Republished by Blog Post Promoter
“It’s not gettin’ to the Land of The Dead that’s the problem…it’s gettin’ back….”
CLICK ON THE IMAGE TO SEE VIDEO CLIPS OF SOME FAVORITE QUOTES by Captain Barbossa in “The Pirates of The Caribbean: At Worlds End”
Republished by Blog Post Promoter
CLICK ON THE IMAGE TO SEE VIDEO CLIPS OF SOME FAVORITE QUOTES by Captain Barbossa in “The Pirates of The Caribbean: At Worlds End”
Republished by Blog Post Promoter
“Digital Janitor” is one segment from a low budget sci-fi film in progress being developed by a collaboration of film makers from http://ghostswithshitjobs.com. Watch it. It’s refreshingly sardonic.
Republished by Blog Post Promoter
KIDS GROW UP FAST! ENJOY THEM WHILE YOU CAN.
Republished by Blog Post Promoter
Metropolis is a 1927 German expressionist epic science fiction drama film directed by Fritz Lang. The film was written by Lang and his wife Thea von Harbou, and starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. A silent film, it was produced by Erich Pommer in the Babelsberg Studios by Universum Film A.G.. It is regarded as a pioneering work of science fiction genre in movies, being among the first feature length movies of the genre.
Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia, and follows the attempts of Freder, the wealthy son of the city’s ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Metropolis was filmed in 1925, at a cost of approximately five million Reichsmarks, making it the most expensive film ever released up to that point.
In this film, the mad inventor Rotwang kidnaps the heroine, Maria. You see he’s created a robot to be a replacement for a woman he loved. But it needs a soul! So when the need to get Maria out of the way in the general run of the plot presents itself, he imprints the image of Maria onto his Robot.
The lady is in a confined little bed-thing with a big steel helmet on her head with wires coming out. Rotwang throws switches and levers. Chemicals boil, electricity flies, the robot on her throne is surrounded by energy and suddenly changes into the image of Maria. Though when she opens her emotionless eyes, they seem to glow with an inner light. IT’S ALIVE!
This revolutionary film addresses the subject of animating inanimate organisms. Biological engineering and animation of bodies by spiritual beings is thoroughly discussed in the book ALIEN INTERVIEW:
“How else can you explain the source of spiritual animation which defines every living creature? To say it is the work of “god”, is far too broad. Every IS-BE has many names and faces in many times and places. Every IS-BE is a god. When they inhabit a physical object they are the source of Life.”
Metropolis (short synopsis of the film)
Sometime in the future. Johann Fredersen is mastermind of Metropolis, a gigantic high-tech city, under whose surface masses of workers lead an archaic slave existence. His son, Freder, is witness to the inhumane working conditions and rebels against his despotic father, discovering a spiritual community in the catacombs of the city: Maria, a young woman, preaches the virtues of love and reconciliation. But Fredersen discovers Maria as well and conjures up a sinister plan. He commissions the scientist Rotwang to develop a robot form of Maria, which he will use to gain influence over the workers. The plan works, but Freder and Maria are able to hinder the catastrophe in the last minute. The mass hysteria turns and directs its rage toward the robot Maria, who is burned at the stake. Freder and Maria form a new brotherly community among the classes – Fredersen offers his hand in reconciliation, true to the motto of the film: “the mediator between the hand and the brain must be the heart”.
Republished by Blog Post Promoter
The loss of the person whom you love and cherish the most in your life is an agony beyond imagining. Yet, to allow them to endure interminable suffering, is the most brutal cruelty, and insantity. If you truly love someone, the only sane and merciful act is to free them from their pain. This pain may be imprisonment within an unwanted relationship, or from a crippled and decaying body.
In Life, and in Death, Freedom is more important than Love.
Amour (pronounced: [a.muʁ]; French for “Love”) is a 2012 French-language drama film. The narrative focuses on an elderly couple, Anne and Georges, who are retired music teachers with a daughter who lives abroad. Anne suffers a stroke which paralyses her on one side of her body. The film was screened at the 2012 Cannes Film Festival, where it won the Palme d’Or. It won the Academy Award for Best Foreign Language Film at the 85th Academy Awards, and was nominated in four other categories: Best Picture, Best Actress in a Leading Role (Emmanuelle Riva), Best Original Screenplay (Michael Haneke) and Best Director (Michael Haneke). At the age of 85, Emmanuelle Riva is the oldest nominee for the Best Actress in a Leading Role. At the 25th European Film Awards, it was nominated in six categories, winning in four, including Best Film and Best Director. At the 47th National Society of Film Critics Awards it won the awards for Best Film, Best Director and Best Actress. At the 66th British Academy Film Awards it was nominated in four categories, winning for Best Leading Actress and Best Film Not in the English Language. Emmanuelle Riva became the oldest person to win a BAFTA. At the 38th César Awards it was nominated in ten categories, winning in five, including Best Film, Best Director, Best Actor and Best Actress.