitness thing was mostly guys, the movie thing was mostly guys, the Republican thing was mostly guys,” Schwarzenegger explained. “Then you had the fucking affair, and now of course the guys are on your side, and the girls are saying, ‘Fuck this, fuck this, I’m out of here, this guy was a creep all along … I hope Maria leaves him,’ and all that.” But the videos—those turned things around. “Now, all of a sudden, I have all these broads coming up to me saying, ‘Oh, you won me over with this video.’ ”
After Russia invaded Ukraine, in early 2022, Schwarzenegger made a video urging Vladimir Putin to call off the war and the Russian people to resist their government. He said those who were demonstrating on the streets of Moscow were his “heroes.” And he once again invoked his father, likening Gustav’s experience fighting with the Nazis in Leningrad to that of the Russian troops fighting in Ukraine. His father “was all pumped up by the lies of his government” when he arrived in Leningrad, Schwarzenegger said. He departed a broken man, in body and mind.
After COVID restrictions were relaxed and the world reopened, Schwarzenegger receded again from the daily scenery. He had provided guidance and diversion during those rudderless months, and I had begun to miss him. I wanted to see how he was doing.
He was hard to get to, though. Beginning in May 2022, Schwarzenegger had cloistered himself in Toronto for several months filming a spy-adventure show for Netflix called FUBAR. While there, he was informed that he had won a prize for his work combatting prejudice. The first annual Award for Fighting Hatred was given by the Auschwitz Jewish Center Foundation (AJCF). Schwarzenegger is a sucker for such prizes and displays the biggies in his home and office alongside his gallery of bodybuilding trophies, sculptures of himself, busts of Lincoln, nine-foot replicas of the Statue of Liberty, and whatnot. He couldn’t receive his AJCF award in person because he was tied up with FUBAR, but vowed to visit the Auschwitz-Birkenau State Museum in Poland as soon as he could.
Filming wrapped in early September, and Schwarzenegger went home to Los Angeles for a few days before heading off to Munich to meet some people at Oktoberfest. From there, the plan was to make a quick day trip to southern Poland before returning to Germany to shoot an ad for BMW.
He would be at Auschwitz a few days after Rosh Hashanah, the Jewish new year. Schwarzenegger’s people encouraged me to be there.
I arrived at the town of Oświęcim, the site of the camp, with a group of donor and publicist types who were connected with AJCF. We were met at the entrance to the Auschwitz-Birkenau State Museum by staff members, Arnold appendages, and a few strays, including a woman in a Good Vibes sweatshirt. No one seemed to know quite how to act. Distinct layers of surreal piled up before us.
Let’s stipulate that celebrity visits to concentration camps can be tricky. Schwarzenegger appeared mindful of this as he rolled up in a black Mercedes. He stepped gingerly into a thicket of greeters, and tried to strike a solemn pose. Originally, the thought was to do a standard arrival shot for photographers. But the keepers of the site are sensitive to gestures that might convey triumphal stagecraft or frivolity. “There are better places to learn how to walk on a balance beam,” management was moved to tweet after visitors kept posting pictures of themselves on the railway tracks leading into the camp. Every visit here is something of a balance beam, but especially for the son of a Nazi.
“Not a photo op,” a staff member reminded everyone as Schwarzenegger began his tour. Photographers clacked away regardless. Schwarzenegger wore a blue blazer and green khaki pants, and appeared to have had his hair tinted a blacker shade of orange for the occasion. He flashed a thumbs-up—always the thumbs-up.
“No autographs please!” a random Voice of God from within the entourage called out. “Please be respectful.”
Schwarzenegger was accompanied by his girlfriend, Heather Milligan; his nephew, Patrick Knapp Schwarzenegger; and Knapp Schwarzenegger’s Texan wife, Bliss. They toured the grounds like students. “What happened here?” Schwarzenegger asked his guide, Paweł Sawicki, pointing up at a watchtower. Sawicki delivered a recital of unimaginables: 1.1 million people were exterminated at the camp, about 1 million of them Jews. Victims were pulled from cattle cars and triaged by SS doctors deciding who among them was fit to work, who would be used as guinea pigs for Nazi scientists, and who would be murdered immediately.
Nearly all of those “spared” upon arrival would eventually die of starvation, exhaustion, hypothermia, or random beatings. They were gonged awake at 4:30 a.m., then fed rations of moldy bread, gray soup, and dirty water. “The word I will use a lot today is dehumanization,” Sawicki said.
Schwarzenegger viewed the gallows where the camp commandant, Rudolf Höss, had been hanged. He asked questions about the complicit enterprises—whether the firm that made the crematoria ovens had known what they would be used for (it had). His retinue was led into Block5, to a room that contained eyeglasses, dishes, and prosthetics that had belonged to the victims. Another exhibit featured piles of their hair.
The last thing Schwarzenegger did before he left was step toward a black desk where a guest book awaited his inscription. Visitor registers can present a special hazard for celebrities. Some have committed egregious faux pas. Donald Trump at Yad Vashem, for instance: “It’s a great honor to be here with all my friends,” the then-president wrote breezily at the Israeli Holocaust memorial and museum in 2017. “So amazing and will never forget!” This was judged to lack gravity.
But it was not nearly as bad as Justin Bieber’s blunder at the Anne Frank House in Amsterdam. “Anne was a great girl,” the pop star wrote in 2013. “Hopefully she would have been a Belieber.” Hopefully Schwarzenegger would attempt nothing like this.
Schwarzenegger has worked hard to place himself on the right side of the genocide. Auschwitz officials were glad to have him visit, because he brought with him media attention and the gift of global awareness. “I have been fighting this cause … for years and years and years,” he said in a brief statement to the Polish press at the end of his tour. “I’ve been working with the Jewish Center of Los Angeles … I celebrated Simon Wiesenthal’s 80th birthday in Beverly Hills. We all have to come collectively together and say ‘Never again.’ ”
Photographers positioned themselves around the register as Schwarzenegger approached. Clearly, the safe play would be to simply sign his name. Please be respectful. Nothing cute, if only as a humanitarian pausing of The Brand. But no.
“I’ll be back,” Schwarzenegger scrawled.
After leaving the complex, Schwarzenegger visited a small synagogue in Oświęcim, an otherwise charming village if not for, you know, the history. There, he met an 83-year-old Belarusian woman, Lydia Maksimovicz, who as a toddler had spent 13 months at the camp as a “patient” of the notorious Nazi doctor Josef Mengele. She told him about how Mengele had performed experiments on her: drained her blood, and injected her with solutions in an effort to change the color of her irises. Mengele apparently had taken a liking to young Lydia and privileged her life above the other children’s. Now, eight decades later, Arnold Schwarzenegger was engulfing her in a bear hug.
“People like Lydia show us how important it is to never stop telling these stories about what happened 80 years ago,” Schwarzenegger said in brief remarks. “This is a story that has to stay alive.” He vowed to “terminate” hate and prejudice once and for all. “I love being here!” he gushed. “I love fighting prejudice and hatred!” A woman connected with the AJCF tried to hand him a special box of cigars, but was intercepted by an aide. He reiterated that he would be back.
The Auschwitz visit left Schwarzenegger feeling depressed. He stopped off in Vienna afterward to receive a lifetime-achievement award from some Austrian sports outfit, and the friends who saw him there kept wondering if he was okay. He seemed dazed.
“We were sitting on the plane, and we both just shook our heads and were like, ‘Wow, can you imagine?’ ” Knapp Schwarzenegger, his nephew, told me. “It was a somber mood for sure.”
Knapp Schwarzenegger is an entertainment lawyer in Beverly Hills, and was the only child of Schwarzenegger’s only sibling, his older brother, Meinhard, who died in a drunk-driving accident when Patrick was 3. Schwarzenegger brought Patrick to America as a teenager and effectively adopted him; they remain exceptionally close.
Knapp Schwarzenegger said their family history added a fraught dimension to the experience of visiting Auschwitz. They’d been particularly struck by the tour guide’s stories of how the Nazis committed atrocities at the camp and then went home to their families. “That was the hard part,” Knapp Schwarzenegger said, thinking of Gustav, “the loving grandfather,” who died when Knapp Schwarzenegger was 4. “How can ordinary people like that do such a thing? … It hits much closer to home when you’ve had personal experience with that.”
Gustav was haunted by the war, his body racked with shrapnel and his conscience with God only knows what. He “would come home drunk once or twice a week, and he would scream and hit us and scare my mother,” Schwarzenegger said in the January 6 video. Somehow, Schwarzenegger emerged intact. “My grandmother did the best she could,” Knapp Schwarzenegger told me, “but that affects you as a child. For Arnold, it made him stronger and more determined. And for my dad, it crushed him.”
Rabbi Hier, of the Simon Wiesenthal Center, speculated that Schwarzenegger’s visit to Auschwitz could have been driven by shame, by a desire “to repent for the embarrassment of having such a father.” But Schwarzenegger does not concede to this narrative—to feeling guilty or embarrassed. His recurring message is more upbeat, if a bit deflecting. “We don’t have to go and follow,” Schwarzenegger told me. “My father was an alcoholic. I am not an alcoholic. My father was beating the kids and his wife, and I’m not doing that. We can break away from that and we can change.”
A few weeks after the trip to Auschwitz, I visited Schwarzenegger at his mansion in Brentwood, located in an extravagant hillside cul-de-sac of celebrity homes. Tom Brady and Gisele Bündchen used to have a place down the road (in better days), as did Seal and Heidi Klum (also in better days). Maria used to live here too, in the mansion with Arnold (ditto).
I waited for Schwarzenegger on the patio where he smokes his cigars. He walked in and Whiskey and Lulu greeted him with a maniacal duet of braying. Two dogs wandered over to nuzzle him. An attendant brought him a cigar and a decaf espresso, and some treats for his dog-and-pony show. He took incoming FaceTime calls and kept raising his voice and shoving his face up into his iPad like my mother does.
Milligan, Schwarzenegger’s girlfriend, called to see how his day had gone. They have a comfortable, domestic vibe. She had been Schwarzenegger’s physical therapist, helping him through rehab for a torn rotator cuff about a decade ago. Ketchell, who had accompanied Schwarzenegger to the interview, wanted to make it clear that the pair had not become romantically involved until after Milligan stopped working with Schwarzenegger professionally.
Schwarzenegger and I hadn’t had a chance to talk much in Poland, save for a brief kibitz outside one of the gas chambers. I wanted to debrief him. What had it been like to witness the death camp firsthand?
“We know people were killed there and exterminated and blah blah blah.” (He has an unfortunate tic, when speaking about grave topics, of trailing off his sentences and adding filler words like blah blah blah and all that stuff.) It’s one thing, he said, to be told about “all the gassing, the torture, all this misery, and all that kind of stuff. You can read about it, see documentaries about it, see movies—the Schindler’s List, all this stuff.” But actually seeing the eyeglasses, the hair—that added a dimension of reality. “I’m a visual person; it’s one of my things,” Schwarzenegger said. “When I was walking around, I was going back to that era.”
Did he have any regrets about signing “I’ll be back”? Some social-media congregants had criticized the message as “tacky” and “flippant,” among other things. Schwarzenegger said that he had been made aware of the blowback and had meant no offense. “I wanted to write ‘Hasta la vista, baby,’ ” he said. Another signature line, this one from Terminator 2. (Yes, he was serious.) “I meant, you know, ‘Hasta la vista to hate and prejudice.’ ” But then he worried that Hasta la vista might come off as glib and dismissive—as in “Buh-bye, I will never come back here again.” So he opted for the more forward-looking “I’ll be back.”
His hosts had felt the need to tweet a defense: “The inscription was meant to be a promise to return for another more indepth visit.” In other words, Schwarzenegger was speaking literally, and did in fact plan to return. “That is what he said, so we expect Mr. Schwarzenegger will come back,” Paweł Sawicki, his tour guide, who doubles as Auschwitz’s chief press officer, told me.
I wondered if this had always been the plan, or if he had I’ll-be-backed himself into a corner and now had to schlep all the way to Poland again to prove his sincerity.
Definitely, it was the plan. In fact, he said, he was thinking about an annual road-trip-to-Auschwitz kind of thing. “I already told Danny DeVito and some of my acting friends that we’re going to take a trip next year,” he said. “Maybe Sly Stallone. I’m going to find a bunch of guys and we’re going to fly over there, and I want to be a tour guide.”
He contemplated the possibilities: “Imagine bringing businesspeople.” Maybe they could auction off some seats on the plane and give the proceeds to the museum. “We have to figure out something that is a little bit snappy and interesting,” he mused. Afterward, they could go to Munich for Oktoberfest, or something fun like that.
In early 2021, a few days after Schwarzenegger made his January 6 video, then-President-elect Joe Biden FaceTimed to thank him. They spoke for a few minutes, and at one point, Schwarzenegger offered his services to the incoming administration. “I told Biden that anytime he needs anything, he should let me know, absolutely,” he said. He’s heard nothing from the White House since. It’s complicated, he figures. Schwarzenegger, who is still a Republican, is not without baggage. The housekeeper-love-child-divorce episode remains a blotch. Celebrity politicians in general have seen better days: The likes of Trump and Dr. Oz have not exactly enhanced the franchise. In any event, Schwarzenegger gave no impression that he’s waiting by the phone.
But in the conversations I had with him, he betrayed a strong whiff of existential stir-craziness. “I felt like I was meant for something special,” Schwarzenegger told me that first morning after our workout, while we talked about his childhood in Austria. “I was a special human being, meant for something much bigger.”
At his bodybuilding peak, in Pumping Iron, Schwarzenegger spoke with a kind of youthful yearning—or megalomania—of enduring through time: “I was always dreaming about very powerful people. Dictators and things like that. I was just always impressed by people who could be remembered for hundreds of years, or even, like Jesus, be for thousands of years remembered.”
If only he could have run for president. That remains his recurring lament. Entering the Mr. Universe of political campaigns would have been the logical last rung of his life’s quest for something bigger. Schwarzenegger said he thinks he could win. This is hard to imagine—a moderate Republican prevailing through the MAGA maelstrom of the GOP primaries? And he’s not about to become a Democrat, either. (“I don’t want to join a party that is destroying every single fucking city,” he told me. “They’re screwing up left and right.”) Still, if they tweaked the Constitution, he told me, he would love to run, even at 75, which he insists is “just a number” and not that old. It’s not like he’s 80 or something!
In the meantime, what if Biden asked him to be secretary of state? I admit, it was me who raised the possibility. But Schwarzenegger warmed instantly to the idea, listing several reasons he would want the job and be perfect for it. George Shultz was one of his idols, and pretty much lived forever too (he died at 100). Schwarzenegger is a big believer in celebrity as a global force, in the power of being so widely, unstoppably known. Who would be bigger than Arnold Schwarzenegger? Who could possibly compare?
“I mean, look at the guy we have now,” Schwarzenegger told me. Antony Blinken “is, like, a clearly smart guy, but, I mean, on the world stage, he’s a lightweight. He doesn’t carry any weight.” (Blinken, who is leading U.S. efforts to contain Russia and China, could not be reached for comment.)
Schwarzenegger told me he really does want to live forever. Not everyone would, at his age. But not everyone has had his life, either. “If you have the kind of life that I’ve had—that I have—it is so spectacular. I could not ever articulate how spectacular it was.” He was trying to project gratitude, but something else came through—a plaintiveness in that gap between the tenses.
I had a final visit with Schwarzenegger in late December, this time at his Santa Monica office suite. He wore a bright-red atrocity of a Christmas sweater and took a seat next to me at a conference table. Schwarzenegger has always been a creature of obsessive routine, dating to the strict training regimens of his bodybuilding days. But he emphasized to me that he is following no grand plan in this final stage. “The truth is that I am improvising,” he told me. He is trying to pass on what he knows, and just signed a deal to write a self-help book that will codify his advice for life. The working title: Be Useful.
The next morning, I was walking to a Starbucks near Santa Monica Pier, when who should dart by on his bike? “Hey, Arnold,” I called out.
He pulled over and accused me of being a “lazy sonofabitch” for not riding with him. He wore sunglasses emblazoned with I’ll be back, and his white beard glowed in the dawn sun.
We chatted on the street, and Schwarzenegger suggested that I talk to a friend of his named Florian for this story. Florian, who sometimes stays in Austrian monasteries, apparently, has some elaborate theory of Arnold. “He would have an interesting perspective,” Schwarzenegger said. “He’s 6 foot 10, has big hair, and he FaceTimed me last night while he was shaving at 11 p.m. Who the fuck shaves at 11 p.m.?”
Florian does. His full name is Florian Henckel von Donnersmarck, a German and Austrian filmmaker who won an Oscar for his 2006 thriller, The Lives of Others. Later, I emailed him. He declined to share any grand theories. “These thoughts are very personal,” he explained. “At some point soon, I’ll turn them into a book myself. Hopefully to coincide with the release of a movie I direct with Arnold in the lead.” He made sure to mention that Schwarzenegger was his hero.
In the meantime, the hero was idling on his bike, telling me that he has more things in the works—retrospective things (a Netflix documentary about his life) and new adventures (Return to Auschwitz ! ). He was also planning a trip to Ukraine; in late January, an invitation would arrive from the office of President Volodymyr Zelensky, praising Schwarzenegger’s “honest stance and clear vision of good and evil.”
I imagined Schwarzenegger dropping into Kyiv, unarmed except for the Conan sword. He would drive out the Russians, end the war, and detour to Moscow to take down Putin. At least that’s how the Hollywood action version would end.
“There will be more,” Schwarzenegger promised that morning. I kept expecting him to ride off, but he seemed to want to linger.
This article originally stated that 1.3 million people were killed at Auschwitz, about 1.1 million of them Jews. In fact, 1.1 million people were killed there, of which about 1 million were Jews. The article has also been updated to correct the number of the block at the Auschwitz-Birkenau State Museum that contained personal items belonging to Holocaust victims, to clarify that the photos visitors posted of themselves on the railway tracks were not all selfies, and to remove an erroneous reference to Lydia Maksimovicz as Jewish. Additionally, it has been updated to clarify that Schwarzenegger lives in the Brentwood neighborhood of Los Angeles, not the city of Brentwood.
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Arnold Schwarzenegger's Migration Journey Timeline
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Arnold Schwarzenegger’s Childhood. Becomes an official American citizen. After finishing duties of being governor of california. Becomes the governor of Cali...
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https://www.preceden.com/timelines/709687-arnold-schwarzenegger-s-migration-journey
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Arnold Schwarzenegger, the future governor of California was born approximately 2 years after world war 2 when Austria was struggling to rebuild its economy. His family was living in poverty and owned a small family farm where Arnold had to help out as a young kid. There wasn't enough food for the family, so his mum had to go out to the streets and beg for food, then come back with a small piece of bread for the whole family to share. Arnold wanted more. He wanted to get a good job so that he could be wealthier. However, during the time in Austria, there weren't many exciting employment opportunities either. One day, Arnold saw newsreels of America. He wanted to leave Austria for the ‘American dream’. The so-called ‘land of opportunities.
Caption for image: Arnold Schwarzenegger as a young kid
Arnold needed to think of a way to escape Austria because his family was getting poorer, and he wanted to be more successful. Then it hit him. Bodybuilding. He would get into America as a bodybuilder! Starting from the young age of 13, he began weight training for his career towards being a bodybuilder. Then, he did his national service in 1965, when he was 18. During his service, he ran away from the army for a bodybuilding contest and was arrested (and put in prison) for a week. This shows his determination to pursue his bodybuilding career.
Caption for image: Arnold Schwarzenegger during his national service.
When Arnold turned 19, he flew to London to participate in the Mr Universe competition and was placed 2nd. One of the judges was impressed and asked him to stay so he could train him for more opportunities. During this time, he also met his idol, Reg Park and in the coming year, he won the title of Mr Universe, in which he became the youngest person to do so.
Caption for image: Young Arnold Schwarzenegger working towards his dreams as a bodybuilder (20s).
Finally, Schwarzenegger moved to America as an immigrant in 1968, when he was 21 years old. However, he was still recognised as a migrant, since he did not have his green card (not an official American citizen).
In 1970, he won the ‘Mr Olympia’ title in New York and started acting.
9 years after, he enrolled in the University of Wisconsin in America,
and he graduated with a degree in business and marketing.
Caption for image: Arnold Schwarzenegger in his academic dress graduating from university.
In 1982, he starred in his first successful movie - ‘Conan the barbarian’. During his acting years as someone who was not from the country (America), Arnold faced a lot of harsh criticism and was rejected by many people because he sounded different (Austrian accent) and because his name was too long. However, Schwarzenegger made these ‘negatives’ into a unique and iconic package. After living 15 years in his host country Arnold became an official American citizen in the year 1983.
When Arnold turned 39 in 1986, he married Maria Shriver for 25 years (a journalist and member of the Kennedy family). This marriage is seen by many as an important event as it relates to his political connections (The Kennedy family remains a politically connected family).
Caption for image: Arnold Schwarzenegger reciting the national oath of America on the day he became an official American citizen.
During the presidential election, Arnold accompanied George H.W Bush at a campaign rally. Then, in 2003, he announced his candidacy to be the governor of California, and he made it. A few years later he ran for re-election in 2006 for governor of California and was successful.
Caption for image: Arnold Schwarzenegger with his past wife celebrating the day of being elected governor of California.
After his retirement in being governor, he returned to acting. Arnold had his first leading role in 10 years with The Last Stand and his first co-starring role with Sylvester Stallone in 'Escape Plan'. In 2015, he took over Donald Trump’s role as host for the ‘New celebrity apprentice’ show.
Caption for image: Movie poster of one of Arnold Schwarzenegger's biggest movie- the 'Last Stand'.
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https://www.dispatch.com/story/entertainment/events/2024/02/27/arnold-schwarzenegger-sports-festival-runs-thursday-sunday-at-greater-columbus-convention-center/72739196007/
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Arnold Classic, combat sports, bodybuilders & Schwarzenegger among highlights of festival
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The Arnold Sports Festival is back! Its namesake, Arnold Schwarzenegger, will be there, along with many athletic events. Here are a few you must see.
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The Columbus Dispatch
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https://www.dispatch.com/story/entertainment/events/2024/02/27/arnold-schwarzenegger-sports-festival-runs-thursday-sunday-at-greater-columbus-convention-center/72739196007/
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The Arnold Sports Festival is known worldwide for its bodybuilding and strength competitions, but the four-day event draws more than just onlookers there to see ripped and shredded bodies.
Though many will flock to the Greater Columbus Convention Center for the festival’s centerpiece, the Arnold Classic, as well as the weightlifting and Strongman/Strongwoman events, you needn’t be a fan of those exhibitions to attend. There’s an array of other attractions — including pillow-fighting (seriously) — to captivate all comers.
"I think the Arnold appeals to a wide variety of people because it features a wide variety of competitions and events — not only bodybuilding and weightlifting, but events like cheerleading and dance, even foosball," said Brent LaLonde, events director for the Arnold, which takes place Thursday through Sunday, primarily at the Greater Columbus Convention Center.
Arnold trivia: 3 things you didn't know about the Arnold Sports Festival
How did the Arnold Sports Festival begin?
Arnold Schwarzenegger was a bodybuilder in his early 20s when he met Jim Lorimer, then mayor of Worthington, at the 1970 Mr. World bodybuilding championship. The pair enjoyed a decades-long friendship and partnership that included founding the Arnold Classic — which eventually became the Arnold Sports Festival — in 1989.
In an Instagram post after Lorimer’s death in November 2022, Schwarzenegger referred to their “handshake agreement” to promote bodybuilding together and the Arnold’s growth “from a small bodybuilding show to a sports festival with 200,000 visitors and more athletes than the Olympics."
LaLonde echoed Schwarzenegger’s comments.
"The event has really grown over 36 years from a bodybuilding competition into a sports festival, one of the largest multi-sport festivals in the nation,” he said.
Going to the Arnold Sports Festival?: Here's what you need to know
Arnold Schwarzenegger to appear Friday through Sunday
No Arnold is complete without its namesake and co-founder, Arnold Schwarzenegger, who attends the sports fest each year. Spectators will spot him here and there Friday through Sunday, as well as at 5K Pump & Run, which begins at 10:30 a.m. Sunday at the convention center.
If you want to see Schwarzenegger up-close and personal, you'll want to attend the Arnold Showcase, which begins at 9:30 a.m. Sunday in the convention center’s Battelle Grand ballroom at 9:30 a.m. Sunday. Schwarzenegger will be present for the second half of the showcase.
“The Arnold Showcase brings about 2,000 people to Battelle Grand. At the showcase, (Schwarzenegger) does a Q&A and touches on all aspects of his career from bodybuilding to movies and politics,” LaLonde said. “It’s the best opportunity to see Arnold, hear him speak and ask him a question.”
And no, LaLonde added, Schwarzenegger doesn’t mind being asked to say famous “Terminator” catchphrases like “I’ll be back” and “Hasta la vista, baby.”
What's new at this year's festival
The Stack3d Select Pavilion is a dedicated area at the front of the Arnold Expo that will house more than 25 exhibitors offering health-and-wellness products such as sports nutrition brands, energy drinks, foods and more.
Combat sports among popular Arnold Sports Festival events
In addition to the physique and lifting events, LaLonde said combat sports round out the “three pillars” of the Arnold’s biggest crowd-pleasers. This year’s combat sports include Muay Thai boxing, grappling, MMA fighting and a martial arts festival taking place Friday through Sunday at the Ohio Expo Center.
Also under the combat umbrella is medieval fighting, which LaLonde called the sports festival’s “most unique” event. In it, combatants use 14th- to 16th-century armor and weapons, competing to be the last one standing.
Guns & Hoses returns to festival boxing ring
Arguably the most popular combat attraction is the Guns & Hoses charity boxing event, which pits local police officers and firefighters against one another other. “It always draws a sold-out crowd. It’s a fun night of boxing and raising money for their charities,” LaLonde said.
This is the ninth year for Guns & Hoses and it's also a tiebreaker year since there's a 4-4 split between police and fire, according to Franklin County Sheriff's Office Deputy Troy Speakman, event director for Guns & Hoses.
Donovan Byas, who will represent the Columbus Division of Fire when he defends the heavyweight title he won last year, said he looks forward to both firefighters and police officers getting the chance to showcase talents people don't usually get to see.
Why Columbus?: Why a sports festival named after Arnold Schwarzenegger is held in Columbus every year
Byas, 35, signed up for his first Guns & Hoses at the suggestion of colleague Tony Cupe, a former professional fighter who also has competed in the Arnold boxing event. "I've always been a fan of boxing — of any sports growing up, really — and I've always wanted to box myself," he said.
"I (went) to the Barack Rec Center as much as possible and trained with E.J. Reed, another pro fighter with the (fire) department. I'm trying as much as I can to balance it with home life and work life to get some sparring in to get ready for this event."
Byas will raise his gloves against Franklin County Sheriff's Office Deputy Joe Smith, a first-time contender. Smith said he "jumped at the opportunity" to take part in Guns & Hoses after being approached by Speakman.
"It's a good opportunity for police and firefighters to come out and have a little bit of competition against each other and battle it out instead of talking trash about each other all the time," Smith said, joking about the friendly rivalry between police and fire.
The 40-year-old officer said Guns & Hoses also is a chance for the competitors to do something aside from their "normal" jobs. "It's a good opportunity for people to come out and see police and firefighters doing something for the community," said Smith, who has done mixed-martial arts in the past.
"It's also an opportunity to represent who you're working for in a non-professional atmosphere, to have fun and step out of the normal day-to-day routine."
This year's pugilistic competition will benefit the Fraternal Order of Police Foundation and the International Association of Firefighters to help police officers and firefighters injured in the line of duty, Speakman said.
Gymnasts to spring into action at the Arnold Sports Festival
Looking for a less contact-intensive sport? Integrity Athletics of Plain City will jump back into the Arnold this year for the gymnastics competition, which brings contenders from gyms across the country to participate in trampoline and tumbling as well as women’s artistic gymnastics.
Integrity gymnast Raf Bryant has competed internationally for several years, but his next contest will be on home turf when he makes his Arnold debut. “I’ve never been before, so it’s going to be a different experience for me, something new,” the 21-year-old Worthington resident said.
As a power tumbler, Bryant will be tasked with executing difficult mid-air twists, back-to-back series of single and double flips and more. Although a newcomer to the festival, he’s an old hand at facing off against other athletes, having begun gymnastics at an age when many kids are struggling to color inside the lines.
From foosball to 'Wheel of Pain': 5 great moments in Arnold Sports Festival history
"I’ve been competing since I was 4. I started at Buckeye Gymnastics, doing the baby program with my dad. Then one day, we were watching (other gymnasts) and my dad said, 'Raf, why don't you try that? It looks fun.’
"I joined a team when I was about 4 or 5. When I got to a level where my coaches could only take me so far, I ended up switching to Integrity. I've been there for eight years; they've helped me to develop and become an international athlete to where I am now," said Bryant, whose athletic career has taken him to many countries including Japan, Bulgaria, Azerbaijan and England.
Arnold Classic, Strongman/Strongwoman anchor festival
Touting the Arnold Classic as “the marquee event of the weekend,” LaLonde said contestants’ physiques are judged on criteria including shape, size and muscularity.
Of the 90 or so total bodybuilders who will participate in this year’s sports fest, 11 will be oiled up and posed for the Classic. Representing the U.K., defending champion Samson Dauda — also known as “the Nigerian Lion” — will return to compete for a second title.
While the Arnold Classic and other bodybuilding competitions focus on appearance, other events are judged on physical strength, LaLonde noted.
“In the Arnold Strongman Classic and the Arnold Strongwoman Classic, these are athletes who are judged on how much they can lift, not how they look,” he said.
Challenges in the strength competitions include the elephant bar deadlift of up to 1,100 pounds and the Dinnie Stone carry of more than 700 pounds. The stones are replicas of the Dinnie Stones, a 733-pound pair of granite lifting stones in Potarch, Aberdeenshire, Scotland.
More must-see events at the Arnold Sports Festival
If you're looking for the latest in sports gear, apparel and nutrition, there's a good chance you'll find it at the Arnold Expo. The fitness exposition will return to the convention center with more than 800 booths representing 300 companies and three stages of nonstop competitions and entertainment. Stop by and snag an autograph or get your photo taken with your favorite pro bodybuilder or strongman.
Arnold Expo hours are 10 a.m. to 7 p.m. Friday through Saturday and 10 a.m. to 4 p.m. Sunday. Admission to the expo and most events at the convention center is included in the daily expo ticket. Daily tickets, fast passes that include early admission, are available at arnoldsports.com. Children 14 and younger get into the expo free with a paying adult.
LaLonde said women’s bodybuilding events are increasingly popular each year at the Arnold, with events adding new divisions "by demand every few years so more women can get onstage and compete."
Attendees can see female bodybuilders in these competitions:
Fitness International: prejudging at 12:30 p.m. Friday, Arnold Expo stage; finals at 7 p.m. Friday, Battelle Grand, at the convention center
Wellness International: prejudging at 12:30 p.m. Friday, Arnold Expo stage; finals at 7 p.m. Friday, Battelle Grand
Bikini International: prejudging at 11 a.m. Saturday, Arnold Expo stage; finals at 7 p.m. Saturday, Battelle Grand
History in photos: The Arnold through the years, from bodybuilding to speedcubing
LaLonde also recommended checking out the pro wheelchair bodybuilding events The contenders include reigning champ Harold Kelley, who has won the competition every year since 2016 except in 2022, when Gabriele Andriulli (who also is returning) was the victor.
Pro wheelchair prejudging will begin at 10 a.m. Saturday on the Arnold Expo Stage, followed by finals.
“These athletes, for whatever reasons, are confined to wheelchairs and have done incredible upper body building,” LaLonde said. “It’s very inspiring to watch them compete.”
You don’t have to go pro to take part in the Arnold, which will also feature amateur competitions:
NPC Worldwide Arnold Amateur: Prejudging will begin at 8 a.m. Thursday and Friday in Battelle Grand at the convention center; finals begin 30 minutes after end of prejudging.
Arnold Amateur Strongman and Strongwoman: All held in the convention center, men's and women's preliminaries are 10 a.m. to 7 p.m. in Hall C; finals are 9 a.m. to noon Sunday on the Rogue Strength stage and 2-4 p.m. Sunday on the Arnold Expo stage.
Several events require individual tickets
Admission to the Arnold Expo and most events at the Greater Columbus Convention Center is included in the Daily Expo Ticket. Daily tickets, Fast Passes that include early admission, and 3-Day Tickets are all available at www.arnoldsports.com.
Guests must purchase individual tickets, separate from the Arnold Expo, to attend the following events:
Arnold Amateur: 8 a.m. Thursday-Friday. Battelle Grand, $25
International Federation of Bodybuilding and Fitness Pro League Meet & Greet: 7 p.m. Thursday, Hilton Columbus Downtown, 402 N. High St., $35
Friday night finals for Arnold Classic Physique, Fitness International, Wellness International and Arnold Classic prejudging: 7 p.m. Friday, Arnold Expo stage, $60-$85 (Arnold Classic prejudging is 7 p.m. Friday in Battelle Grand.)
Saturday night finals for Arnold Classic, Arnold Men’s Physique and Bikini International: 7 p.m. Saturday, Battelle Grand, $70-$120
Arnold Strongman Classic: 1-6 p.m. Friday, Strongman Arena (convention center), $50-$89
Arnold Strongwoman Classic: noon to 5 p.m. Saturday, Strongman Arena, $50-$89
Arnold Sunday Showcase featuring Arnold Schwarzenegger: 9:30 a.m. to 1 p.m. Sunday, Batelle Grande, $35
Parking at the Ohio Expo Center will cost $12. Free shuttles will run from the Ohio Expo Center to the Greater Columbus Convention Center Thursday through Sunday. Parking is available at the convention center and nearby lots. Visit columbusconventions.com/park/parking-availability/
LaLonde said the Arnold Sports Festival brings visitors from all 50 states and many countries to Columbus, with tens of thousands attending each day.
“It’s a real highlight of the year for the athletes, attendees and sponsors," he said. “We’re just glad to be back again and we look forward to putting on a good show.”
[email protected]
At a glance
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https://www.muscleandfitness.com/athletes-celebrities/9-things-you-didnt-know-about-arnold-schwarzenegger/
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9 Things You Didn't Know About Arnold Schwarzenegger
|
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2017-07-25T18:54:00+00:00
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Get to know actor/bodybuilder/politician Arnold Schwarzenegger.
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en
|
https://www.muscleandfitness.com/wp-content/themes/muscle-and-fitness/assets/build/images/favicon/favicon.ico
|
Muscle & Fitness
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https://www.muscleandfitness.com/athletes-celebrities/9-things-you-didnt-know-about-arnold-schwarzenegger/
|
Arnold Schwarzenegger has one of the most recognizable names in the world. That’s what comes with seven Mr. Olympia titles, a stellar movie career, and a stint as the governor of California. If you’re a fan, you probably think you know all there is to know about the “Austrian Oak.”
Well, think again. Here are a few things you probably don’t know about Arnold Alois Schwarzenegger—yes, that’s his middle name.
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7995
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dbpedia
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1
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https://en.wikipedia.org/wiki/Gray_Davis
|
en
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Gray Davis
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2002-10-03T06:37:35+00:00
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en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Gray_Davis
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Governor of California from 1999 to 2003
Joseph Graham "Gray" Davis Jr. (born December 26, 1942) is an American attorney and former politician who served as the 37th governor of California from 1999 until he was recalled and removed from office in 2003. He is the second state governor in U.S. history to have been recalled, after Lynn Frazier of North Dakota.
A member of the Democratic Party, Davis holds a Bachelor of Arts in history from Stanford University and a Juris Doctor from Columbia Law School. He was awarded a Bronze Star for his service as a captain in the Vietnam War. Prior to serving as governor, Davis was chief of staff to Governor Jerry Brown (1975–1981), a California State Assemblyman (1983–1987), California State Controller (1987–1995) and the 44th lieutenant governor of California (1995–1999).
During his time as governor, Davis made education his top priority and California spent eight billion dollars more than was required under Proposition 98 during his first term. In California, under Davis, standardized test scores increased for five straight years.[2] Davis signed the nation's first state law requiring automakers to limit auto emissions. Davis supported laws to ban assault weapons and is also credited with improving relations between California and Mexico.[3] Davis began his tenure as governor with strong approval ratings, but they declined as voters blamed him for the California electricity crisis, the California budget crisis that followed the bursting of the dot-com bubble, and the car tax.
On October 7, 2003, Davis was recalled. In the recall election, 55.4% of voters supported his removal. He was succeeded in office on November 17, 2003, by actor Arnold Schwarzenegger, who won the recall replacement election. After being recalled, Davis worked as a lecturer at the UCLA School of Public Affairs and as an attorney at Loeb & Loeb.
Early life, education, and military service
[edit]
Davis was born in the Bronx, New York City the son of Doris (Meyer) Morell and Joseph Graham Davis. Davis was the oldest of five children: Three boys and two girls.[4] Davis's father, an advertising manager at Time Inc. and an alcoholic, was the son of businessman William Rhodes Davis.[5] Davis' upper-middle-class family was led by his demanding mother,[5] who gave him the nickname "Gray".[6] Davis moved to California with his family in 1954.[7]
Davis graduated from a North Hollywood military academy, the Harvard School for Boys (now part of Harvard-Westlake School).[7] His diverse educational experiences at public, private and Catholic schools allowed him an opportunity to compare all three systems as a lawmaker.[5]
Davis's academic accomplishments earned him acceptance to Stanford University.[5] He played on the Stanford golf team with a two handicap.[8] After Davis entered Stanford, his father left the family, forcing Davis to join the ROTC to stay in school; his arrangement with ROTC included a promise to enter the Army after completing his education. In 1964, he graduated with distinction from Stanford, receiving a Bachelor of Arts in history. He then returned to New York City to attend Columbia Law School, graduating with his J.D. degree in 1967.[9]
After completing law school in 1967, Davis entered active duty in the United States Army, serving in the Vietnam War during its height until 1969.[1] Davis saw time on the battlefield during his time in Vietnam.[5] Davis returned home as a captain with a Bronze Star Medal for meritorious service. Friends who knew him at the time said Davis—like many war veterans—came back a changed man, interested in politics and more intense, according to the Sacramento Bee.[1] He returned from Vietnam more "serious and directed."[5] Davis was surprised to discover that many of those serving in Vietnam were Latinos, African Americans and southern whites with very few from schools like Stanford and Columbia; Davis believed that the burden of the war should be felt equally and he resolved early on to go about changing America so that would change.[10] Davis is a life member of the American Legion and the Veterans of Foreign Wars.[11]
Early career
[edit]
Davis volunteered for John V. Tunney's campaign for the United States Senate in 1970.[10] He started a statewide neighborhood crime watch program while serving as chairman of the California Council on Criminal Justice.[1] His initial political experience included working to help Tom Bradley win election as Los Angeles's first black mayor in 1973. The historical significance of Bradley's victory further inspired Davis to pursue a career in politics.[10] Davis ran for state treasurer in 1974 but lost when the more popular Jesse Unruh filed to run on the deadline.[10]
Davis served as executive secretary and chief of staff to Governor Edmund G. "Jerry" Brown Jr. from 1975 to 1981. Davis was not as liberal as Brown, and some said he offset Brown's style by projecting a more intense, controlled personality.[1] Davis has stated that while Brown was campaigning for president in 1980, Davis ran the state in Brown's absence.[12]
Davis served as the Assemblyman from the 43rd district, representing parts of Los Angeles County including West Los Angeles and Beverly Hills[13] from 1983 to 1987. Davis championed a popular campaign to help find missing children by placing their pictures on milk cartons and grocery bags.[1][14] Davis's Republican opponent in the race, William Campbell, criticized Davis as "...the man special interests love most." Among other allegations raised by Campbell were disclosures that Davis had received campaign contributions from Eugene LaPietra, a candidate for the West Hollywood City Council who was convicted on federal pornography charges. LaPietra served as Davis’ finance chairman.[15] Davis cut all ties with La Pietra following a Los Angeles Times report on his pornography convictions.[16]
State Controller
[edit]
In 1986, Davis ran against six other contenders in the race for State Controller; several of those candidates, including Democrat John Garamendi and Republican Bill Campbell, were arguably better known at the time.[5] Davis won the election and served as State Controller for eight years until 1995. As California's chief fiscal officer, he saved taxpayers more than half a billion dollars by cracking down on Medi-Cal fraud, rooting out government waste and inefficiency and exposing the misuse of public funds.[17] He was the first controller to withhold paychecks from all state elected officials, including himself, until the governor and the Legislature passed an overdue budget. He also found and returned more than $1.8 billion in unclaimed property to California citizens, including forgotten bank accounts, insurance settlements and stocks.[17]
1992 U.S. Senate campaign
[edit]
Davis ran against San Francisco mayor Dianne Feinstein for the Democratic nomination for the United States Senate in the 1992 special election to fill the Senate seat vacated by Pete Wilson who was elected Governor of California in 1990.
The race is often cited as an example of Davis's history of negative campaign tactics.[18] The Davis campaign featured an ad that compared Feinstein to the incarcerated hotelier Leona Helmsley.[14] Some experts consider that ad to be the most negative in state history.[19] The ad backfired with Davis losing to Feinstein by a significant margin for the nomination although this loss did not stop Davis from using negative campaign ads in the future, including in his race for lieutenant governor.[18]
Davis blamed his campaign managers for the defeat and vowed not to let major decisions in future campaigns be decided by his campaign staff.[14] In 2003, when Feinstein urged voters to vote no during the recall election, she was constantly reminded through questions, video and the media about the 1992 primary.[19]
Lieutenant Governor of California
[edit]
Many Democrats came to believe that Davis's political career was over after his defeat in his run for the Senate, but Davis created a new campaign team. He won a landslide victory in his race for lieutenant governor in 1994, receiving more votes than any other Democratic candidate in America.[14][17] Davis ran as a moderate candidate against Republican Cathie Wright.[20] Davis used ads to depict Wright as a Republican who was too conservative for California.[18] Davis had a large advantage in campaign funds.[18]
As lieutenant governor until 1999, Gray Davis focused on efforts on the California economy and worked to encourage new industries to locate and expand in the state.[17] He also worked to keep college education affordable for California's middle-class families and oversaw the largest student-fee reduction in California history.[17] As the state's second-highest officeholder, he served as President of the State Senate, Chair of the Commission for Economic Development, Chair of the State Lands Commission, Regent of the University of California and Trustee of the California State University.[17]
Governor of California
[edit]
1998 gubernatorial campaign
[edit]
Main article: 1998 California gubernatorial election
In the June primary election, Davis surprised political observers by handily defeating two better funded Democratic opponents: multimillionaire airline executive Al Checchi and Congresswoman Jane Harman, wife of multimillionaire Sidney Harman.[5][21] Davis's campaign slogan during the primary was "Experience Money Can't Buy." Early primary polls showed Davis in third for the Democratic nomination.[21] Davis surprised many political insiders with his landslide come-from-behind victory.[5][22] Davis even finished ahead of the unopposed Republican nominee in California's first blanket gubernatorial primary.
Davis won the 1998 general election for governor with 57.9% of the vote, defeating Republican Attorney General Dan Lungren who had 38.4%. Davis aimed to portray himself as a moderate centrist Democrat and to label Lungren a Republican too conservative for California and out of touch with its views on issues like guns and abortion.[23] After his victory, Davis declared that he would work to end the "divisive politics" of his predecessor Pete Wilson.[23] In his campaign, Davis emphasized the need to improve California's public schools, which voters had cited as their top concern in this election.[23]
First term
[edit]
Popular start and education
[edit]
In 1998, Davis was elected the Golden State's first Democratic governor in 16 years. The San Jose Mercury News called him "perhaps the best-trained governor-in-waiting California has ever produced."[1] In March 1999, Davis enjoyed a 58% approval rating and just 12% disapproval.[24] His numbers peaked in February 2000 with 62% approval and 20% disapproval, coinciding with the peak of the dot-com boom in California.[8][25] Davis held his strong poll numbers into January 2001.
Davis's first official act as governor was to call a special session of the state legislature to address his plan for all California children to be able to read by age 9.
"I ran for governor because of my passion for education," Davis told CNN the Sunday night before the recall election on Larry King Live.[1]
Davis used California's growing budget surplus to increase education spending. He signed legislation that provided for a new statewide accountability program and for the Academic Performance Index and supported the high school exit exam.[9] He signed legislation that authorized the largest expansion of the Cal Grant program.[9] Under the Davis administration, California began recognizing students for outstanding academic achievement in math and sciences on the new Golden State Exams. Davis's Governors Scholarship program provided $1,000 scholarships to those students who scored in the top 1% in two subject areas on the state's annual statewide standardized test.
Davis signed into law legislation that began the Eligibility in the Local Context (ELC) program that guaranteed admission to a University of California institution to students that finished in the top 4% of their high school class.[26][better source needed] Public schools received $8 billion over the minimum required by Proposition 98 during Davis's first term. Davis increased spending on recruiting more and better-qualified teachers. He campaigned to lower the approval threshold for local school bonds from two-thirds to 55 percent in a statewide proposition that passed. Davis earmarked $3 billion over four years for new textbooks and, between 1999 and 2004, increased state per-pupil spending from $5,756 to $6,922.[27]
In 2001, Gov. Gray Davis signed Senate Bill 19, which establishes nutritional standards for food at elementary schools and bans the sale of carbonated beverages in elementary and middle schools.[28]
Another early act of Davis's was the reversal of his predecessor Republican Governor Pete Wilson's alteration of California's eight-hour overtime pay rule for wage earners.
Signing SB 400 into law
[edit]
In 1999, the CalPERS board proposed a benefits expansion that would allow public employees to retire at age 55 and collect more than half their highest salary for life (pension spiking). CalPERS predicted the benefits would require no increase in the State's contributions by projecting an average annual return of 8.25% over the next decade. When Board member Phil Angelides' aide questioned whether the stock market could grow that long, Board Chairman William Crist, a former union president, replied that they "could make all sorts of different assumptions and make predictions, but that's really more than I think we can expect our staff to do." CalPERS' chief actuary, objected, finding that it would be "fairly catastrophic" if the fund only grew at 4.4%. The benefits expansion bill, SB 400, passed with unanimous backing by California State Assembly Democrats and was signed into law by Governor Gray Davis. CalPERS then produced a video promoting the legislation with Chairman Crist promising greater benefits "without imposing any additional cost on the taxpayers" and the California State Employees Association president praising it as "the biggest thing since sliced bread". The next year the dot-com bubble burst, and CalPERS did not grow, instead losing value in the stock market downturn of 2002. In 2001–2002, CalPERS provided technical assistance for the Sarbanes-Oxley Act because it had sustained financial losses from the Enron and WorldCom bankruptcies. After the Great Recession, in 2009 CalPERS investments lost 24%, dropping $67 billion in value. Chairman Crist retired from the board and it was later revealed he had accepted more than $800,000 from a firm to ensure hundreds of millions of investment from CalPERS. This CalPERS mess was one of the factors that made Gray Davis get recalled. Governor Jerry Brown worked on trying to fix this retirement system for years, but CalPERS is still underfunded in 2022 and could end up costing state tax payers hundreds of billions in bailouts.
Domestic partnerships
[edit]
Davis recognized the domestic partnerships registry in 1999 and, in 2001, gave same-sex partners a few of the rights enjoyed by opposite-sex spouses such as making health care decisions for an incapacitated partner, acting as a conservator and inheriting property.[9] He also signed a bill to prevent disqualification from a jury based on sexual orientation. Additionally, he signed a bill allowing employees to use family leave to care for a domestic partner, though he did not make good on a campaign promise to convene a task force on civil unions.[27]
Guns and public safety
[edit]
He signed laws in 1999 banning assault weapons by characteristic rather than brand name, as well as limiting handgun purchases to one a month, requiring trigger locks with all sales of new firearms and reducing the sale of cheap handguns. Davis's ban included a ban on .50 caliber firearms and so-called "Saturday Night Specials."[9][26] In 2001, Davis signed a bill requiring gun buyers to pass a safety test.[27]
Crime
[edit]
A supporter of the death penalty and tougher sentencing laws, Davis blocked nearly all parole recommendations by the parole board.[27] Davis campaigned as an ardent supporter of capital punishment; which reportedly played a crucial part in his successful gubernatorial campaign. In 1999, he denied his first clemency request from Thai national Jaturun Siripongs, stating, "Model behavior cannot bring back the lives of the two innocent murder victims." Siripongs was executed in February 1999; the first execution to occur during Davis's governorship.[29][30]
Relations with Mexico
[edit]
Early in 1999, Davis sought to improve relations with Mexico. Davis believed that California under Pete Wilson had left millions of dollars of potential trade revenues "on the table."[31] Davis said he wanted California to have relations with Mexico that were more like Texas under then-Governor George W. Bush.[31] Controversy over the California-Mexico border and California Proposition 187 had strained the relationship between the two parties.[32] Davis met with Mexican President Ernesto Zedillo to improve relations with California's southern neighbor and major trading partner within Davis's first 30 days in office.[2][9] Davis later met with President Vicente Fox and participated in his inauguration. The Governor met with Mexican presidents eight times. Under the Davis administration, California and Baja California signed a "Memorandum of Understanding" expanding cooperation in several policy areas.[2] Under Davis, Mexico became California's leading export market for the first time in history and California's trade with Mexico surpassed all of Mexico's trade with Latin America, Europe and Asia combined.[2] Because of the growth in the California economy, Davis opened and expanded trade offices around the world, including in Mexico. But most of these offices were eliminated in the 2003 California budget due to difficult fiscal times.[2]
Health, environment, business, and transportation
[edit]
Davis significantly expanded the number of low-income children with state-subsidized health coverage.[2] He signed laws to allow patients to get a second opinion if their HMO denies treatment and, in limited cases, the right to sue.[26][better source needed] Davis signed legislation that provided HMO patients a bill of rights, including a help-line to resolve disputes and independent medical review of claims.[9] Under Davis, staff-to-patient ratios in nursing homes improved. However, Davis reneged on a campaign promise to expand low-cost healthcare to parents of needy children due to budget constraints.[27]
Davis allowed non-disabled low-income people with HIV to be treated under Medi-Cal. He signed a law allowing people participating in needle exchange programs to be immune from criminal prosecution. He also increased state spending on AIDS prevention.[27]
Under Governor Davis, California's anti-tobacco campaign became one of the largest and most effective in the nation.[33] R. J. Reynolds and Lorillard Tobacco sued over California's antismoking campaign but their lawsuit was dismissed in July 2003. Davis also authorized a new hard-hitting anti-smoking ad that graphically depicts the damage caused by secondhand smoke.[2]
In September 2002, Governor Davis signed bills to ensure age verification was obtained for cigarettes and other tobacco products sold over the Internet or through the mail, ensured that all state taxes are being fully paid on tobacco purchases and increased the penalty for possessing or purchasing untaxed cigarettes.[34] He also signed legislation to expand smoke-free zones around public buildings.[2][34]
Davis approved legislation creating a telemarketing do-not-call list in 2003.[26][better source needed] Under Davis, benefits for injured and unemployed workers increased. The minimum wage increased by $1 to $6.75.[2] Davis backed higher research and development tax credits. He pushed for elimination of the minimum franchise tax paid by new businesses during the first two years of operation.[27]
While Davis's record is generally considered pro-environmental due to increases in spending for land acquisition, maintenance of the state's park system, signing legislation that attempts to cut greenhouse gas emissions by having automakers produce more efficient vehicles, cutting fees to state parks and opposing offshore drilling, he was criticized for not backing tougher restrictions on timber companies as some environmentalists desired.[27] Under the Davis administration, California purchased 10,000 acres (40 km2) for urban parks.[9]
Davis signed the first state law in the US in July 2002 to require automakers to limit auto emissions. The law required the California Air Resources Board to obtain the "maximum feasible" cuts in greenhouse gases emitted by all non-commercial vehicles in 2009 and beyond.[35] Automakers claimed the law would lead smaller and more expensive cars to be sold in California.[36] In 2003, Davis signed legislation aiming to ban junk email.[37]
On March 25, 1999, Davis issued an executive order calling for the removal of MTBE (a toxic gasoline additive) from gasoline sold in the state.[38] In 2001, in order for gas prices to remain reasonable in California while removing MTBE, Davis asked President George W. Bush to order the EPA to grant California a waiver on the federal minimum oxygen requirement.[39] Without a waiver, California would have to import a much larger amount of ethanol per year and gas prices were projected to increase drastically. Bush did not grant the waiver and in 2002, Davis issued an executive order reversing his earlier executive order.[40]
Davis's actions when it came to regulating business suggested that Davis was a more moderate governor. He worked to kill a comprehensive bill opposed by banks and insurance companies to protect consumers' personal financial information. "What you saw in the campaign was what you got," said UC Berkeley professor Bruce Cain. "He's tried to negotiate a course between the different interest groups and keep Democrats on a more centrist, business-oriented track".[27]
Davis approved $5.3 billion over five years for more than 150 transit and highway projects. One of those projects was construction on the new eastern section of the Bay Bridge. During 1999 and 2000, California spent millions on onetime projects like buying new rail cars and track improvements.[27]
California electricity crisis
[edit]
Main article: California electricity crisis
Main article: Enron scandal
Soon after taking office, Davis was able to fast-track the first power plant construction in twelve years in April 1999, although the plant did not come on line before the electricity crisis.
According to the subsequent Federal Energy Regulatory Commission's investigation and report, numerous energy trading companies, many based in Texas, such as Enron Corporation, illegally restricted their supply to the point where the spikes in power usage would cause blackouts. Rolling blackouts affecting 97,000 customers hit the San Francisco Bay area on June 14, 2000, and San Diego Gas & Electric Company filed a complaint alleging market manipulation by some energy producers in August 2000.[41] On December 7, 2000, suffering from low supply and idled power plants, the California Independent System Operator (CAISO), which manages the California power grid, declared the first statewide Stage 3 power alert, meaning power reserves were below 3 percent. Rolling blackouts were avoided when the state halted two large state and federal water pumps to conserve electricity.[41]
On January 17, 2001, Davis declared a state of emergency in response to the electricity crisis. Speculators, led by Enron Corporation, were collectively making large profits while the state teetered on the edge for weeks and finally suffered rolling blackouts on January 17 and 18.[41] Davis stepped in to buy power at highly unfavorable terms on the open market, since the California power companies were technically bankrupt and had no buying power. California agreed to pay $43 billion for power over the next 20 years.[41] Newspaper publishers sued Davis to force him to make public the details of the energy deal.[42]
During the electricity crisis, the Davis administration implemented a power conservation program that included television ads and financial incentives to reduce energy consumption. These efforts, the fear of rolling blackouts and the increased cost of electricity resulted in a 14.1% reduction in electricity usage from June 2000 to June 2001.[41]
Gray Davis critics often charge that he did not respond properly to the crisis, while his defenders attribute the crisis solely to the corporate accounting scandals and say that Davis did all he could. Some critics on the left, such as Arianna Huffington, alleged that Davis was lulled to inaction by campaign contributions from energy producers.[43] Some of Davis's energy advisers were formerly employed by the same energy speculators who made millions from the crisis. In addition, the Democratic-controlled legislature would sometimes push Davis to act decisively by taking over power plants which were known to have been gamed and place them back under control of the utilities. Some conservatives argued that Davis signed overpriced energy contracts, employed incompetent negotiators and refused to allow electricity prices to rise for residences statewide much as they had in San Diego, which they argue could have given Davis more leverage against the energy traders and encouraged more conservation.[44] The electricity crisis is considered one of the major factors that led to Davis's recall.
In a speech at UCLA on August 19, 2003, Davis apologized for being slow to act during the energy crisis, but then forcefully attacked the Houston-based energy suppliers: "I inherited the energy deregulation scheme which put us all at the mercy of the big energy producers. We got no help from the Federal government. In fact, when I was fighting Enron and the other energy companies, these same companies were sitting down with Vice President Cheney to draft a national energy strategy."[45]
When the Enron verdicts were rendered years later, convicting Enron and other companies of market manipulation, Davis responded with the following quote:
Ken Lay and Jeffrey Skilling, more than anyone, are the reason I'm talking to you now from this law firm.[8]
(Skilling's conviction was later overturned by the United States Supreme Court in its narrowing of the "honest services" statute.)
On November 13, 2003, shortly before leaving office, Davis officially brought the energy crisis to an end by issuing a proclamation ending the state of emergency he declared on January 17, 2001. The state of emergency allowed the state to buy electricity for the financially strapped utility companies. The emergency authority allowed Davis to order the California Energy Commission to streamline the application process for new power plants. During that time, California issued licenses to 38 new power plants, amounting to 14,365 megawatts of electricity production when completed.[2]
In 2006, the Los Angeles Times published an article that credited Davis's signing of the long-term projects for preventing future blackouts and providing California a cheap supply of energy with the increasing costs of energy.[46]
In March 2003, the Federal Energy Regulatory Commission's long-awaited report on the so-called "energy crisis" was released. That report substantially vindicated Davis, laying the blame for the energy disruption and raiding of California's treasury on deliberate tactics employed by some 25 energy trading companies, most of which were based in Texas. Of the latter, the most notable was Enron, a number of whose principals were subsequently criminally prosecuted for their roles.
Budget crisis
[edit]
During the economic boom years of the Davis administration, the California budget expanded to cover Davis's new programs. California's low national K-12 education rankings and Davis's campaign pledge to help education, along with the large majority that elected Davis to his first term and his early popularity, suggest that a majority of Californians supported increases in education spending during the early part of his first term when California was in budget surplus. Polls also showed that increased spending in education was supported by the California voters.[47] Under the Davis administration, taxes were cut by over $5.1 billion that included a $3.5 billion cut in sales tax and a reduction in the vehicle licensing fees.[26][48] The cut in sales taxes was mandated due to a 1991 law that required sales taxes to be reduced a quarter percent when budget reserves exceed 4 percent of the state general fund for two straight fiscal years which they did in 1999 and 2000.[48] Davis also vetoed $5.1 billion in appropriations during that span.[48]
While California's economy was expanding, California was producing record budget surpluses under Davis even after his tax cuts and new spending. According to the California Department of Finance, California, had a 10% surplus at the end of 1999 and California was projected to have a 4% surplus at the end fiscal year 2000.[48] These surplus monies were left in the treasury. Davis claimed to be cautious with state finances.
"I'm trying to chart a prudent course and keep us somewhere in the middle. I don't want to jump the gun on spending; I don’t want to jump the gun on tax relief," said Davis concerning the budget surpluses on October 26, 2000.[48]
The dot-com boom that had been fueling California's record tax revenues went bust. California was home to a large number of high tech firms and was largely dependent on state income taxes. State revenues fell while ongoing spending commitments created deficits. Restoring the vehicle licensing fees to pre tax cut levels to close the budget gap and stabilize the state's credit rating became unpopular.[8][49] The beginning shortfall for the 2002-2003 state budget was $23.6 billion.[50] Davis announced that the 2003-2004 budget shortfall would be $34.6 billion while the Legislative Analyst projected a $21.1.[51]
Relationship with legislature
[edit]
Davis, a moderate, had some disagreements with the more liberal Democratic-controlled Legislature.[27] Democrat John L. Burton, the leader of the California State Senate, was Davis's chief antagonist.[27]
Declining popularity
[edit]
In May 2001, in the middle of the California electricity crisis, his numbers declined to 42% approval and 49% disapproval.[52] By December 2001, Davis's approval ratings spiked up to 51%.[53] His numbers declined back to the May 2001 level and remained about the same over the next year.[54] In April 2003, Davis had a 24% approval rating and 65% disapproval rating.[55][56] The leading causes of Davis's steep decline in popularity (and eventual recall) were the California electricity crisis, which involved a sharp increase in electricity rates and a series of blackouts in 2001,[57] as well as voter discontent with an increase in state car registration taxes.[58]
Davis had tried to maintain a middle-of-the-road approach, but ultimately alienated many of the state's liberals who viewed him as too conservative and many conservatives who viewed him as too liberal.[59] Many were upset that in trying to balance the budget, Davis cut spending for schools while increasing spending for prisons. Some critics attributed the proposal to the California Correctional Peace Officers Associations donations to Davis's re-election campaign.[60]
2002 gubernatorial campaign
[edit]
Main article: 2002 California gubernatorial election
Davis began fundraising for his 2002 reelection campaign early in his governorship. Davis raised $13.2 million in 1999 and $14.2 million in 2000, both unprecedented sums at the time so early in an elected term.[61] Davis's 1999 and 2000 contributions included contributions from Pacific Gas & Electric and Edison International.[61] Davis also received large contributions from labor groups, environmental groups and individuals.[61]
Davis's fundraising efforts attracted much attention. University of California Berkeley's Institute of Government Studies claimed that Davis's fundraising skills were "second to none in the political arena" while Senator John McCain called Davis's 2001 goal of $26 million "disgraceful."[62] One article in the San Francisco Chronicle claimed that Davis was raising $34,000 a day.[62] Although Davis's fundraising pace was criticized by his many detractors, Arnold Schwarzenegger would later collect contributions at a quicker rate during the early years of his governorship.[63] Arnoldwatch.org, a project of the Foundation for Taxpayer and Consumer Rights, which is a nonpartisan organization that is critical of both Democrats and Republicans, called Davis a "pay to play" politician and a "sellout".[64]
During the 2002 election campaign, Davis took the unusual step of taking out campaign ads during the Republican primaries against Los Angeles mayor Richard Riordan. Davis claimed that Riordan had attacked his record and that his campaign was defending his record.[65] Polls showed that, as a moderate, Riordan would be a more formidable challenger in the general election than a conservative candidate. Polls even showed that Riordan would defeat Davis.[66] Davis attacked Riordian with negative ads in the primary. The ads questioned Riordan's pro-choice stance by questioning Riordan's support of pro-life politicians and judges.[67][68] The ads pointed out Riordan's position of wanting a moratorium on the death penalty as being to the left of Gray Davis, who strongly supported it.[69][70]
Davis's negative ads against Riordan and a variety of other equally important factors explained on the 2002 election page, led to Riordan's defeat in the Republican primary by the more staunchly conservative candidate Bill Simon. In the first 10 weeks of 2002, Davis spent $10 million on ads: $3 million on positive ads boasting of his record, $7 million on negative ads against Riordan.[71]
Davis was re-elected in the November 2002 general election following a long and bitter campaign against Simon, marked by accusations of ethical lapses on both sides and widespread voter apathy.[72] Simon was also hurt by a financial fraud scandal that tarnished Simon's reputation.[73] Davis's campaign touted California's improving test scores, environmental protection, health insurance coverage for children and lower prescription drug costs for seniors.[74] Davis's campaign featured several negative ads that highlighted Simon's financial fraud scandal.[75] The 2002 gubernatorial race was the most expensive in California state history with over $100 million spent.[76] Davis's campaign was better financed; Davis had over $26 million more in campaign reserves than Simon in August 2002.[75] Davis gained re-election with 47.4% of the vote to Simon's 42.4%. However, the Simon-Davis race led in the lowest turnout percentage in modern gubernatorial history, allowing a lower than normal number of signatures required for a recall.[77] Davis won the election, but the majority of voters disliked Davis and did not approve of his job performance.[78][79]
Second term
[edit]
Davis's second term, which lasted only ten months, was dominated by the recall election. He was widely criticized for responding to the budget crisis by reversing a decade of fee reductions on motor vehicles, a decision which his opponents repeatedly referenced.[80] Not long after Davis signed a law allowing the Department of Motor Vehicles to grant driver's licenses to undocumented immigrants, he was challenged to a recall election. Davis had also signed legislation requiring employers to pay for medical insurance for workers and legislation granting domestic partners many of the same rights as married people, and vetoed legislation that would have given undocumented immigrants free tuition for community college.[81] Some political observers saw these efforts as an attempt to reinforce support from Hispanics, labor union members and liberal Democrats.[81] Ultimately, Davis did not have as much support from Hispanics and union members in the recall election as he did in his 2002 re-election.[14]
Davis was governor during the southern California fires of 2003, more commonly known as the Cedar Fire. Davis declared a state of emergency in Los Angeles County, San Bernardino County, San Diego County and Ventura County in October 2003 and deployed the National Guard to help with disaster relief. By mid-November, the greater South Los Angeles area had been declared a disaster area. This enabled federal funding to help repair flooding and weather-related damage, including the destruction of thousands of acres of vegetation.[82] The Cedar Fire was the last major event during Davis's tenure as governor. Both Davis and governor-elect Schwarzenegger worked to help with disaster relief. Schwarzenegger went to Washington, D.C., and met Vice President Dick Cheney to lobby the federal government for more disaster relief funds.
Davis spent 1,778 days as governor and signed 5,132 bills out of 6,244, vetoing 1,112 bills.[9]
Recall election
[edit]
In July 2003, a sufficient number of citizen signatures were collected for a recall election. The initial drive for the recall was fueled by funds from the personal fortune of U.S. Rep. Darrell Issa, a Republican who originally hoped to replace Davis himself. The 2003 California recall special election was the goal of the "Dump Davis" campaign and constituted the first gubernatorial recall in Californian history and only the second in U.S. history. Later, the unsuccessful recall of Scott Walker of Wisconsin in 2012 would be the third and the 2021 California gubernatorial recall election of Gavin Newsom would be the fourth in September 2021.
Early in the runup to the recall election, Davis called the recall election an "insult" to the eight million voters who had voted in the 2002 gubernatorial election. The Davis campaign tried to run against the recall Yes/No vote instead of against the candidates that were trying to replace him. Davis tried to depict the recall as a $66 million waste of money that could allow a candidate with a very small percentage of the vote to become Governor—potentially someone who was very liberal or conservative as there are no primaries in a recall election. Davis tried to run "outside the recall circus" and to make himself appear gubernatorial and hard at work for California, and who had made improvements to education and healthcare.[22][83] Early August polls showed that over 50% supported the recall.[22]
In September 2003, Davis conceded that he had lost touch with the voters and added that he was holding numerous townhall meetings in an effort to address the problem.[84] Poll numbers in September showed a 3% drop in the number of California voters who were planning to vote yes on the recall.[85] According to some analysts and campaign aides, Davis's town hall meetings and conversations with voters were softening his image.[85] Many political insiders remarked that Davis had made several comebacks and that he should not be counted out of the race despite poll numbers that showed over 50% planning to vote yes on the recall.[5][22][85]
During the recall, Davis blamed some of the state's problems on his predecessor, Pete Wilson.[86] Davis claimed that he would have rather raised taxes on the upper tax brackets instead of restoring vehicle registration fees and college student tuition.[86]
Davis called the recall a right-wing effort to rewrite history after having lost the election during the previous year.[86] In a 19-minute campaign address that was broadcast statewide, Davis called the recall effort a "right-wing power grab" by Republicans. He blamed Republicans in the legislature and in Washington for many of the state's problems, while accepting some responsibility for those problems.[87]
"It's like the Oakland Raiders saying to Tampa Bay, 'We know you beat us, but we want to play the Super Bowl again,'" said Davis about the recall.[86]
On October 7, 2003, Davis was recalled. The recall was supported by 55.4% of voters. Republican Arnold Schwarzenegger was elected to replace Davis as governor. The Bay Area and Los Angeles County were the only regions in California to vote "no" on the recall. Davis is the second governor in the history of the United States to have been recalled; the first was Lynn Frazier of North Dakota in 1921.[88]
On the night of the recall, Davis conceded defeat and thanked California for having elected him in five statewide elections. Davis mentioned what he defined as the accomplishments of his administration such as improvements in education, environmental protection, and health insurance for children.[89] Davis said he would help Schwarzenegger in the transition and he later urged his staff to do the same.[90] His last day in office was November 17, 2003.[91]
Life after politics
[edit]
In December 2004, Davis announced that he was joining the law firm of Loeb & Loeb.[8]
Davis has done several media interviews about his legacy. He appeared prominently in the documentary Enron: The Smartest Guys in the Room.[92]
The debate about his legacy and role in the energy woes that proved to be his downfall remains. In a CNN interview on August 5, 2005, Davis expressed that he felt vindicated because of the revelation that Enron manipulated the California energy market and because of Schwarzenegger's then-low approval ratings. He also indicated that he had no interest in running for governor again, although he had been urged to run by some Democrats.[92]
Davis was a guest lecturer at UCLA's School of Public Policy in 2006 alongside former Republican State Senator Jim Brulte. He wrote an introduction for a journalist's book on the Amber Alert system for missing children, a cause he championed.[8]
On April 23, 2007, Davis was appointed to the Board of Directors of animation company DiC Entertainment as a non-executive.[93]
On May 21, 2009, Davis was keynote speaker at the Columbia Law School graduation ceremony.[94][95]
Public image and political views
[edit]
Davis's moderate record made it difficult for him to appeal to the core constituency of the Democratic Party. During the recall, Davis failed to gain the full support he needed from his more liberal Democratic base.[14] He had a reputation of being beholden to supporters yet unable to satisfy them.[28] Davis's leadership and compromise-building skills have also been questioned.[28] He was also hurt by redistricting in 2000 that made most districts safe for the incumbent party, limiting some legislators' need and willingness to compromise.[28]
When Davis was inaugurated as governor of California, he said, "I'm a governor, not a judge". Davis vowed to uphold all of the laws of the state, even the ones with which he personally disagreed. Davis defended Proposition 187 initially,[96] but when it was declared unconstitutional by the Ninth Circuit Court of Appeals, he did not appeal the decision.[97]
Davis's personality was often described as aloof and his political style cautious and calculated instead of charismatic.[14] His personality forced him to depend more on political skills, such as fundraising, to win elections.[14] Davis's tendency to micromanage his administration made it difficult for people to present opposing views and even drove some out of service.[42]
As Davis left office in 2003, the San Francisco Chronicle published an editorial discussing his legacy. The newspaper claimed that he lacked vision, allowed the legislature and its policies to define his tenure and had a "robotic governing style" that focused on fundraising instead of personal relationships. The Chronicle commented that Davis was often on the right side of the issues but that being on the right side of the issues alienated the electorate. Davis lacked charisma and seemed to be more passionate about winning campaigns than governing.[14] Davis never showed emotion to the voters.[98] He spent much of his campaign time talking about his accomplishments instead of providing voters with a vision.[9]
Personal life
[edit]
Davis met his wife-to-be, Sharon Ryer, while on an airplane tending to official business in 1978. Davis and Ryer married in 1983, with California Supreme Court Justice Rose Bird officiating.[99]
See also
[edit]
California portal
Biography portal
References
[edit]
Gray Davis Digital Library (active web site, launched 2006)
Gray Davis at IMDb
"Interview With California Governor Gray Davis, Wife Sharon Davis (CNN Larry King Live, 05 October 2003)". Archived from the original on 2014-08-29 .
Department of Energy article on Davis's energy conservation efforts
Appearances on C-SPAN
Join California Gray Davis
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https://www.nps.gov/people/schwarzenegger.htm
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Arnold Schwarzenegger (U.S. National Park Service)
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Arnold Schwarzenegger
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https://www.nps.gov/people/schwarzenegger.htm
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Former Governor, Actor, Businessman, Bodybuilder, (1947–)
Arnold Schwarzenegger was born on July 30, 1947, in Thal, a small village near Graz, Austria. At a young age, he enjoyed watching movies, in particular Reg Parker, a body builder and star in B-level Hercules movies. The films also helped start Schwarzenegger's own obsession with America, and the future he felt awaited him there. Schwarzenegger found his answer in bodybuilding, entering in contests such as Mr. Universe and Mr. Olympia.
In all, Schwarzenegger won five Mr. Universe titles and six Mr. Olympia crowns during his bodybuilding career. After Schwarzenegger immigrated to the United States in 1968, at the age of 21, he helped propel bodybuilding into the mainstream, culminating in the 1977 documentary, Pumping Iron, which tells the tale of Schwarzenegger's defense of his Mr. Olympia crown. From 1990 to 1993, Arnold promoted fitness as Chairman of the President’s Council on Physical Fitness and Sports and later served as Chairman for the California Governor's Council on Physical Fitness and Sports under Governor Pete Wilson. He has been an activist for the Special Olympics. He founded the Inner City Games Foundation (ICG) which provides cultural, educational and community enrichment programming to youth. ICG is active in 15 cities around the country and serves over 250,000 children in over 400 schools countrywide.
After acting in a few small parts, such as Hercules in New York and The Long Goodbye, Schwarzenegger landed a bigger role in the film Stay Hungry and was awarded a Golden Globe. With his intense physical strength and size, Schwarzenegger was a natural for action films. He became a big hit in several popular 1980s action movies, including Conan the Barbarian. Schwarzenegger also starred as a deadly machine from the future in The Terminator and as a mercenary in The Expendables.
Off-screen he continued his remarkable story, joining the Kennedy family by marrying Maria Owings Shriver, daughter of Eunice Kennedy Shriver and her husband R. Sargent Shriver.
In 2003, Schwarzenegger won the California governor's seat in a special recall election. In a state that was mired in severe budget woes, the newly elected Republican governor promised to bring economic stability to his adopted state. As governor, Schwarzenegger worked to improve the state's financial situation, promote new businesses, and protect the environment. In 2006, he was re-elected for a second term. In his second term as governor, Schwarzenegger struggled to help California through difficult financial times. Throughout his political career, Schwarzenegger credited former U.S. President Ronald Reagan as an inspiration. Schwarzenegger said, "I became a citizen of the United States when [Reagan] was president, and he is the first president I voted for as an American citizen. He inspired me and made me even prouder to be a new American."
After leaving office in January 2011, he sought to revive his career in the entertainment industry. Schwarzenegger starred alongside Jean-Claude Van Damme, Bruce Willis and Sylvester Stallone in the film The Expendables. In August 2012, he reunited with the film's cast for a follow-up film, The Expendables 2. Schwarzenegger rejoined Sylvester Stallone for The Expendables 3 in 2014. He returned to the film franchise that made him a star the following year. Schwarzenegger starred in Terminator Genisys with Jason Clarke and Emilia Clarke.
For a good part of his professional life, Arnold has been an entrepreneur and successful businessman. By the age of 30, Schwarzenegger was a millionaire, well before his career in Hollywood. His financial independence came from his success as a budding entrepreneur with a series of successful business ventures and investments. His current net worth is estimated in the hundreds of millions.
Schwarzenegger has also a solid track record as an environmental activist for reducing greenhouse gases.
Schwarzenegger is a dual Austrian/United States citizen. He holds Austrian citizenship by birth and has held U.S. citizenship since 1983. Shortly before he gained his citizenship, he asked the Austrian authorities to keep his Austrian citizenship, since Austria does not usually allow dual citizenship. His request was granted, and he kept his Austrian citizenship.
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Young Man broke Arnold Schwarzenegger's 57
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2023-12-16T06:00:56+00:00
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An American teenager broke the 57-year-old record set by Arnold Schwarzenegger, becoming the youngest competitor among professional bodybuilders. Anton Ratushnyi is the name of a 19-year-old who recently won the NPC title and earned the right to compete among professionals. Writing about his success, the media state that he went through the transformation from an […]
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en
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Sarajevo Times
|
https://sarajevotimes.com/young-man-broke-arnold-schwarzeneggers-57-year-old-record/
|
An American teenager broke the 57-year-old record set by Arnold Schwarzenegger, becoming the youngest competitor among professional bodybuilders. Anton Ratushnyi is the name of a 19-year-old who recently won the NPC title and earned the right to compete among professionals.
Writing about his success, the media state that he went through the transformation from an average-looking teenager to the musculature that brings him victories in competitions in four years.
Schwarzenegger started lifting weights as a 15-year-old, and at the age of 20 he won the title on the way to becoming, for many, the best bodybuilder of all time.
For Ratushnyi, the competition for the title of Mr. Olympia, the same one that Schwarzenegger won seven times. He should face five-time champion Chris Bamstedt there.
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https://www.governing.com/context/why-does-america-have-primaries
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[
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2022-05-28T00:00:00
|
With primary season underway, our resident historian examines the origins and role of primary elections in American politics and the intensification of American partisanship.
|
en
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/apple-touch-icon.png
|
Governing
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https://www.governing.com/context/why-does-america-have-primaries
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You can listen to the companion audio version of this and other essays in the series using the player below or on Apple Podcasts, Google Podcasts, Stitcher or Audible.
It’s Primary season in America, with all the chaos, expense, and bombast that phenomenon has come to represent in our national political life. The major media now give more attention to off-year primary elections in half a dozen battleground states than they gave to the quadrennial general national election a generation ago. As if they were interpreting the Tarot or reading tea leaves or deconstructing a Papal Encyclical, the myriad pundits hover near the cameras and microphones to pontificate about slight distinctions between in-person day of the election voting, in-person prior to the election voting, mail-in ballots, overseas ballots, military ballots, counts, recounts, automatic recounts, audits, hand recounts, and all the attendant election lawsuits.
It seems that almost every election now is too close to call, yet that does not in any way stop the incessant chatter of the punditry. It is a billion-dollar circus, months before the general election, and critics insist that it gives us worse not better government. The original purpose of primaries, they say, was to make government more responsive to the will of the American people. Instead, they argue, primaries have hijacked government on behalf of righteous and angry extremists of both parties.
The Atlantic’s Nick Troiano puts it this way: “A small minority of Americans decide the significant majority of our elections in partisan primaries that disenfranchise voters, distort representation, and fuel extremism––on both the left and, most acutely (at present), the right.”
How’d we get here?
Primaries are never mentioned in the Constitution of the United States, and the Founding Fathers would almost certainly have rejected the idea in Philadelphia in 1787, if some misguided lover of democracy had been in attendance and proposed that electoral procedure. The Founders emphatically wanted some filtering mechanisms between the people (invoked with respect in rhetoric, but regarded as a volatile and undeserving mob in practice) and the eventual outcome. That’s why they wanted U.S. Senators to be elected by state legislatures, not by the people, insisted on property qualifications for white male voters (the only voters that mattered), and created an Electoral College to stand between “the people” and their popular choice for President. Primaries are an electoral reform introduced more than a century later during the Progressive Era.
An Early Season of Reform: Initiative, Referendum, and Recall
Primaries appeared on the scene at the same time as initiative, referendum, and recall. Initiative permits the citizens of a state to gather enough signatures to put a proposed law on the ballot to be voted on at the next general election. In many instances then and now, legislatures have been slow to respond to the will of the people, have refused to take up legislation proposed by individuals and interest groups, and have rejected popular reforms out of hand. The idea of initiative was to open a “people’s path” to legislation when a stodgy or do-nothing legislature refused to respond. According to the Progressive theory, since the people are sovereign and the source of all legislative authority, initiative merely takes back to them the right to see their will enacted in law, with or in this case without participation by a formal legislative body.
Referendum permits the people, after the necessarily gathering of petitions, to vote to uphold or overturn a law duly passed by a legislature. If the state legislature of speed limit-free Montana set a new Interstate highway speed of 15 miles per hour, for example, the people of Montana could refer that law and overturn it themselves at the next election.
Recall was designed to give the people the authority to remove from office someone who needed to go—before his or her term was over. Legislators have the power to remove a problematic official by impeachment, the people can do so by recall. The most famous recent case of recall in America was California Governor Gray Davis on October 7, 2003, removed by 55.4 percent of the votes cast. That vacuum was filled six weeks later by Arnold Schwarzenegger in a recall replacement election. Back in 1988, a recall was approved by Arizona voters against Governor Evan Mecham, but he was impeached and convicted before it got on the ballot. Recalls are increasingly common in American political life, usually in the lower echelons of the system (school boards, city commissions, etc.), but few of these recall campaigns are successful.
These progressive innovations have been adopted by most of the states, but they have no validity in the national arena. Presidents can be impeached but not recalled.
The Primary was a fourth reform of the Progressive Era, designed to give the people greater control over the selection of candidates in their party. It is a uniquely American innovation, with roots that some historians trace to early colonial New England and the era of the writing of the U.S. Constitution, but which first rose to modern prominence in Wisconsin in 1905, then the most progressive state in America.
The Purpose of these Early Reforms
Given the chaos and partisanship of our times, it might be useful to think about the historical purpose of primary elections for a moment. At a time when candidates were selected in back-room deals, by party bosses, without any public involvement, a time when urban political machines, like Tammany Hall in New York, selected candidates who would do their bidding once in office, reformers (progressives) decided to circumvent the smoke-filled room with an open party vetting system that brought average voters into the selection process. Two or more candidates would come forward to seek the party’s endorsement. The one who won the primary election would then stand against the candidate from the other party. The only way a candidate could win the nomination was to persuade more voters than the other guy.
In other words, primaries were invented to give people the power of the selection of both their state and national representatives.
Imperfect Beginnings
Theodore Roosevelt’s experience in 1912 is a good example of the problem and its proposed solution. Roosevelt’s hand-picked successor William Howard Taft failed to govern according to Roosevelt’s expectations. So, reluctantly (he insisted!) TR challenged Taft for the Republican presidential nomination. 1912 was the first year that primaries were a factor in the presidential election. In fact, North Dakota was the first state to hold a presidential primary. The results were bitter for Roosevelt. Wisconsin’s Robert M. LaFollette won the North Dakota primary on March 19, 1912, with 34,123 votes. TR came in second with 23,669 votes, and the incumbent, President Taft, received only a paltry and humiliating 1,876 votes. Taft appeared to be finished as a political force in American life.
Roosevelt, who remained immensely popular with the great bulk of the American people, especially away from the eastern corridors of power, won most of the dozen 1912 primaries, including in Taft’s home state of Ohio. It was clear that if the will of the Republican voters of American had been canvassed and fulfilled, TR would have stood for a third term on the Republican ticket in 1912 and he probably would have defeated Woodrow Wilson in the general election. The aggregate vote in the states that held primaries in 1912 was 1,157,397 votes for Roosevelt, 761,716 for Taft, and 351,043 for Fighting Bob LaFollette. But primaries were newfangled and comparatively rare in 1912; the old establishment political machine still exerted extraordinary power. According to historian James Chace, “Taft’s strategy was to get the nomination through patronage officeholders who would be delegates to state nominating conventions.” In this way, Taft won the nomination at the Republican National Convention in Chicago, in spite of the fact that the great majority of Republican voters preferred the Rough Rider, the cowboy, the hero of San Juan Hill, the trustbuster. Roosevelt was so offended by what he regarded as the theft of his rightful nomination that he bolted from the Republican Party and helped to launch the Progressive or Bull Moose Party, which also convened in Chicago. In the fall election, Roosevelt received 27 percent of the national vote, the largest tally of any third-party candidate for President in American history (Ross Perot, 1992, 18.9 percent), Taft 23 percent, and the winner, Democrat Woodrow Wilson, 41percent. Primaries existed in 1912, but they were not yet determinative.
The Watershed: 1968-1972
Primaries did not become the preeminent method of choosing political candidates until 1972, after the disastrous and riotous Democratic National Convention of 1968, the most disruptive year in twentieth century America. The delegates to the Chicago convention wound up nominating LBJ’s Vice President Hubert H. Humphrey, a quintessential establishment figure who had followed LBJ’s aggressive lead on Vietnam, rather than a popular anti-war candidate like Eugene McCarthy of Minnesota. In fact, Humphrey had not run in a single primary as he maneuvered his way to the nomination with the support of such party “bosses” as Mayor Richard M. Daley of Chicago. In 1968 only fourteen states held presidential primaries. Today almost all states hold presidential primaries, many on what is called Super Tuesday.
After the debacle of 1968, the McGovern–Fraser Commission was established by the Democratic Party, formally known as Commission on Party Structure and Delegate Selection. The commission report called for a more open nominating process, dramatically greater representative at nominating conventions by rank and file citizens, decidedly fewer delegates selected by state party committees, and greater diversity of representation (particularly of gender and race). Before these reforms, in two thirds of the states, Democratic delegates had been selected behind the scenes by party elites. A decade later, three quarters of delegates were selected by primaries. South Dakota Senator George McGovern oversaw these sweeping electoral reforms in the Democratic Party that gave the process to the people—for good or ill. The Republicans soon followed suit with somewhat more moderate reforms.
The Problem of Committed Extremists
Primaries have given the people the power to decide who runs in the general election, but in most cases a determined minority drives the process, organizes the vote and pressures the candidates’ agenda, and shows up at the polls. Primaries are no longer a representative canvas of the people of that party in that state. They are now a method of political insurgency that increases the partisan divide in America, turns incumbents away from sober governing towards perennial electioneering, and causes centrist politicians either to leave the political arena, or try to conform to the least realizable ideas of their party’s most strident voters. The primaries drive or drag the party to the right, if it’s Republicans, or the left, if it’s Democrats. What U.S. President Richard Nixon called “the silent majority” (November 3, 1969), the 65-80 percent of the electorate that is left of the FOX News Channel and right of MSNBC, is effectively disenfranchised by the current dynamics of the system. The silent majority tends to stay at home, while the severest partisans shout from the rooftops.
Mainstream or middle of the road office holders now live in fear of being “primaried” from the extreme end of their respective parties. As a result, they tend either to adopt the more extreme measures and attitudes of their party, or pretend to until they get through the primary, after which they gravitate carefully back towards their actual views to be competitive in the general election. In other words, loud and determined extremists get some of what they want by the mere threat of a primary challenge. They force the discourse towards their end of the spectrum, and then do their best to hold the successful candidate to the positions she or he espoused during the primary campaign.
This cannot be what the framers of Primaries, Initiative, Referendum, and Recall had in mind. The reformers of the Progressive Era were attempting to make the parties listen to the broad will of the average people of that party, to represent majorities rather than highly committed minorities in the party, to circumvent the bosses, party hacks, and backroom strategists in order to empower the silent majority who did not regard government as a power game, but as a means of improving the lives of the American people. They were not looking to create a mechanism by which a determined extremist wing of the party could hijack the process. Some historians of the Progressive Era legislation say that the primaries were a reform in 1912 that needs a new round of reform in the twenty-first century.
It's Not All Bad
In some ways, the primaries still fulfill their purpose. In 2016, the Republican Party establishment wanted to make Jeb Bush its presidential candidate. He was a moderate Republican from a famous family, a political dynasty, widely thought to be more talented politically than his brother G.W. Bush. Party regulars raised more than $150 million to secure him the nomination.
Then Donald Trump rode down the golden elevator at Trump Plaza in New York. The Republican “bosses” may have wanted Jeb Bush, but the Republican rank and file across the nation were at best lukewarm about Bush, while they were enraptured by the star of NBC’s The Apprentice, who proceeded to make short work of Jeb and fifteen other candidates, before vanquishing Texas Senator Ted Cruz in the later primaries and securing the nomination. Trump emerged in 2016 as the most hypnotic Republican presidential candidate since Theodore Roosevelt. The people spoke! The experts grumbled, and then scrambled to get in line. The tens of millions of Republicans who were fed up with establishment candidates selected a famous and wealthy outsider to run against Hillary Clinton. Finally, in their view, from an unlikely direction, a Republican candidate emerged who found a way to resonate with the anger, the bewilderment, the frustration, and the values of a large swath of the American electorate who had felt ignored or belittled by a long series of mainstream candidates. Without the primary system, Donald Trump could never have received the Republican nomination in 2016.
Possible Reforms
Those who believe the primaries still play an important democratizing role in American life suggest a number of reforms. One would be to reschedule the Iowa caucuses and the New Hampshire primary later in the campaign season to make sure the first vetting of national political candidates does not come from smallish states that are overwhelmingly white and more rural than the rest of the nation. A more daunting challenge would be to redistrict the entire congressional system to maximize the number of contestable districts and reduce as severely as demographic science can manage the number of safe seats. As the number of safe seats has risen dramatically in recent decades, the primaries have in many cases become the only arena in which the people can really affect the political outcome. Primaries would become less important if all voters in a statistically average congressional district had a realistic chance of their party’s or candidate’s success in the general election. Some reformists argue that a single, same-day national nonpartisan primary election could winnow down the number of viable candidates to a manageable number, say four, and they would move on to compete in the general election. Something like this has been shown to work well in Alaska.
The fundamental question for an enlightened people is how well our current system allows the best candidates to compete for public office. If the system is broken or needs significant reforms, two questions follow. First, what reforms would produce better results and bring down the political temperature in the United States? Second, assuming we knew what reforms to make, do the American people have the political will to make the adjustments?
You can also hear more of Clay Jenkinson’s views on American history and the humanities on his long-running nationally syndicated public radio program and podcast, The Thomas Jefferson Hour. He is also a frequent contributor to the Governing podcast, The Future in Context. Clay’s most recent book, The Language of Cottonwoods: Essays on the Future of North Dakota, is available through Amazon, Barnes and Noble and your local independent book seller. Clay welcomes your comments and critiques of his essays and interviews. You can reach him directly by writing [email protected] or tweeting @ClayJenkinson.
Clay S. Jenkinson is a historian and humanities scholar based in North Dakota. He is founder of both the Theodore Roosevelt Center and Listening to America. He can be reached at ltamerica.org.
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https://www.npr.org/2023/10/06/1203694351/arnold-schwarzenegger-has-one-main-guiding-principle-be-useful
|
en
|
Arnold Schwarzenegger has one main guiding principle: 'Be Useful'
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2023-10-06T00:00:00
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Champion bodybuilder, Hollywood superstar, Governor of California — Arnold Schwarzenegger offers a few pieces of advice about living a successful life in his new book Be Useful.
|
en
|
NPR
|
https://www.npr.org/2023/10/06/1203694351/arnold-schwarzenegger-has-one-main-guiding-principle-be-useful
|
Champion bodybuilder. Hollywood superstar. Governor of California.
Not a bad resume.
Arnold Schwarzenegger has achieved more than most of us could ever hope to. And he's sharing some of his secrets to success in his new book Be Useful: Seven Tools for Life.
Morning Edition host A Martinez spoke with Schwarzenegger about his latest project.
A MARTINEZ
When did becoming useful become something that you thought was important?
ARNOLD SCHWARZENEGGER
Well, I think that ever since my father stressed when I was a kid to be useful. I think it had an impact on me, and it stayed with me as a method, so much so that I always wanted to perform and do more. It became such a big part of my life that even when I sleep in - sometimes past 6:00 in the morning - I feel guilty because I hear my father's voice saying, "Arnold, that's not how this country was built, by sleeping in. Be useful, do something. What are you doing today?" And so, you know, I think that it just stayed with me.
A MARTINEZ
But even at that young of an age, you understood what that meant. You understood a deeper meaning of what being useful meant.
ARNOLD SCHWARZENEGGER
Well, let's assume for a second I didn't know what it meant. My father would make sure that I knew. Just to give you an example, I was studying bodybuilding at the age of 15, and my father would say, "Why are you lifting these dumbbells and barbells? Don't you think it would be better to just go out and chop some wood and shovel some coals for some poor people that don't have anyone?" It was common in those days: neighbor kids would go and do that kind of chore for older people so that when the fall comes, they have it for the winter.
I looked up to this famous boxer by the name of Laszlo Papp. He's a Hungarian boxer, European champion, and he trains by chopping wood. And so, "Why couldn't YOU chop wood? And then therefore, you would get muscles, you get strong, get great energy, you will look great. But at the same time, you're doing something useful. You're doing something for somebody rather than just for yourself and looking in the mirror." So he would make sure that you knew what being useful meant.
A MARTINEZ
Is being useful the same as not being useless?
ARNOLD SCHWARZENEGGER
Well, it's more proactive. I mean, being useful is not just hanging back and making mistakes. It's going out and using your energy and your time for something good, which means for yourself but also and always to think about other people. I think that we have to be aware of the fact that we are creations by a lot of people. We are not self-made. I hate when someone says, "Oh, Schwarzenegger is the perfect example of a self-made man" because I'm not. I'm a creation of my parents. I'm a creation of my coaches, my teachers. I have been helped by my training partners, by my friends. Especially when I think about coming to America, it was Joe Wheeler that helped me to come over here, got me the airline ticket, helped me get the apartment and the car. The people of California voted for me to be governor of California. So I didn't become governor because I'm self-made; I became governor because people voted for me.
A MARTINEZ
But it was a compliment. I mean, I think people meant it as a compliment that you were able to motivate yourself to accomplish these things.
ARNOLD SCHWARZENEGGER
Yeah, absolutely. I mean, it is a compliment, but it is very important to let people know: I really appreciate you saying that, but I'm a creation of all of this help.
I would not have done Twins if it wouldn't have been for Ivan Reitman. I would not have been able to do Conan the Barbarian if it wouldn't have been for John Milius. So there's so many people that helped me. And the reason why that is important, that we recognize that we are creations of people's help, is because that makes us then understand that we are responsible for going out and helping other people, that it is not a one-way street. You know, people help us to get to be where we are today, and therefore I now have the responsibility to go out and help other people to become successful.
A MARTINEZ
Well, just how wide of a scope, then, does being useful need to be? Because I can imagine for you, I think you probably have to feel useful to a lot [more] people than I would. I mean, if I feel useful to my grandkids or to my wife, I feel pretty good about the day.
ARNOLD SCHWARZENEGGER
I think that it really depends on you how far you want to go with that. One thing we know for sure: the majority of people really don't feel like they're useful enough or they are successful enough. And this is what this book is all about: Be Useful is to give people the tools. How can they go and become more useful? How can they become more successful? How can they become happier with their lives, their jobs and everything that they are doing?
You have to understand that no matter what we do, there's someone there that can help you with that. If I want to go and learn how to ski, I take ski lessons. If I want to learn about bodybuilding, I'll go and get a fitness instructor. But there's really no one that provides usually the tools to success. I think what this book does is basically just say, look, here are some tools that I've used in my life. And the reason why I've become so successful in so many different areas is because I follow those rules and I applied those rules.
A MARTINEZ
So, for example, last year when you put out that video calling out Russia's misinformation campaign — and also telling Russia to stop the war in Ukraine — were you just expressing an opinion or were you trying to be useful?
ARNOLD SCHWARZENEGGER
Both. Both to let the Russian soldiers and the Russian people know that this is an unjust war that is not provoked. There was no one there challenging Russia. This was a peaceful country, Ukraine, and they were minding their own business. All of a sudden, they're getting attacked. So that is not right. I think that we have to speak out because something's wrong, to help them to understand it — and at the same time to let people know around the world how I feel about it. It was just my opinion and also trying to be useful at the same time.
But, you know, this is not what this book is about. It's just really helping people to go to the next level when it comes to success. What I wanted to do is just let people know you don't have to have a job that you hate. If you take some time and create a vision for yourself and create a goal for yourself — and then chase that goal no matter how difficult it may be — life becomes kind of fun. Because to me, my life was always a lot of fun, even though I struggled a lot and I was battling it out, losing a lot of the battles and then winning some. It was always interesting and spicy and exciting because I knew what I was chasing all the time — to become Mr. Universe, or becoming the greatest bodybuilder in the world, or coming to America, or getting into movies and becoming a leading man, or running for governor. It doesn't matter what it is. It was always a fun chase.
A MARTINEZ
You mentioned losing some battles. Which battles did you lose? I think when people think of your life, they think that almost anything you've tried, you've been a success.
ARNOLD SCHWARZENEGGER
Well, maybe it was successful in the end, but to get there... One of the things I talk about is to not be afraid of failure. Because you're going to fail. When I was 19 years old, I was competing in the Mr. Universe contest and I lost. I came second. It was no big drama because I was hoping to be in the top six, but I came second so it was terrific. When I came to America, I lost the Mr. Olympia competition against Sergio Oliva. I lost one of the Mr. Universe contests in America against Frank Zane. I remember I lost power-lifting championships, weightlifting championships. I had movies that went in the toilet. I had policy issues and referendums that went in front of the people that I lost. There was a lot of things.
And of course, in my personal life, you know, my marriage is a big loss and this is a big failure. So there's a lot of losses and failures that I've had in the past in my life. And I think that it is important that we recognize that. But no matter what it is, I always had an exciting life and always chased something, and that made the whole thing worth it.
So many people — young people especially — when you ask them what do you want to do in life, they look at you kind of like the deer in the headlights and just don't know what to say. To me, that is a big problem, because I always felt that I was enriched by the fact that I always knew where I was going.
And then there were some things that were unexpected, like running for governor. That was something that kind of unfolded only because there was a recall election in California.
A MARTINEZ
You had the opportunity.
ARNOLD SCHWARZENEGGER
All of a sudden, I had this vision: me being governor. And so I chased that vision. Going from promoting Terminator 3 and being this huge hit to all of a sudden going the other direction and saying, "I want to be a public servant." It was fun to chase that. I had this exact vision. I knew exactly what to say to the people and how to sell that idea, how to market myself, how to promote myself. I think this is the important thing: there's so many people that think small. They set a goal for themselves — a small goal because they're afraid to fail. And I tell people, don't be afraid to fail.
A MARTINEZ
Wait a second, YOU can have big goals. I think most people have to be happy with small goals in their lives. I don't think they can aspire to the things you can aspire to.
ARNOLD SCHWARZENEGGER
No, because remember: when I was 15 years old, I was this ordinary Austrian boy, just like everyone else. I always had this dream that I want to be another Reg Park – a Mr. Universe who then did Hercules movies. So he became my idol. I wanted to win, like him, Mr. Universe several times and then be discovered in Hollywood. He was a fellow from England, from Leeds, from a factory town. I come from a factory down. Why could I not do that?
So I right away had a big vision to be like Reg Park (or to be Steve Reeves, an American version of Hercules). So, friends of mine wanted to be Mr. Austria; I right away thought of Mr. Universe, winning the world championship.
I remember when I was getting into movies, they said to me, maybe we can get you a job to play, maybe with your German accent, the Nazi officer. Or a bouncer or something like that. I mean, that's not what I wanted to do. I said I want to be a leading man. I right away shot for the big goal. And yes, it was riskier. It's very hard to climb the ladder. I said, forget about climbing the ladder — I'm going to create my own ladder and I'm going to climb that.
Now I'm going to show people how to do it.
A MARTINEZ
When it comes to having a clear vision, that's the first rule in your in your book, Be Useful: Seven Tools for Life. How do you get rid of the clutter to be able to have that clear vision? Because so much clutters up our lives.
ARNOLD SCHWARZENEGGER
That's the key thing. You cannot go create a vision if your face is in the iPhone or iPad or the computer. That is not what creates a vision. That maybe makes you copy someone else, but it doesn't create a vision of something that you're really in touch with, that you feel like, I need to do this. I'm born to be this artist. I'm born to be a mechanic. I'm born to create my own garage and build muscle cars or whatever it may be. Everyone has something in them that makes them really want to go all out on something. You just need to apply those rules. Don't shoot for something small, shoot for something big. Don't be afraid of failure.
The key thing is: you work your ass off. One of the things that I know now being 76 years old: everything is directly related to work. The more you work your ass off, the further you're going to go. If you look for shortcuts, it's not going to happen. I've seen people in bodybuilding try to look for shortcuts. They never made it. I've seen it in acting. They have not made it. Everyone that was willing to work hard was able to make it and to become successful.
Selling yourself, selling your ideas, selling your vision is another very important part of this whole success formula. You have to convince people. You have to kind of communicate well. I mean, imagine when I was Governor of California and I said we have to reduce our greenhouse gases by 25% by the year 2020. Well, it was a great idea, but I now have to go and convince 40 million people in California that this is very important, that pollution kills people. We've got to have more renewable energy in California. We got to get rid of fossil fuels. We got to keep our nuclear reactors and nuclear power and blah, blah, blah, noise. And the people went along. The people went along because I sold the thing while I promoted it well, I marketed it well, I was communicating well. All of this is important in order to be successful.
The other one that I always tell people: let's do less talking and more listening. I have a chapter that says, shut your mouth and open your mind. It's very important because I think that if you always just talk, talk, talk, talk, you're not going to learn anything. The way you learn is if you just shut your mouth and listen to other people talk. Yes, you have to talk and yes, you have to communicate. But be aware that listening is really what makes you smart.
When I went into the capitol in Sacramento, I did a lot of listening because I had to learn very quickly about the various different policies, the various different issues. I mean, you go from one minute about prison guards' overtime, then you talk about the firefighters and talk about law enforcement. They talk about the nurses, the teachers. They talk about the crime. You're dealing with so many different subjects that from morning to night, it's better if you listen. Then if you sit down by yourself, without having the computers and the iPhone/iPads, that's how you get to be successful.
A MARTINEZ
The last tool in your book is called Break Your Mirrors. What does that mean, break your mirrors?
ARNOLD SCHWARZENEGGER
This is a saying that comes from my father-in-law [Sargent Shriver]. My father-in-law gave a speech at Yale University, a commencement speech, and there he said to the students: Break that mirror that makes you always look at yourself. And you will be able to look beyond that mirror and you will see the millions and millions of people that need your help.
My father-in-law was one of my idols. He created the Job Corps and the Peace Corps, legal aid to the poor and all of these various different organizations. And he was always out there trying to find something to help the less fortunate. He was also the chairman of the Special Olympics, and his wife Eunice Kennedy Shriver created the Special Olympics. They always worked on helping the people that needed help. So to me, that saying said it all: we should not be consumed about ourselves. Yes, you have to deal with yourself. You have to build itself. But don't ever think that this is the only responsibility you have. You have the responsibility to break the mirror and to look beyond yourself and see the millions of people that need your help. And to go out and help, giving back to the community, giving back the city, to your state, your country is the ultimate that you have to do. And everyone has the ability to give back something. If you have no money, you can give your time to the kids — in reading or in English or to collect clothes so that homeless people can go to job interviews. There's so many simple things that we can do to help the community.
I got addicted to it because I started working with Special Olympics and helping Special Olympians, you know, train with weights and then go into powerlifting. It felt so good to be able to help kids that normally are not included, not getting equal rights. Then I started getting caught up with the President's Council of Physical Fitness for President Bush. [I] travelled through all 50 states to promote health and fitness and exercising in the schools. And it just one thing led to the next, and eventually I ran for governor.
It just feels so good to give something back. I think that this is without any doubt the greatest country in the world. And I always want to tell people that, you know, to me, giving something back was absolutely a necessity because of everything that I have ever achieved was because of America. And so to me, to give back to America is the greatest kind of honor and pleasure.
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Arnold Schwarzenegger: Biography, Actor, California Governor
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Arnold Schwarzenegger is a bodybuilder, action star, and former governor of California. Read about his movies, children, bodybuilding success, wife, and more.
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Biography
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https://www.biography.com/actors/arnold-schwarzenegger
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1947-present
Who Is Arnold Schwarzenegger?
Austrian-born Arnold Schwarzenegger rose to fame as the world’s top bodybuilder, launching a career that would make him a giant Hollywood star in the 1980s via films like Conan the Barbarian, The Terminator, and Total Recall. After years of blockbuster movie roles, Schwarzenegger went into politics, serving as governor of California from 2003 to 2011. Since leaving office, he has returned to the big screen, finding success with The Expendables franchise and a return to the Terminator series.
Quick Facts
FULL NAME: Arnold Alois Schwarzenegger
BORN: July 30, 1947
BIRTHPLACE: Thal, Austria
SPOUSE: Maria Shriver (1986-2021)
CHILDREN: Katherine, Christina, Patrick, Christopher, and Joseph
ASTROLOGICAL SIGN: Leo
Early Years
Arnold Alois Schwarzenegger was born on July 30, 1947, in Thal, Austria, near the city of Graz. Schwarzenegger’s childhood was far from ideal. His father, Gustav, was an alcoholic police chief and one-time member of the Nazi Party, who clearly favored Arnold’s brother, Meinhard, over his gangly, seemingly less athletic younger son.
Arnold Schwarzenegger’s parents, Aurelia and Gustav Schwarzenegger, in 1965 in Thal, Austria
Gustav is reported to have beaten and intimidated Schwarzenegger and, when he could, pitted his two boys against one another. He also ridiculed Schwarzenegger’s early dreams of becoming a bodybuilder. “It was a very uptight feeling at home,” Schwarzenegger later recalled. So uptight and uncomfortable, in fact, that Schwarzenegger would later refuse to attend the funeral of his father, who died in 1972, or his brother, who was killed in a car crash in 1971.
Arnold was much closer to his mother, Aurelia, who resided in Austria throughout her life and was active in local wildlife programs. She died of a heart attack at age 76 in August 1998. “With the loss of my mother, my world has fallen apart,” Schwarzenegger said at the time.
Bodybuilding Champion
As an escape, Schwarzenegger turned to the movies, in particular those of Reg Park, a bodybuilder and star in B-level Hercules movies. The films also helped propel Schwarzenegger’s own obsession with America, and the future he felt awaited him there. Getting to his new country was the issue. Schwarzenegger found his answer in Joe Weider, the man behind the International Federation of Body Building, an organization that sponsored contests such Mr. Universe and Mr. Olympia.
Weider loved Schwarzenegger’s bravado, sense of humor, and the potential he saw in the young bodybuilder. Weider’s instincts couldn’t have been more dead-on. In all, Schwarzenegger would win an unprecedented five Mr. Universe titles and seven Mr. Olympia crowns during his bodybuilding career.
Arnold Schwarzenegger in 1976
Equally significant, Schwarzenegger, who immigrated to the United States in 1968, helped propel the sport into the mainstream, culminating in the 1977 documentary, Pumping Iron, which tells the tale of Schwarzenegger’s defense of his Mr. Olympia crown. He became a U.S. citizen in 1983.
Action Star: "Conan," "The Terminator," "Total Recall" and Beyond
With his ascension to the top of the bodybuilding world, it was only a matter of time before Schwarzenegger would move over to the big screen. After a few small parts, Schwarzenegger received a Golden Globe Award for Best Newcomer for his performance in Stay Hungry (1976).
With his immense physical strength and size, Schwarzenegger was a natural for action films. He became a leading figure in several popular 1980s action movies, including Conan the Barbarian (1982) and its sequel, Conan the Destroyer (1984). Schwarzenegger also starred as a deadly machine from the future in The Terminator (1984), and later reprised the role for Terminator 2: Judgment Day (1991) and Terminator 3: Rise of the Machines (2003).
Additional action flicks from the actor’s heyday include Commando (1985), Predator (1987), The Running Man (1987), Total Recall (1990), and True Lies (1994). He also used his oversized physique to comedic effect in Twins (1988) and Kindergarten Cop (1990).
Wife and Children
Offscreen, Schwarzenegger continued his remarkable story, marrying into the Kennedy family in 1986 by tying the knot with Maria Owings Shriver, daughter of Eunice Kennedy Shriver and her husband R. Sargent Shriver. According to People, a mutual friend introduced the two at a tennis tournament in 1977. They began dating shortly after, and Schwarzenegger proposed eight years into their relationship.
In May 2011, the couple announced their decision to separate, after Schwarzenegger’s acknowledgment that he fathered a son, Joseph Baena, with Mildred Baena, a member of the family’s household staff. Schwarzenegger and Shriver finalized their divorced in 2021.
Schwarzenegger and Shriver have four children: Katherine, Christina, Patrick, and Christopher. Patrick followed his dad into the acting business, appearing in several films as a child before taking a leading role in the 2018 teen tear-jerker Midnight Sun.
Governor of California
Arnold Schwarzenegger, with wife Maria Shriver, is sworn-in as the 38th governor of California during a ceremony in Sacramento on November 17, 2003.
In 2003, Schwarzenegger again showed his resolve to succeed when he threw his hat into the ring for the California governor’s race and won a seat in a special election. In a state that was mired in severe budget woes, the newly elected Republican governor promised to bring economic stability to his adopted state.
As expected, Schwarzenegger brought his own unique brand of confidence to his new job. “If they don’t have the guts, I call them ‘girlie-men,’” he said of Democrats, early in his first term. “They should go back to the table and fix the budget.”
In addition to focusing on the state’s financial situation, Governor Schwarzenegger worked to promote new businesses and protect the environment. In 2006, he easily won his bid for reelection. Throughout his political career, Schwarzenegger credited former U.S. President Ronald Reagan as a personal inspiration. Remembering his early years in the United States, Schwarzenegger once said: “I became a citizen of the United States when [Reagan] was president, and he is the first president I voted for as an American citizen. He inspired me and made me even prouder to be a new American.”
His second term in office did not run as smoothly, however, as Schwarzenegger struggled to help the state through difficult financial times. After leaving office in January 2011, he sought to revive his career in the entertainment industry. In March of that year, Schwarzenegger announced plans to work with famed comic book creator Stan Lee on a new animated series inspired by his time in office.
Return to Hollywood: "The Expendables" and "Terminator" Sequels
In 2010, Schwarzenegger appeared alongside Sylvester Stallone, Jason Statham, Jet Li, and Bruce Willis in the ensemble action film The Expendables. In August 2012, he reunited with the cast for The Expendables 2. Just one week after the sequel’s premiere, it had climbed to the No. 1 spot at the box office, bringing in nearly $28.6 million.
Schwarzenegger made headlines again later in 2012, when he admitted for the first time to having an affair with his Red Sonja co-star Brigitte Nielsen in the mid-1980s, while he was dating and living with Maria Shriver. Nielsen had written about the adulterous relationship in her 2011 memoir, You Only Get One Life, but Schwarzenegger didn’t publicly confirm Nielsen’s account until the fall of 2012, when his memoir, , was published.
Continuing with his acting career, Schwarzenegger rejoined Stallone for The Expendables 3 in 2014. The following year, he returned to the film franchise that made him a star with Terminator Genisys.
In January 2017, Schwarzenegger replaced incoming U.S. President Donald Trump as host of NBC’s reality show The New Celebrity Apprentice, produced by Mark Burnett. However, the show stumbled to low ratings, and within a few months, the actor announced that he would not return.
That year, Schwarzenegger revealed that he was involved with a new Terminator film in the works. With the announcement that original costar Linda Hamilton was also returning, buzz built ahead of the fall 2019 release of Terminator: Dark Fate, though the big budget film ultimately disappointed with its opening weekend performance at the box office.
TV Shows
Most recently, Schwarzenegger has taken his acting career to the small screen, beginning with Stan Lee’s Superhero Kindergarten. The family-friendly cartoon, which released its first season in 2021, featured Schwarzenegger as Arnold Armstrong and Captain Courage. He also produced the show.
In 2023, Schwarzenegger headlined the Netflix series FUBAR about a father-daughter CIA duo. It quickly became the streaming platform’s No. 1 TV show, despite middling reviews from critics.
Health Problems
Schwarzenegger endured a health scare while undergoing surgery for a catheter valve replacement at a Los Angeles hospital in March 2018. The valve replacement failed, resulting in emergency open-heart surgery that proved successful. According to his spokesman, Schwarzenegger was soon in stable condition, reportedly waking up with the words “I’m back,” in a nod to his famous Terminator character.
Fact Check: We strive for accuracy and fairness. If you see something that doesn’t look right, contact us!
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Arnold Schwarzenegger: The Six Rules of Success — Moonshots Podcast: Learning Out Loud
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"Unlimited Memory" by Kevin Horsley is a self-help book that aims to improve memory and enhance overall cognitive performance. It provides various strategies, techniques, and exercises to help readers develop a powerful memory and optimize their learning abilities.
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Moonshots Podcast: Learning Out Loud
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https://www.moonshots.io/228-arnold-schwarzenegger-the-six-rules-of-success
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Transcript
Mike Parsons: [00:00:00] Hello and welcome to the Moonshots Podcast. It's episode 228. I'm your co-host, my Parsons, and as always, I'm joined by Mark Pearson Freeland. Good morning, mark.
Mark Pearson Freeland: Good morning, Mike. Good morning listeners. Good morning subscribers and members. I say it probably every week, Mike, but actually this week we may have more of a.
Mark Pearson Freeland: Muscle packed action bound episode than even normal.
Mike Parsons: It feels like we've bogged up for this show. Indeed,
Mark Pearson Freeland: mark we certainly, I think bulking up is exactly what this individual between us. Would say so too. That's right. Members, listeners, as well as viewers. Today we are diving into the legendary figure of Arnold Schwarzenegger, a character who not only has existed within entertainment, for example, in his many series of films like Total Recall.
Mark Pearson Freeland: As we can see on the screen here, Terminator Predator. But also he got into [00:01:00] politics. He was quite an impressive governor of California for a number of years. He's really been this influential figure, Mike, certainly in my life, and I'd say probably for a lot of our listeners and members as well, but he's really got quite a lot to teach us through those years of success, through years of action, through years of getting stuff done.
Mark Pearson Freeland: Totally. I think. I think today we're gonna make the case for him,
Mike Parsons: aren't we? We're gonna try it and talk about achievements. He is just dripping in achievements. He came to America as an immigrant. He became a bodybuilding champion many years in a row consecutively. He then if that's already a ton like going to America as an immigrant and becoming a world champ, bodybuilder.
Mike Parsons: He then becomes a huge Hollywood star. In the face of the fact that everyone's like that accent is terrible, but he made it his greatest asset. And then not satisfied with [00:02:00] that mark. He then became the governor of the fifth biggest economy on the planet. Any one of those three achievements would be worth celebrating.
Mike Parsons: But I think we failed to recognize, and obviously thanks to the recent Netflix series, I think we've all been reminded, man, this guy accomplished a lot and he has packaged up six rules for success, which are so perfect for moonshots. Mate, I can't wait to get into it. Yeah you're
Mark Pearson Freeland: totally wrong, Mike.
Mark Pearson Freeland: He's accomplished so much, and like you say, we probably haven't necessarily. How much he's really done. But today we're actually gonna find out why he did it and how he did it. How did he motivate himself to go out and keep on grinding? Yes, keep on pushing further and further through that glass ceiling.
Mark Pearson Freeland: I think we're gonna learn a lot today, Mike, as he say with his six rules of success. This is pretty exciting. And
Mike Parsons: what's really interesting for our viewers on YouTube for our listeners and [00:03:00] Spotify and Apple Podcasts is that, check this out, man. He has some very similar patterns of thinking and mindset.
Mike Parsons: Some habits that relate to people like wait for it. Brene Brown, which relate to all sorts of other in interesting people, Oprah Winfrey. But then he's got one or two unique things as well. Things that we haven't had come up so much on the moonshots. Mark, I'm really excited to share what I believe are six rules that very different to the rules of Jordan Peterson.
Mike Parsons: These are insanely practical, not as philosophical. I think they're a little bit more habit based, so they're probably a bit more somewhere between a Goggins and a Brene Brown, if you will. But if you really want to have a playbook for being the best version of yourself, we can find it in these six rules from Arnold Schwarzenegger.
Mike Parsons: Mark, I'm pumped. Let's jump [00:04:00] in.
Mark Pearson Freeland: Yeah. Let's hear from the legend, Mr. Arnold Schwar, and I guess straight off the bat, Mike, let's hear about those six rules for success and how we can turn a propensity towards action into a physical mindset as well. People
ask
Arnold Schwarzenegger: me all the time, they say to me, what is the secret to success?
Arnold Schwarzenegger: The first rule is trust yourself. What I mean by that is so many young people are getting so much advice from their parents and from the teachers and from everyone. But what is most important is that you have to dig deep down. Dig deep down, and ask yourselves, who do you want to be? Not what, but who. And I'm talking about not what your parents and teachers want you to be, but you.
Arnold Schwarzenegger: I'm talking about figuring out for yourselves what makes you happy, no matter how crazy it may sound to the people. SA Rule number one is of course, trust yourself no matter how and what anyone else thinks. And of course, sa rule number two is break the rules. We have so many rules in life about everything.
Arnold Schwarzenegger: I [00:05:00] say, break the rules, not the law, but break the rules. It is impossible to be a maverick or true, original. If you're too well behaved and not want to break the rules. You have to think outside the box. That's what I believe. After all, what is the point of being on this earth? If all you want to do is be liked by everyone and avoid trouble, the only way that ever got any place was to breaking some of the rules, which of course brings me to rule number three.
Arnold Schwarzenegger: Don't be afraid to fail anything I've ever attempted. I was always willing to fail. You can't always win, but don't be afraid of making decisions. You can't be paralyzed by fear or failure, or you will never push yourself. You keep pushing because you believe in yourself and in your vision, and you know that it is the right thing to do, and success will come.
Arnold Schwarzenegger: So don't be afraid to fail. Which brings me to rule number four, which is don't listen to the naysayers. How many times have you heard that you can't do this [00:06:00] and you can't do that, and it has never been done before? I hear this all the time, pay no attention to the people that say you can't be done.
Arnold Schwarzenegger: I always listened to myself and said, yes, you can. That brings me to rule number five, which is the most important rule of all. Work your butt off. You never want to fail because you didn't work hard enough. I never wanted to lose a competition or lose an election because it didn't work hard enough. I always believe leaving no stone unturned.
Arnold Schwarzenegger: And let me tell you, it is important to have fun in life, of course. But when you are out there partying, horsing around someone out there at the same time is working hard, someone is getting smarter, and someone is winning. Just remember that now, if you want the coast through life, don't pay any attention to any of those rules.
Arnold Schwarzenegger: But if you want to win, there's absolutely no way around hard work. That takes me to rule number six, which is a very important role. It's about giving back whatever path that you [00:07:00] take in your lives. You must always find time to give something back to your community, give something back to your state or to your country.
Arnold Schwarzenegger: Let me tell you something. Reaching out and helping people who bring you more satisfaction than anything else you've ever done. Remember those six rules. Trust yourself. Break some rules. Don't be afraid to fail. Ignore the naysayers. Work like hell and give something back.
Mike Parsons: Wow, mark. So six big rules, different right from the Jordan Peterson ones, right? It's less philosophical. It's very Very pragmatic. Obviously. Even despite some of its differences to the likes of Jordan Peterson, there are themes in here from Arnold Schwarzenegger that riff directly off Jordan Peterson that riff off even people like I'm thinking James Clear Atomic Habits.[00:08:00]
Mike Parsons: I'm thinking for sure Brene Brown and David Goggins, Of all of these six. Which one for you, mark, have we heard the most? Over 228 shows. Actually,
Mark Pearson Freeland: that's an interesting question, Mike. We would normally go, which is maybe the breakout, but which one have we heard the most? Is a challenge because you're right, there's a lot of familiarities with some of these rules that are then based into some of the laws that we've seen. I think the one that we've probably heard a lot more recently, within the past maybe 12 months or so, is number four, ignore the naysayers. I think this has become a theme that has certainly stood out to me when we've dug into many different themes, including creativity with Elizabeth Gilbert, she was, again, really reinforcing the idea that you can go up against other people, even if they are saying no, even if they're saying something's been done before.
Mark Pearson Freeland: And like you said, already, [00:09:00] Says is very cemented within that Jordan Peterson Rules of Life Absolutely. As well. Yes. I think that one might be the one that, that we've heard a bit now, this reinforcement of trying to be unique as well as confident in your own abilities and the accomplishments that you're trying to put out into the world.
Mark Pearson Freeland: Yeah.
Mike Parsons: I think definitely challenging that would be work your butt off, like hard work and don't be afraid to fail. Oh yeah. I think those two are very high frequency. Moonshot, if you will. Mantras. Yeah. Isn't it amazing that we have studied entrepreneurs, authors, academics, superstars and alike, and we can see that there is a pattern of success not only for all of the moonshot previous shows, but we see Arnold is embodying many of the same.
Mike Parsons: Beliefs, mindsets and habits. Hard work, ignore negative people. If you fail, just make sure you are learning,[00:10:00] challenge the status quo. Have a vision for where you are going. But here's what's really fascinating, Mike. We haven't heard a lot of give something back, have we?
Mark Pearson Freeland: No, you're right. I think that it's possibly unarguable that some of our individuals would of course, reinforce this.
Mark Pearson Freeland: But, and there, there are somewhat similarities to some of the rules, for example, that Peterson would've said, for example letting the kids go on their skateboard and so on. Allowing people to beat themselves. Yes. But to put it in black and white like Arnie has done here, specifically calling back.
Mark Pearson Freeland: Dedicate your time to other people, help others. It's not just smile at each other and be nice. It's actually proactive. Go out and physically do something, find something, find a way to help your community, your country, and so on. And I think that's a really. That's the unique build, Mike. Yeah. It's not something necessarily that we've come across before.
Mark Pearson Freeland: Mean, isn't it funny how it's coming [00:11:00] from the world's or the universe's strongest man?
Mike Parsons: Dude, it's coming from the Terminator. He wants to give something bad Terminator. He's telling us to give something bad. Look, what, how exciting to, to discover this. The habits of success that are shared from the Oprahs, the Brene Browns, David Goggins, the Arnold Sweg, many of them are in fact doing similar if not the same things.
Mike Parsons: And it's so great to share that with our listeners and with our viewers and with our members. And it's also great to find something new to add a new weapon for the arsenal, a new workout for the routine. So that's super exciting. But I'll tell you who's working out hard, and that is our members Mark, boy, are they putting in some work?
Mike Parsons: So I think we should pump some iron for them. What do you think?
Mark Pearson Freeland: Yeah, I think we should pump some mind, get in the gym give my vocal chords a workout mic, much like Arne would encourage me to do please welcome Bob Marlin, Ken Dimar, Marj, and Connor [00:12:00] Rodrigo Leeza. Sid, Mr. Bonjour, Paul Berg, cowman. Joe Ivo, Christian, Sam, Barbara, Andre, Eric, Chris, Deborah Lase, Steve and Craig.
Mark Pearson Freeland: Annual members right here. Everybody, but hot on their tails includes Daniel, Andrew, Ravi, Yvette, Karen Raul, PJ nta, Ola, Ingram, Dirk, Emily, Harry, Karthik, ven, Cutta, Marco, and Jet. Roger, Steph Gabi, Anna Ro, ni, Eric, Diana, Christophe, Denise, Laura, Smitty, Corey, Gayla, Bertram, Daniella, and Mike. Thank you all so much.
Mark Pearson Freeland: For continually tuning in as well as being part of the Moonshot family. Thank you for continuing to help us, not only Mike, keep the lights on, but also encourage us to go out and not be afraid to give the Moonshot show another go. Keep on pumping. We've got all these people in the gym with us exercising.
Mark Pearson Freeland: Their brains, Mike. I [00:13:00] think we're all gonna end up at least on the inside, looking like Arnold Schwarzenegger pretty soon.
Mike Parsons: Yeah, we are, we're definitely pumping iron with all of our members and they also get to receive an exclusive second podcast that we do, the Moonshots Master series, where we do really deep dives into particular themes and we take.
Mike Parsons: Insights, content and learnings from superstars, from all different disciplines. So it's a different take than the Moonshot Podcast, which you are listening to or watching right now. So if you are interested in supporting us, if you are interested in the master series, head over to moonshots.io, hit the member button and the magic will happen.
Mike Parsons: You'll become our patron, and then together we can do some hard work. And I believe, mark, we might have a few thoughts from Arnold Schwarzenegger on that very topic. We totally
Mark Pearson Freeland: do. So now let's jump in. Mike, we've heard a kind of synopsis of each of those six rules of success. Now let's go a little bit deeper.
Mark Pearson Freeland: Let's dig into a couple of these and really explore them, [00:14:00] tear them apart like Arnie would do in the gym. Let's pick up the weights and put some practice in. So this next clip we're gonna hear from Arnie is himself is focusing on this idea that success comes from hard work. So now let's hear from Arne.
Mark Pearson Freeland: Talk about working your butt off.
Arnold Schwarzenegger: And it drives me crazy when people say that I don't have enough time to go to the gym for 45 minutes a day and workout, or to do something for 45 minutes to an hour a day to improve if it is physically improve or if it is mentally to improve. Imagine you read one hour a day about history.
Arnold Schwarzenegger: How much you will learn after 365 hours in one year. Think about if you study about the history of musicians, of composers, how much you would know. Imagine if you would work [00:15:00] on the business and some business that you want to develop every day for an hour. Imagine how further along you will go and get.
Arnold Schwarzenegger: So it drives me nuts because we have, when people say we don't have the time, we have 24 hours a day, we sleep six hours a day. So it gives you still 18 hours. There's someone shaking their head out here in front. They say, probably I don't sleep six hours, I sleep eight hours. Or just sleep faster.
Arnold Schwarzenegger: So we have 18 hours a day. The average person works around eight to 10 hours, so let's assume it's 10 hours, so we have eight hours left. Then you travel around an hour a day, maybe two hours a day. So now you have still six hours left. So what do you do with the six hours? What do you do with the six hours?
Arnold Schwarzenegger: Then we eat a little bit. Schmooze a little bit, talk a little [00:16:00] bit to people and all that stuff, but you can see how much time there is available if you organize your day. So you got to work hard. Let me tell you something. When I went to America, I went to college. I went and worked out five hours a day and I was working on construction.
Arnold Schwarzenegger: Because in those days in bodybuilding, there was no money. We didn't, I didn't have the money for food supplements or anything, so I had to go to work. So I worked in construction. I went to college. I worked out in the gym, and at night from eight o'clock at night to 12 midnight, I went to acting class four times a week.
Arnold Schwarzenegger: So I did all of that. There was not one single minute that I wasted. This is why I'm standing here today.
Arnold Schwarzenegger: I became very friendly with Muhammad Ali in the seventies, [00:17:00] and Muhammad Ali worked his butt off, and I saw it firsthand. I remember that there was a sports rider. That was there in the gym when he was working out and he was doing sit-ups, and they asked him, how many sit-ups do you do? And he said, I don't start counting until it hurts.
Arnold Schwarzenegger: Now think about that. He doesn't start counting his sit-ups until he feels pain. That's when he starts counting. That is working hard, and so you can't get around the hard work. It doesn't matter who it is. The matter, I believe what Ted Turner said, work like hell
Mike Parsons: and adv. I love this mark, this idea of hard work and pushing yourself.
Mike Parsons: To me, this is a huge theme that we've discovered in the show, and [00:18:00] I think it's really important to talk about hard work right now because, I think the temptation is that we see perfect worlds on Instagram and YouTube, right? And in those messages and videos and images, it can be very easy to deduce that it's a game of chance or amazing things happen without.
Mike Parsons: A lot of work and it's really interesting. He talked about Ali then, but I think this is something we have seen in people like Einstein as well. He readily admitted that he really didn't think he was smarter than anybody else. He just worked harder and for longer. Yeah, on one problem and he just stayed on it just arnold, think about working in construction, studying, going to acting class, and he did all of that. So when you hear [00:19:00] this, there was no shortcut. Like he wasn't No. Just becoming a teenager and all of a sudden he's a size of a giant. No, he was spending five hours a day at the gym. Yeah.
Mike Parsons: He was putting in the work. He did acting class four times a week. So we can't deduce anything else other than hard work. And I think the battle where a fighting mark is, and it's a temptation for us all is. When the hard work comes the first day, eh, it's okay. The second day. It's like it's the second week or the second month Yeah.
Mike Parsons: Of trying to keep your run program or stick to a healthy diet or exercise in the morning, or do extra study at night. This is where the champions are made because I think we can all get very excited in January and start eating well and going to the gym and not drinking as much. But what happens in February and March and I think, yeah, exactly.
Mike Parsons: We are learning. It is [00:20:00] about sustained work where you get the compound effect, Allah, Darren Hardy, where you get the benefits. Of vastly underestimating what you can achieve in a year. But I think our enemies, we vastly overestimate what we can do in a few days. Hence, we kind, we bail.
Mark Pearson Freeland: Yeah. I think that the, exactly what you are building there, Mike, and I think where Arnie is taking us within that clip is that there are two enemies to working hard.
Mark Pearson Freeland: The first one is time. And then the second one is discomfort. Yes. So the discomfort might come in a physical element. Muhammad Ali, not counting his sit-ups until they hurt. Also a and as you've just said giving up something that you know isn't great for you, but then it becomes uncomfortable when you have to keep on saying no.
Mark Pearson Freeland: So discomfort can come in a lot of different ways. As well as this element of time. Oh, I just don't have the time. What I think is really interesting and helpful about that clip is [00:21:00] we're hearing essentially practical solutions to both of those. It's very easy for me to say, Hey, Mike, actually I don't have time.
Mark Pearson Freeland: And also it's not that much fun to, to go out and do whatever that is. Let's say it's training for a marathon, preparing some extra work doing a side hustle, whatever it might be. It's always a little bit hard and time is always against you. But it's familiar territory, Mike for what? I think we've uncovered on moonshots, for example, I think what Arne was basically making the case for with regards to eking out time during the day is Cal Newport and time blocking.
Mark Pearson Freeland: Oh yes. It's putting into your calendar. Yeah. I'm gonna work out here, so I'm gonna commit to that. I'm gonna be forceful with myself. I'm gonna be disciplined with myself and go to my acting classes from eight until midnight. I then gotta factor in food. Okay, let's figure out where that is and how am I gonna get my job going through?
Mark Pearson Freeland: Okay, this is the hours I can work. Again, it just comes from being explicit, I think, with yourself. Yes, being very practical and taking a lot of ownership, for the time. That you do [00:22:00] have and how you're gonna go out and spend it. Yeah. I think that's really where Arne's surprising me here, because he's coming at us with quite a familiar time blocking angle.
Mike Parsons: Yeah. It's fascinating. Which comes from an academic like Cal Newport, so a different headspace to the Terminator. The interesting thing for me is what comes to mind as practical ways. To be time efficient. And this is gonna sound so tangential, but we mentioned food and so did Arnold.
Mike Parsons: I would say meal preparation and meal planning is a really good way to save time. And here's what I mean by that. If you about the dishes you want to eat in the coming week, on the weekend, you can take some time on your weekend to actually cook food, put it in the freezer. So even worst case scenario, the first three or four nights of the week, you've actually already made dinner.
Mike Parsons: So you just have to get it out, defrosted, put in the oven or put in the microwave. I think this is a [00:23:00] huge time saver, but it's also a huge nutrition upside. Cause when we are tired and busy, we always shortcut food, don't we? For sure.
Mark Pearson Freeland: It's too tempting and that also it's now too easy. Pick up the phone, pick up an app.
Mark Pearson Freeland: Uber Eats food
Mike Parsons: in 20 minutes, Uber right? Now. The other thing about that is you're obviously taking control of your diet, so there's so much more health benefits than eating out where they use a lot of salts and sauces and sugars to refine the food taste. So I think that's a big one.
Mike Parsons: You mentioned time blocking. Oh my gosh. Like block that time. I would say if this is really a challenge for one of our viewers or listeners or members, I would definitely look into the book, the 5:00 AM Club by Robert Sharma. This, yeah, this really just is such a powerful thing that we've seen is.
Mike Parsons: So many successful people get up early in the morning, and if you own the morning, you own the day, win the morning, win the day. This kind of thinking, [00:24:00] I think this is fundamental for success. If you are not getting up when the sun rises, then you're making it hard, right?
Mark Pearson Freeland: Yeah. Yeah, absolutely.
Mark Pearson Freeland: And I also think that when you are not waking up, and maybe it's not the first thing you do, but we've certainly discussed this on the show before, Mike, taking a look at what our day is gonna be like, and even planning it out. At least 24 hours or ideally maybe a week beforehand, so you know exactly what's happening.
Mark Pearson Freeland: You know when things are gonna start piling up. Yeah. You can hit your to-do list in a fashionable way that does not create too much more pain. You're not creating issues for yourself. Instead, what you're doing through planning, let's say with meal keeping and bulk making in advance. What are you doing?
Mark Pearson Freeland: You're saving yourself time in the long run. Yeah. All those little things add up. If you can save yourself, let's say 20 minutes every day, Hey, you've suddenly earned 20 minutes every day to guard and do. Maybe it's a bit of exercise, maybe it's learning, [00:25:00] maybe it's just going out for a
Mike Parsons: walk. Do you know what amazes me, mark as well, is how many people.
Mike Parsons: Seem to only look at their calendar for the day, in the morning of that day. And I'm always surprised that there's all this frantic running around of, oh, can we move this? Can we put this here? And you're like, but you, if you had looked at your diary at the beginning of the week, you would've I'm, you would've noticed this.
Mike Parsons: To me, one of my greatest Monday. Practices is looking at the calendar for the week, but wait for this. I'll show you how geeky I am. I make a Gantt chart of the quarter and I review it and change it and update it every single Monday. So I literally have in my diary here a printout of a Gantt chart.
Mike Parsons: And this Gantt chart, check this out. This Gantt chart has up until, so we are recording here [00:26:00] on July 11th. This goes up into the week of October 9th, and these are all the things I've got going on. I love it.
Mark Pearson Freeland: Now, this is our first physical moonshots prop as well.
Mike Parsons: Yes. For those of you watching on YouTube, you.
Mike Parsons: That to me is just taking control. Arnold was breaking down the 24 hour clock. I'm just breaking down the quarter and saying, oh geez, potentially I have two workshops this quarter. I've got two trips to the US in the next four or five months. I've gotta fit in some other things. So you've gotta start thinking about that.
Mike Parsons: Like for example, when I was working on my Gant chart just this week, I was thinking to myself, if I. The possibility of doing another workshop, a two day rapid prototyping workshop. I probably can't do that until last week of November, first week of December, [00:27:00] and I only have that insight when I actually do the planning.
Mike Parsons: If someone had said, Hey, Mike, can you come do a workshop in September? I would've gone, oh yeah. Okay, great. And then go, oh my gosh, hang on. I've got one in August in the us. I've got one in October in the us. Oh, this is gonna be crazy. But you've gotta own your time if you wanna be successful.
Mark Pearson Freeland: You, and you know what?
Mark Pearson Freeland: I think you're demonstrating here, Mike, with this level of foresight into October, November, having your Gantt chart that you review every week. You know what you're doing there. You're working your butt off. You are putting into practice what I think Arne's trying to make the case for here, this muscle bound man.
Mark Pearson Freeland: Yes. Not only is working his butt off in the office sorry. In the gym. You are working out in the office. You are putting it into practice. Totally. So I think there's great. Isn't it funny how you can take that similarity so clearly? Yes. And put it into this professional knowledge worker vibe. Yeah.
Mark Pearson Freeland: It's totally transferable.
Mike Parsons: Said. And as you go out into the world, let's say you're working your butt off, you're working hard, this doesn't mean things will be [00:28:00] easy, does it? In fact. This next thought we've got is really about some of the blockers that we face. And this big learning mark that we keep having is successful.
Mike Parsons: People experience failure just like all of us. It's how they think about it, which is different. I think we got some thoughts from Arnie on this.
Mark Pearson Freeland: We do, we certainly do. Let's hear now from Arne with his next follow-up rule, which is all about don't be afraid to fail.
Arnold Schwarzenegger: Let me tell you something. Don't be afraid of failing because there's nothing wrong with failing.
Arnold Schwarzenegger: You have to fail in order to climb that ladder. There's no one that doesn't fail.
Arnold Schwarzenegger: Michael Jordan said in one of his interviews when they said, you are unbelievable. You're the greatest basketball player of all times. Mean, tell me about that. And he says you had just mentioned the successes, but he says, for me to become the greatest basketball player, [00:29:00] I missed 9,000 shots when I was playing basketball at the N B A games.
Arnold Schwarzenegger: So during this games that he was so successful, he missed 9,000 shots. Does it make him a failure? No. He is one of the greatest basketball players of all times, but he failed 9,000 times. You get it. We all fail. It's okay.
Arnold Schwarzenegger: What is not the case that when you fail, you stay down? Whoever stays down is a loser and winners will fail And get up. Fail and get up. Fail and get up. You always get up. That is a winner. That is a winner.
Arnold Schwarzenegger: I failed in bodybuilding. I've I lost bodybuilding competitions. I [00:30:00] lost power lifting competitions. I lost weightlifting competitions. I had movies that went in the toilet and that were terrible and got the worst reviews. And in politics, I remember I had many of the initiatives on the ballot, and we lost my approval rating in California.
Arnold Schwarzenegger: Went down to 28%. Then it went back up again and they won again. The governorship, Hey, we all lose. We all have lost us. This is okay. And this is why I say don't be worried about losing, because when you're afraid of losing, then you get frozen. You get stiff. You're not relaxed. You got to be in order to perform well in anything if it's in boxing or if it is on your job or with your thinking is only happening when you relax.
Arnold Schwarzenegger: So relax. It's okay to fail. Let's just go all [00:31:00] out and give it everything that you got. That's what it is all about. So don't be afraid to fail.
Mike Parsons: So true, mark. And it reminds me, I'm gonna go back in the moonshots time machine here, Serena Williams, right? When we did her show, she talked about like it's actually the true champion is made. After they fail and then they rise again. That is the true champion. And I think, we have such a fear of failure and like the embarrassment, we have a fear of the, it's almost a shame that we create ourselves about failure, but this is classically within our control.
Mike Parsons: If we accept that, you'll fail. That is just part of life. Then you can say, okay, I failed. You could perhaps ask some questions like, what did I learn? What would I do differently the next time? And if If you can just for a [00:32:00] moment, remember that every single other person on the planet fails as well, so it's okay.
Mike Parsons: What's not okay. Is dwelling on that failure? Yeah. What's not okay is something that we do, which is continually relive that failure. You gotta move on. Who else does this remind you of when you hear about this? Sort of resilience in this go forward and this okay, cool. I failed. I'm learning, I'm moving on.
Mike Parsons: You know who it
Mark Pearson Freeland: does remind me of. Yeah. Dyson I'm reminded of the inventors. So the ones who I, you obviously referenced Einstein earlier from a work perspective, and I think that's probably true here as well. Don't be afraid to fail with anything, whether it's products. Businesses or even just mindset, day-to-day attitude.
Mark Pearson Freeland: And I think what we saw with Dyson and our entrepreneur series was a [00:33:00] definite case of putting in the hours to grad to see incremental improvements. And obviously with Dyson incremental improvements are products there, vacuum cleaners and so on. But I would argue that the same would be true for training practices.
Mark Pearson Freeland: So from a strength perspective, exercise even waking up early in the morning. Each of those experiences that you have, treat it like product development, and see those incremental improvements gradually. I don't think it's necessarily realistic to go from zero to a hundred or from a scrap of paper to a physical product that's on the shelf in a store overnight.
Mark Pearson Freeland: Those overnight successes, as we've mentioned on the show before are challenges, and unrealistic. Instead, what I find interesting once again is Arnie making the case similarly to people like Dyson? Whereby you just gotta put in the time Yes. And yeah, that time might be negative.
Mark Pearson Freeland: But if you can harness much like we were hearing earlier, the Muhammad Ali, not counting until he [00:34:00] starts feeling pain, he's valuing that pain. Yeah. Cause he knows that's the point that he's gonna get better. I'd argue that if you fail, that's your moment to then realize, ah, okay, how am I gonna react to this?
Mark Pearson Freeland: Yes. How am I gonna pick myself back up? Because that's the lesson, isn't it? That's The moment of true personal growth. Yes. Kicking in and taking place.
Mike Parsons: And you can be methodical about it and say If I've just failed, then it technically actually means I'm closer to succeeding because every time I'm failing, I'm learning and reducing like I'm optimizing for more chance of success.
Mike Parsons: Because every failure means there's a likelihood that next one might be a success. Yeah. I've got this, I've got this great quote for you. You totally inspired me about Dyson. And I'll read it to you here. It's from Thomas Addison, who famously had to prototype the light bulb 10,000 times and he says, I have not failed.
Mike Parsons: I've just found 10,000 ways that it won't work.
Mark Pearson Freeland: How great is that? Right? 10,000 ways that it [00:35:00] doesn't work. But that's a real journey, isn't it? It's to go through that process and
Mike Parsons: isn't it funny? No, I know, but as soon as you take away this perception of shame or self-doubt and just say, oh, that's cool. I'm actually a bit closer to working out what's gonna work.
Mike Parsons: Everybody fails. It's really your obligation with failure is not to dwell on it, but to learn from it, right?
Mark Pearson Freeland: Yeah, exactly. Rather than, Percolate, allow yourself to in fact I'd love just going back to to Arnie Arnie's clip. Again, if you aren't relaxed, then you're not gonna be that best version of yourself.
Mark Pearson Freeland: I love the, I love that idea. That's a nuance for me. I understand the value of failure. It's a great opportunity to learn as well as a great opportunity to grow as an individual. But I th I like where Arne's going with this, which is, if you are percolating, let's say you're at your low point now [00:36:00] and you are struggling, maybe it's business, maybe it's physical, maybe it's something else.
Mark Pearson Freeland: If you allow that to continue for too long, everything else around you, oh my gosh. Things that you perhaps to, yeah, the solid job, the relationships around you, the habits that perhaps you were utilizing, suddenly those come into question and the foundation that you once had, which was solid. You are enabling to get a little bit rocky by maybe focusing too much on those negatives and not feeling or staying within that relaxed mindset, both physically, actually, as well as a mindset perspective.
Mark Pearson Freeland: That for me, Mike is a great takeaway here. If you're feeling down, if you're feeling like you're a failure, try not to let that get in the way of everything else, because then you wanna make sure that those lines of your life continue moving in the right direction. You wanna be able to react to them and enjoy them, rather than just constantly thinking that everything has failed around you.
Mark Pearson Freeland: Yeah.
Mike Parsons: Powerful thoughts, [00:37:00] powerful mindset. Very consistent as well throughout the 228 shows that we've done, but now we get to some new territory and some new ideas. So why don't you set up this final clip from Arnie. Yeah
Mark Pearson Freeland: I think we've heard the case from Arnie today with regards to resilience of working like hell, as well as this idea of creating the network around you so that you can start to look at failure as a needed thing.
Mark Pearson Freeland: The truth though is it's the challenge to do all this by yourself, Mike, isn't it? So let's hear from Arne. He's got a great call out for us, all of us today, subscribers and members, and how we should all start to really consider how we can give something back. You can only
Arnold Schwarzenegger: feel complete as a person if you think about what can you do for your fellow member around you that maybe needs help.[00:38:00]
Arnold Schwarzenegger: I felt like that everyone has a different motivation. Why you get into that? I was an immigrant going to America, and as somehow America was the most generous country in the world. They opened up their arms to me. They helped me. They invited me for Thanksgiving dinner. The people, they brought me the bodybuilders in the gym, brought me blades to my apartment because I had no blades.
Arnold Schwarzenegger: I had no silverware. I had no bed wear. I had no pillows. I had no blanket. I had no tv. I had no radio. I had nothing. They brought it to my apartment. They helped me, and that's all that firsthand is generosity in America. And I say to myself as an immigrant, that is being embraced with open arms, that I need to go and make sure that I give something back That, because I said, I started thinking about how did America become such a great country?
Arnold Schwarzenegger: How did America become such a generous country? I look back in history and I [00:39:00] realize that people have fought. For America and people have died for America and people have suffered for America. And so it is my job now to contribute, to keep it as being the number one country in the world. And this is when I started feeling obligated.
Arnold Schwarzenegger: And I said to myself, so what can I do? I'm a bodybuilder, what can I do? But then I realized when there's so Special Olympics that I can help and train special Olympians. We started getting involved in Special Olympics and in no time I proposed to them to start power lifting in Special Olympics, to have deadlift, which was a safe thing to do, and to have bench press, which was a safe thing to do, and it became the number one sports in Special Olympics power lifting.
Arnold Schwarzenegger: They always have a packed hall of 5,000 people, and that became the national trainer and the international trainer of Special Olympics.
Arnold Schwarzenegger: [00:40:00] And I tell you, I felt so good. I felt better than winning a bodybuilding competition, going to one of their competitions and seeing a hundred of those athletes from all over the world competing in power lifting and being happy and being included in being felt that they're equal to all of us.
Mike Parsons: Yeah, this is.
Mike Parsons: This is something that we haven't heard a lot of superstars and experts talk about yet. What's really interesting, mark, is what we both know, that the science tells us that healthy relationships, helping others is a very well studied, highly frequent characteristic of people that are happy and live long lives.
Mike Parsons: And isn't it fas fascinating to hear someone who's achieved so much. You can see the buzz that Arne gets from working with Special Olympics. And to be honest, it's really [00:41:00] inspiring and worth reminding that we have to make time for that work in our schedule. Otherwise, it's very easy to say, oh, I'm so busy.
Mike Parsons: It's hard to make community or charity time meaningful. But the practical thing I do, mark, is I try to. Also help people in the scope of my work as much as possible. Like I hope that the advisory work and consultancy work that I do with clients at its heart is helping others. How do you do it? How do you make time for this?
Mike Parsons: How are you taking this lesson? For yourself. I'm interested cuz I think I could do better. But yeah, it's a challenge,
Mark Pearson Freeland: isn't it? Look I could definitely do better when I refer oh, sorry. When I compare my dedication, I guess is one [00:42:00] word. Maybe the time I dedicate towards something like my local community, for example, I could probably do more when it comes to the way that I collaborate with others.
Mark Pearson Freeland: So to, to build on where you were going there. From an advisory perspective, the time that I work with others, what I hope I am bringing is an ability to assist and make more efficient the processes that businesses have in place. And to a, to say it in a shorter way, save time. I want to try and help cuz we've all worked in businesses where it takes all the hours of that God gives you and what ends up happening is people burn out.
Mark Pearson Freeland: Maybe they struggle, maybe they find it extra difficult, maybe they can't see their family as much and so on. What I hope is by coming in and giving a helping hand to some of these. Businesses that I work with, it's enabling individuals to have maybe a little bit more time. Maybe it's a little bit more bandwidth, [00:43:00] maybe it's a little bit more relaxation to use Arnie's word from earlier on.
Mark Pearson Freeland: And if you can start to bring in that level of support, relaxation, maybe freeing up some time for others, what I think happens is then they can go out. And be that best version of themselves. They can go out and do that great work and they can go out and try and, equally give back to their communities as well.
Mark Pearson Freeland: But really, I guess it comes down, Mike, to knowing your why. Knowing what it is that you wanna try and put out into the world where you're trying to build, and then finding much like Arne did, he was a bodybuilder. Paralympics and power lifting was a natural fit and therefore it didn't require him to, let's say, leave his lane too much.
Mark Pearson Freeland: Maybe that's the secret there. Maybe it is finding benefits such as from a work perspective, things that we can do in our own day-to-day. Hours to hours, yeah. Yeah. Perspective. It helps others
Mike Parsons: if there's an element of service and generosity in the work that you do. Then I think that's a little bit [00:44:00] more practical.
Mike Parsons: But that being said, when I lived in the US I was more active in. Giving back outside of my work. And that was so deeply rewarding. And it comes up, it actually comes up for me, besides doing this show together on Arnie, this has come up, I have had these thoughts, ah, I would love to get back to doing some of that.
Mike Parsons: So what a great way though to explore the huge success of Arnie. But also I feel like I've left with a big homework assignment from him. I'm like, oh man, I'm really falling short on this. What for you, mark has stood out from these six big rules for success?
Mark Pearson Freeland: No it's a it tough one because I like each of those individual rules that we dug into as well as the other three that we didn't dive in as much today.
Mark Pearson Freeland: Particularly the work like hell. I think he really [00:45:00] does make the case for digging in deep. Making the time for doing stuff that matters. But actually Mike, I've gotta give it to him. I think the idea of giving something back Yes. Cause it is a new, a newish concept. Yes. On the, and something that.
Mark Pearson Freeland: Maybe it hasn't been so eloquently broken down as Arnie has done for us here. Yeah, I think that might be my homework today, Mike?
Mike Parsons: Yes. I think this one we're in absolute agreement. Giving back is a homework assignment for both of us. Yeah. And I wanna say thank you to you, mark, for helping me and all of our members, viewers, and listeners in this journey because this was a journey of show 228 and it was an epic, it was a Titanic, it was a Terminator style.
Mike Parsons: Arnold Schwarzenegger and his six big Rules for success. And they spanned all sorts of fascinating ideas from trusting in yourself to even breaking a few rules, but we focused on three that really brought [00:46:00] it home for us, working like hell, not being afraid to fail and giving something back.
Mike Parsons: This has to be such a complete journey, learning from one of the most successful people ever, bodybuilding, champion, famous actor, governor of California. He did it all and we took his six rules. So we could learn out loud together so that we could hope, dream, and put in the work we could pump the iron of being the best version of ourselves.
Mike Parsons: And that's what we're all about here on the Moonshots podcast. That's a wrap.
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2018-09-07T13:19:40-04:00
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Arnold Schwarzenegger came to the governorship of California following a distinguished career in body building, business, and entertainment. Schwarzenegger was born in Austria and at 20 became the youngest person to win the Mr. Universe title. He won an unprecedented 12 more world bodybuilding titles. Schwarzenegger earned a college degree from the University of Wisconsin …
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National Governors Association
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https://www.nga.org/governor/arnold-schwarzenegger/
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About
Arnold Schwarzenegger came to the governorship of California following a distinguished career in body building, business, and entertainment. Schwarzenegger was born in Austria and at 20 became the youngest person to win the Mr. Universe title. He won an unprecedented 12 more world bodybuilding titles. Schwarzenegger earned a college degree from the University of Wisconsin and became a U.S. citizen in 1983. Former President George H.W. Bush appointed him Chair of the President’s Council on Physical Fitness and Sports in 1990. He also served as Chair of the California Governor’s Council on Physical Fitness and Sports under California Governor Pete Wilson. He married Maria Shriver in 1986 and has remained closely involved in Special Olympics, an organization founded by her late mother, Eunice Kennedy Shriver.
Schwarzenegger became the 38th Governor of California pursuant to a recall election to replace Governor Gray Davis. Schwarzenegger’s accomplishments as governor include a bipartisan agreement to reduce California’s greenhouse gas emissions by signing landmark legislation in 2006, increasing the minimum wage while lowering the state’s unemployment rate, and overhauling the workers’ compensation system—cutting costs by more than 35 percent. Schwarzenegger made major investments in improving California’s aging infrastructure through his Strategic Growth Plan, helping to reduce congestion and clean the air.
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https://www.muscleandfitness.com/athletes-celebrities/9-things-you-didnt-know-about-arnold-schwarzenegger/
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9 Things You Didn't Know About Arnold Schwarzenegger
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[] |
[] |
[
""
] | null |
[
"M&F Editors",
"icohen"
] |
2017-07-25T18:54:00+00:00
|
Get to know actor/bodybuilder/politician Arnold Schwarzenegger.
|
en
|
https://www.muscleandfitness.com/wp-content/themes/muscle-and-fitness/assets/build/images/favicon/favicon.ico
|
Muscle & Fitness
|
https://www.muscleandfitness.com/athletes-celebrities/9-things-you-didnt-know-about-arnold-schwarzenegger/
|
Arnold Schwarzenegger has one of the most recognizable names in the world. That’s what comes with seven Mr. Olympia titles, a stellar movie career, and a stint as the governor of California. If you’re a fan, you probably think you know all there is to know about the “Austrian Oak.”
Well, think again. Here are a few things you probably don’t know about Arnold Alois Schwarzenegger—yes, that’s his middle name.
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7995
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dbpedia
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2
| 89 |
https://pioneerworks.org/broadcast/andy-warhol-arnold-schwarzenegger
|
en
|
Wrong Thing, Right Space
|
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[
""
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[
"Liz Linden"
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2023-10-16T19:26:02+00:00
|
Arnold Schwarzenegger and Andy Warhol's unlikely bond.
|
Wrong Thing, Right Space | Broadcast
|
https://pioneerworks.org/broadcast/andy-warhol-arnold-schwarzenegger
|
On an unseasonably warm evening in New York City, February 25th, 1976, spectators began arriving at the Whitney Museum of American Art for an unusual event. Articulate Muscle: The Male Body as Art was described on posters as a “live exhibition” by three bodybuilders—Frank Zane, Ed Corney, and Arnold Schwarzenegger—all champions in the sport but little-known outside the practice’s insular community.
Articulate Muscle had been devised to promote and generate funding for George Butler and Robert Fiore’s half-finished documentary Pumping Iron. By 1976 the Pumping Iron filmmakers had shot their footage but ran out of money for its editing. (The documentary was adapted from a book of the same name, published two years before, written by Charles Gaines with photographs by Butler.) Trying to fundraise any way they could, Butler and Fiore held private screenings of the work in progress in the offices and living rooms of friends of friends from Washington, D.C., to San Francisco and cities in between. The Minneapolis Star Tribune, reporting on one such gambit, noted dryly that “Minneapolis isn’t traditionally regarded as a city of angels—not the financial kind, and that after Butler screened some dailies for a perplexed group of potential investors, the response was muted. "God, no," replied one man when asked if he might take a flyer. "I didn’t know they were trying to raise money tonight. I thought they were just showing some Schwarzenegger recounts in his memoir how, in light of their disappointing fundraising efforts, “rather than give up on the project, [Butler] hit on the idea of staging a posing exhibition in a New York City art museum to try to attract wealthy
By the day of the event, the museum had sold only a handful of tickets and expected just a couple hundred people to attend. Instead, visitors showed up in droves, crowding the lobby, and then the museum’s entrance, and then the sidewalk along Madison Avenue. As it got closer to the starting time, with more than one thousand people already in attendance, it became clear there were too many people to fit into the gallery and guards closed the doors to any more visitors, leaving hundreds more locked out. Harried admissions clerks, their cash registers overstuffed with small bills, began tossing money into unruly piles as people rushed by them to claim a space in the huge, now overflowing room that had until recently displayed monumental sculptures by Mark di Suvero.
Excited visitors arranged themselves on the floor, crowded into ever-widening concentric circles around a low, revolving dias. The room was populated by an eclectic and sizable mix of serious bodybuilding fans and a smaller but powerful constituency of New York’s cultural class. Curator Lawrence Alloway, widely credited with coining the term “pop art,” and whose writing about art pushed back on the strictures of modernism to make way for something new, attended with his wife, feminist painter Sylvia Sleigh, known for her images of male nudes. Douglas Crimp was there, then an art history graduate student who would, within a year, curate Pictures, a groundbreaking exhibition downtown, widely heralded as launching the postmodern art movement. Then-emerging photographer Robert Mapplethorpe was in attendance (invited by the authors of Pumping Iron, who had published bodybuilding images from his collection of historic photographs in their book), as was novelist Kurt Vonnegut. Along the back wall of the space sat a number of eminent academics and art historians, arranged at a long bank of tables covered in white tablecloths, their names on paper tents facing the audience. Vicky Goldberg, art critic for the New York Times, who had already written about bodybuilding for the paper, was there, while Gaines, the Pumping Iron author, waited at the ready to emcee the night. In his memoir, Schwarzenegger recalls one other significant attendee, who he refers to in his account of Articulate Muscle as onlookers from “the New York art scene,” specifically “critics, collectors, patrons, and avant-garde artists like Andy
It is meaningful that out of all the faces in the crowd it was Warhol who Schwarzenegger noticed that night; Warhol certainly noticed him. Arguably no one was better placed than Warhol to appreciate the unlikely emergence of the bodybuilder into New York’s art world, not only because of Warhol’s life-long fascination with both beautiful men and Hollywood stars, but also because of something more integral to Warhol’s practice. Just the year before Articulate Muscle—about a decade into an art career characterized by frenetic production, catholic approach to medium, headline-grabbing society appearances, and polarizing ubiquity—Warhol had published a book of quips, aphorisms, and anecdotes titled The Philosophy of Andy Warhol, in which he explained his professional strategy:
I like to be the right thing in the wrong space and the wrong thing in the right space…. Usually being the right thing in the wrong space and the wrong thing in the right space is worth it, because something funny always happens. Believe me, because I’ve made a career out of being the right thing in the wrong space and the wrong thing in the right space. That’s one thing I really do know
Warhol had effectively spent his career testing out theories about the power of being out of place, whether by displaying Brillo boxes and soup cans in galleries, appropriating photojournalism onto canvases, or screening art films in commercial cinemas. His work forced a decisive break with modernism and ushered in the heady, context-obsessed postmodern art movement. Schwarzenegger, appearing incongruously greased-up and gorgeous on a museum pedestal, was a perfect example of Warhol’s wrong thing, right space strategy in action—and one that, unlike Warhol’s experiments in re-signifying everyday items into art, used his strategy to move far beyond questions about art, and beyond the art world as well. Schwarzenegger wasn’t fundamentally interested in being seen as art by the art world; he wanted to be seen by the world. Warhol took note.
Beyond the obvious “wrongness” of this bodybuilder flexing in the white cube of the Whitney, Schwarzenegger resonated with another of Warhol’s pop-cultural observations from his Philosophy when he noted that, “All the movie stars are trying to become race-car drivers. And besides, all the new movie stars are the sports people, the exciting people—and they make the most Warhol was particularly attuned to the crossover ambitions of strivers like Schwarzenegger—who had explicit professional aims to move from bodybuilder to movie star to politician. Warhol had used that operation many times throughout his own career, leveraging success in one field to stand out in another, largely by being the “wrong thing” in the new space: transitioning from commercial artist to painter to filmmaker to author to manager of a rock band to magazine publisher to TV talk show host to fashion model, and so on. This also worked to help make the people around him famous. Almost from the moment of his earliest pop art successes Warhol was a social as well as artistic force in New York culture, one so powerful as to draw others into his slipstream, making celebrity—his own, and others’—both the subject and outcome of his practice, his thesis in action.
In the 1960s, Warhol went about proving just that, by anointing some of his more charismatic friends and hangers-on—Edie Sedgewick, Candy Darling, Nico, and Viva—his “superstars.” He used his own films, interviews, and press events to turn them into minor local celebrities, largely by the transitive powers of his own fame. Schwarzenegger offered a much more ambitious ready-made test of Warhol’s hypotheses about standing out—and if Schwarzenegger’s attempt at stardom was the immense natural experiment Warhol had been waiting for, Warhol was the mad scientist, ready to record his observations in the lab.
*
It was clear to Warhol and all the other art world attendees that this night was going to be different from the usual Whitney fare. The gallery thrummed with anticipation and body heat as the last attendees in the door wedged themselves into what little space was left. Then, after all the waiting and squeezing in, Articulate Muscle commenced—only, much to the audience’s obvious surprise and dismay, it began with a panel discussion about how bodybuilding fit into the canon of art. As eminent art historians droned on in what one sports journalist called “scholarly expounding on neoclassical forms and traditions of the male nude, the audience became restive. Bored visitors started muttering softly to themselves, then complaining at volume. “Give us shouted someone from the floor.
The panel, instead of revealing fundamental similarities between the art and bodybuilding worlds, as the show’s organizers had hoped, had made clear how cloistered each of these worlds actually was—how rarely the elitist art world allowed the outside world in, and how bodybuilding’s own arcane codes kept potential fans out. Newsday’s coverage of the event bluntly described the clash of subcultures with a troubling reinscription of identity-based hierarchies:
Never before has there been such a crowd at a onetime Whitney Event. Certainly never such a predominantly blue-collar crowd. They’ve come in their T-shirts and flowered synthetics. The women sometimes in wide-skirted taffeta cocktail dresses out of the ’50s…. But there are also pristine women in patent leather Gucci shoes and little wool dresses from Bonwit’s, a sprinkling of obvious gays, a contingent of rising young men in pin-striped suits, some women in wheelchairs and on crutches—and the bodybuilding groupies. Hardly anyone is past
Matthew Baigell, one of the panelists, recalled that at first the discussion seemed like it would be “fun, until the audience started to get angry and storm the The panel was hastily cut short and, at long last, the posing finally began.
What followed was precisely what the audience had been waiting for: muscles. The relieved audience burst into applause when Gaines called each bodybuilder to the room for his turn to pose: first Zane, whom Gaines hailed for his symmetry; then Corney, who flowed gracefully from one position to the next; and finally Schwarzenegger, the winningest of the three athletes. When it was his turn, Schwarzenegger bounded out from the dressing area just outside of the gallery wearing only his nutmeg-colored posing briefs. Astonished gasps and flash bulb flares ricocheted around the room. He mounted the pedestal in the center of the floor and gracefully assumed his first “shot,” holding the pose patiently as the motorized lazy Susan rotated him like a second hand turning around a dial.
In some images of the night, Schwarzenegger looks naked because his unobtrusive brown posing briefs blend in with his meticulously tanned, taut skin. The event’s striking lighting, a spotlight set above the platform, ensured that Schwarzenegger’s swollen muscles cast deep shadows on his otherwise glistening skin, slick from the oil he’d applied to his body. His hair, which is long and also brown, ripples, wavy like the muscles on his back, biceps, and legs, all the tawny surfaces only reinforcing the overall impression of mass in front of the viewer. Schwarzenegger undulated through a series of poses he and the other bodybuilders had planned for the evening, recalling in his memoir that:
We wanted each pose to look like a sculpture, especially because we were on a rotating platform… I hit the standard shots and showed off some of my trademark poses… I wrapped up my ten minutes with a perfect simulation of The Thinker by Rodin and got a lot of
In photographs of the event, audience members beam up at Schwarzenegger on the posing dais. Whole sections of the audience tilt their heads in unison, following the lines of Schwarzenegger’s twisting body as if he is pulling them with strings. Posing in the Whitney’s gallery, with its iconic coffered ceilings, crisp white walls, and heroic scale, Schwarzenegger’s body paradoxically appears both hard and human, and makes clear how unusual it is to see a living, breathing body exhibited in a museum—the wrong thing in the right space.
*
This was precisely why Warhol wanted to meet him. In the weeks after the Whitney event, the publicity agent for Pumping Iron, Bobby Zarem, began taking Schwarzenegger around town, recalling in an interview, “I pretty much introduced him to the art Zarem took Schwarzenegger to Elaine’s, the storied uptown restaurant and hangout of film stars, literati, and other New York celebrities, where he was introduced to Warhol. In his memoir Schwarzenegger recalled that Warhol asked about Articulate Muscle and “wanted to intellectualize it and write about what it meant.” He questioned, “How can you look like a piece of art? How can you be the sculptor of your own
While Warhol was curious about the reframing of bodybuilding as art, he was even more interested in Schwarzenegger’s hopes for the future. He was 28 at the time of the Whitney exhibition, and while he was a champion bodybuilder, he remained little-known outside the niche sport’s community. He was also enormously ambitious, the Pumping Iron documentary just one step in a carefully plotted, multiphase process of getting where he wanted to go, from his poor childhood in postwar Austria to the greatest reaches of the American Dream through his oft stated plan to use his bodybuilding prominence to “become a movie star, make millions, marry a glamorous wife, and wield political
Warhol became an informal mentor to Schwarzenegger, inviting him to visit the Factory, Warhol’s studio then located in Union Square, and taking him under his wing following the usual playbook: bringing Schwarzenegger to Manhattan hotspots where they were sure to be noticed, like Studio 54; photographing him in the Factory with his Polaroid and around town with his Minox; and detailing his encounters with Schwarzenegger in his oral diary, which was transcribed and published after Warhol’s death.
Warhol even promoted Schwarzenegger’s nascent acting career in the December 1976 issue of his magazine, Interview, months before Pumping Iron had even been released. The profile emphasized Schwarzenegger’s crossover appeal and suggested that Schwarzenegger, with his muscles and on-camera experience, would be perfect to play Superman. (Interestingly, in that interview Schwarzenegger was already concerned about typecasting and the kinds of roles he might be offered once Pumping Iron made him the star he felt sure to become, explaining, “I think if I would do Superman now that’s what I would be known as—just
Schwarzenegger started hanging out regularly at the Factory. Vincent Fremont, Warhol’s studio manager at the time, recalls, “We saw a lot of Arnold…. He was very charismatic. You couldn’t mistake that at all. He had a big smile and was very Zarem had also placed a story about Schwarzenegger in Newsweek for an upcoming issue in 1977 and got the painter Jamie Wyeth a commission to paint him for the cover. Warhol had already loaned Wyeth an unused corner of the Factory to work in, and so Wyeth painted him there—setting up his easel by one of the big windows over Union Square, sectioned off with some makeshift cardboard partitions, and inviting Schwarzenegger to pose.
Schwarzenegger enjoyed being in the Factory’s hive of activity. On breaks from posing for Wyeth, Schwarzenegger would “walk around and talk to people” in the Factory offices. Sometimes he would even man the phones. “Schwarzenegger was a big flirt,” Fremont recalls:
He was always walking around the Factory without his shirt on. Everybody loved him at this point. He was a new phenomenon and he was out there being very charming and really putting himself in the spotlight…. But he hadn’t attained his stardom yet. He was on his way up…. He was very approachable and wanted the
Schwarzenegger spent hours at a time oiled up and illuminated by the light from the window out onto Broadway, flexing for Wyeth as Warhol, his friends, and his staff buzzed around and New York bustled outside. Fremont recalls, “You could be walking down Broadway and if you reached Broadway and 17th and you looked up, you’d see Arnold While Wyeth’s portrait was not ultimately used for the publication, the painting was exhibited in November 1977 at the Coe Kerr Gallery uptown, whose proprietor recalled what Schwarzenegger had told him about the posing experience:
Jamie placed him by a window for the effect of light, and Arnold, his eyes are sort of looking out the window, down towards the street where constantly during the pose there were hundreds of people looking up at him…. He said that probably it was one of the most difficult things he’s ever done, to pose by the hour for an artist. It’s a very difficult thing to do, just to stand there without moving and looking out at an adoring public looking up at
One afternoon in 1977, Warhol invited Schwarzenegger into one of the Factory’s back rooms to watch him shoot photographs for what ultimately became Warhol’s Sex Parts work, a sometimes explicit series of details of body parts that started out as a somewhat tamer project to abstract nudes into unidentifiable formal properties, works Warhol initially called Landscapes. Schwarzenegger followed him into his studio for the shoot, where six young men were disrobing. In his memoir Schwarzenegger remembers telling himself, “‘I may be part of something interesting here…. God has put me on this path. He means me to be there, or else I’d be an ordinary factory worker in Schwarzenegger watched from the side as Warhol arranged the naked men on a white table, laying them on top of each other in a confusing jumble of limbs and flesh, adjusting their positions, then the lights, and shooting a number of Polaroids. When Warhol showed one to Schwarzenegger, the Austrian was surprised by how the men “didn’t look like people, just shapes…. I said to myself, ‘This is unbelievable, this guy is turning asses into rolling
The improvisational, lightning-in-a-bottle nature of so much of Warhol’s practice made an impression on Schwarzenegger, who recalled the unpredictable opportunity:
I had the feeling that if I’d asked in advance to watch him work he’d have said no. With artists, you never know what reaction you’ll get. Sometimes being spontaneous and jumping on an opportunity is the only way you can see art being
While Schwarzenegger’s goals for his life had long been clear to him from his earliest adolescence, what Warhol helped him see was not the places he wanted to take his life but a roadmap for how to get there. Not only did Warhol offer generous and meaningful publicity early in his friend’s career; his theories about standing out and crossing over also illuminated Schwarzenegger’s path forward and provided a framework for Schwarzenegger’s future efforts to raise his profile. This became his longterm strategy, evinced equally in films which capitalized on his unusual person (from 1984’s Terminator, in which he plays a muscular cyborg-assassin loose amongst mere humans, to 1990’s Kindergarten Cop, in which he was cast as an undercover policeman infiltrating a class of five year olds) and in gubernatorial campaign pronouncements like, “I’m a different kind of candidate. I’m not a traditional
Warhol offered Schwarzenegger a high-profile model for how to use being out of place to his advantage, and for that one formative year they spent together, from first encountering him at Articulate Muscle to Pumping Iron’s successful New York première, Schwarzenegger studied his friend closely. In 1977, after Pumping Iron had debuted to great acclaim and he was widely celebrated as “a unique and credible physical star… enjoyed and admired by a vast cross section of the Schwarzenegger was asked by a journalist about his relationship to the artist. The bodybuilder paused and then explained, “It all has been a very educational thing for me getting to know Andy Schwarzenegger offered Warhol something too: he proved Warhol’s wrong thing, right space theory right on a scale that took many, if not Schwarzenegger, by surprise.
After their first year of friendship, as Schwarzenegger spent more time in Hollywood and his career moved from one box office triumph to another, the men kept in touch. Schwarzenegger started dating Maria Shriver, who was not only beautiful but also a smart and ambitious member of the Kennedy clan, a storied American political dynasty of Democrats in which Schwarzenegger (muscle-bound actor, recent immigrant, Republican) was not a natural fit. When Schwarzenegger and Shriver got engaged, it was Warhol whom Schwarzenegger commissioned for her wedding gift: her portrait, in series. And in 1986 when Shriver became the “glamorous wife” of Schwarzenegger’s dreams in a small but opulent wedding, Warhol was there.
He died one year later. By then Warhol had witnessed Schwarzenegger become so many of the things he had hoped to be—a wealthy Hollywood star with a striking spouse—something he had achieved at least in part with Warhol’s strategic help. And Schwarzenegger kept moving forward through his list, going into politics just as he predicted. While Warhol wasn’t alive to witness Schwarzenegger’s brief and tumultuous campaign for governor of California in 2003, pundits and pollsters acknowledged the outsize role name recognition from his Hollywood stardom and longtime presence in visual culture played in the campaign; in a field crowded with one 135 mostly unknown candidates, Schwarzenegger stood out.
In his lifetime, Warhol had already watched his right thing, wrong place strategy lift Ronald Reagan—Schwarzenegger’s political hero, a sports star turned actor turned politician—to the U.S. Presidency. Schwarzenegger’s successful campaign would likely not have surprised him. And Warhol’s strategy remains evermore effective today, as popular culture’s power is turbocharged by the connectivity and celebrity-boosting power of the Internet. Real estate developer and reality TV star Donald Trump successfully leveraged his own name to become the 45th President of the United States, in just one recent example with far-reaching consequences. So, while Schwarzenegger was not the first celebrity to use his fame to recontextualize himself into a populist legislator—and his fans into constituents—neither will he be the last.
And though Warhol wasn’t there to see it happen, Schwarzenegger didn’t forget his friend’s early help in finding his way to the place he wanted to go. Even in the statehouse in Sacramento, he remembered.♦
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7995
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dbpedia
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3
| 8 |
https://governors.library.ca.gov/38-Schwarzenegger.html
|
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Governors of California
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Arnold Schwarzenegger was born in Thal, Austria, a small village bordering the Styrian capital of Graz. He immigrated to the United States in 1968 and became a U.S. citizen in 1983.
Schwarzenegger earned a BA in Business and International Economics at the University of WisconsinâSuperior. He received an honorary Doctorate from the University of WisconsinâSuperior in 1996 and an honorary Doctorate from Chapman University in 2002.
An increasingly politically active Republican during the 1990s, Schwarzenegger ran for the California governorship and won when Gray Davis was recalled in 2003. Schwarzenegger was sworn in as the 38th Governor of California on November 17, 2003, following careers in body building, business and entertainment. Schwarzenegger was the first foreign-born governor of California since Irish-born Governor John G. Downey in 1862. While governor, Schwarzenegger focused on reducing California's greenhouse gas emissions, increasing the minimum wage, and updating the workers' compensation system. He was also a proponent of physical education and after-school programs, and supported the After-School Education & Safety Act, which passed in 2002.
Prior to and during his term as governor, Schwarzenegger was involved with the Special Olympics, an organization founded by Maria Shriver's mother, Eunice Kennedy Shriver. He was named Special Olympics International Weight Training Coach in 1979 and then a Global Ambassador. President George Bush appointed Schwarzenegger as Chair of the President's Council on Physical Fitness and Sports in 1990, which he served on until 1993. He also served as Chair of the California Governor's Council on Physical Fitness and Sports under Governor Pete Wilson.
Schwarzeneggerâs awards include the Simon Wiesenthal Center's "National Leadership Award" for his support of the organization's Holocaust studies. In 2002, Schwarzenegger was honored with the Muhammad Ali Humanitarian Award, presented to him by Ali, a longtime friend and sports mentor. In 2004 he was named as one of Time Magazineâs â100 people Who Help Shape the Worldâ.
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Arnold Schwarzenegger’s Escapades Raised “Sensitivity” To Election Law Violations, Ex-‘National Enquirer’ Boss Tells Donald Trump Hush Money Trial
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2024-04-25T17:41:19+00:00
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It was thanks in part to Arnold Schwarzenegger that the former publisher of the National Enquirer knew he could get in trouble for the tabloid’s catch-and-kill policy and buying off salacious stories about Donald Trump. Over objections from Trump’s defense team, ex-American Media CEO David Pecker poignantly Thursday told the judge, jurors, Trump himself and …
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https://s.yimg.com/rz/l/favicon.ico
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Yahoo News
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https://deadline.com/2024/04/trump-hush-money-trial-latest-schwarzenegger-1235894882/
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It was thanks in part to Arnold Schwarzenegger that the former publisher of the National Enquirer knew he could get in trouble for the tabloid’s catch-and-kill policy and buying off salacious stories about Donald Trump.
Over objections from Trump’s defense team, ex-American Media CEO David Pecker poignantly Thursday told the judge, jurors, Trump himself and everyone else in a packed Manhattan courtroom he was aware he was violating election law in 2016 when he secretly bought Playboy playmate Karen McDougal’s story of an affair with Trump for $150,000. Admitting the purchase was entirely to kill the story, Pecker said that the primary purpose behind the payoff and others in a similar vein was to help the then-Celebrity Apprentice host’s presidential campaign.
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Stormy Daniels' Attorney Tells Jurors Of Hush Money Payment And His Suspicion That Trump Was The One Who Funded It
Such tactics were nothing new for Pecker.
Under his deal with Schwarzenegger over 20 years ago, the former media executive said today, “I would call him and advise him of any stories that were out there, and I ended up acquiring them and buying them for a period of time.” Back on the stand in the Trump hush money trial today, Pecker added, he gained a “sensitivity” to campaign finance law based what had gone down in the early 2000s with stories of Schwarzenegger’s alleged misconduct on film sets and elsewhere over the decades.
In the case of Trump and the McDougal story, Pecker came up short and the tale was published just days before the 2016 election by the Wall Street Journal. Having barely survived the released of the odious Access Hollywood tape just weeks before, Trump was furious about the WSJ article, Pecker told the court today
As the first former president to stand trial, the much-indicted Trump is in court over a $130,000 payment made in 2016 to allegedly keep adult film actor Stormy Daniels from going public with her story of a one-night stand with Trump. The so-called hush money Trump’s then-lawyer Michael Cohen wired to Daniels was secretly reimbursed by the then-candidate through an illegal scheme that violated dozens of business and campaign finance laws, prosecutors say.
Trump has denied both affairs and said he paid Cohen for routine legal work and nothing more.
Connecting Hollywood and Republican dots, Pecker continued his testimony Thursday that he was concerned a payment to McDougal would violate campaign finance laws because of his own past experience with Schwarzenegger running for California governor in 2002-2003.
Back then, as the Terminator star was preparing an ultimately successful GOP run to replace the recalled Grey Davis, Schwarzenegger was also an editor at large for two fitness magazines owned by AMI. In that context, and in the catch-and-kill vein that he used to protect Trump and Schwarzenegger, Pecker testified he took pains to disguise the McDougal payment as a contract for editorial work, some of which he planned for the 1998 Playmate of the Year to do, and rights to her life story.
Under questioning from prosecutor Joshua Steinglass, the ex-CEO admitted to the Manhattan courtroom, with Trump seated just a few feet away, that never had any intention of ever publishing anything on McDougal.
Longtime Trump courtier Pecker has been granted an immunity deal by Manhattan District Attorney Alvin Bragg’s office in exchange for his testimony. So far, in a case that expects to see Daniels and former Trump bagman Cohen also testify, Pecker’s time on the stand has been crushing for the former POTUS.
It has proven a bit embarrassing for Schwarzenegger too; his reps did not respond to a request from Deadline to respond to what was said in court today.
In 2002, Pecker’s company bought fitness magazines Flex and Muscle & Fitness, founded by bodybuilding champion Joe Weider, a Schwarzenegger mentor who also made the Conan actor a columnist at the publications. Pecker testified that around that time he met with Schwarzenegger, who registered his displeasure with what AMI tabloids had reported about him, and noted he’d been involved in litigation with the company over its gossip coverage.
The publisher said Schwarzenegger told him, “You always run negative stories about me. I plan on running for governor and I would like you not to publish any negative stories about me … now or in the future.”
Pecker said he agreed.
When Schwarzenegger announced on Jay Leno’s Tonight Show in 2003 that he was running for governor, Pecker said today that “a number of women called up to National Enquirer about stories that they had to sell on different relationships or contacts, and sexual harassment that they felt that Arnold Schwarzenegger did.” The problem for Pecker and AMI’s catch-and-kill moves was that when one of the women went instead to the Los Angeles Times with her account of Schwarzenegger’s misbehavior. Adding insult to injury, when Schwarzenegger was repeatedly asked at the time by reporters about the story, the actor-turned-politician would say, “Ask my friend David Pecker.”
“It was very embarrassing to me and the company,” Pecker testified today. The star witness publisher said that “an investigation by the state” followed, and Schwarzenegger had to resign as editor at large of the two titles.
As the New York court today now turns to the specifics of the $130,000 Daniels payoffs at the heart of the case, Trump lawyers have been arguing in front of the Supreme Court in DC over the ex-president’s claims of immunity. Having already delayed a federal trial in the January 6th case and maybe other Trump trials by agreeing to today’s end-of-term hearing, the conservative-majority SCOTUS will consider whether Trump’s conduct as president gives him broad immunity from prosecution. Whatever they decide, the timing saves Trump the possibility of having to face further time in court as his rematch against Joe Biden heats up this summer.
Today also saw prosecutors in the Manhattan hush money case arguing before Justice Juan Merchan that Trump has violated the gag order he’s under at least four more times.
Citing a grand total of 14 violations, not including the latter part of today, prosecutor Christopher Conroy asked the Empire State judge to hold Trump in contempt. “This is a message to Pecker: Be nice,” Conroy said of potentially intimidating remarks Trump has made over the past 72 hours, including when the trial was dark on Wednesday. “It’s a message to others: I have a platform and I can talk about you and I can say things like this, or I can say things like I said about Cohen.”
Outside court and on his Truth Social platform, Trump has repeatedly bashed Cohen and Daniels calling them liars and opportunists, and called Merchan too compromised by Democratic family ties to oversee the case. He also has accused Manhattan DA Bragg of using the criminal justice system to help Biden beat him in their expected rematch this fall.
Online digs at Cohen, Daniels and potential jurors prompted the assistant DAs leading the prosecution to seek a contempt ruling for what they called repeat violations of a gag order imposed by the judge. The order forbids criticism of witnesses, jurors and other case participants — though not Merchan himself or Bragg. Trump has called the gag order unfair and unconstitutional.
In a contempt hearing Tuesday with no jurors present, Merchan warned Trump lawyer Todd Blanche that he was “losing all credibility” with legal arguments that amounted to “nothing.” Merchan invited Blanche to put Trump on the stand, an offer Blanche did not take.
Even after today’s further arguing over the violations by prosecutors, Merchan had yet to announce a decision on whether he will find Trump in contempt and levy fines of up to $10,000.
Earlier, with jury out of the room on a short break, the lawyers haggled over whether to admit Election Night texts from National Enquirer editor Dylan Howard to a relative of his as evidence. One from Howard reads, “At least if he wins I’ll be pardoned for electoral fraud.”
The judge is sounding skeptical of letting the jurors see these, but hasn’t ruled yet.
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https://www.independent.co.uk/life-style/health-and-families/arnold-schwarzenegger-fitness-advice-protein-shake-b2279422.html
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Arnold Schwarzenegger shares five fitness tips for beginners
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2023-02-09T23:08:57+00:00
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The famous bodybuilder hosted a surprise Reddit AMA, where he shared everything from his daily workout schedule to his favourite protein shake recipe
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/img/shortcut-icons/favicon.ico
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The Independent
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https://www.independent.co.uk/life-style/health-and-families/arnold-schwarzenegger-fitness-advice-protein-shake-b2279422.html
|
Arnold Schwarzenegger has shared his expert workout advice for people looking to start their fitness journey.
The bodybuilding legend and former governor of California recently hosted a surprise “Ask Me Anything” on the Reddit forum r/Fitness. There, he answered fans’ questions about everything from his daily workout schedule, to the benefits of working out at a public gym, to his favourite protein shake recipe.
“Since I started my daily fitness newsletter, I started taking some questions from readers this week and remembered how much I love it,” he began the Reddit AMA, under the username u/GovSchwarzenegger. “My team told me it has been almost a decade since I took questions here. Should we go for it?”
The seven-time Mr Olympia winner instantly received more than 1,200 comments from fans, so much so that he fielded questions on Reddit for nearly five hours.
Here are five fitness tips for beginners from the one and only Arnold Schwarzenegger.
Start small
After answering questions on Reddit, the Terminator star compiled the highlights into a post for his weekly newsletter, “The Pump Daily”, specifically about his workout advice for beginners.
“My advice to beginners is really simple: begin,” he wrote. “And then don’t stop until it is a routine. For a lot of people, that first step is the hardest. So find something, anything, you can do.”
Schwarzenegger suggested starting small by going on a 30-minute walk. For those who walk all day but wish to gain more strength, try doing five push-ups and then five squats. Then, go down to four push-ups and four squats.
“Rest if you need to,” he added. Keep going down to three push-ups and three squats, then two and two, and then one and one for a total of 15 push-ups and 15 squats.
“If it was easy, start at 10 next time,” he said.
Keep momentum
In his newsletter, the action star explained that keeping your momentum is one of the most important parts of a beginner’s fitness journey – which is why Schwarzenegger said he “encourages everyone to set goals they can achieve when they’re just starting out.”
For example, he suggested training 10 minutes every day for a month, followed by 15 minutes a day.
“Motivation is fleeting, but routine is what carries you on,” he said. “You need to make this a routine. Do whatever you can do every day for a month, and then build on that.”
Track every workout
During the Reddit AMA, one fan asked Schwarzenegger whether it’s beneficial to track progress during a workout, and how he recommends going about it.
The Predator star responded that he used to track every one of his workouts, adding: “I used a chalkboard in the gym and marked off my reps. I wrote it down ahead of time and then marked off each set as I finished. You can use your phone for this or music – but nothing else! – in the gym.”
Avoid using phones at the gym
Speaking of phones, Schwarzenegger is a major proponent of staying unplugged during a workout. Over on Reddit, he often shared that he doesn’t “like when I see people on their phones” at the gym. When one disappointed fan shared they were sad to have missed his Reddit AMA (because they were in the middle of a workout), the Austrian actor still commended them for going off the grid.
“Devastated to have missed this,” they wrote. “However, proud to say that five-seven hours ago (duration of the AMA sadly) I was busy pumping iron in the gym.”
“Champion,” he replied. “I’m proud of you for not being on your phone during the pump.”
Schwarzenegger also made sure to point out a study which suggested that using your phone before exercise may reduce your strength by nearly 30 per cent.
Protein, protein, protein
For those who are just starting out in their fitness journeys, Schwarzenegger recommended implementing protein into their diet, especially for those trying to gain weight and muscle.
“Focus on simple things,” he told Reddit users. “Get protein every meal. Try that for a month. Anytime you put food in your mouth, make sure there is a protein source. I have a test group doing this simple challenge and they saw crazy results.”
Meanwhile, Schwarzenegger’s favourite foods to help maintain muscle are omelettes or scrambled eggs with “absolutely every vegetable in them,” along with a salad for lunch. For breakfast, he also enjoys a yogurt with granola, and almonds or a protein shake as a snack. “I just have vegetable soup for dinner,” he added.
As for his go-to protein shake recipe, Schwarzenegger goes for a plant-based protein powder from the brand Ladder, with banana, almond milk, some cherry juice, and one special ingredient.
“If I’m feeling crazy, schnapps,” he said.
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Yahoo News: Schwarzenegger Sworn in As Calif. Gov. as Saregent Shriver and wife looks on
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November 17, 2003 - Yahoo News: Schwarzenegger Sworn in As Calif. Gov. as Saregent Shriver and wife looks on Peace Corps Online: Peace Corps News: Headlines: Peace Corps Headlines - 2003: November 2003 Peace Corps Headlines: November 17, 2003 - Yahoo News: Schwarzenegger Sworn in As Calif. Gov. as Saregent Shriver and wife looks on
By Admin1 (admin) (pool-151-196-250-225.balt.east.verizon.net - 151.196.250.225) on Tuesday, November 18, 2003 - 11:48 am: Edit Post
Schwarzenegger Sworn in As Calif. Gov. as Sargent Shriver and wife look on
Schwarzenegger Sworn in As Calif. Gov. as Sargent Shriver and wife look on
Schwarzenegger Sworn in As Calif. Gov.
By TOM CHORNEAU, Associated Press Writer
California Governor Arnold Schwarzenegger is applauded by in-laws Sargent and Eunice Shriver, during his swearing in ceremony to become California's 38th Governor, at the State Capitol in Sacramento November 17, 2003. REUTERS/POOL/ Laura Rauch
SACRAMENTO, Calif. - Arnold Schwarzenegger (news - web sites) was sworn in Monday as the 38th governor of California, completing a meteoric rise from bodybuilder and action hero to leader of the nation's most populated state in a historic recall election.
The 56-year-old Austrian immigrant took the oath of office on the steps of the Capitol before an audience of 7,500 dignitaries and supporters as millions more around the world watched the event live on television.
Schwarzenegger's wife, Maria Shriver, held the Bible while California Supreme Court Chief Justice Ronald George administered the oath.
"I am humbled, I am honored and I am moved beyond words to be your governor," Schwarzenegger said after being sworn in.
In a nod to his wife's uncle, Schwarzenegger added: "In the words of President Kennedy, 'I am an idealist without illusions.'"
Although he had no experience as an elected official, the Republican Schwarzenegger was swept into office in the Oct. 7 election that ousted Democratic Gov. Gray Davis (news - web sites), reviled by the voters for his handling of the state's ailing economy.
"Perhaps some think this is fanciful or poetic, but to an immigrant like me who, as a boy saw Soviet tanks rolling through the streets of Austria, to someone like me who came here with absolutely nothing and gained absolutely everything it is not fanciful to see this state as a golden dream," Schwarzenegger said.
The ceremony, while steeped in tradition, was void of the pageantry often associated with California inaugurations.
Bitterness over the divisive recall vote and the state's financial troubles prompted Schwarzenegger to put a damper on livelier festivities although plenty of celebrities and journalists were on hand. Former Miss America (news - web sites) Vanessa Williams, who appeared with Schwarzenegger in the 1996 film "Eraser," sang the national anthem.
Nearly 740 journalists were expected to cover the ceremony numbers similar to a presidential inauguration. Fifteen dignitaries from 13 countries were in attendance, including representatives from Canada, Egypt, Austria and Mexico.
The new governor was surrounded by his four children, who had remained out of public view during much of the recall campaign.
California Governor Arnold Schwarzenegger (news) points along with his wife Maria Shriver and her parents Eunice (R) and Sargent (C) Shriver during Schwartzenegger's swearing in ceremony becoming California's 38th Governor at the State Capitol in Sacramento November 17, 2003. REUTERS/Mike Blake
Later in the day, Schwarzenegger was to attend three events: a luncheon inside the Capitol rotunda for state and federal officials, a private family gathering across the street and an invitation-only reception sponsored by the state Chamber of Commerce (news - web sites).
He was scheduled to return to the Capitol by mid-afternoon to start the business of running California's government, a job that became more daunting over the weekend when his chief financial deputy pegged the state budget deficit at $25 billion far more than other estimates.
An immigrant who arrived in the United States at the age 21 barely able to speak English, Schwarzenegger is a quick study who impressed even some of his critics with his raw political skills. But he has nonetheless also made many promises to voters that will be hard to keep, including repealing a big hike in the car tax on his first day in office. That will add an estimated $4 billion to the deficit.
Schwarzenegger has said he will call the Legislature back into session, probably Tuesday, to deal with a range of issues including budget cuts, reform of the state's worker compensation system and a repeal of a new law that lets undocumented workers get driver's licenses.
Democrats, who control both houses of the Legislature, have said that they will be willing to give the new governor a chance, but most observers agree that the political goodwill will not last, presenting the new governor with an even bigger challenge.
The recall movement was launched in February by grass-roots activists angered over the state's budget woes and the prospect of higher taxes. GOP Rep. Darrell Issa bankrolled the effort, spending $1.7 million of his fortune to get the measure on the ballot.
Schwarzenegger quickly became a contender after announcing his candidacy Aug. 6 on "The Tonight Show With Jay Leno (news - Y! TV)."
The "Terminator" star cast himself as an outsider he showed up at the Capitol on Sunday holding a broom to "clean house" and claimed to be beholden to no special interests, even though he, too, accepted large campaign contributions from developers and major business interests.
In the days before the election, the Los Angeles Times published allegations that Schwarzenegger had groped several women over the past 30 years. Schwarzenegger admitted he had "behaved badly sometimes," but with Shriver a fixture at his side, he quickly recovered.
Schwarzenegger won with 48 percent of the vote over a list of 134 other candidates vying to replace Davis, who was bounced by 55 percent of the voters.
In contrast to Monday's relatively sober proceedings, the 1999 inaugural for Davis included a $3.7 million event featuring Lionel Richie, Kenny G and a reading by "Happy Days" actor Henry Winkler. And in 1995, Natalie Cole sang at then-Gov. Pete Wilson's inaugural gala.
Although Schwarzenegger's ceremony was more low-key than previous ones, there was plenty of star power, with guests including Dennis Miller, Jamie Lee Curtis, Danny DeVito and Rob Lowe.
And the inauguration was well-documented.
Requests for press credentials came from TV crews and print journalists around the globe including Japan, Australia, France, Germany, the United Kingdom and, of course, Schwarzenegger's native Austria.
Some postings on Peace Corps Online are provided to the individual members of this group without permission of the copyright owner for the non-profit purposes of criticism, comment, education, scholarship, and research under the "Fair Use" provisions of U.S. Government copyright laws and they may not be distributed further without permission of the copyright owner. Peace Corps Online does not vouch for the accuracy of the content of the postings, which is the sole responsibility of the copyright holder.
Story Source: Yahoo News
This story has been posted in the following forums: : Headlines; Peace Corps Directors - Shriver; Politics
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Arnold Schwarzenegger Gets Candid on Career, Failures, Aging: “My Plan Is to Live Forever”
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2023-05-16T13:00:00+00:00
|
Arnold Schwarzenegger gets candid on career, failures, aging, his new Netflix series 'FUBAR' and the future of the Terminator and Conan franchises.
|
en
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The Hollywood Reporter
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https://www.hollywoodreporter.com/tv/tv-features/arnold-schwarzenegger-interview-netflix-fubar-terminator-conan-1235491977/
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Arnold Schwarzenegger had a ritual.
The “Austrian Oak” would stare at his naked body in the mirror as if he were a living work of art, a figure to be sculpted to perfection by lifting hundreds of pounds of iron in endless repetition. His goal was to shatter bodybuilding records and then become Hollywood’s biggest action star — and it worked. Now, decades later, when Schwarzenegger sees his 75-year-old body, what does he like about it? “Nothing!” Schwarzenegger says, smiling yet serious. “My whole life I look at the mirror and see the best-built man, and all of a sudden I see a bunch of crap. It’s terrible! You get these wrinkles under your eyes. You get wrinkles under your pecs. You see the fucking poodle!” The poodle? “Budle,” he corrects. “It’s Austrian for your stomach sticking out. Where the fuck did that come from? It’s not pleasurable. But you cope with it.”
Schwarzenegger says this lounging in a cabana on his 6-acre Brentwood estate with a palm-sized Yorkie named Noodle in his lap. Noodle is one of the action icon’s uniquely sized, Instagram-friendly pets that wander surreally about. There’s a mini-donkey (Lulu — a bit aggressive when being fed cookies), mini-horse (Whiskey — standoffish) and a hulking Alaskan malamute (Dutch — happy and floofy). Schwarzenegger takes a quick call about acquiring a pig to join his menagerie and his assistant generously offers, “You can break the news of the pig.”
Rising above Schwarzenegger’s pool is a taunting reminder of his past — an 8-foot bronze statue of Arnold at his bodybuilding prime. It’s his vision of the ideal male form, achieved and frozen in time, while the man himself ages on.
Despite his years, Schwarzenegger is hitting new levels of productivity. He’s making his series television debut with a Netflix action-comedy, FUBAR, that premieres May 25. A couple of weeks later, Netflix drops a three-part documentary, Arnold, chronicling his life. He has an upcoming self-help book, Be Useful: Seven Tools for Life, and is doing nonstop fitness promotion (his new, self-published daily newsletter has racked up 432,000 subscribers) and elder statesman activism (his viral video about the Ukraine war generated 100 million views).
Below, in a blunt and wide-ranging discussion, the father of five (and a father-in-law to fellow action star Chris Pratt) discusses the future of his Terminator and Conan the Barbarian franchises, his relationship with ex-wife Maria Shriver, life-extension efforts, identity politics, why feelings are overrated (“This country was not built by people feeling good!”) and revisits some of the darkest shadows from his past.
Let’s start by looking back: You were the biggest box office star for a stretch in the ’80s and ’90s. It’s a level of stardom only a few actors reach. What did that time feel like?
I couldn’t give you an honest evaluation because I don’t analyze myself like that. I never felt like a star. I felt that I’m lucky I’m one of the few to be happy in his professional life and personal life. But I never felt like I was on top of the world — even in my bodybuilding days when I was winning Mr. Olympia. I always was hungry to do more and to do better.
Everybody knows your hits; what’s your most underrated role?
Last Action Hero. It was slaughtered before anybody saw it. It was literally a political attack because I was campaigning for [former President George H.W. Bush], but Bill Clinton won. Last Action Hero was great — it wasn’t fantastic, but it was underrated. Now, more and more people are seeing it and saying, “I love this movie.” I’m getting the residual checks, so I know it’s true. It made money — that’s always an important thing for me. Because it’s show business, right?
The Terminator franchise — it feels done now?
The franchise is not done. I’m done. I got the message loud and clear that the world wants to move on with a different theme when it comes to The Terminator. Someone has to come up with a great idea. The Terminator was largely responsible for my success, so I always would look at it very fondly. The first three movies were great. Number four [Salvation] I was not in because I was governor. Then five [Genisys] and six [Dark Fate] didn’t close the deal as far as I’m concerned. We knew that ahead of time because they were just not well written.
The last thing most actors want is to be associated with catchphrases that follow them around. Yet you’ve embraced yours. What does a line like “I’ll be back” mean to you at this point?
I think about how it was an accident. [Terminator director] Jim Cameron and I were debating how to say the line because I was not comfortable with saying “I’ll.” I said, “I think it’s stronger to say, ‘I will be back.’ ” Cameron said, “Are you the scriptwriter now? It’s just one word. Don’t tell me how to write. I don’t tell you how to act.” I said, “You tell me how to act every fucking minute! What are you talking about?!” So he says, “Arnold, you think it sounds weird. It doesn’t. What makes it great is that you sound different than me or Charlie over there. That’s what makes it work. So just say it 10 times. Say it different ways. I’ll keep rolling the camera. Then we’ll choose one.” So they set it up, and I say: “(Flatly) I’ll be back … (cheerful) I’ll be back! … (guttural) I’ll beeee baaaack …” It sounded stupid.
The movie comes out. I’m in Central Park. This guy comes up and says, “Say the line!” … Now, a few days ago, I was skiing in Aspen, and the concierge comes up asking me to say the line. So that’s where it started and where it ended up. It’s wild. I’m the last one to get complicated and say, “I don’t want to compare myself to my movies or use a line from my movies.” Hell, Clint Eastwood takes the clothes from his movies and that’s all he wears. So why would I be worried about using a line?
Lately you’ve been engaging more online, becoming a bit of an influencer.
Because there’s so much negativity out there. The internet chat is so negative. When you give people a compliment — somebody loses 200 pounds and you say, “Congratulations,” they say, “Oh my God, you are the greatest guy in the world.” People appreciate that more than ever. I’m always trying to figure out a way of making a better world and to be useful.
When motivating people, you’ve always loved being blunt. Have people become too sensitive?
They maybe have, but remember what Nietzsche said: “For every attack, there’s a defense.” If people are sensitive, let’s figure out what we can say. I say at a seminar, “When you’re fat …” and then somebody afterward says, “Maybe instead say, ‘Lose weight’ or ‘Extra pounds.’ ” It’s not hard to do. We have to make an effort and not say, “This is outrageous, now they want [to change how we say] this.”
“Be useful” was your father’s advice. In your Ukraine video and your recent message against far-right extremism, you were more critical about him than I had heard before — you previously avoided the word “Nazi.” What made you decide to be more candid?
My goal was to not have people go that direction, so it would be a good idea to be straightforward and say: “Look, my previous generation were Nazis. The people I grew up with were Nazis.” Generations can be different. I don’t need to do the same things my dad did. I don’t need to be prejudiced. I don’t need to be an alcoholic. I don’t need to beat my kids. I can make a break. That’s why I started bodybuilding and came over here. I wanted to make clear that the other way loses all the time and creates misery; love and inclusion brings happiness.
Your book is aimed at disaffected young people, particularly young men. Some of these guys call themselves “alpha males.” What do you think of the term?
I just don’t identify anyone with anything. The more we label people, the more people fight amongst each other and the more there is negativity. I always see everyone as a person. It comes from my bodybuilding days. Everyone onstage was equal. It didn’t matter what color or religion you were. If you’re Black and lost 200 pounds or if you’re Chinese, it makes no fucking difference. This is how I try to operate — not that I’m perfect, or that I haven’t been prejudiced or disrespectful. I’m trying.
You’ve described your dad’s abuse as fuel for self-improvement; you became so big and so strong that nobody could ever hurt you again. But you can’t do that to a kid and have it only result in positive motivation. It had to have some negative impact on you, too.
Well, look at my brother [Meinhard]. We were opposites. He was more fragile. He got the same treatment and became an alcoholic and died drunk driving. What tore him down built me up. It goes back to Nietzsche: What doesn’t kill you makes you stronger — and he got killed. It’s like in Conan when James Earl Jones, as Thulsa Doom, says, “Why do you want to kill me? I created you.” He killed [Conan’s] parents, he created this fire in the belly, which is why [Conan] became the warrior, became the king. He was the spring-well of my strength. So I can look at it in a negative way and dwell on that. Or I can go, “But the good thing is …” And the good thing is it made me hate my home so much that I left when I was 18 to start my own life that’s different. Was there anything negative left over? Maybe. I don’t know. I don’t have nightmares about him. I can’t complain.
You seem pretty Zen now. So what gets under your skin?
We all know the rules of life: Hardship and struggle makes you stronger. So I always look forward to discomfort. Why do I go skiing in Aspen for three days in high altitude that wipes you out? Because it’s tough to do, especially at my age. Everyone is talking about their feelings. That’s OK if that’s how you want to occupy yourself. How I feel is irrelevant. I don’t give a fuck how I feel. What I care about is: What can I do to make it better? Sometimes I get out of bed and feel shitty. But I get on a bike or go feed the animals and suddenly I feel great. This country was not built by people feeling good. This country was built by people working their asses off. We have to work our ass off and stop worrying about feelings. Just swallow it. If you feel shitty, don’t think, just do things.
It’s also important to have a mission. If you have a mission, it’s so much fun. If you wake up [uncertain], “What am I going to do today?” That’s bad news. Because then the mind starts wandering and you never know where it will take you. If you’re thinking, “I have to do this, so let’s get going …” Then you accomplish things.
Your charity, public service and humanitarian efforts go back decades. But I’ve also read anecdotes of some horrible behavior toward women, which you’ve apologized broadly for. [After the actor was accused of groping women, Schwarzenegger admitted in 2018 to having “stepped over the line several times.”] How are you a person who cares so much about helping people yet has also cared so little for people’s feelings in specific situations?
I think it’s very easy to understand. We are not perfect. We try to be, but there’s only one that’s perfect — God. My mouth is great, but it gets me into trouble. My brain is great — it has the will to make a better world — but sometimes I fuck up. I make mistakes. I behaved badly. All of those things I’ve addressed in the past. I feel bad about it. But I cannot roll the clock back. I have to be careful and be wiser. I’m smarter. I’m more sensitive about other people’s feelings.
Was there anyone — an actor, director or producer — who stood up and said, “Hey, that’s not OK.” Or were people too intimidated to say anything?
No one said anything. Look, the bottom line is that even though the times were different, it doesn’t matter if it was 100 years ago or today. You have to treat women with respect and you have to treat people with respect. None of it is an excuse. I should have behaved better.
When did you start to change, and what made you change?
I just think as time goes on, you just become wiser. You start thinking more about other people and not just about yourself. Not just what’s fun for you, not just what makes you look ballsy. … Also — and this is hard to explain to someone who has never had this experience — but once you’ve been in the governor’s office for seven years, you see all the problems out there and all the hardships. It turns you from a “me” person to a “we” person. You become much more aware of what’s going on around you. And then all of a sudden when you walk away, you say, “I’ve got to continue with the policy stuff. We’ve got to fight for the environment. We’ve got to fight for redistricting reform.” And to speak out about the war.
How would you rate Gavin Newsom as governor? He seems to be champing at the bit to run for president [which Schwarzenegger was ineligible to do because he was born in Austria].
I think [Newsom running for president] is a no-brainer. Every governor from a big state wants to take that shot. What do I think about his performance? When you become part of the club, you don’t criticize governors — because you know how tough the job is. It’s impossible to please everybody. Before I ran for governor, I had an 80 percent approval rating. As soon as I announced, I had a 43 percent approval rating. Immediately, half of the people said, “Fuck him! I’m not going to see his movies anymore.” I would run things differently [than Newsom], but I’m a Republican, so of course I would. I don’t criticize him for not doing it my way.
How about Florida’s governor, Ron DeSantis?
I was against some of the stuff he did with COVID. But who am I to judge? That’s for the people of Florida. My style is different; his is too conservative for me. That doesn’t mean I think he’s terrible. He’s just not my style.
Next, you have FUBAR. Fans have long clamored for a sequel to True Lies. FUBAR is said to be inspired by the film, except your super-spy character teams up with his daughter instead of his wife. What’s the relationship between the show and the film?
[Executive producer] David Ellison came to me with the idea of a TV show. I said, “It has to be something where I can use all my aspects and talents. It has to be fun. It has to be action-packed. It has to be sweet. And we shouldn’t try to get around my age — let’s play my age.” He came up with the idea of doing a True Lies-type thing.
Did you have any conversation with director James Cameron about it? He produced CBS’ True Lies TV show [which was recently canceled after one season].
He was involved with [the True Lies show] for credit’s sake, but that’s it. We keep in touch. We went motorcycle riding when he was out here for the Golden Globes. I’ve never met anybody in the movie business who has so many different talents. I saw that right away on The Terminator; he always knew exactly what he wanted. He never said, “Let’s try this,” it was always, “Let’s do this” — without any doubt. Now he tells me most people mistakenly think they need food to get energy. He says it robs you of energy. He says, “On my sets, we don’t have lunch because it drags down the performance for the next two hours.” He sometimes doesn’t eat for three, four days, and look how energetic he is at his age! It must work.
How was it working with your co-star Monica Barbaro [who broke out with Top Gun: Maverick]? Given this is your first series, you might have more shared screen time with her than any other actor in your career.
Unbelievable actress. There were days that were miserable — freezing cold and we’re working at night and she had to have this flimsy outfit on, but she never complained. She’s a serious player who is going to go all the way in her career because she’s willing to work hard and believes in herself and has this great energy that makes you come to life — because acting is not a one-way street. You need a partner who is really punching back.
[When asked about working with Schwarzenegger, Barbaro replied, “I’ve heard horror stories, and I know big stars can act in all kinds of ways. But he was super professional and awesome. He could have shown up late and asked for cue cards and have gotten away with it. But he was spot-on and worked really hard.”]
Your FUBAR character is divorced, and his marriage partly failed because he cheated. Was that deliberately autobiographical?
We were laughing about it — it feels like it’s a documentary. The difference is, in the show, he doesn’t consider it cheating because [seducing CIA assets] was part of his profession. His wife moved on because he never was home, and now he has this dilemma with the daughter because she has the same job and it’s going to screw up her relationship, too. But in [my real-life marriage to Shriver], it was my fuckup. It was my failure. Also, in the show, he’s deep down still in love with his wife.
Do you miss being married?
No. [The divorce] was very, very difficult in the beginning. Eventually, you move on. I have a wonderful girlfriend, [physical therapist] Heather Milligan, who is very successful. I’m really proud of her, and I love her. At the same time, I love my wife. She and I are really good friends and very close, and we are very proud of the way we raised our kids. Even though we had this drama, we did Easter together, Mother’s Day together, the Christmases together, all birthdays — everything together. If there’s Oscars for how to handle divorce, Maria and I should get it for having the least amount of impact on the kids. The sweetness and kindness you see in them, that’s from my wife. The discipline and work ethic is from me.
Looking ahead, is there any update on Triplets [an in-development sequel to Twins that had Ivan Reitman attached to direct until his death last year]?
Jason Reitman fucked it up! Jason Reitman literally stopped the project when his father died. His father wanted to do it really badly. I wanted to do it really badly. Danny DeVito wanted to do it really badly. We had the financing. When his father passed away, Jason says, “I never liked the idea” and put a hold on it. I’m developing another movie with Danny; he’s so much fun to work with and so talented.
And the pending Conan sequel The Legend of Conan?
It’s been pending for the last 10 years. [Fredrik] Malmberg owns the rights. He comes to me and says, “Oh, I have a deal with Netflix,” and when we ask Netflix, they don’t know anything about it. It’s one of those crazy things. I hope he figures it out. I think you do it like Unforgiven, where you play the age. There’s a great script out there that John Milius wrote, and others have written one. The story is there. There are directors who want to do it. But he has the rights, and until he sells the rights for one or two movies, or for the franchise, there’s nothing you can do about it.
You’re a huge Yellowstone fan. Would you ever team up with showrunner Taylor Sheridan like your friend Sylvester Stallone has on Tulsa King?
Absolutely! I think he’s very talented. And the cast on [Yellowstone] is phenomenal. Today, I see much more of other people’s performances than I did in the ’80s, when I was only seeing myself. I was thinking: “I have to win.” It was a competition against Sly, against others. “I have to be number one.”
You’ve said “death pisses me off,” that it’s “such a waste.” Some wealthy people have invested in life-extending efforts. Is there anything that you have tried that goes beyond the usual?
No. I never had cosmetic surgery. I never tried any gimmicks. Years ago, I [went to] UCLA, where they have world-renowned experts on aging. I asked if anything has been created, or that is about to be available, that reverses aging. He says, “Absolutely nothing, end of story.” The only thing you can do is the old-fashioned stuff. I could wipe out earlier because I smoke cigars, but then it gets counter-balanced by me eating well and then exercising.
When you first started out, you had a whole vision for your career, but Hollywood was only part of that. Aren’t you a little surprised to still be acting?
None of that has anything to do with age. I still work out every day, I ride my bike every day, and I make movies — show business is another part of my life. I add in my life, I never subtract. I don’t need money. I get money because you have to have a certain value and the agents negotiate. But I have a great time doing it. I love everything that I do. There’s no retiring. I’m still on this side of the grass, so I’m happy. My plan is to live forever — and so far, so good!
Interview edited for length and clarity.
|
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https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2019.02778/full
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en
|
Life Crafting as a Way to Find Purpose and Meaning in Life
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Having a purpose in life is one of the most fundamental human needs. However, for most people, finding their purpose in life is not obvious. Modern life has ...
|
en
|
Frontiers
|
https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2019.02778/full
|
The best day of your life is the one on which you decide your life is your own. No apologies or excuses. No one to lean on, rely on, or blame. The gift is yours – it is an amazing journey – and you alone are responsible for the quality of it. This is the day your life really begins.
—Bob Moawad
Introduction
Whether you love him or hate him, Arnold Schwarzenegger is an example of a person who has been planning his life and setting goals throughout. Given that he came from a small town in Austria, the chances of him becoming the person he is today were very slim. Although even his parents thought that his ideas of becoming a great body builder were outrageous and his fellow cadets made fun of him when he put in extra hours of training while he was in the military, holding on to his vision and dreams paid off in the end (see Schwarzenegger and Hall, 2012). So even though it was not obvious that he would achieve the goals he had set for himself, he made a plan and stuck to his plan to achieve his goals.
Now consider this story: Brian is CEO of a large bank, and seems by all standards to be living a fulfilling live. Although he is overseeing 1,200 employees, earns a good salary, has a nice house at the beach, and a wife and kids, he feels very unhappy with his current life. One day he decides that he does not want to live this life anymore and quits his job. He becomes a consultant (and his wife divorces him) but still struggles to find his passion. As he knows that the job he is doing is not his passion, he starts exploring what he would like to do. Unfortunately, having done things for so long that have not brought him satisfaction, only status and money, he seems to have trouble connecting to his “inner self.” In his search for why he has ended up this way, he realizes that he has been living the life his father had in mind for him. This leads him to think that, if it had not been for his father, he would probably have studied psychology instead of management.
These two, seemingly unrelated anecdotes, tell something very important: no matter how successful a person is in life, self-endorsed goals will enhance well-being while the pursuit of heteronomous goals will not (for a review see Ryan and Deci, 2001). This is an important statement and key to self-determination theory (SDT, Ryan and Deci, 2000), a macro-theory of human motivation, stressing the importance of self-motivated and self-determined goals to guide behavior for well-being and happiness. Goal attainment from self-concordant goals, or goals that fulfill basic needs and are aligned with one’s values and passions, has been related to greater subjective well-being (Sheldon, 2002), higher vitality (Nix et al., 1999), higher levels of meaningfulness (McGregor and Little, 1998), and lower symptoms of depression (Sheldon and Kasser, 1998). Self-concordant goals satisfy basic psychological needs of autonomy, competence, and relatedness, key attributes of SDT (Ryan and Deci, 2001), and have been found to be important across cultures (see Sheldon et al., 2004). With an increasing number of young people experiencing mental health problems, increasing health care costs and an aging society, the interest in cost-effective behavioral interventions that can improve mental and physical health is burgeoning (e.g., Oettingen, 2012; Fulmer et al., 2018; Chan et al., 2019; Wilson et al., 2019; for reviews see Wilson, 2011; Walton, 2014). Especially promising is the research on the topic of meaning and purpose in life (Steger, 2012). People with a purpose in life are less likely to experience conflict when making health-related decisions and are more likely to self-regulate when making these decisions and consequently experience better (mental) health outcomes (Kang et al., 2019). Furthermore, having a purpose in life can aid in overcoming stress, depression, anxiety, and other psychological problems (see Kim et al., 2014; Freedland, 2019). Finally, purpose in life has been related to a decrease in mortality across all ages (Hill and Turiano, 2014). It thus appears that many benefits may be gained by enhancing meaning and purpose in life. However, even if people realize they are in need of a purpose, the search for meaning does not automatically lead to its presence, and people searching for meaning are no more or less likely to plan for and anticipate their future (Steger et al., 2008b). This somewhat counterintuitive finding, showing that among undergraduate students the search for meaning is even inversely related to presence of meaning, points to the fact that the strategies people use to find meaning may not be very effective (Steger et al., 2008b). Early in life, the search for meaning is not negatively related to well-being, but the relationship between search for meaning and well-being becomes increasingly negative in later life stages (Steger et al., 2009). This means that even if people search for meaning, they may not find it, unless they are prompted to do so in an evidence-based manner, e.g., via a positive psychology intervention. Especially adolescents and young adults should be stimulated to search for meaning in an organized manner in order to experience higher levels of well-being early in life so that they can be more likely to have an upward cycle of positive experiences. An intervention to bring about purpose in life may be a promising way to achieve this. Recent research suggests that interventions aimed at enhancing purpose in life can be particularly effective if they are done early on, during adolescence and/or as part of the curriculum in schools (Morisano et al., 2010; Bundick, 2011; Schippers et al., 2015).
These interventions address an important contemporary problem, as illustrated by the two anecdotes above, namely that, many people drift aimlessly through life or keep changing their goals, running around chasing “happiness” (Donaldson et al., 2015). Others, as in the example of Brian above, live the life that their parents or significant others have in mind for them (Kahl, 1953). Several authors have indeed noted that the role of parents in students’ study and career choices has been under-researched (Jodl et al., 2001; Taylor et al., 2004), but choosing one’s study and career path according to one’s own preferences is likely to be more satisfying than living the life that others have in mind for one. Recently, it has been noted that especially “socially prescribed” perfectionism where people try to live up to the standards of other and also seek their approval is related to burn-out, depression and a lack of experienced meaning (Suh et al., 2017; Garratt-Reed et al., 2018; Curran and Hill, 2019). In our society, education is highly valued, but less emphasis is placed on structured reflection about values, goals, and plans for what people want in life. Oftentimes, education fosters maladaptive forms of perfectionism, instead of adaptive forms (Suh et al., 2017). Even if parents and educators do ask children what they want to become when they grow up, this most important question is not addressed in a consistent way that helps them to make an informed choice (Rojewski, 2005). Parents and educators tend to look at the children’s competences, rather than what they want to become and what competences they would need to develop in order to become that person (Nurra and Oyserman, 2018). Consequently, many people only occupy themselves with the daily events in their lives, while others try to keep every aspect of their lives under control and live the life that others have in mind for them. Some have an idea of what they want but have not thought about it carefully. Others may have too many goals, or conflicting goals, which is also detrimental to health and well-being (Kelly et al., 2015). Finally, parents and others with the best of intentions sometimes have goals in mind for children to pursue (Williams et al., 2000; Tamis-LeMonda et al., 2008).
A study by Nurra and Oyserman (2018) showed that children that were guided to experience connection between their current and adult future self, worked more and attained better school grades than children guided to experience low connection. Importantly, this was moderated to the extent that children saw school as the path to one’s adult future self. It seems important that people formulate and think about their (ideal) future self and that the present and future self are connected, e.g., by means of a goal-setting intervention. Studies among students also showed the importance of goal congruence. For instance, Sheldon and Kasser (1998) found that although students with stronger social and self-regulatory skills made more progress in their goals, and goal progress predicted subjective well-being (SWB), while the increase in well-being depended on the level of goal-congruence. Similarly, Sheldon and Houser-Marko (2001) found that entering freshman students with self-concordant motivation had an upward spiral of goal-attainment, increased adjustment, self-concordance, higher ego development, and academic performance after the first year. This points to the importance of making sure people reflect on and develop self-concordant goals (Locke and Schippers, 2018). If people have not formulated their own goals, there is a chance that they will lose contact with their core values and passions,” (Seto and Schlegel, 2018) as was the case in the anecdote of Brian. It may even feel as if they are living someone else’s life. For several reasons, it is important that people take matters into their own hands and reflect on and formulate their own goals in important areas of life (Williams et al., 2000). Indeed, people may have more influence on their own life than they think. Studies have already shown the beneficial effects of both job crafting—where employees actively reframe their work physically, cognitively, and socially (e.g., Wrzesniewski and Dutton, 2001; Demerouti, 2014; Vogt et al., 2016; Wessels et al., 2019)—and leisure crafting (Petrou and Bakker, 2016; Vogel et al., 2016; Petrou et al., 2017). A recent study by Demerouti et al. (2019) suggested that the beneficial implications of job crafting transcend life boundaries, which the authors state have also consequences in terms of experiencing meaning in life.
Building on the above, we suggest that the conscious process of “life crafting” could be similarly beneficial in helping people to find fulfillment and happiness (see Berg et al., 2010; Schippers, 2017). Importantly, life crafting is related to the most important areas of life, and thus allows for a more holistic approach in terms of shaping one’s life. We formally define life crafting as: a process in which people actively reflect on their present and future life, set goals for important areas of life—social, career, and leisure time—and, if required, make concrete plans and undertake actions to change these areas in a way that is more congruent with their values and wishes.
The process of life crafting fits with positive psychology and specifically the salutogenesis framework, which states that the extent to which people view their life as having positive influence on their health, explains why people in stressful situations stay well and may even be able to improve adaptive coping (Antonovsky, 1996). Salutogenesis focuses on factors that can support health, well-being, and happiness, as opposed to factors that cause disease (pathogenesis). The salutogenetic model with its’ central element “sense of coherence” is concerned with relationships around health, stress, and coping (Johnson, 2004). In his approach, Antonovsky views health and illness as a continuum, rather than a dichotomy (Langeland et al., 2007). Importantly, the framework assumes that people have resources available (biological, material, and psychosocial) that enable them to construct coherent life experiences (Mittelmark et al., 2017). The idea of salutogenesis is also closely tied to the literature on human flourishing that states that health defined as the absence of illness or disease does not do justice to what it means to be well and thriving (Ryff and Singer, 2000). Broaden-and-build theory can be used to make sense of how this may work out in practice: if people imagine a better future, they will be on the lookout for resources, because they have developed a more positive and optimistic mindset (Fredrickson, 2001; Meevissen et al., 2011). Over time, this broader mindset helps them to acquire more skills and resources and this may in turn lead to better health, happiness, and performance (Garland et al., 2010). When people have a purpose in life and are more balanced, this may have positive ripple effects on the people around them (Barsade, 2002; Quinn, 2005; Quinn and Quinn, 2009). Recent research suggests that health benefits of having stronger purpose in life are attributable to focused attention to and engagement in healthier behaviors (Kang et al., 2019). Indeed, stronger purpose in life is associated with greater likelihood of using preventative health services and better health outcomes (Kim et al., 2014). Importantly, the process through which purpose leads to health outcomes seems to be that people with a purpose in life are better able to respond positively to health messages. They showed reduced conflict-related neural activity during health decision-making relevant to longer-term lifestyle changes. Thus, having a purpose in life makes it easier for people to self-regulate (Kang et al., 2019). These results are very promising, as it seems that having a purpose in life can have both mental and physical health benefits, and behavioral interventions to increase purpose in life have been shown to be very cost-effective (e.g., Wilson et al., 2019). Importantly, purpose in life by writing about personal goals has been associated with improved academic performance (Morisano et al., 2010; Schippers et al., 2015, 2019; Travers et al., 2015; Schippers, 2017; Locke and Schippers, 2018).
Even so, thinking about how to attain a purpose in life via a process of life crafting can raise many questions. These include: what is the best way to set personal, self-congruent goals and start the process of life crafting? How does it work? Does the type of goal matter? Does the act of writing the goals down make a difference? Does it increase resourcefulness, self-efficacy, and self-regulation?
Research suggests that reflecting on and writing down personal goals is especially important in helping people to find purpose and live a fulfilling life (King and Pennebaker, 1996; King, 2001), and that in general writing sessions longer than 15 min have larger effects (Frattaroli, 2006). Indeed, the research on writing about life goals has been noted by Edwin Locke as a very important future development of goal-setting theory (Locke, 2019). Recent research shows that goals need not be specific, as long as plans are, and that writing about life goals and plans in a structured way is especially effective (Locke and Schippers, 2018; for a review see Morisano et al., 2010; Morisano, 2013; Schippers et al., 2015; Travers et al., 2015). As goal-relevant actions may be encouraged by embodied cognition, and embodied cognition has been related to (dynamic) self-regulation, this may be the process through which written goals lead to action (see Balcetis and Cole, 2009). Specifically, through the link between cognition and behavior, it can be seen as beneficial to write down intended actions as this will lay the path to act out the intended actions. The processing of the language facilitates the actions, as it consolidates the imagined actions (Addis et al., 2007; Balcetis and Cole, 2009; Peters et al., 2010; Meevissen et al., 2011). It has been suggested that goal-relevant actions may be encouraged by embodied cognition, through the process of self-regulation (Balcetis and Cole, 2009). Writing about actions one wants to take and very detailed experience in how it would feel to reach those goals, may make it much more likely for people to subtly change their behavior and actions into goal-relevant ones (e.g., looking for opportunities to reach ones goal, thinking more clearly if one wants to spend time on certain activities or not, etc.). Also, the writing can make sure that people realize the gap between actual and desired states regarding goals, and act as a starting point for self-regulatory actions (see King and Pennebaker, 1996). According to Karoly (1993, p. 25), “The processes of self-regulation are initiated when routinized activity is impeded or when goal-directedness is otherwise made salient (e.g., the appearance of a challenge, the failure of habitual action patterns, etc.). Self-regulation may be said to encompass up to five interrelated and iterative component phases of (1) goal selection, (2) goal cognition, (3) directional maintenance, (4) directional change or reprioritization, and (5) goal termination.” We believe that the process of writing about self-concordant goals makes (1) the necessity of goal-directed action salient, (2) starts a process of embodied cognition and dynamic self-regulation, and (3) starts an upward spiral of goal-congruence, goal attainment, and (academic) performance. Dynamic self-regulation is needed in the context of multiple goal pursuits where people manage competing demands on time and resources (Iran-Nejad and Chissom, 1992; Neal et al., 2017). In short, although goals are an important part of any intervention involving life crafting, the intervention and its effects are much broader. Such an intervention may be especially beneficial for college students, as it has been shown that students have lower goal-autonomy than their parents and parents reported higher levels of positive affect, lower levels of negative affect, as well as greater life-satisfaction (Sheldon et al., 2006).
In the interventions to date, which have been mainly conducted with students, individuals write about their envisioned future life and describe how they think they can achieve this life, including their plans for how to overcome obstacles and monitor their goals (i.e., goal attainment plans or GAP; e.g., Schippers et al., 2015). Both goal setting and goal attainment plans have been shown to help people gain a direction or a sense of purpose in life. Research in the area of positive psychology explains that people with a purpose in life live longer, have a better immune system, and perform better, even when one controls for things such as lifestyle, personality, and other factors relating to longevity (for a review see Schippers, 2017). At the same time, it has been suggested that relatively small interventions can have a huge impact on people’s lives (Walton, 2014). Writing about values, passion, and goals is an example of such an intervention, and we claim that having a purpose in life is fundamental and has ripple effects to all areas of life, including health, longevity, self-regulation, engagement, happiness, and performance (Schippers, 2017).
In order to provide a stronger theoretical foundation for this claim, we will describe the development of a comprehensive evidence-based life-crafting intervention that can help people find a purpose in life. The intervention shows very specific actions people can take to fulfill that meaning. We start by assessing existing interventions aimed at setting personal goals and will explore the theoretical and evidence-based foundation for those interventions. After that, we describe what a life-crafting intervention should ideally look like. We end with various recommendations for to how to ensure that many people can profit from this intervention (see also Schippers et al., 2015).
Ikigai, Meaning in Life, and Life Crafting
The meaning of life used to be an elusive concept for scientists, but in the last couple of years much progress has been made in this area. According to Buettner and Skemp (2016), ikigai—a Japanese term for purpose in life—was one of the reasons why people in certain areas of the world, known as “longevity hotspots,” had such long lives (see also Buettner, 2017). As our medical knowledge of longevity is increasing (e.g., Oeppen and Vaupel, 2002; Menec, 2003; Kontis et al., 2017), so too is our understanding of the associated psychological factors. These days, we have more knowledge of how people can live a meaningful life. Research has shown that ikigai, or purpose in life is related to increases in health and longevity across cultures, sexes, and age groups (Sone et al., 2008; Boyle et al., 2009). This relationship has been found even when things such as lifestyle, positive relationships with others, and general affect were controlled for in the analyses (Hill and Turiano, 2014). Note that, although a purpose in life sounds rather unclear or undefinable, people can derive a purpose in life from many different activities. It has been found that these activities can range from volunteering to giving social support to the elderly or even taking care of pets, and all of these have been shown to be related to an increase in happiness, better health outcomes, and greater longevity (for a review see McKnight and Kashdan, 2009). Indeed, in a study of 43,391 Japanese adults, it was found that, over a seven-year follow-up period, mortality was lower among those subjects who indicated that they had found a sense of ikigai or purpose in life (see also Sone et al., 2008; Schippers, 2017). Research among Japanese students has shown that enjoyable and effortful leisure pursuits can enhance student’s perception of ikigai. Ikigai was defined by the authors as “the subjective perceptions that one’s daily life is worth living and that it is full of energy and motivation” (Kono et al., 2019). They also found that leisure activity participation, general satisfaction with leisure activities, and the positive evaluation of leisure experiences were related to higher perception of ikigai (Kono, 2018; Kono and Walker, 2019). (Martela and Steger, 2016) suggested that meaning in life has three components: coherence, purpose, and significance. They state that “meaning in life necessarily involves (1) people feeling that their lives matter, (2) making sense of their lives, and (3) determining a broader purpose for their lives” (Martela and Steger, 2016). Also, Heintzelman et al. (2013) note that there are numerous positive physical and mental outcomes associated with self-reported meaning in life, such as health, occupational adjustment, adaptive coping, lower incidence of psychological disorders, slower age-related cognitive decline, and decreased mortality. Both the theory of ikigai and salutogenesis stress the coherence and purpose part, and other researchers have also picked up on these important elements (e.g., Urry et al., 2004; Martela and Steger, 2016). A review by Martela and Steger (2016) distinguished coherence, purpose, and significance as defining elements of meaning in life. Relatedly, theorizing around ikigai has shown that a sense of coherence develops around three distinct mechanisms, (1) valued experiences, (2) authentic relationships, and (3) directionality (Kono, 2018).
Practically, the importance of happiness to cultures and nations across the world has been indicated clearly by the value placed on it by the United Nations (UN). In 2012, UN Secretary-General Ban Ki-moon commissioned the first World Happiness Report, ranking countries according to people’s level of happiness. The UN’s 2016 Sustainable Development Goals Report included the goal of ensuring sustainable social and economic progress worldwide. In the UN’s 2017 happiness report, “eudaimonia,” a sense of meaning or purpose in life similar to ikigai, is mentioned as an important factor. This is based on research showing the importance of eudaimonic well-being. Indeed a review of research on hedonic and eudaimonic well-being concluded that autonomy and the integration of goals are important predictors of vitality and health (Ryan and Deci, 2001; Huppert et al., 2004) see also (Ryff, 2014). Self-determination theory, a macro theory of human motivation and personality, proposes that only self-endorsed goals will enhance well-being (Ryan and Deci, 2000). This pattern of findings is congruent with the examples we started with (i.e., the self-endorsed goals of Schwarzenegger and the heteronomous goals of Brian) and has also been supported in cross-cultural research, showing that the autonomy of goal pursuit matters in collectivistic and individualistic cultures, and for males and females (Hayamizu, 1997; Vallerand et al., 1997; Chirkov and Ryan, 2001; Ryan and Deci, 2001). As Ryan and Deci (2001, p. 161) conclude: “It is clear that, as individuals pursue aims they find satisfying or pleasurable, they may create conditions that make more formidable the attainment of well-being by others. An important issue, therefore, concerns the extent to which factors that foster individual well-being can be aligned or made congruent with factors that facilitate wellness at collective or global levels.”
The above shows that finding a purpose in life can have far-reaching consequences for individual happiness and performance but also for the well-being and happiness of people around them (Ryan and Deci, 2001). However, finding a purpose in life often requires a lengthy search, and some people never manage to find purpose in life (Schippers, 2017). The developments in terms of ensuring people find their true passion and at the same time help make the world a better place coincide with exciting developments in the area of social psychology. Positive psychology, or the scientific study of human flourishing that aims to optimize human functioning within communities and organizations, has become very influential both within and outside the scientific community (Gable and Haidt, 2005; Donaldson et al., 2015; Al Taher, 2019). It should be noted, however, that this area of study has also faced some criticism, as positive psychology behaviors such as forgiveness may not be functional in all contexts and circumstances (McNulty and Fincham, 2012). Nevertheless, several studies have shown that human flourishing is related to mental and physical health (e.g., Park et al., 2016), and reviews and meta-analyses have shown that positive psychology interventions work in terms of improving well-being and (academic) performance (Sin and Lyubomirsky, 2009; Durlak et al., 2011; Mongrain and Anselmo-Matthews, 2012; Waters, 2012). Thus, making sure that people receive positive psychology interventions, especially those relating to purpose in life, seems a viable and inexpensive way to help millions of people to have a better and healthier life (Menec, 2003; Seligman et al., 2005). Personal goal setting and life crafting seem the best way forward in this respect.
Values, Passion, and Personal Goal Setting
Life choices can be seen as crucial turning points in someone’s existence. Yet, most people find it difficult to make such important decisions. In particular, young adults struggle with the important life decisions they are expected to make as they move into early adulthood (Sloan, 2018). Recent research has shown that people with a purpose in life are less likely to experience regulatory issues during health decision-making and find it easier to make positive health-related lifestyle decisions (Kang et al., 2019), and it may be especially important to find a purpose in life for young adults (Schippers, 2017). Without such a purpose in life, a lot of time and energy is often “fretted away” on social media and on “busyness,” for instance (Bruch and Ghoshal, 2002, 2004; for a review see Schippers and Hogenes, 2011). At the same time, many people complain of having a lack of time, and it seems that it is more and more important to make conscious decisions on what to spend time on (Menzies, 2005). Life crafting using a personal goal setting intervention seems an important prerequisite in making these decisions. While in the past goal-setting theory has always stressed the importance of specific measurable goals (Locke and Latham, 2002), the act of writing about personal goals seems to be effective by defining very broad goals and linking these to specific goal-attainment plans. Research on the act of writing about personal goals started with Pennebaker’s research on traumatic writing (Pennebaker, 1997; Pennebaker and Chung, 2011). It was shown that writing about traumatic events was related to a decrease in depression and an increase in mental health (Gortner et al., 2006; Pennebaker and Chung, 2011). King (2001) suggested that future-oriented writing about one’s “best possible self” has a similar positive effect on an individual’s well-being, without the short-lived negative effect on mood that occurred after writing about traumatic events. Indeed, it has been shown that imagining one’s best possible self increases optimism and lowers depression (for a meta-analysis see Peters et al., 2010; Malouff and Schutte, 2017). Oyserman et al. (2006) found that a brief intervention that connected the positive “academic possible selves” of low-income minority high-school students with specific goal-attainment strategies improved their grades, standardized test scores, and moods.
Viktor Frankl, an Austrian neurologist and psychiatrist who had survived the holocaust, used his experience to formulate a theory on the meaning of life. He concluded that life can have meaning even in the most impoverished circumstances (Frankl, 1985, 2014). This is interesting, since this also means that good conditions are not an absolute prerequisite for formulating a goal in life. In contrast, it seems that having a goal in life can make people more resilient in terms of surviving harsh conditions. Wong (2014) described the logotherapy developed by Frankl as consisting of five testable hypotheses, including the self-transcendence hypothesis, the ultimate meaning hypothesis, and the meaning mindset hypothesis. These predict among other things that belief in the intrinsic meaning and value of life, regardless of circumstances contributes to well-being, and that a “meaning mindset,” as compared to a “success mindset,” leads to greater eudaimonic happiness and resilience (Wong, 2014). While this is important in terms of knowing what works for well-being and happiness, when people do not have a clear sense of purpose in life or know what they value in life and why, writing down their thoughts and formulating a strategy for their life is important. That does not have to be a lengthy process, but spending a few hours every couple of years might be enough (and is more than most people do).
People who keep searching for meaning without finding it, or who have conflicting goals, are often dissatisfied with themselves and their relationships (Steger et al., 2009). It is quite natural that in earlier stages of their life, people are often still searching for a sense of purpose or meaning in life. However, as stated before, later in life the search for meaning is related to lower levels of well-being (Steger et al., 2009). There is some evidence that having a sense of purpose is associated with organized goal structures and pursuit of goals and provides centrality in a person’s identity (Emmons, 1999; McKnight and Kashdan, 2009). It is thus important that people start thinking about their purpose in life as early as possible and repeat this process at all stages of life when they feel they should readdress their goals, such as when going to college, starting a new job, etc.
Warding Off Anxiety and Having a Fulfilling Life—Two Side of the Same Coin?
Another line of research has focused on the role of purpose as a protective mechanism against various types of psychological threat, such as mortality salience, or the awareness of an individual that death is inevitable, causing existential anxiety (for a meta-analysis see Burke et al., 2010). These are anxiety-provoking experiences and are common for most people. Ways of coping include having a purpose in life and striving for and accomplishing goals as well as strengthening close relationships (Pyszczynski et al., 2004; Hart, 2014). In line with this, research in the area of terror management has shown that self-esteem as well as a worldview that renders existence meaningful, coherent and permanent buffers against existential anxiety resulting from mortality salience (Burke et al., 2010; Pyszczynski et al., 2015). Indeed, death reflection, a cognitive state in which people put their life in context and contemplate about meaning and purpose, as well as review how others will perceive them after they have passed (Cozzolino et al., 2004), has been proposed as an important prerequisite for prosocial motivation sometimes influencing career decisions (Grant and Wade-Benzoni, 2009). Reducing anxiety and living a fulfilling and meaningful life are two sides of the same coin, since having a purpose in life gives people the idea that their life will continue to have meaning, even after their death (Ryan and Deci, 2004; McKnight and Kashdan, 2009).
The Science of Wise Interventions
Starting with the work of Kurt Lewin (e.g., Lewin, 1938), and after decades of research and testing, we now have a much better sense of what works and what does not in terms of psychological interventions. Most of these interventions aim to change behavior and improve people’s lives. In general, these work by changing people’s outlook on life: by giving them a sense of purpose. This is the basis of most interventions that also deal with coping with stressors and life transitions, for instance. Goal setting with the aim of formulating a purpose in life is one of the psychology’s most powerful interventions, and it has been shown that even a short and seemingly simple intervention can have profound effects (Wilson, 2011; Walton, 2014). In his review, Walton (2014) describes the “new science of wise interventions”: precise interventions aimed at altering specific psychological processes that contribute to major social problems or prevent people from flourishing. These “wise” interventions are capable of producing significant benefits and do so over time (Walton, 2014). These interventions are “psychologically precise, often brief, and often aim to alter self-reinforcing processes that unfold over time and, thus, to improve people’s outcomes in diverse circumstances and long into the future” (Walton, 2014, p. 74). Writing down personal goals in a guided writing exercise seems to constitute such an intervention.
How and Why Does It Work?
Narrative writing has been shown to help people in transition phases cope with life stressors (Pennebaker et al., 1990). Students writing about their thoughts and feelings about entering college showed better health outcomes and improved their grades more significantly than students in a control condition. Also, the experimental group had less home-sickness and anxiety 2–3 months after the writing exercise.
Locke (2019) notes that “…writing about goals in an academic setting for two hours or more would connect with grade goals by implication even if the students did not mention them. The writing process would presumably have motivated them to generalize, to think about what they wanted to achieve in many aspects of their lives and encouraged commitment to purposeful action in more domains than were mentioned” (p. 3). On the same page, he also states that “The above issues could occupy interested researchers for many years.”
Broaden-and-build theory suggests that thinking about an idealized future will be associated with positive thoughts about this future, leading to increased levels of self-regulation, resilience, self-efficacy, and in turn engagement (e.g., Tugade et al., 2004; Tugade and Fredrickson, 2004; Ceja and Navarro, 2009; Fay and Sonnentag, 2012). Self-regulation is defined as “self-generated thoughts, feelings, and actions that are planned and cyclically related to the attainment of personal goals” (Boekaerts et al., 2005, p. 14). Many authors contend that goal setting enhances self-regulation and agree that this is the mechanism by which goals are related to action (Latham and Locke, 1991; Oettingen et al., 2000; Hoyle and Sherrill, 2006).
Next to this, the intervention itself may be a form of embodied writing, an act of embodiment, entwining in words our senses with the senses of the world (Anderson, 2001), stimulating what has been written down to act out in real life. However, theorizing around embodied writing and the act of writing as a form of embodied cognition is still in an embryonic stage. Especially research around the effect on writing on our daily actions is lacking in evidence. There is plenty of evidence that these small, written interventions have an effect and can even play a role in redirecting people (e.g., Wilson, 2011) and that these interventions can have a powerful effects in terms of behavioral change (Yeager and Walton, 2011; Walton, 2014). At the same time, it should be noted that these psychological interventions are powerful but context-dependent tools that should not be seen as quick fixes (Yeager and Walton, 2011). However, in the intervention described in the current paper, people are asked to think about their deepest feelings and motivations and write them down, and embodied cognition may very well play a role in the upward spiral resulting from such an intervention.
Goal Domain
An important discussion in the literature is whether having a self-serving purpose (hedonistic, focused on attainment of pleasure and avoidance of pain) or one that is oriented toward helping others (eudaimonic, focused on meaning and self-realization) is more beneficial for happiness (Ryan and Deci, 2001; Keyes et al., 2002). Hedonistic and eudaimonic well-being seem to represent two different kinds of happiness (Kashdan et al., 2008). Although recent research has confirmed that both are related to well-being (Henderson et al., 2013), it is also conceivable that a purely hedonistic lifestyle may be unrelated to psychological well-being in the long run (see Huppert et al., 2004; Anić and Tončić, 2013; Baumeister et al., 2013). According to Schippers (2017, p. 21), “prior research has shown that altruistic goals may be particularly helpful in terms of optimizing happiness. Studies on ‘random acts of kindness’—selfless acts to help or cheer up other people—have shown that these acts strengthen the well-being at least of the person performing that act (Otake et al., 2006; Nelson et al., 2016).” Other research has shown that helping others is better for one’s well-being than giving oneself treats (Nelson et al., 2016). A study by (Steger et al., 2008a) suggested that “doing good” may be an important avenue by which people create meaningful and satisfying lives. Also, it has been found that pursuing happiness through social engagement is related to higher well-being (Ford et al., 2015).
Toward an Integrated Life-Crafting Intervention
The elements discussed above provide the context for developing a potentially effective life-crafting intervention. Although most agree that describing an ideal vision of the future would be a key element of such an intervention, below we identify other elements that should be included, whether the intervention is designed to improve well-being, happiness, performance, or all of these. According to McKnight and Kashdan (2009), “the creation of goals consistent with one’s purpose may be critical to differentiating between real purpose and illusory purpose” (p. 249). Recent research also showed that it is better to have no calling than an unfulfilled calling (see Berg et al., 2010; Gazica and Spector, 2015), making it also a boundary condition that people follow through on this. The importance of following through was shown in a 15-week study aimed at finding out whether engaging in trait-typical behaviors predicted trait change (Hudson et al., 2018). In this study, students provided self-report ratings of their personality and were required to complete weekly “challenges”—prewritten behavioral goals (e.g., “Before you go to bed, reflect on a positive social experience you had during the day and what you liked about it”). These challenges were aimed at aligning their thoughts, feelings, and behaviors with their desired traits (in case of the example this was extraversion). Importantly, results indicated that the mere acceptance of challenges was unrelated to trait changes. Only actually completing the challenges and performing these behaviors predicted trait change (Hudson et al., 2018). This may also hold true for the intervention described below and may be an important boundary condition. Although we have not found any negative effects of the intervention so far, theoretically it is possible that students formulate an “unanswered calling” which may impact happiness, well-being, and performance negatively. So far, only one study did not find the positive effects of a goal-setting intervention on academic outcomes (Dobronyi et al., 2019). This might indicate that for some groups (in this case economy students) the (brief) intervention is not effective in bringing about behavioral change and increasing academic achievement. Other studies showed a positive effect among management students (Schippers et al., 2015) and self-nominated struggling students (Morisano et al., 2010).
Below we provide broad outlines of one such evidence-based intervention, having first set out in brief the case for this particular intervention. Aligning itself to the UN’s sustainable development goals (SDGs), which relate to economic growth, social inclusion, and environmental protection (Stafford-Smith et al., 2017), Rotterdam School of Management (RSM) changed its mission to being a force for positive change in the world (Rood, 2019). As RSM is educating future leaders, in 2011, it introduced a goal-setting intervention so that first-year students could reflect on their personal goals and values. This is a three-stage intervention. In the first part, students write about their values and wishes as well as their ideal life and the life they wish to avoid, and in the second, they describe their specific goals and goal plans. The third part involves a photoshoot with a professional photographer, where students formulate a statement starting with “I WILL…,” (e.g., I WILL pursue my goal, I WILL inspire and facilitate sustainable development, I WILL create healthier businesses for a healthier world, and I WILL lead by example and inspire others to reach their goals). This statement and the photo are then put on social media and displayed throughout the school.
The evidence-based goal-setting intervention has had a positive effect on study success, as has been shown by higher academic achievement and decreased dropout rates (Locke et al., 2014; Locke and Schippers, 2018). This was particularly true for ethnic minority and male students, who had underperformed in previous years (Schippers et al., 2015; for an elaborate description of the intervention see the supplementary material). In the meantime, plans have been made to make sure that the intervention is an integral part of the curriculum, so that students will develop skills for self-management and management of others and will consider what impact they can have on the world.
Elements of the Life-Crafting Intervention
Although developed for students, this intervention could also be useful for people who wish to discover a meaning in life and write down their goals. In the first part of this intervention, people discover what is important to them in all areas of life and write about what they feel passionate about. While this part is aimed at making sure they discover their values and passions, the second part is designed to enable them to put those values and passions into a number of goals and to ensure they formulate plans and back-up plans for achieving those goals (Schippers et al., 2015). In terms of the intervention in this paper, the practical questions that address these issues are shown in section 3 of Table 1.
Discovering Values and Passion
Discovering one’s passion has two sides: Doing what you “like” is often said to be important, but it seems that discovering what you find “important” is more helpful in igniting passion, as this is more values-based and will contribute to self-concordance (Sheldon and Houser-Marko, 2001; Ryff and Singer, 2008). Recent research (e.g., Jachimowicz et al., 2017) has shown that it is important that people pursue a career that is in line with what they find to be “important,” rather than engaging in activities that they “like”; it found that those who engaged in activities that they liked (feelings-oriented mindset) exhibited less passion than those who engaged in activities that they thought were important (values-oriented mindset). Thus, while it is important that people discover what they feel passionate about, ideally this passion should also be aligned with values that they hold dear, such as collaboration, equality, and honesty (Sheldon, 2002).
There is, however, also a difference between harmonious and obsessive passion (for a meta-analysis, see Vallerand et al., 2003; Curran et al., 2015). People with an obsessive work passion experience more conflict between work and other areas of life, and work is more related to their self-worth (Vallerand et al., 2003). Harmonious passion was shown to be related to positive outcomes such as flow and enhanced performance, whereas obsessive passion was related more to negative outcomes, such as excessive rumination and decreased vitality (Curran et al., 2015). Discovering a (harmonious) passion is not always easy.
In a life-crafting intervention, questions on this area could be similar to those listed in section 1 of Table 1, involving also life style choices. In particular, choosing a lifestyle that involves physical activity seems to be a powerful way not only to increase self-regulation and self-control (for a review see Baumeister et al., 2006; Oaten and Cheng, 2006), but also to prevent mental illness, foster positive emotions, buffer individuals against the stresses of life, and help people thrive when they have experienced adversity (Faulkner et al., 2015, p. 207).
Gap Between Current Versus Future State: Current and Desired Competencies and Habits
In order to achieve a match between values and passion, it is important to become aware of one’s current habits and competencies as a first step in changing/adapting (cf., Schippers et al., 2014). Being aware of the habits you would like to change is important in promoting positive behavioral change (Holland et al., 2006; Graybiel and Smith, 2014). Since most of our daily behavior is habitual, and this is usually functional in that it allows us to perform many tasks with minimum cognitive effort, but this same mechanism also makes habits hard to break (Jager, 2003). Being aware of our habits and reflecting on them can be a first step in breaking them (Schippers and Hogenes, 2011; Schippers et al., 2014); implementation intentions (i.e., if-then plans: “If situation Y is encountered, then I will initiate goal-directed behavior X!”) have also been shown to help in breaking old habits and forming new ones (Holland et al., 2006). Many people have habits they would like to change (relating, for example, to eating behaviors, physical health, or substance use). However, it has been shown that the effect of good intentions such as New Year’s resolutions is very minimal (Marlatt and Kaplan, 1972; Pope et al., 2014) and that it is the extent to which people have self-concordant goals, coupled with implementation intentions, that leads to successful changes in behavior (Mischel, 1996; Koestner et al., 2002). Self-concordant goals are personal goals that are pursued out of intrinsic interest and are also congruent with people’s identity. Research has shown that if people pursue goals because they align with their own values and interests, rather than because others urge them to pursue them, they typically exhibit greater well-being (Sheldon and Houser-Marko, 2001). This was shown to be true across many cultures (Sheldon et al., 2004). In a life-crafting intervention, questions on this area could be similar to those listed in section 2 of Table 1.
Present and Future Social Life
Research shows that people with a strong social network live longer and are healthier and happier (Demir et al., 2015; Haslam et al., 2016). This network does not necessarily have to be very big, and it seems that, as one grows older, the quality of the relationships in this network becomes more important than the quantity (Carmichael et al., 2015). Recent research places more emphasis on the quality of relationships, specifically showing that quality in terms of the social and emotional dimensions of relationships is related to mental well-being (Hyland et al., 2019). The quality of the network has also been shown to be helpful during a transition to college (Pittman and Richmond, 2008). Although at first sight it may seem odd to think about what kind of acquaintances and friends one would like to have, it may pay off to think about this carefully. Certain kinds of relationships, so called high-maintenance relationships, require a lot of time and energy (Schippers and Hogenes, 2011; Fedigan, 2017) and often are characterized by negative interactions that can even influence self-regulation (Finkel et al., 2006). It seems important that in general people seek out interaction with others who are supportive and from which they receive energy rather than those that cost energy. In a life-crafting intervention, questions on this area could be similar to those listed in section 3 of Table 1. Practical questions in the intervention in this respect could be: think about your current friends and acquaintances. What kind of relationships energize you? What kind of relationships require energy? Why is that? What kind of friends and acquaintances do you need? What kind of friends and acquaintances would you like to have in the future? What does your ideal family life and broader social life look like?
Future Life: Career
Work is an important part of life. For many it is important to have a job that suits them, and a job which they feel passionate about and from which they can get energy (see Werner et al., 2016; Downes et al., 2017). However, research on mental illness prevails the literature in occupational health psychology, despite a call for a shift toward more research into positive psychology as antipode for work-related health problems such as job burnout. Especially in times where employees are required to be proactive and responsible for their own professional development, and to commit to high quality performance standards, it is important to think about activities that energize people and make them feel engaged with their work (Bakker et al., 2008; Schippers and Hogenes, 2011). Relatedly, research on job crafting shows that people can actively enhance the personal meaning of their work and make it more enjoyable by changing cognitive, task, or relational aspects to shape interactions and relationships with others at work (Wrzesniewski and Dutton, 2001). Consequently, it is not always the job itself but the meaning you give to it that is important (Demerouti et al., 2015). It is also important to think about when and where you do each particular task, in order to manage your daily energy (Wessels et al., 2019).
It should be noted, however, that it is also important to see work in relation to other areas of life. Christensen (2010) noted that many of his contemporaries ended up working 70-h working weeks and also were often divorced and estranged from their children over time. They could not imagine that this end result was a deliberate choice, so it seems important to choose the kind of person you want to become not only in your career but also in other areas of life (Christensen, 2010). This also means making strategic decisions about how to allocate your time and energy, instead of letting daily hassles make these decisions for you (Christensen, 2017). In a life-crafting intervention, participants could be asked to think about what they would ideally like to do in their job, and what kinds of people they might be working with, either directly or indirectly. They could be asked to reflect on their education and their career, and to consider what they feel to be important in a job and what their ideal colleagues would be like. The questions would thus be similar in nature to those shown in section 4 of Table 1.
Of course, some people choose a job that they do not necessarily like a lot but then make sure their leisure time is filled with meaningful activities (Berg et al., 2010), and leisure crafting has been shown to make up to a certain extent for having few opportunities for job crafting. So weighing up the balance between work life and leisure activities and making conscious decisions in this respect seems very important.
Key Element: Ideal Future Versus Future If You Do Not Take Action
As people are able to think about and fantasize a future (Oettingen et al., 2018), it is key that the future they envisage is one that is attractive to them. Likewise it is vital they formulate plans of how to achieve their desired future (implementation intentions) and contrast this in their minds with an undesired future (Oettingen and Gollwitzer, 2010; Oettingen et al., 2013). In a university context, and more generally in order to stay engaged, it is important that people choose goals that are self-concordant. It has been shown that if people formulate such goals implicitly by visualizing their best possible self, this can be very powerful and has a stronger effect on well-being than exercises such as gratitude letters (Sheldon and Lyubomirsky, 2006). Other research has shown that writing about the best possible self in three domains—personal, relational, and professional—leads to increased optimism (Meevissen et al., 2011). A meta-analysis showed that best possible self was a particularly powerful intervention in terms of enhancing optimism (Malouff and Schutte, 2017). If this optimism is also turned into concrete plans for the future, there is an increased chance that this positive envisioned future will become a reality (cf., Schippers et al., 2015).
Based on the theorizing above, it should be stressed that in the intervention students formulate goals that they find important, not ones that others (parents, peers, or friends) find important or that are pursued solely for reasons of status. In the instructions in the intervention, the students are advised to choose goals that they think are important and want to pursue and not to choose goals that others (parents, peers, and friends) think are important. Otherwise, they will live someone else’s life. In order to make sure that they do not choose goals that will be detrimental to themselves or others, they are also advised to not describe an ideal life that includes harming themselves or others.
Additionally, it is also important that people imagine the future they are likely to face if they do not do anything. This represents a goal-framing effect, or the finding that people are more likely to take action when they are confronted with the possible consequences of not doing so (Tversky and Kahneman, 1981). It might be useful to ask participants to visualize both a desirable and an undesirable future and to get them to contrast the two (see Oettingen, 2012; Brodersen and Oettingen, 2017). This would be a form of “metacognitive self-regulatory strategy of goal pursuit” (Duckworth et al., 2013, p. 745; cf. Schippers et al., 2013; see also Schippers et al., 2015). Other research has shown that positive “deliberate mental time travel” (or MTT) was related to a significant increase in happiness but not when the MTT was negative or neutral. However, neutral MTT was related to a reduction in stress (Quoidbach et al., 2009). In the intervention (see also Table 1, section 5), participants are asked what their future would look like if they did not change anything. What would their life look like 5–10 years down the road?
Goal Attainment Plans
After finishing the elements as described above, it is important for intervention participants to formulate concrete goals and plans. In the meta-analysis undertaken by Koestner et al. (2002), it was concluded that it is important for personal goal setting to be combined with if-then plans. Self-concordance—the feeling that people pursue goals because they fit with their own values and interests—and goal attainment plans are important for goal progress (Locke and Schippers, 2018). Since the rewards that come from achieving a significant life goal are often attained in the future, it is important to formulate concrete goals and also to identify the small steps toward them (see Trope and Liberman, 2003). While the first part of the student intervention is aimed at discovering their passions and ideas about their ideal life, the second part is much more concrete and follows the steps set out in research on goal setting, SMART goals, and if-then plans (Oettingen et al., 2013, 2018). The idea is that by making concrete plans and identifying obstacles (if-then plans), people are better able to visualize their desired future and will be less tempted to engage in activities that distract them from their goal (Mischel, 1996; Mischel and Ayduk, 2004).
In this part of the intervention, ideally any obstacles to the plans will also be identified. In addition to the research on mental contrasting, which generally indicates that one should visualize both the goal and the obstacles to it (e.g., Sevincer et al., 2017), it is important that one should also visualize a way of overcoming those obstacles. This may be a vital element, as research has shown that mental contrasting works best for people who are very confident about succeeding (Sevincer et al., 2017). The elements are outlined in Table 1, section 6. The idea is that, based on what participants write when describing their ideal future, they then identify a number of goals (usually about six to eight), which could be personal, career, and/or social goals (e.g., Morisano et al., 2010; Schippers et al., 2015; Locke and Schippers, 2018). As detailed implementation plans have been shown to aid progress toward goals (Gollwitzer, 1996), it is vital for participants to set down a detailed strategy for how they will achieve their goals. This part of the intervention asks participants about their motivations for their goals and gets them to consider the personal and social impact of those goals. They should also be asked to identify potential obstacles and how to overcome them and monitor progress toward the goals they have set. Participants should be instructed to be specific and concrete—for instance, to write down things that they will do weekly or daily to further their goals (Morisano et al., 2010; Schippers et al., 2015). It may also be useful to get participants to make a concrete plan of action for the upcoming week and to make them specify for each day the hours they will spend working on the goal they have in mind.
Public Commitment
In this part of the intervention, participants can either write down a number of goals and make them public (read them out to others) or have a photo taken to accompany a public (“I WILL…”) statement, as was the case in the RSM intervention (see the examples mentioned earlier). Prior research has found that public commitment can enhance goal attainment (Hollenbeck et al., 1989). This part seems to be related to enhanced commitment to goals as a result of self-presentation (Schienker et al., 1994). Shaun Tomson, a former surfing champion and inspirational speaker, invites audiences to come up with goals and 12 lines, all starting with: “I will…” These lines are spoken aloud in a group as a form of public commitment (Tomson and Moser, 2013). This makes it more likely that people will be more self-regulating toward goal-attainment and will put more effort into reaching their goals, especially if they are highly committed to reaching this goal (McCaul et al., 1987).
Discussion
Formulating clear goals has been shown to contribute to student well-being and academic success (Morisano et al., 2010; Schippers et al., 2015, 2019; Locke and Schippers, 2018). However, this has been often neglected in education and work settings resulting in a lack of evidence based tools. The effects of goal setting on the well-being of students have hardly been tested. Recently, calls have been made for positive psychology interventions to be made part of the educational curriculum in order to teach students life skills and to combat the rising number of mental health problems such as depression (e.g., Clonan et al., 2004; Seligman et al., 2009; Schippers, 2017).
Informed by the theoretical frameworks of salutogenesis, embodied cognition, dynamic self-regulation, and goal-setting theory, in this paper, we outlined a life-crafting intervention in which participants complete a series of online writing exercises using expressive writing to shape their ideal future. Important elements of such an intervention that were covered are: (1) discovering values and passion, (2) reflecting on current and desired competencies and habits, (3) reflecting on present and future social life and (4) future career, (5) writing about the ideal future, (6) goal attainment plans, and finally (7) public commitment to goals.
The idea is to use the fantasized ideal future to deduce goals and formulate a strategy to reach these goals. Finally, participants commit to their intentions by having a photo taken to accompany their goal statement, which is then made public. We described the key elements of this intervention and outlined the theoretical rationale for each of these elements. As previous research has shown that developing life skills, such as being able to set goals and make plans to achieve them (i.e., goal setting), increases the resilience, well-being, and study success of students (Schippers et al., 2015, 2019; Locke and Schippers, 2018), it may be important to make this intervention available to a wider population.
Future Research and Developments
As research shows that students in higher education are increasingly experiencing psychological problems, such as depression, anxiety, and burn-out (Gilchrist, 2003; Snyder et al., 2016), an add-on to the goal-setting program as described above is recommended. Rapid developments in the field of artificial intelligence (AI), especially areas such as emotion recognition, natural language processing, and machine learning have great potential to aid students experiencing study-related mental health problems (Kavakli et al., 2012; Oh et al., 2017). For example, a goal-setting exercise could be enhanced by incorporating a digital coach in the form of a goal-setting chatbot. With this type of intervention, students are given immediate, personalized feedback after their writing assignments. After two longer writing assignments, which are part of the curriculum, the chatbot can help students to by asking questions on specific topics (Fulmer et al., 2018). For instance, through personalized questions and feedback the chatbot could stimulate students to regularly reflect on their progress toward reaching a certain goal (“Did I invest enough time into my goals? What could I do to improve this? Which smaller sub-goals could help me to achieve my objective? What obstacles do I face? What ways do I see to overcome them?”). Depending on the answers the chatbot could also provide the students with different strategies. In addition, the chatbot can remind students of their goals and objectives during the year.
The expectation is that this addition to the intervention will allow students to reflect better on their own goals, so that a positive effect on student well-being can be expected and more serious problems can be prevented. What is also innovative is that the chatbot can ask additional questions about the students’ well-being. This gives the chatbot an important role in identifying possible problems. For students who have no problems or whose problems are minor, setting goals and receiving online feedback and coaching will be sufficient. In cases of more severe problems, the chatbot can offer more intensive coaching, or can refer them to the university’s psychological support or other professional services if necessary. In summary, the chatbot could provide a better connection between goal setting and the needs of the individual student and could help to integrate the life-crafting intervention into early stages of students’ academic career and can also deliver mental health care for students. Moreover, it could help integrate the life-crafting intervention with interactional forms of mental health care provided by the chatbot, thereby possibly increasing its effectiveness. In addition, goal diaries might form a way to provide insights into whether students are able to achieve important goals. Such diaries could also be used to assess their level of happiness and well-being and might be easily integrated into the interaction with the chatbot.
Next to examining how promising the intervention is in terms of its effects on students, future research could look at the effects of the life-crafting intervention in organizations. Prior research has shown that the effects from positive psychology interventions in organizations are promising (Meyers et al., 2012). The relationship between different areas of life and decision making with regard to how to spend one’s time seems to be key (Menzies, 2005; Schippers and Hogenes, 2011). Researchers could also examine what role life crafting might play at the team level.
Conclusion
Despite the obvious upside of experiencing meaning in life and having life goals as described in this paper, many people have difficulty choosing between the seemingly endless number of possibilities. The good news is that it is in principle never too late to find a purpose in life, although recent research suggests that it may be most beneficial to find a direction in life earlier rather than later (see Steger et al., 2009; Bundick, 2011; Hill and Turiano, 2014). It seems that interventions of the kind we have described above may be particularly helpful when one is entering into a new phase of life, such as when starting one’s study or just before entering the job market (see Kashdan and Steger, 2007).
The problem so far has been that most interventions are not easily taken to scale (for an exception see Schippers et al., 2015). Given the relatively low amount of costs and administrative work that the implementation of the outlined life crafting intervention entails, especially when compared to the potential benefits, we recommend its inclusion in student’s curriculums. Getting many (young) people to take part in an online life crafting intervention may be an important step in achieving not only higher academic performance, but also better well-being, happiness, health, and greater longevity (see Schippers et al., 2015). Using technology to assist with life crafting via a goal-setting intervention seems to be a particularly promising avenue as this is an approach that can be easily scaled up. Ideally then, these scalable and affordable interventions should not be regarded as an extra-curricular activity; it would be advisable to make them a formal part of the curriculum for all students. In a work context, employees could also benefit as this type of activity might be something that companies could easily offer. In short, life-crafting is about (1) finding out what you stand for (i.e., values and passions), (2) finding out how to make it happen (i.e., goal-attainment plans), and (3) telling someone about your plans (i.e., public commitment). Concluding, it seems that life crafting is about taking control of one’s life and finding purpose. Based on recent findings, it would be well-advised for many of us to carve out time to do an evidence-based life-crafting intervention.
Author Contributions
MS has written the draft of the manuscript. NZ provided important intellectual input at all stages and helped to develop, review, and revise the manuscript.
Conflict of Interest
The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.
Acknowledgments
The authors would like to thank the members of the Erasmus Centre for Study and Career Success (https://www.erim.eur.nl/erasmus-centre-for-study-and-career-success/) and Christina Wessels for their useful comments on an earlier version of this paper.
Footnotes
References
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https://deadline.com/2016/07/arnold-schwarzenegger-tv-series-pump-venice-beach-bodybuilding-days-1970s-1201787877/
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EXCLUSIVE: Arnold Schwarzenegger‘s formative years, spent soaking up the sun in a Venice Beach gym and packing on the muscles that fueled the most successful competitive bodybuilding career in history, will inspire a TV series. Pump, an 8-episode hourlong drama, will be produced by Schwarzenegger, Emmett/Furla/Oasis CEOs Randall Emmett and George Furla, and The Tannenbaum Company CEO Eric Tannenbaum. They have just closed a deal with CBS Television Studios.
Created by Michael Konyves, Pump is loosely based on the Venice Beach exploits of Schwarzenegger, when he was then known not as the Governator, but rather as the Austrian Oak. The series is set in 1973, as a small group of bodybuilders birthed the physical fitness industry and body worship, in the Pacific Avenue beachfront gym that was their temple. While fitness is now a multi-billion dollar industry, back then Schwarzenegger and his brawny pals were viewed as being freakishly muscular. Despite having the best bodies in the world, most bodybuilders were broke. That didn’t mean they didn’t have fun, living a life of hedonism and adventure in 1970s Southern California. Schwarzenegger won the Mr. Olympia title seven times and stole the show in the seminal documentary Pumping Iron, before fulfilling the American immigrant rags to riches dream as the action star of films ranging from Terminator to Predator and True Lies, and then California State Governor.
Bryan Goluboff will serve as show runner as well as executive producer on the series. Goluboff previously worked on Blue Bloods as Consulting Producer, Executive Producer and Writer. Additionally, he wrote for the hit series Smash and executive produced several episodes for Law & Order: SVU.
Pump has found its landing spot after several stops along the development trail. It was originally developed at Showtime Networks; from there it landed at Hulu but didn’t go forward. Schwarzenegger’s reps at CAA found footing by teaming their client and the material with Emmett/Furla/Oasis, which formed a relationship with the star on the just completed feature 478. E/F/O moved into TV with the series Power, going into its third season with a fourth to shoot this fall with CBS Television Studios and Starz. CAA will sell the domestic rights to Pump.
Said Schwarzenegger: “I knew from our first brainstorming session that Pump would be a hit. The 70’s were such a colorful, transformational time, for me and for our entire country. I look forward to bringing that color to people’s living rooms with the fantastic, deep characters and the multi-layered story lines of Pump. I feel so passionate about this project because today it’s easy to take our gyms and culture of fitness for granted, but it all started with this wild group of bodybuilders as a tiny subculture in a little dungeon gym in Venice Beach. I can’t wait to get to work with our great team.”
Said Emmett: “After reading the first script, I loved the concept and knew that there is an audience for it. We felt that we should bring it to life and found the right partnerships with Schwarzenegger, The Tannenbaum Company and CBS Television Studios.
In addition to Emmett, Furla and Schwarzenegger, other producers include Wayne Godfrey and Robert Jones of the Fyzz Facility. Executive Producers are Eric and Kim Tannenbaum alongside CBS Television Studios. E/F/O is currently in post-production on the Martin Scorsese-directed Silence, and is just starting production on the Kevin Connolly-directed Gotti, with John Travolta playing the late iconic mob boss John Gotti. Eric and Kim Tannenbaum, previously executive producers of Two and Half Men and currently in production on Season 3 of CBS Network’s The Odd Couple, Season 4 of Freeform Channel’s Young and Hungry and Season 2 of Impastor for TV Land.
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dbpedia
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https://people.com/movies/arnold-schwarzenegger-maria-shriver-relationship-timeline/
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en
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Arnold Schwarzenegger and Maria Shriver's Relationship Timeline
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] |
[] |
[] |
[
""
] | null |
[
"Sophie Dodd",
"www.facebook.com"
] |
2023-02-17T10:33:21-05:00
|
Arnold Schwarzenegger and Maria Shriver were married for 25 years and share four children together. Here's everything to know about their relationship.
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/movies/arnold-schwarzenegger-maria-shriver-relationship-timeline/
|
Arnold Schwarzenegger and Maria Shriver have been in each other's lives for nearly half a century.
The Predator star and the journalist began dating in 1977 after being introduced by a mutual friend. Schwarzenegger and Shriver went on to wed in 1986 and soon began expanding their family. The couple welcomed four children together: daughters Katherine and Christina, plus sons Patrick and Christopher.
In 2011, they separated after Schwarzenegger admitted to having fathered a child, Joseph Baena, with the family's housekeeper 14 years earlier. Shriver filed for divorce, which was finalized 10 years later.
From their initial introduction to the Terminator star's infidelity and their ensuing divorce, here's everything to know about Arnold Schwarzenegger and Maria Shriver's relationship.
August 1977: Arnold Schwarzenegger and Maria Shriver first meet
The pair were first introduced at the Robert F. Kennedy Tennis Tournament by a mutual friend, NBC's Tom Brokaw. Sparks flew at their initial meeting and they began dating soon after.
August 1985: Arnold Schwarzenegger proposes to Maria Shriver
Eight years into their relationship, the Jingle All the Way star popped the question to Shriver and the two got engaged.
April 26, 1986: Arnold Schwarzenegger and Maria Shriver get married
The following spring, the two said "I do" in a Catholic ceremony in Hyannis, Massachusetts. Among the notable guests at the nuptials was Shriver's cousin, Caroline Kennedy, who was her maid of honor.
December 13, 1989: Arnold Schwarzenegger and Maria Shriver welcome their first baby, Katherine
The couple welcomed their first child together, daughter Katherine Eunice, three years into their marriage. Katherine's middle name is an homage to her maternal grandmother, Eunice Kennedy — the younger sister of President John F. Kennedy.
Now all grown up, Katherine is married to Jurassic World star Chris Pratt and has two daughters of her own, whom Schwarzenegger loves being granddad to. "It's fantastic! I have a great time when they come over to the house," he said on Jimmy Kimmel Live! of spending time with his grandkids.
July 23, 1991: Arnold Schwarzenegger and Maria Shriver welcome daughter Christina
Katherine was followed by another daughter, Christina, on July 23, 1991. Following her mother and her grandmother's lead, Christina is a founding member of the Special Olympics Founder's Council.
September 18, 1993: Arnold Schwarzenegger and Maria Shriver welcome son Patrick
The proud parents' first son, Patrick, was born in Los Angeles in 1993. These days, he's following in his dad's Hollywood footsteps, with roles in HBO Max's true crime series The Staircase and 2021's Moxie.
"[My dad's] really proud of me and they're so supportive," Patrick said of his parents. "I couldn't ask for a better parent duo."
September 27, 1997: Arnold Schwarzenegger and Maria Shriver welcome son Christopher
In 1997, Schwarzenegger and Shriver welcomed their fourth and final child together, son Christopher.
November 17, 2003: Arnold Schwarzenegger is sworn in as governor of California
Shriver supported her husband throughout his race for governor of California. After the Kindergarten Cop star beat out former governor Gray Davis in a momentous recall election, he was sworn in as the 38th governor of California with his wife by his side in Sacramento. The pair's children were also in attendance.
January 5, 2007: Maria Shriver shows support as Arnold Schwarzenegger is sworn in a second time
Schwarzenegger was reelected for a second term in 2007. Although he had a broken leg at the time of his swearing-in ceremony, his wife was there to support him. The two even shared a kiss for the cameras.
May 10, 2011: Arnold Schwarzenegger and Maria Shriver announce their separation
After 25 years together, Schwarzenegger and Shriver released a statement saying that they had mutually decided to go their separate ways.
"This has been a time of great personal and professional transition for each of us," the statement said. "After a great deal of thought, reflection, discussion, and prayer, we came to this decision together." They confirmed that they were living apart while working "on the future of our relationship," adding that their focus remained on their children. "We are continuing to parent our four children together. They are the light and the center of both of our lives."
May 17, 2011: Arnold Schwarzenneger admits to having fathered a child during a previous affair
Immediately after his term as California governor ended in January 2011, Schwarzenneger revealed to Shriver and to their children that he had fathered a child, Joseph, with their longtime maid, Mildred Baena, 14 years prior.
Speaking to the Los Angeles Times in May, the Terminator star publicly apologized. "After leaving the governor's office I told my wife about this event, which occurred over a decade ago. I understand and deserve the feelings of anger and disappointment among my friends and family. There are no excuses and I take full responsibility for the hurt I have caused. I have apologized to Maria, my children and my family. I am truly sorry."
July 1, 2011: Maria Shriver files for divorce from Arnold Schwarzenegger
Two months after news of her husband's affair came to light, Shriver filed for divorce in Los Angeles Superior Court. Citing irreconcilable differences, Shriver requested shared custody of the couple's minor children at the time — sons Patrick and Christopher, who were 17 and 13, respectively. She also sought spousal support from Schwarzenegger.
July 30, 2011: Arnold Schwarzenegger and Maria Shriver reunite for his birthday
There appeared to be no bad blood between the Terminator star and the I've Been Thinking author as they stepped out together just a few weeks after filing for divorce. They were spotted eating lunch together at Casa Roma restaurant in Beverly Hills before hitting the town for some retail therapy.
Sources told PEOPLE at the time that the pair would always remain close for the sake of their family. "Arnold and Maria will always come together when it comes to supporting and loving their children," they said.
July 30, 2015: Maria Shriver celebrates Arnold Schwarzenegger's birthday
Shriver appears to have kept up the annual tradition of celebrating her ex's birthday as a family. In 2015, she was spotted leaving the Montage hotel in Beverly Hills at the same time as him, where they enjoyed a birthday lunch with their daughters Katherine and Christina.
May 14, 2016: Arnold Schwarzenegger and Maria Shriver attend their son Patrick's graduation
The proud parents came together to show their love for their son Patrick at his college graduation in 2016. Standing alongside the new graduate, Shriver planted a kiss on his cheek as his dad wrapped an arm around him at the USC commencement ceremony. Both parents proudly shared photos and tributes to their son on Instagram, wishing him luck on his next adventures.
March 2017: Arnold Schwarzenegger opens up about his affair
The True Lies star made a rare comment about his affair during a 2017 interview with Men's Journal. He admitted to the outlet that he thinks about it "every so often," but that he's put the past behind him and is focused on moving forward.
"And I can beat myself up as much as I want — it's not gonna change the situation. So the key thing is, how do you move forward? How do you have a great relationship with your kids?"
He continued, "You can't go back — if I could, in reality, be Terminator, of course I would go back in time and would say, 'Arnold … no.'" But it's not that simple, he added. "You know, it's always easy to be smart in hindsight. That's not the way it works."
August 3, 2020: Maria Shriver celebrates Arnold Schwarzenegger's 73rd birthday
In 2020, Shriver joined the rest of their family in celebrating the Twins star's 73rd birthday. They posed for a rare family portrait, with a smiling Shriver and all four of their children surrounding the birthday boy and his array of festive desserts.
December 28, 2021: Arnold Schwarzenegger and Maria Shriver finalize their divorce
Ten years after filing, the former couple settled their divorce in Los Angeles Superior Court. PEOPLE confirmed the news through court documents after TMZ broke the news.
September 19, 2022: Arnold Schwarzenegger and Maria Shriver celebrate their son Patrick's birthday together
Despite their separation, the proud parents have kept up a unified front for their family over the years. In September 2022, they celebrated their son Patrick's 29th birthday together as a trio, taking him out to dinner and posing for photos at the restaurant.
February 6, 2023: Maria Shriver reveals she went to a convent after filing for divorce from Arnold Schwarzenegger
After filing for divorce from Schwarzenegger, Shriver sought "to be in silence and look for advice" at a convent, she revealed during an appearance on the Making Space with Hoda Kotb podcast.
"I first felt like, 'Oh I'd better go and figure out like, what is the truth?' " Shriver explained. "I went to a convent — I did so many things — but one of the things I did is I went to a convent, a cloistered convent."
She added that the experience ultimately helped her find herself again. "I felt like I was in a scene out of The Sound of Music," she said, adding that the convent's Reverend Mother told her, " 'You can't come live here, but you do have permission to go out and become Maria.' I was like, sobbing. I was like, 'Who is that?' "
The mom of four added that she often felt disconnected from herself in her marriage, as she felt overlooked when Schwarzenegger or her famous family members were in the room.
"I would find myself getting angry at people who came up and didn't acknowledge that I existed when I was standing next to Arnold, or when I was standing next to my uncle or somebody," she said. "And then I [realized] they were teaching me a lesson that it's not about whether they see me," she explained. "Do I see me? Am I visible to me?"
May 16, 2023: Arnold Schwarzenegger says divorce from Maria Shriver was "very difficult"
Schwarzenegger considers the collapse of his union with Shriver to be a personal "failure." But at the same time, the Predator star says he doesn't miss being married.
"[The divorce] was very, very difficult in the beginning. Eventually, you move on," he told The Hollywood Reporter. "[Maria] and I are really good friends and very close, and we are very proud of the way we raised our kids."
The former California governor added: "If there's Oscars for how to handle divorce, Maria and I should get it for having the least amount of impact on the kids. The sweetness and kindness you see in them, that's from my wife. The discipline and work ethic is from me."
June 5, 2023: Arnold Schwarzenegger recalls telling Maria Shriver about his child with the housekeeper
In his Netflix docu-series, Arnold, Schwarzenegger details the moment he told Shriver about fathering a son with their housekeeper.
"Maria and I went to counseling once a week and in one of the sessions the counselor said, 'I think today Maria wants to be very specific about something. She wants to know if you are the father of Joseph,' " he recalled. "And I was like — I thought my heart stopped, and then I told the truth."
Schwarzenegger continued: "She was crushed because of that. I had an affair in ’96. In the beginning, I really didn’t know. I just started feeling the older he got the more it became clear to me and then it was really just a matter of how do you keep this quiet?"
The Kindergarten Cop actor went on to call the affair a "major failure" that he will have to live with for the rest of his life.
"There is nothing more important than to have a good partner by your side, and every step of the way Maria was that. We have a really great relationship," Schwarzenegger added. "Any type of special day, we are all together as a family. But it’s not what it was when we were all together under one roof as a family. That’s not the case anymore."
September 27, 2023: Arnold Schwarzenegger says his chapter with Maria Shriver "will continue on forever"
In an interview with PEOPLE, Schwarzenegger said his "chapter" with Shriver never ended.
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Former Governor, Actor, Businessman, Bodybuilder, (1947–)
Arnold Schwarzenegger was born on July 30, 1947, in Thal, a small village near Graz, Austria. At a young age, he enjoyed watching movies, in particular Reg Parker, a body builder and star in B-level Hercules movies. The films also helped start Schwarzenegger's own obsession with America, and the future he felt awaited him there. Schwarzenegger found his answer in bodybuilding, entering in contests such as Mr. Universe and Mr. Olympia.
In all, Schwarzenegger won five Mr. Universe titles and six Mr. Olympia crowns during his bodybuilding career. After Schwarzenegger immigrated to the United States in 1968, at the age of 21, he helped propel bodybuilding into the mainstream, culminating in the 1977 documentary, Pumping Iron, which tells the tale of Schwarzenegger's defense of his Mr. Olympia crown. From 1990 to 1993, Arnold promoted fitness as Chairman of the President’s Council on Physical Fitness and Sports and later served as Chairman for the California Governor's Council on Physical Fitness and Sports under Governor Pete Wilson. He has been an activist for the Special Olympics. He founded the Inner City Games Foundation (ICG) which provides cultural, educational and community enrichment programming to youth. ICG is active in 15 cities around the country and serves over 250,000 children in over 400 schools countrywide.
After acting in a few small parts, such as Hercules in New York and The Long Goodbye, Schwarzenegger landed a bigger role in the film Stay Hungry and was awarded a Golden Globe. With his intense physical strength and size, Schwarzenegger was a natural for action films. He became a big hit in several popular 1980s action movies, including Conan the Barbarian. Schwarzenegger also starred as a deadly machine from the future in The Terminator and as a mercenary in The Expendables.
Off-screen he continued his remarkable story, joining the Kennedy family by marrying Maria Owings Shriver, daughter of Eunice Kennedy Shriver and her husband R. Sargent Shriver.
In 2003, Schwarzenegger won the California governor's seat in a special recall election. In a state that was mired in severe budget woes, the newly elected Republican governor promised to bring economic stability to his adopted state. As governor, Schwarzenegger worked to improve the state's financial situation, promote new businesses, and protect the environment. In 2006, he was re-elected for a second term. In his second term as governor, Schwarzenegger struggled to help California through difficult financial times. Throughout his political career, Schwarzenegger credited former U.S. President Ronald Reagan as an inspiration. Schwarzenegger said, "I became a citizen of the United States when [Reagan] was president, and he is the first president I voted for as an American citizen. He inspired me and made me even prouder to be a new American."
After leaving office in January 2011, he sought to revive his career in the entertainment industry. Schwarzenegger starred alongside Jean-Claude Van Damme, Bruce Willis and Sylvester Stallone in the film The Expendables. In August 2012, he reunited with the film's cast for a follow-up film, The Expendables 2. Schwarzenegger rejoined Sylvester Stallone for The Expendables 3 in 2014. He returned to the film franchise that made him a star the following year. Schwarzenegger starred in Terminator Genisys with Jason Clarke and Emilia Clarke.
For a good part of his professional life, Arnold has been an entrepreneur and successful businessman. By the age of 30, Schwarzenegger was a millionaire, well before his career in Hollywood. His financial independence came from his success as a budding entrepreneur with a series of successful business ventures and investments. His current net worth is estimated in the hundreds of millions.
Schwarzenegger has also a solid track record as an environmental activist for reducing greenhouse gases.
Schwarzenegger is a dual Austrian/United States citizen. He holds Austrian citizenship by birth and has held U.S. citizenship since 1983. Shortly before he gained his citizenship, he asked the Austrian authorities to keep his Austrian citizenship, since Austria does not usually allow dual citizenship. His request was granted, and he kept his Austrian citizenship.
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Arnold Schwarzenegger, Austrian-born American bodybuilder, film actor, and politician who rose to fame through roles in blockbuster action movies and later served as governor of California (2003–11). His notable films included Conan the Barbarian, Predator, True Lies, and the Terminator series.
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https://www.britannica.com/biography/Arnold-Schwarzenegger
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Arnold Schwarzenegger (born July 30, 1947, Thal, near Graz, Austria) is an Austrian-born American bodybuilder, film actor, and politician who rose to fame through roles in blockbuster action movies and later served as governor of California (2003–11).
Schwarzenegger was known as the Styrian Oak, or Austrian Oak, in the bodybuilding world, where he dwarfed his competition. He won his first amateur Mr. Universe title in 1967. After moving to California in 1968 to train and compete in bigger events in the United States, he won three more Mr. Universe titles and then the professional Mr. Olympia title six years in a row (1970–75) before retiring. He surprised the bodybuilding world by returning to competition one more time to claim the Mr. Olympia title in 1980. Bodybuilding was the subject of several of his books, including the autobiographical Arnold: The Education of a Bodybuilder (1977; written with Douglas Kent Hall) and The New Encyclopedia of Modern Bodybuilding (1998; written with Bill Dobbins).
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Meanwhile, Schwarzenegger pursued his childhood dream of acting in movies. In his first film, Hercules in New York (1970), Schwarzenegger played the lead, but another actor was used to dub his dialog. Schwarzenegger’s native charm and wit finally came through in the acclaimed documentary Pumping Iron (1977), which led to his starring role in Conan the Barbarian (1982). He became an international star with The Terminator (1984) and over the next 20 years appeared in two sequels (1991 and 2003). His other films during this time included Predator (1987), Kindergarten Cop (1990), Total Recall (1990), True Lies (1994), and The 6th Day (2000).
Schwarzenegger became a U.S. citizen in 1983 and married reporter Maria Shriver in 1986. During the 1990s he became increasingly active in the Republican Party at both the state and national levels, and in 2003 he was elected governor of California in a recall election. In his initial years in office, Schwarzenegger pushed for a number of restrictive measures that proved unpopular, especially with organized labour. Nevertheless, he was reelected in 2006. He earned key legislative victories on issues relating to the environment, including a landmark act to reduce greenhouse-gas emissions in California, and successfully advocated for ballot propositions to reform the state’s redistricting process and political-primary format.
At the same time, his governorship was encumbered by the state’s enormous budget deficit, which ballooned to $26 billion in 2009. Despite a battery of service reductions and salary cuts enacted to stem the fiscal crisis, the state’s economy continued to struggle, and Schwarzenegger suffered from consistently low approval ratings. Because of term limits, he did not run for reelection in 2010. In May 2011 Schwarzenegger and Shriver announced that they were separating; a few days later it was revealed that he had fathered a child with a woman who had worked in the household staff. Shriver subsequently filed for divorce.
Although Schwarzenegger had put his movie career on hiatus to devote attention to politics, in 2010 he made a cameo in The Expendables, an action film that brought together several aging stars of the genre. He also appeared in the movie’s 2012 and 2014 sequels. The Last Stand (2013) marked his first leading role in 10 years. He later starred with Sylvester Stallone in the action thriller Escape Plan (2013), took top billing in the action drama Sabotage (2014), and reprised his Terminator role in Terminator Genisys (2015) and Terminator: Dark Fate (2019).
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This world-famous athlete and actor was born in Thal, Austria in 1947, and by the age of 20 was dominating the sport of competitive bodybuilding, becoming the youngest person ever to win the Mr. Universe title. By generating a new international audience for bodybuilding, Schwarzenegger turned himself into a sports icon. With his sights set on Hollywood, he emigrated to America in 1968, and went on to win five Mr. Universe titles and seven Mr. Olympia titles before retiring to dedicate himself to acting. Later, he would go on to earn a college degree from the University of Wisconsin and proudly became a U.S. citizen.
Schwarzenegger, who worked under the pseudonym Arnold Strong in his first feature, HERCULES in New York, quickly made a name for himself in Hollywood. In 1977, the Hollywood Foreign Press Association recognized him with a Golden Globe® for New Male Star of the Year for his role in STAY HUNGRY opposite Sally Field. His big break came in 1982 when the sword and sorcery epic, CONAN THE BARBARIAN, hit box office gold. In 1984, Schwarzenegger blew up the screen and catapulted himself into cinema history as the title character in James Cameron's sci-fi thriller, TERMINATOR. He is the only actor to be in both categories of the American Film Institute's Hundred Years of Heroes and Villains for roles he played in the film. To date his films have grossed over $3 billion worldwide.
In 2003, Schwarzenegger became the 38th Governor of the State of California in a historic recall election, and as governor ushered in an era of innovative leadership and extraordinary public service. Schwarzenegger's most notable accomplishments while governor include the nation-leading Global Warming Solutions Act of 2006 - a bipartisan agreement to combat global warming by reducing California's greenhouse gas emissions - and overhauling the state's workers' compensation system - cutting costs by more than 35 percent. In addition, Schwarzenegger was the first governor in decades to make major investments in improving California's aging infrastructure through his Strategic Growth Plan, helping to reduce congestion and clean the air. He established the Hydrogen Highway and Million Solar Roofs Plan, continuing his leadership in creating a greener environment. In November 2009, more than three years of leadership by Governor Schwarzenegger culminated with the passage of the Safe, Clean and Reliable Drinking Water Supply Act of 2010.
As governor, he was California's most effective marketing tool, traveling across the country and around the world promoting California-grown products, cutting-edge technologies and the state's diverse travel destinations. In addition, using his background as an internationally recognized athlete, Schwarzenegger made restoring health and fitness a top priority. He signed legislation making the state's school nutrition standards the most progressive in the nation and continues to promote healthy habits by taking harmful trans fats out of California restaurants and ensuring nutritional information is available to diners. To improve classrooms across the state and ensure that all California's students have access to the world-class education they need to grow, thrive and succeed, Schwarzenegger led the reform to make California competitive for up to $700 million in federal Race to the Top funds.
In recognition of these efforts, Schwarzenegger has been rewarded for his great leadership and vision many times over in many arenas, including the Simon Wiesenthal Center's "National Leadership Award" and the American Council On Renewable Energy's "Renewable Energy Leader of the Decade."
But it is Schwarzenegger's commitment to giving something back to his state and to his country through public service that gives him the most satisfaction; donating his time, energy, and personal finances to serving others all over the world. Schwarzenegger acts as Chairman of the After School All-Stars, a nationwide after-school program, and serves as coach and international torch bearer for Special Olympics. He also served as Chairman of the President's Council on Physical Fitness and Sports under George H. W. Bush and as Chair of the California Governor's Council on Physical Fitness and Sports under Governor Pete Wilson.
Since leaving office, Schwarzenegger co-founded the R20 Regions of Climate Action, a global non-profit dedicated to helping subnational governments develop, implement, and communicate the importance of low-carbon and climate resilient projects as well as their economic benefits. In December 2012, he was recognized as a 2012 Global Advocate by the United Nations Correspondents Association for his work with the organization.
In August 2012, the University of Southern California Schwarzenegger Institute for State and Global Policy launched to provide students an opportunity to focus on the responsibility of leaders to transcend partisanship in order to implement policies that most benefit the people they serve. Its five priority areas of focus are education, energy and environment, fiscal and economic policy, health and human wellness, and political reform.
His political reform campaign has grown exponentially since he left the Governor's office to litigation and lobbying around the country to help end gerrymandering once and for all.
In 2014, Schwarzenegger combined his love of global issues and entertainment to serve as executive producer and correspondent on Showtime's Emmy winning climate change docu-series, YEARS OF LIVING DANGEROUSLY.
Most recently he appeared in KILLING GUNTHER (2017), directed by SNL alum Taran Killam. This year, he will be reprising his iconic role as The Terminator in a new installment in the franchise.
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https://afterschoolallstars.org/board_members/arnold-schwarzenegger/
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Arnold Schwarzenegger – After
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https://afterschoolallstars.org/board_members/arnold-schwarzenegger/
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Arnold Schwarzenegger was sworn in as the 38th Governor of California on November 17, 2003. His landslide election as the state’s chief executive follows a distinguished career in business and entertainment. Governor Schwarzenegger has pledged to restore California’s economic strength, rebuild our education system and end politics as usual in Sacramento, so the people’s interest takes center stage. He is confident that by working together, we can Bring California Back. Like many American success stories, Governor Schwarzenegger’s began with hope and hard work.
Arriving in America from Austria at the age of 21, Governor Schwarzenegger has since become one of the most recognizable people in the world. Governor Schwarzenegger has devoted significant time and energy to improving the lives of others, especially children. His lifelong commitment to service, especially health and education programs, includes work for the Special Olympics and California’s Proposition 49 to increase funding for after school programs. Governor Schwarzenegger strongly believes that offering quality after school opportunities will help kids set and reach goals to break the cycle of dashed dreams.
In 1995 Governor Schwarzenegger founded the Inner City Games Foundation (ICG). ICG provides year-round after school and weekend cultural, educational and community enrichment programs for youths. ICG gives kids an alternative to the dead-end choices of drugs, crime and gang membership, and helps them make the right decisions in life.
A recent project of ICG is “Arnold’s All-Stars,” which provides academic and athletic programs for middle schools in California. ICG began in Los Angeles, and because of Governor Schwarzenegger’s tireless nationwide advocacy for the foundation, it is now active in 15 cities around the country, serving 250,000 kids in more than 400 schools. For children growing up in underprivileged environments, ICG instills pride and purpose – and hope for a brighter future. Governor Schwarzenegger championed the After School Education and Safety Act of 2002 (Proposition 49), which was overwhelmingly approved by voters. He authored and chaired the initiative, which is designed to make state grants available to every public middle school in California for quality after school programs.
Among Governor Schwarzenegger’s many public service awards are the Muhammad Ali Humanitarian Award, the Simon Wiesenthal Center “National Leadership Award” for his support of the Center’s Holocaust studies and the Boys and Girls Town “Father Flanagan Service to Youth Award” for his efforts with Inner City Games and Special Olympics.
Governor Schwarzenegger was appointed by President George H. W. Bush as Chairman of the President’s Council on Physical Fitness and Sports from 1990 to 1993, and also served as the Chairman for the California Governor’s Council on Physical Fitness and Sports under Governor Pete Wilson.
Through his professional success and community service, Governor Schwarzenegger has embodied the American Dream – for which he is very proud. Throughout his life, he has openly expressed his deep appreciation for the opportunities our great state and country have given him. It is because of this appreciation that Governor Schwarzenegger has always worked to give back to the melting pot that welcomed him.
Today, Governor Arnold Schwarzenegger offers bold and compassionate leadership to California. As Governor, he is dedicated to providing fellow Californians the same promise and opportunity that gave him hope as an immigrant more than three decades ago. Governor Schwarzenegger and his wife of 17 years, broadcast journalist Maria Shriver, have four children – Katherine, Christina, Patrick and Christopher.
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https://tv.apple.com/us/person/arnold-schwarzenegger/umc.cpc.4ktrrbye7tfwup18w1d1x59ff
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en
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Arnold Schwarzenegger Movies and Shows
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Learn about Arnold Schwarzenegger on Apple TV. Browse shows and movies that feature Arnold Schwarzenegger including Predator, Terminator 2: Judgment Dâ¦
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https://tv.apple.com/us/person/arnold-schwarzenegger/umc.cpc.4ktrrbye7tfwup18w1d1x59ff
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Arnold Schwarzenegger
Chris Wallace speaks to Arnold Schwarzenegger about his remarkable story from bodybuilder to movie star to governor. And now his return to acting in his first- ever television series.
Intelligent Machines
Steven Spielberg, Arnold Schwarzenegger, George Lucas and others wonder if the machines predicted by sci fi will save humankind or lead to its demise?
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https://www.empireonline.com/people/arnold-schwarzenegger/17/
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Arnold Schwarzenegger News & Biography - Empire
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1947-07-30T00:00:00
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Find out everything Empire knows about Arnold Schwarzenegger. Discover the latest Arnold Schwarzenegger news.
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en
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/assets/empire/favicon.ico
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https://www.empireonline.com/people/arnold-schwarzenegger/17/
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Arnold Alois Schwarzenegger (born July 30, 1947) is an Austrian-American former professional bodybuilder, actor, model, businessman and politician who served as the 38th Governor of California (2003–2011). Schwarzenegger began weight training at 15. He was awarded the title of Mr. Universe at age 20 and went on to win the Mr. Olympia contest a total of seven times. Schwarzenegger has remained a prominent presence in the sport of bodybuilding and has written several books and numerous articles on the sport. Schwarzenegger gained worldwide fame as a Hollywood action film icon, noted for his lead roles in such films as Conan the Barbarian, The Terminator, Commando and Predator. He was nicknamed the "Austrian Oak" and the "Styrian Oak" in his bodybuilding days, "Arnie" during his acting career and more recently the "Governator" (a portmanteau of "Governor" and "Terminator"). As a Republican, he was first elected on October 7, 2003, in a special recall election (referred to in Schwarzenegger campaign propaganda as a "Total Recall") to replace then-Governor Gray Davis. Schwarzenegger was sworn in on November 17, 2003, to serve the remainder of Davis's term. Schwarzenegger was then re-elected on November 7, 2006, in California's 2006 gubernatorial election, to serve a full term as governor, defeating Democrat Phil Angelides, who was California State Treasurer at the time. Schwarzenegger was sworn in for his second term on January 5, 2007.
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https://selfmade.by/blogs/magazine/arnold-schwarzenegger
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He’ll Always Be Back — Arnold Schwarzenegger’s Perpetual Reinvention
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2021-01-19T16:38:06+00:00
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The new year is a time of reinvention — so at Selfmade, we wanted the first profile of the year in our magazine to be of a master of reinvention. Someone who has changed directions and found success enough times for several lifetimes. And if you’ve watched any of the 50 movies he’s starred in; if you ever watched the n
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https://selfmade.by/blogs/magazine/arnold-schwarzenegger
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The new year is a time of reinvention — so at Selfmade, we wanted the first profile of the year in our magazine to be of a master of reinvention. Someone who has changed directions and found success enough times for several lifetimes. And if you’ve watched any of the 50 movies he’s starred in; if you ever watched the news in the 2000s, have ever set foot in a gym, or even just know one impression—it’s someone whose name we don’t even need to mention. Because Arnold Shwarzenegger is, without exaggeration, a living legend.
He’s been a champion bodybuilder, an actor, a businessman, even Governor of California. Today, his net worth is estimated to be over $400 million USD, in spite of being born in a different country, speaking a different language, with nothing to his name. And even today at the age of 73, he’s still bringing his iconic style to blockbusters, in spite of being wealthy enough to never have to work a day in his life. But Arnold Schwarzenegger had a vision in his mind from the beginning—and each time he accomplished it, he set his sights higher, climbing the steps out of obscurity with every reinvention, all the way up to being a household name in every industry he pursued.
An Origin, and an Accent
Arnold Schwarzenegger was born in the tiny village of Thal, Austria in 1947. His father was the local police chief, and was incredibly strict with Arnold and his brother Meinhard. All through his childhood, Arnold had to wake up at 6AM and fetch milk from the local farmer. Then, he had to do morning exercises before he was allowed to eat breakfast, and then it was on to school. When he and his brother got home, they had to do their chores and then play soccer, no matter what the weather was outside. At the age of 10, Arnold joined a local soccer team, and began playing competitively.
That’s where Arnold first discovered his love of weightlifting. When he was 15 years, Arnold’s coach started requiring the boys on the team to lift weights at the gym—but only for an hour a week. Arnold took it farther. A lot farther.
Visualizing your goal and going after it makes it fun. You’ve got to have a purpose, no matter what you do in life.” -Arnold Schwarzenegger
He put pictures of muscled, shirtless men on his wall. He started imagining with a huge, muscular physique, and then dreamed of becoming a bodybuilder. He began to work out every single day, and even broke into the gym when it was closed on Sunday. He took it so seriously that his parents worried about him and took him to a psychiatrist. The doctor told his parents that Arnold was young, and would eventually get over this obsession with physique. He could not have been more wrong.
This was not a phase. It was Arnold’s vision to be a bodybuilder, and he had the drive to put in the work to make it happen—and more. He knew of actors who had started off as bodybuilders, then landed roles as actors in films as heroic characters. So even as he began to prepare for a career as a bodybuilder, he already began imagining his next pivot: moving to the United States, and starring in Hollywood films.
Building a Champion
Arnold was not just obsessed with becoming a bodybuilder – he was obsessed with becoming a Champion. So much so that he would spend 5 hours a day in the gym. His friends always asked him why he was smiling. How could he look so happy, when he worked so hard? For Arnold, it was all because he was working towards his goal. He could see the image in his mind of winning competitions, and every rep brought him closer to achieving his dream.
In 1965, Arnold was required to fulfill one year of military service in the Austrian army. He was 200 pounds, and actively trying to pursue his bodybuilding career. So, in the middle of his service when he received an invitation to the Mr. Europe contest in Stuttgart, Germany, he did what he had to, in order to compete. He snuck out of basic training with only the clothes on his back and almost no money in his pocket, and boarded a train to Germany. When he arrived, in order to compete he had to ask another bodybuilder if he could borrow their spare trunks and tanning oil. He was allowed to. And then he won the competition, and was crowned Jr. Mr. Europe.
What we face may look insurmountable. But what I learned is that we are stronger than we know.” -Arnold Schwarzenegger
But when Arnold returned to basic training, he wasn’t met with celebration. He had broken the rules, and had to pay the consequences. Arnold was jailed for 7 days, sleeping on a cold bench with barely any food. But once his punishment was over, he became a golden example for his fellow soldiers, and even earned the respect of his superior officers for winning Mr. Europe on behalf of Austria.
When his time in the army was over, Arnold Schwarzenegger went to work as a fitness instructor in Munich, Germany, until he could travel to London to compete in the Mr. Universe competition. He was broke, and barely spoke English at the time. But as soon as he arrived, he was swarmed by fans who recognized him from the Mr. Europe competition. He had already earned the nickname “the monster from Munich”, but when he finally competed in 1966, he lost. To Arnold, this didn’t change a thing. He continued to train, and came back just one year later to compete at the age of 20. He won, and became the youngest Mr. Universe ever.
From Bodybuilding to the Big Screen
For Arnold, this was only the first chapter. The next began when a bodybuilding guru named Joe Weider called him on the phone. He invited Arnold to the United States so that he could be on the cover of Body Builder Magazine, and compete in the IFBB Mr. Universe Competition in Miami. In 1968, 22-year old Arnold Schwarzenegger arrived in the United States with only $20 in his pocket, and a duffle bag filled with gym clothes. Joe Weider paid him for the photos in the magazine, which was just enough to get a tiny apartment in Venice Beach, California.
At first, Arnold thought that he might only stay in the US for a year before returning to Europe. But he soon found a community of like-minded individuals, and found friends in the other famous bodybuilders at Gold’s Gym in Los Angeles. He realized that there were so many opportunities for him to continue his career in the United States, that he couldn’t leave.
Strength does not come from winning. Your struggles develop your strengths. When you go through hardships and decide not to surrender, that is strength.” -Arnold Schwarzenegger
Two years later in 1970, Arnold got even bigger. He won Mr. Universe, Mr. World, and Mr. Olympia. Then Joe Weider called him again—this time offering him the opportunity to audition for the role of Hercules in an upcoming film called Hercules Goes to New York. But much like his loss at the 1966 Mr. Universe, it wasn’t going to be an effortless introduction to movie fame. At the time, Hollywood producers said that Arnold’s name was too long and too “foreign.” And they hated his accent. So while he ultimately got the part, all of his lines were dubbed over by another actor, and he was given the stage name “Arnold Strong.”
This was not part of Arnold’s vision of success—people telling him that his Austrian accent was off-putting for American audiences. That the body that made him famous was now too much of an “unusual build”. Agencies did everything but say outright that Arnold would never become a successful actor. But this didn’t change his vision a bit, because Arnold had heard it all before. Growing up in Austria, he had been told that he could “never” be a champion bodybuilder, and he proved everyone wrong. This was going to be just like that. Arnold was paid just $10,000 for his first movie. He used the money as a down payment to buy a California home, and start looking for his next film.
Brawn and a Business Degree
In 1974, Arnold began receiving acting lessons a few nights per week—in spite of the fact that during this time, he was working out 5 hours a day at the gym, going to college, and had a full-time job. But his hustle paid off, because with those lessons under his belt he scored the part of Joe Santo in the movie Stay Hungry. This won him a Golden Globe for “best newcomer”, and the rest is history—over the years he starred in The Terminator, Predator, Total Recall, True Lies, and many more, grossing billions at the box office.
But while his acting career is what initially brought Arnold Schwarzeneger fame, his success there was actually in part due to the business ventures he built for himself over the years. When he graduated from the University of Wisconsin with a business degree, he became a successful real estate investor. Not to mention that over the years he also wrote best-selling biographies, taught courses and made training videos.
Since he was making money from other revenue streams, during his career Arnold was able to turn down more embarrassing roles that he was offered, and only say “yes” to acting jobs that were interesting to him. Which is part of how Arnold became so legendary — he was known for only appearing in blockbuster hits, which gave him a reputation in the industry. Eventually, he began receiving millions of dollars to star in movies.
For me, life is continuously being hungry. The meaning of life is not simply to exist, to survive, but to move ahead, to go up, to achieve, to conquer.” -Arnold Schwarzenegger
The Biggest Man in Politics
But Arnold wasn’t done. After becoming a successful bodybuilder, actor, and businessman again, he set his sights higher. It began in earnest when president George W. Bush appointed Arnold Schwarzenegger as the Chairman of the Presidents’ Council on Physical Fitness. Normally, this was a symbolic role, but Arnold was so honored to have the title that he traveled to all 50 states to teach children about the importance of physical fitness. He also became involved in The Special Olympics, and went on to organize and fund their Annual Inner City Games and the After School Care Program.
Then in 2003, Arnold Schwarzenegger announced his next big reinvention: he was running to become the next Governor of California. There were many people who thought it was a joke, and many who opposed his campaign. He began to receive a lot of hate from strangers. But it was the same as with the start to his bodybuilding career, and his acting career, so Arnold shrugged it off. One day, someone threw an egg at him while he was making a public appearance. He simply smiled and laughed, saying, “Hey! I ordered bacon with those eggs!”
In the early 2000s, Arnold was one of the only governors who took environmental issues seriously. In 2006, he signed the Global Warming Solutions Act, which made California the very first state to put a cap on the amount of greenhouse gas emissions in the atmosphere. Many other states would soon follow in his footsteps as the years went on.
But even after finishing his term as governor, Arnold wasn’t ready to retire. Instead, he wanted an acting comeback: he returned to starring in action films and has since been in The Expendables, Sabotage, Terminator 5, and more. At 73 years old, Arnold continues to enjoy his life to the fullest, still focused on pursuing his vision at every phase.
If you want to turn a vision into reality, you have to give 100% and never stop believing in your dream.” -Arnold Schwarzenegger
Arnold may have come from nothing, but he is proof that for the Selfmade, the origins rarely matter. All his life, he was told that he would never achieve his dreams. He was either too poor, too foreign, or too strange. But with his unwavering commitment to his vision, and the willingness to outwork anyone alive, Arnold was able to make his differences his strengths, and achieve even more in real life than his characters did in the movies.
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https://www.forbes.com/sites/jemimamcevoy/2024/05/30/how-arnold-schwarzenegger-became-a-billionaire/
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How Arnold Schwarzenegger Became A Billionaire
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[
"Maria Shriver",
"Arnold Schwarzenegger",
"Planet Hollywood",
"The Terminator",
"Twins",
"Kindergarten Cop",
"True Lies",
"Dimensional Fund Advisors",
"Starbucks"
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"Jemima McEvoy"
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2024-05-30T00:00:00
|
The movie star has played many roles in his 76 years: bodybuilder. Box office star. Bureaucrat. And now billionaire.
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Forbes
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https://www.forbes.com/sites/jemimamcevoy/2024/05/30/how-arnold-schwarzenegger-became-a-billionaire/
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The movie star has played many roles in his 76 years: bodybuilder. Box office star. Bureaucrat. And now billionaire.
By Jemima McEvoy, Forbes Staff
There aren’t many movies as action packed as Arnold Schwarzenegger’s actual life. Born into a poor family in the tiny Austrian village of Thal (pop: 2,500), where he later discovered his father had been a member of the Nazi party, The Terminator and Kindergarten Cop star used his muscles and charm to be crowned Mr. Universe four times then conquer Hollywood and win California’s top political office. Along the way he’s spun his fame into fortune. The 76-year-old is now worth $1 billion, according to Forbes’ estimates.
The Hollywood actor is the latest in a wave of entertainers to successfully capitalize on their stardom. On its 2024 World Billionaires List, Forbes identified 14 celebrities who cashed in their celebrity for ten figure fortunes, including singer Taylor Swift, 34, Law & Order creator Dick Wolf, 77, and comedian Jerry Seinfeld, 70. Schwarzenegger is the second actor to join the ranks after Tyler Perry, 54, who is best known for his “Madea” franchise and is worth an estimated $1.4 billion. But Schwarzenegger took a different path to riches, one that has come primarily from smart investing, not just acting.
Schwarzenegger, who moved to the U.S. in 1968 and initially struggled to secure roles because of his thick accent, has churned out around 50 films, which made $5.5 billion at the box office. He pocketed roughly $500 million from his movies, according to Forbes estimates, in part thanks to the way he structured his deals. When studio executives hesitated to make his first comedy Twins, which also starred Danny Devito, Schwarzenegger agreed to forgo a salary, pocketing nearly 20% of gross receipts instead. The 1988 movie became a blockbuster and he ultimately netted over $35 million, way more than he would have gotten upfront. “It became such a historic deal that the studio would never, ever make that deal again,” Schwarzenegger said in a 2016 interview.
He’s also made millions more from product endorsements and commercials like his “Agent State Farm” cameo at the 2024 Super Bowl. But, according to Forbes estimates, about 65% of all his entertainment earnings go to taxes and fees, like paying his agent, manager, lawyer and more, leaving him with closer to $170 million after tax. By his own estimate, he gave up another $200 million in Hollywood income to serve as California’s governor from 2003 to 2011.
Those who know him best point out one of the biggest reasons for his financial success: Schwarzenegger has always had a healthy appetite for risk. “I wanted big investments that were interesting, creative and different,” the billionaire wrote in his book, Total Recall. “Conservative bets – the kind that would generate 4 percent a year, say – didn’t interest me.”
This risk-taking paid off for him as an investor, but may have backfired in his personal life. Schwarzenegger was mentioned last month in former President Donald Trump’s hush money trial (which the jury is now deliberating) by former National Enquirer publisher David Pecker, who said that he had a similar “catch and kill” arrangement with Schwarzenegger when he was running for governor as he had with Trump’s team. Pecker claimed that as many as 40 women approached American Media Inc, the then owner of the National Enquirer, with claims about the candidate. Pecker added that he shelled out “hundreds of thousands” of dollars to keep the stories out of the National Enquirer on behalf of Schwarzenegger, who was at one point paid $1 million a year by American Media to promote its fitness magazines. Representatives for the actor did not respond to Forbes’ request for comment at the time of publication. (Schwarzenegger did admit in a 2023 Netflix documentary series about his life that his behavior was “wrong”; The Los Angeles Times first reported numerous allegations of groping and sexual harassment against the actor in 2003).
His divorce from former newscaster and Kennedy heir Maria Shriver was finalized in 2021. While the terms of the divorce were not made public, Forbes assumes the pair didn’t have a prenup and split their assets 50/50, per California law. Had they drawn up a premarital agreement, Schwarzenegger might be worth nearly double what he is today.
THE $200 MILLION MAN
One of the highest paid and most productive Hollywood stars of all time, Arnold Schwarzenegger has made 13 films surpassing $200 million in box office earnings over three decades.
F
rom the outset, Schwarzenegger put his cash to work. Soon after arriving in California in 1968, he used his bodybuilding, along with extra income from his side hustles – laying bricks with friend and fellow bodybuilder Franco Columbo, and a mail-order business selling fitness pamphlets – to start buying up apartment buildings in Santa Monica. He claims he was a millionaire before getting any major movie roles in the 1970s.
Since then, Schwarzenegger pumped his money into commercial real estate, private equity and stocks. He is the founding client of Main Street Advisors, which his longtime financial advisor Paul Wachter opened up in 1997 with the sole purpose of helping the movie star handle his money. (The firm has since expanded to advise such celebrities as LeBron James and Billie Eilish).
Among his bigger real estate investments: Schwarzenegger redeveloped an entire Santa Monica block that he then sold off in 2006. He bought 812 Main St., a 21,600 square foot commercial building in prime Venice Beach for roughly $12 million in the 1980s that he unloaded in 2013 for at least triple that sum. He previously owned a significant stake in the Waldorf Astoria Hotel in Beverly Hills plus he’s a longtime investor in Easton Town Center outside Columbus. The mall, whose development was spearheaded by theembattled Victoria Secret billionaire Les Wexner, is one of the top performing in the country. Schwarzenegger described Wexner as one of his “teachers” in a 2001 speech, and the retail billionaire reportedly hosted a $2,500-per-head fundraiser for Schwarzenegger at his Ohio home in 2004.
Another key mentor of his: Berkshire Hathaway’s Warren Buffett, who the actor has described as “the greatest investor ever.” The pair met in the late 1990s and Buffett later served as an economic advisor on Schwarzenegger’s campaign. More recently, in a 2021 interview with the New York Times, Schwarzenegger cited the “Oracle of Omaha” as the reason why he wouldn’t invest in Bitcoin or other cryptocurrencies: “I am like Warren Buffett. I don’t invest in things I don’t understand.”
Instead, Schwarzenegger invested in some of America’s best known brands. He bet on Starbucks in the 1990s and still owns shares in the coffee empire. He was an investor in Google’s Series A round in 1999, sold off shares at some point and then bought some back more recently. Other stocks in which he’s had stakes at some point are Beyond Meat, AMC and the YES Network.
One of the more “creative” investments that he and Wachter masterminded was Schwarzenegger’s famous purchase of a $130 million Boeing 747 that he then leased back to Singapore Airlines. The actor put down around $10 million upfront. Wachter says they made money on the deal (he didn’t say how much) but admits it wasn’t the “huge hit” they anticipated, in part due to the decline in airline values after the Sept. 11 attacks of 2001.
Perhaps his smartest bet was buying a minority stake in $718 billion (assets) Dimensional Fund Advisors, founded by fellow billionaire David Booth, in 1996. Wachter’s former employer was at the time an investor in the investment firm, which was then managing around $12 billion in assets, and wanted to sell. Schwarzenegger was quickly convinced by Booth’s connections to one of his idols, the late economist Milton Friedman, who he called his “intellectual idol”: Booth had been one of Friedman’s students at the University of Chicago.
Schwarzenegger initially bought just under 5% of the firm’s equity for an undisclosed sum, but “he has not ever sold one share and he never would,” says Wachter, who described DFA as one of the “most incredible” investments he’s ever seen. That initial stake is now worth nearly $500 million, according to Forbes’ estimates. (Wachter adds the caveat that Schwarzenegger may sell some if the company ever goes public.)
Wachter recalls when Schwarzenegger was governor and he had to manage his client’s investments fully to avoid any conflicts of interest. They weren’t supposed to talk about his portfolio but after the market crashed in 2009 he turned to Wachter at a Los Angeles Lakers basketball game and said “you better not be selling anything,” Wachter recalls. “He’s that guy... He knows this is not the time to sell. And of course, things came roaring back after the financial crisis so he was right.”
In addition to his real estate and equity investments, Schwarzenegger continues to own several businesses: film and production company Oak Productions, Fitness Publications Inc and film and trademarking holding venture Pumping Iron America. His wide ranging investment portfolio also includes the Arnold Sports Festival, a three-day long bodybuilding and strength convention that takes place in Columbus, as well as in Madrid, the UK, Brazil and South Africa. He also owns an estimated $40 million in personal real estate, including a ski getaway in Sun Valley, Idaho and a seven-bedroom mansion in Brentwood, California.
Arnold Schwarzenegger
Career Highlights
1967
Schwarzenegger wins Mr. Universe for the first of four times — his first title was in the “Amateur” competition but he won the “Professional” title the next year.
1970
Schwarzenegger films his first movie: “Hercules in New York.” His lines were dubbed over by another actor in the original version.
1984
Schwarzenegger gets his breakout role in James Cameron’s “The Terminator.” He was paid $750,000 for the blockbuster.
1998
Schwarzenegger releases “Twins,” his most profitable film. The comedy grossed more than $215 million globally at the box office.
2003
Schwarzenegger is elected California governor after former governor Gray Davis’ recall. The actor served two terms as a Republican.
2021
Schwarzenegger finalizes divorce from Maria Shriver after 35 years of marriage. They have four children together: Katherine (34) Christina (32) Patrick (30) and Christopher (26).
2023
Schwarzenegger releases “FUBAR,” his first ever starring role in a live-action TV series on Netflix.
Image credits (top to bottom): Pictorial Parade/Getty Images; Michael Ochs Archives/Getty Images; Sunset Boulevard/Corbis/Getty Images; Universal Pictures/Newscom; Carlo Allegri/Getty Images; Jason Merritt/FilmMagic/Getty Images; Tommaso Boddi/Netflix/Getty Images.
N
ot every investment was a winner. In 1991, Schwarzenegger teamed up with Bruce Willis and Sylvester Stallone to invest in Planet Hollywood. The themed restaurant chain peaked at a valuation of more than $3 billion in 1996 only to end up in bankruptcy three years later. Though he got nowhere near the $120 million his stock was once worth on paper, Schwarzenegger, for his part, ended up getting out largely unscathed. At the advice of Wachter, he spent two years negotiating his ownership stake to have significant “safeguards” when he decided to invest. His main saving grace was that he was able to sell stock earlier than other investors, according to Wachter, who claims Schwarzenegger sold enough that he made “significant” money on his initial investment.
Key to the actor’s success has been his relentless work ethic. During his time as governor, his staffers were not allowed to use the word “tired,” according to Margita Thomson, his former press secretary. Schwarzenegger called it “the T-word.” “He’s constantly driven day to day. Like there’s 24 hours in the day, buckle up buttercup. Work hard and be disciplined… It’s just who he was,” says Thomson.
Even now, the actor, who earlier this month revealed he’s had a pacemaker fitted following multiple heart surgeries, continues to keep a full schedule. Last year he released two shows on the streaming platform Netflix: “Arnold,” a three-part documentary of his life, and “FUBAR,” his first-ever starring role in a live-action TV series, which has been renewed for a second season. When that shooting wraps, he’s set to film a Christmas comedy. He also publishes a free daily newsletter to around 800,000 subscribers and has 20,000 members who pay $99 a year for his paid fitness app, The Pump.
“I think he might be the world’s busiest 76 year old,” says Schwarzenegger’s chief of staff Daniel Ketchell, who has worked with him since he was governor. According to Ketchell, Schwarzenegger begins most days at 5 a.m. when he wakes up to feed his animals including three dogs, a miniature horse, a donkey and a pig. He then checks his iPad for urgent emails and works out before starting his day. Ketchell says it’s not uncommon for him to get a Facetime from Schwarzenegger at 6 a.m. (he doesn’t mind as he’s an early riser also) or on Sunday evenings after “60 Minutes” airs.
Others say getting to him has gotten nearly impossible. “He has layers of people between the world and him,” says Steve Algermissen, the executive director of Cushman & Wakefield’s Los Angeles office. Forbes too was unable to get an interview with him through his representatives despite multiple requests for comment. His financial advisor Wachter answered questions but declined to comment on his client’s net worth.
NOTE: This is an expanded version of the story that appeared in the April/May 2024 issue of Forbes Magazine.
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Body of Work: The Complete Evolution of Arnold
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] |
[] |
[] |
[
""
] | null |
[
"Sean Hyson",
"mkassan"
] |
2020-07-30T02:00:00+00:00
|
See how Arnold transformed from bodybuilder, to movie star, back to bodybuilder.
|
en
|
https://www.muscleandfitness.com/wp-content/themes/muscle-and-fitness/assets/build/images/favicon/favicon.ico
|
Muscle & Fitness
|
https://www.muscleandfitness.com/athletes-celebrities/body-work-complete-evolution-arnold/
|
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