#Annette Schaal

[guiadeterror]

A Criatura

A Criatura (Creature) Origem: EUA, 1985 Elenco: Stan Ivar, Wendy Schaal, Lyman Ward, Robert Jaffe, Diane Salinger, Annette McCarthy, Marie Laurin, Klaus Kinski Direção: William Malone Roteiro: William Malone, Alan Reed Duração: 87min Onde ver: Em DVD. Distribuição: Em VHS, saiu pela TEC Home Vídeo. Em DVD, chegou pela Continental. Sinopse: No futuro, ao desembarcar numa das luas de Saturno para…

[brokehorrorfan]

Creature will be released on Blu-ray on January 26 via Vinegar Syndrome. This is a standard counterpart to the limited edition version that was available exclusively from Vinegar Syndrome in November.

The 1985 sci-fi horror film is directed by William Malone (House on Haunted Hill) from a script he co-wrote with Alan Reed. Stan Ivar, Wendy Schaal, Marie Laurin, Lyman Ward, Robert Jaffe, Annette McCarthy, Diane Salinger, and Klaus Kinski star.

Both the theatrical cut - restored in 4K from the original 35mm camera negative - and director’s cut (under the title The Titan Find) - restored in 2K from a 35mm archival print - are included.

Creature features reversible artwork. Special features are detailed below.

Special features:

Theatrical cut & director’s cut

Audio commentary track by The Hysteria Continues podcast

Finding Titan: The Making of Creature - Interviews with special effects artist Doug Beswick and actors Stan Ivar, Lyman Ward, Diane Salinger, and Marie Laurin

Interview with director William Malone

In the not too distant future, the crew of the spaceship Shenandoah make an unsettling discovery after landing at an archeological dig site on the Saturn moon Titan: another craft, of German origin, has already landed but its crew appears to have vanished save for hotheaded Captain Hans Hofner, who seems to be hiding something about the mysterious disappearances aboard the craft. But it's not long before the truth is revealed, in the form of a giant, prehistoric alien which intends to eat, and absorb, the essences of all humans.

Pre-order Creature.

[hoesl-mihaljevic]

Toilet Paper, Honey, Cucumbers and Wine (with Dr. Mabuse)

an exhibition by Hösl & Mihaljevic

with contributions by:

Silvia Bächli und Eric Hattan, Ursula Bantel-Schaal, Jennifer Bennett, Burkhart Beyerle, Johannes Bierling, Roland Bischoff, Sofi Brazzeal, Sascha Brosamer, Johanna Broziat, Brigitte Büdenhölzer, Stefan Burger, Frieder Butzmann, Yu-Shih Chiang, Andreas Chwatal, Daniel Gustav Cramer, Moyra Davey, Katalin Deer, Simone Demandt, Henri Dietz, Doris Erbacher, ExposerPublier, Thomas Geiger, Gemeinde Lenzkirch, Jochen Gerz, Klemens Grund, Isabel Herda, Leon Hösl, Robert Hösl, Vera Hösl, Hildegard Homburger, Ika Huber, Cecilia Hultman, Kari Ikonen,  Sophie Jung, Ingrid Kaiser, Elisabeth Kihlström, Marie Krokann Berge, Philipp Leissing, Literaturhaus Freiburg, Erik Mattjissen, Klaus Merkel, Annette Merkenthaler, Anja Müller, Museum für Neue Kunst Freiburg, Janne Nabb+Maria Teeri, Sophie Nys, Jacob Ott, Andreas von Ow, Toni Parpan, Uta Pütz, Angela Raith, Hans Rath, Dieter Röschmann, Eva Rosenstiel, Brigitte Rost, Simone Ruiz-Vergote, Kari Saanum, Miro Schawalder, Elvira Schlögl, Iris Schlögl,  Kurt Schlögl, Manfred Schmidt, Lisa Marie Schmitt, Gudrun Selz, Nicoline van Stapele, Kari Steihaug, Florian Thate, Claudia de la Torre, Michaela Tröscher, Judit Villiger, Stefanie de Vos, Bettina Wenke, Stefan Wirnsberger, Matthias Zschokke

Gedankenflug im Haus Waldfrieden, Text: Dieter Röschmann

http://www.badische-zeitung.de/lenzkirch-gedankenflug-im-haus-waldfrieden

[themastercylinder]

  SUMMARY

In the film’s prologue, two geological researchers for the American multinational corporation NTI encounter an ancient alien laboratory on Titan, the largest moon of Saturn. In the lab is an egg-like container which is keeping an alien creature alive. The creature emerges and kills the researchers. Two months later, the geologists’ spaceship crashes into the space station Concorde in orbit around Earth’s moon, its pilot having died in his seat.

CREATURE, 1985

NTI dispatches a new ship, the Shenandoah, to Titan. Its crew, consisting of Captain Mike Davison (Stan Ivar), Susan Delambre (Marie Laurin), Jon Fennel (Robert Jaffe), Dr. Wendy H. Oliver (Annette McCarthy), David Perkins (Lyman Ward) and Beth Sladen (Wendy Schaal), is accompanied by the taciturn security officer Melanie Bryce (Diane Salinger). While in orbit, the crew locate a signal coming from the moon—the distress call of a ship from the rival German multinational Richter Dynamics. Their own landing turns disastrous when the ground collapses beneath their landing site, dropping the ship into a cavern and wrecking it. When radio communication fails, a search party is sent out to contact the Germans.

In the German ship, they find one of the containers from the prologue breached, as well as the dead bodies of the crew. The creature appears and kills Delambre when she lags behind the escaping group. Fennel enters a state of shock at the sight and Bryce sedates him. When they return to their own ship, the Americans find that one of the Germans, Hans Rudy Hofner (Klaus Kinski), has snuck aboard. He tells them how his crew was slain by the creature, which was buried with other organisms as part of a galactic menagerie. He proposes returning to his ship to get explosives, but the crew are unwilling to risk it.

It becomes apparent that the creature’s undead victims are controlled by the creature through parasites. Unsupervised in the medbay, Fennel sees the undead Delambre through a porthole and follows her outside. She strips naked, and he stands transfixed while she removes his helmet. He asphyxiates, and then she attaches an alien parasite to his head. Now under alien control, Fennel sends a transmission to his crew mates, inviting them over to the German ship. Hofner and Bryce are sent to get some air tanks for the Shenandoah and stand guard over it, while the rest of the crew go over to the Richter ship.

Hofner and Bryce stop over at the menagerie on their way, and are attacked by Delambre, who has had a parasite attached earlier. The rest of the crew go over to the Richter ship, and find Fennel with a bandage on his head to conceal his parasite. Davison insists that medical officer Oliver examine his head, so Fennel has her accompany him to the engineering quarters to feed her to the creature. Davison and Perkins notice Fennel doesn’t sweat and go check on them. They are too late to rescue Oliver, who is decapitated by the creature, but Perkins blows up Fennel’s head with his pistol.

Soon afterwards, Sladen runs into an infected Hofner. She escapes the ship, and in her haste, only puts on her helmet after exiting. Perkins spots her outside and opens the airlock. Now unconscious, Sladen is carried in by Hofner to lure the others. They fight, and Davison manages to defeat Hofner by ripping off his parasite. The three survivors formulate a plan to electrocute the creature with the ship’s fusion modules, which can only be accessed by going through the engineering quarters.

Alarms suddenly sound as a creature makes its way through the ship, committing sabotage. Sladen and Davison go through engineering to construct an electrocution trap, while Perkins goes to the computer room to monitor the creature. Sladen finishes rigging the trap just in time for the creature’s arrival, and they apparently electrocute it to death. However, when Davison leaves, it captures Sladen.

CREATURE, Robert Jaffe, Klaus Kinski, 1985

Davison and Perkins follow her screaming and find her locked inside engineering. Studying the ship’s blueprints, they find another entrance to engineering and sends Perkins to lure away the creature while Davison retrieves Sladen. On the way, Perkins locates one of the bombs Hofner had mentioned, just before the creature jumps him. Dying, Perkins manages to attach the bomb to the creature and set off the countdown so Davison can jettison it through the airlock.

It climbs back aboard, however, so Davison tackles it, throwing himself out the airlock in the process. When the bomb fails to explode, Bryce appears and shoots it, which sets it off and kills the creature. She recovers Davison and dresses his wounds, then they reunite with Sladen and finally launch the ship.

  Director William Malone

BEHIND THE SCENES/ PRODUCTION

Even though in space, nobody can hear you scream Bill Malone still wants you to try. The 37 year old director of SCARED TO DEATH is getting ready to try and scare audiences again with his second feature, THE TITAN FIND. The $4.2 million production is set to open this spring, and Malone is cautiously optimistic about its chances.

The film is set in the near future, when the commercialization of space is well under way. On the surface of Titan, a research ship has discovered the remains of an ancient alien laboratory and its collection of specimens. One specimen, however, turns out to be much livelier than originally thought, and kills all but one of the crew. The survivor lives long enough to make it back to Earth, setting off a race between two competing multinational firms for whatever is there, both unaware of just how deadly the alien is.

Despite its small budget, the film boasts good production values, with set design by Robert Skotak and effects by the L.A. Effects Group, and stars international weirdo Klaus Kinski as a German space commander.

Malone, a baby-faced man who resembles DREAMSCAPE’s villain David Patrick Kelley, explained the roundabout way THE TITAN FIND got off the ground. “After I did SCARED TO DEATH, I was trying to get another project going.” said Malone. “One of the people my producer Bill Dunn and I went to see said they’d really like to make a picture like SCARED TO DEATH. They signed us up to do one of our projects, MURDER IN THE 21ST CENTURY, a detective story. After we did the screenplay, they didn’t think it had enough exploitation value. ‘What else do you have,’ they asked, and can you have it to us by tomorrow morning?’ This was in January, 1984.

“On that short a notice, all I could do was go through my files and see what I had kicking around. I found a two page story synopsis of THE TITAN FIND which I had written six or seven years earlier, and I took that in to them. It was basically just the beginning of the picture as it is now. I read it to them with some background tapes of classical music and they loved it. I said to myself, ‘Great…, now how do I make a film out of this?”

Not only was how a problem, but where as well. With a tight budget and little lead time given the company, it would have been nearly impossible to get studio space to shoot the film. The production’s answer was to create its own studio, setting up shop in an abandoned industrial plant in Burbank. The small warehouse became a tight maze of different bits of spaceship interiors and planet exteriors, with Malone’s crew shooting on one set, while another was torn down behind them and another built just ahead of them. Filming began June 25th.

Construction of the bridge of the NTI spaceship ‘Shenandoah

“We’ve been on it now for 8′ weeks, and I’m tired,” said Malone. “This has been a particularly tough picture because everything’s got smoke and dust and lava rock, which not only creates a lot of noise when you step on it, but makes this gritty dust and gets into everything. We’re forever wearing filter masks. Initially it sounded like a good idea doing everything in one location where you wouldn’t have to be moving people around, but after a while, all you want to do is go outside and see some sun.”

Malone is taking a lot of liberties with the Titan setting. “Well, I figure it will be a long time before anybody gets there to find out what it is actually like,” he said. “Everything’s got this sort of Dante’s Inferno look to it. There are these tremendous lightning storms going on all the time. The picture almost winds up looking like gothic horror. In fact, when we designed the miniatures, that was the instruction, make them look like Dracula’s castle. From the dailies, someone said they thought it looked like a Mario Bava picture, which I take as a compliment.”

To get the most out of the sets and special effects, Malone decided to shoot in widescreen Panavision. “A space picture practically demands that kind of format,” said Malone. “I had to do some fast talking because most of the people involved didn’t want to go anamorphic. Initially it’s a pain in the ass to deal with the Panavision company. If you’re not a major company, they tend to want all their money up front, and that’s very hard to deal with, but once we had set the deal with them, they were easier to get along with. Using Panavision really paid off in the long run, because it gives the picture a bigger look. With Panavision, you gain about 40 percent in image area, and it tremendously improves the image and clarity. This is only my first Panavision picture, but after working with it, you get kind of spoiled.”

Robert Skotak on the set of the Richter Dynamics spaceship from ‘Titan Find

One group that found it a little harder to work up enthusiasm for the widescreen format were the people involved in physically producing the special effects for the film, the year old L.A. Effects Group headed by Larry Benson. The company includes Alan Markowitz, director of animation and optical effects, and Corman effects graduates Robert and Dennis Skotak. Robert serves as director of visual effects while brother Dennis is director of photography.

“The single biggest problem we had was the anamorphic format,” said Dennis Skotak. “Bill Malone likes widescreen, and I like widescreen, but for a limited budget, it’s a problem. It’s real hard to force depth of-field because you have to have a great deal of light to close the camera aperture down.

“Because the budget was so low on this picture, we had a limit on how much time could be spent building the models. The ships are not large enough for a lot of the things that are necessary. One of the producers wanted a shot of the Shenandoah much closer than what we had planned it to be. I had to pull out the bag of tricks to get it done. We had to have the ship so close to the camera that it was grazing the film magazine.”

“I storyboarded the film, designed all of the miniatures (except for the American ship, The Shenandoah, which Bill Malone designed himself), and worked closely with Bill on the planning and staging of each shot,” Skotak explains. “He pretty much left me with a free hand to design the look and layout of each scene. His input was heavily along the lines of what the mood and coloration of something should be, the things that were important to convey a building feeling of suspense. For example, when the ships are approaching Titan, they’re not zooming by. They’re moving very slowly, almost serenely. Then as they enter Titan’s atmosphere, there is all of this lightning going on around them and huge dust storms everywhere. “In the same way, we wanted the interior of the Richter Dynamics ship, where a lot of the action takes place, to look very German Gray, functional, much like a battleship. We wanted it to look like a weird place without getting ludicrous. I made it a little expressionistic, gave it buttresses and bulkheads to shoot from behind. There is also a geographic quality to the bridge; the area is broken up into planes by several different shapes.”

An Early Concept

Robert Skotak’s Creature Design

Skotak also designed the look of the alien, which Malone finally approved after choosing elements from dozens of different sketches that Bob drew. Mike McCracken and Don Pennington were among several people who contributed molds and mechanics to the snakish suit, but it was Doug Beswick, who was called upon, under a heavy deadline, to pull the whole suit together.

“I was real skeptical about it being finished on time,” Beswick recalls. “Bill could only push the shooting schedule back 13 days. The neck and jaw had to be rebuilt to give the creature a larger bite radius, the fingers had to be extended and given long claws, legs and arms had to be built, we had to get a truly vicious look into the face.

This is the small scale maquette, which estabilished the look for the Monster — which would have only minor modifications. It was built by Michael McCracken’s team.

“We would have liked to have done more, but it was a very limited schedule. Considering that, I’m very happy with the way the thing turned out. I haven’t seen many dailies, but what I’ve seen looks good. They are shooting it right, taking their time to light it correctly. I hesitated at first to take on this job, because of the time limit, but I was able to do it and I’ve learned quite a lot, so now I’m glad that I took it on.”

Beswick also built a mock up version and a one-third scale gelatin replica of the rubber suit, both of which will be used in surprise special effect scenes. But monsters from other planets aren’t all you’ll be cringing at. Besides your basic assortment of gouged necks, chewed limbs and decapitated skulls, Titan Find will grace screens with the spectacle of ripped faces, exploding heads and flying cow bellies.

Special effects makeup was originally designed by Bruce Zahlava, who left the production due to creative differences halfway through the shooting. Jill Rockow, a makeup veteran of The Howling, Frightmare, Deadly Eyes, Conan the Destroyer and Friday the 13th-The Final Chapter, among numerous others, is responsible for the daily applications. One of her primary tasks was to destroy parasite victims Robert Jaffe and Klaus Kinski from the inside out.

“Robert Jaffe has the most makeup of anybody.” Rockow explains. “He attacks people and spits blood at them. His face deteriorates and pulls off. In fact, it’s my hand that rips his face off! The actress he’s fighting with in the scene had to go home, and the actual ripping was done with a fake head. I just reached into the frame and pulled off a section of it to expose the underneath, which was a duplicate of the makeup Robert had on.

Jill Rockow Applies Prosthetics

“His face peels off more later on, to reveal this whole bloody and slimy underface. Eventually, his head explodes completely. That was done with another fake head and pyrotechnics. The head was filled with cow bellies, cow brains; it was a real party there. It was made out of gelatin and we planted pieces of primacord inside it. Primacord’s an explosive that is so powerful that a piece of it wrapped around your neck will shoot your head right off. It cuts things off clean. People who do blasts for oil wells use it.

“Robert Jaffe really gets destroyed in this. He’s a producer as well as actor; he produced Motel Hell and Demon Seed. He was wonderful to work with, very cooperative. We went through five hours of makeup application every day and two hours of taking it off. He never moaned once.”

Three overlapping appliances are used to create Klaus Kinski’s makeup. The chin goes on first, then the nose, and the forehead and cheek pieces last. As his character starts to deteriorate, plugs on his cheeks and chin are pulled out to uncover the monstrous mutation going on underneath. Rockow and her crew, which included Jerry Quist and Paul Rinehard, have their work cut out for them with these designs; because of the limited budget (estimated at $4 million), Kinski does not appear in all of his scenes, and two doubles, neither of whom resemble the Polish actor, or each other for that matter, have to stand in for him in a number of action scenes. Luckily, Rockow’s foam rubber appliances cover the entire face, so the differences in actors is impossible to detect.

“The alien itself and all the parasites were covered in K-Y,” Rockow explains, “and everyone’s face was K-Y’d too. We tinted it a yellowish-brown for all of the decomposing human stuff. The neat thing about K-Y is that it dries about an hour or so after you apply it, to a point where it’s not slippery. A lot of makeup people use Methocel for creating slime, but that dries hard and you’ve got to peel it off before you can put a new batch on. This stuff just keeps dripping until it dries.

“About the gore, I tend to sort of pull back in that area,” says Malone. “There are some dramatic scenes that have some gore in them, but I think that if you do it all the way through, then it loses its punch. My basic approach is that I really like suspense more than gore, but the problem is that you have to remember that we also have to try and sell the movie overseas. There are countries that won’t buy your picture without a certain amount of gore in it. Look at the Italian zombie movies, and Japanese kid shows, they have people getting hacked to pieces and arrows that go through eyes … that sort of stuff, so you have to have some pretty heavyweight material in your picture for them to be interested in it.”

Regarding Klaus Kinski

Surprises and difficulties were in store for the live action crew as well. No sooner had Malone worked out the story line for the film and started work on the script when his backers threw him a curve. To help give the film a stronger selling point, his investors had gotten a “name” actor, Klaus Kinski. The problem was that they only had Kinski for a week, and there wasn’t a part in the film that would suit him.

“Previously, we had clues in the original story as to what happened in the German ship, and the audience was supposed to draw its own conclusions,” Malone said. “But once we had Klaus, it seemed the best thing to do was make him the commander of the German ship and work from there. I think he enjoyed working on the film, but it was very hard to tell. He’s got an unusual personality. He worked with me on his part in the script, and actually, I think he would make a very good story editor. He was very helpful with suggestions and with working with the other actors.

I think it helped everyone else too because they really seemed to be working harder because they were working with him.

“Klaus was crazier off camera than the part I wrote for him, and I wrote him as a total looney. The first day of shooting he shows up, and the first thing out of his mouth was, ‘I raped my 12-year-old daughter, you know.’ I thought, oh great, this is going to be fun. “Halfway through the first day of shooting, the crew came up to me en masse and said, ‘Billy, we want you to know we’re all going to take Klaus out back and beat the shit out of him.’ I said, ‘Look guys, you have to wait until the end of the week, and then you can do everything you want.’ He was a madman, really, but I will say this, when he’s on screen, he just lights up the screen. He’s definitely one of the best things in the picture. He really added a lot to it. When we write a script, a lot of times the actors don’t give you what you heard in your head. Klaus was one of the few people who gave me exactly what I was writing, the intonation and delivery that I heard for this stuff.”

A running gag on the set occurred after Kinski tried to make a pass at the female makeup artist who was applying his makeup by sticking his knee between her legs and telling her, “That is not my knee, that is my cock.” From then on, whenever anyone on the set bumped into someone else, it became de rigueur to say, “That is not my knee, that is my cock,” regardless of the circumstances.

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ALIEN rip off?

 “You have to understand that this movie has turned out to be a lot bigger picture than we set out to make. We started out small, but after the second week of shooting, the investors looked at the footage and said they loved it and wanted us to make it bigger and better, so they kept throwing money at us, which is really a filmmaker’s dream. We’re using a Dolby stereo soundtrack, which isn’t something we were originally designed for. When we put together a rough cut of the movie, we decided it would add a lot to the film, even though it was going to cost another $80,000.”

Aside from the technical aspects of the film, Malone knows he’s going to run into objections about the film: is it an ALIEN rip off?

“I don’t know what to say about the ALIEN question,” Malone continued. “I guess it depends on whether you consider ALIEN an original story. I don’t look at that many films as real originals. I know ALIEN had elements of several films in it that I could name, but beyond that, most genre films are pretty derivative. I think that THE TITAN FIND has got some unusual and interesting things in it. Certainly the film is going to be compared to other films, but I don’t think you can help that. I actually think there’s a lot more of 1950’s science fiction in it than anything else, and that it resembles ALIEN because Dan O’Bannon and myself were probably inspired by the same pictures. I like Spielberg’s JAWS also. I think it’s probably one of the best monster movies ever made; when I was writing Klaus Kinski’s part, I wanted to try and capture more of the feel of Robert Shaw’s part in that, than ALIEN.”

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Cast

Stan Ivar as Captain Mike Davison

Wendy Schaal as Beth Sladen

Lyman Ward as David Perkins

Robert Jaffe as Jon Fennel

Diane Salinger as Melanie Bryce

Annette McCarthy as Dr. Wendy H. Oliver

Marie Laurin as Susan Delambre

Klaus Kinski as Hans Rudy Hofner

  Directed by   William Malone

Produced by William G. Dunn

Screenplay by William Malone Alan Reed

  Produced by

Moshe Diamant       …       executive producer

William G. Dunn      …       producer (as William G. Dunn Jr.)

Ronnie Hadar          …       executive producer

William Malone        …       producer

Don Stern     …       associate producer

    Art Direction by Michael Novotny

  Stephen Glassman  …       scenic artist

  Special Effects by

Wayne Beauchamp …       pyrotechnician

Doug Beswick         …       creature coordinator / miniature construction

John Eggett  …       pyrotechnician

Michael McCracken …       creator: “Titan Find” creature

Gerald Quist …       special effects makeup assistant

Paul Rinehard         …       special effects makeup assistant

Jill Rockow    …       special effects makeup assistant

Robert Short …       weapons creator

Bruce Zahlava         …       special effects makeup supervisor

  Visual Effects by

Larry Benson          …       visual effects executive producer: The L.A. Effects Group Inc.

Suzanne M. Benson          …       visual effects production associate: The L.A. Effects Group Inc.

Bob Burns     …       effects technician: The L.A. Effects Group Inc.

Steve Caldwell        ���       effects technician: The L.A. Effects Group Inc.

George D. Dodge    …       effects cinematographer: The L.A. Effects Group Inc. (as George Dodge)

Judith Evans …       effects technician: The L.A. Effects Group Inc.

Alec Gillis      …       special thanks: The L.A. Effects Group Inc.

Sanford Kennedy    …       model maker: The L.A. Effects Group Inc.

John Lambert          …       optical consultant: The L.A. Effects Group Inc.

Alan G. Markowitz   …       animation supervisor: The L.A. Effects Group Inc. (as Alan Markowitz) / director optical effects: The L.A. Effects Group Inc. (as Alan Markowitz)

Pat McClung …       special thanks: The L.A. Effects Group Inc.

Jake Monroy …       mechanical engineer: The L.A. Effects Group Inc.

Jay Roth       …       model maker: The L.A. Effects Group Inc.

Dennis Skotak         …       director of photography: The L.A. Effects Group Inc. / stage supervisor: The L.A. Effects Group Inc.

Robert Skotak         …       special designer: The L.A. Effects Group Inc. / visual effects director: The L.A. Effects Group Inc.

Kathleen Spurney    …       effects technician: The L.A. Effects Group Inc.

George Turner        …       effects animator: The L.A. Effects Group Inc.

Steve Benson         …       visual effects supervisor (uncredited)

    REFERENCES and SOURCES

Cinefantastique v 15 n02

Fangoria 041

      Creature (1985) Retrospective SUMMARY In the film's prologue, two geological researchers for the American multinational corporation NTI encounter an ancient alien laboratory on Titan, the largest moon of Saturn.

[coolfollowposts]

6-12 Movies in 2020

JUNE

Wonder Woman 1984 (2020)

Directed by: Patty Jenkins

Starring: Gal Gadot, Chris Pine, Kristen Wiig

Opening on: June 5, 2020

Candyman (2020) 

Directed by: Nia DaCosta

Starring: Yahya Abdul-Mateen II, Tony Todd, Teyonah Parris

Opening on: June 12, 2020

Soul (2020) 

Directed by: Pete Docter

Starring: Jamie Foxx, Tina Fey, John Ratzenberger, Daveed Diggs

Opening on: June 19, 2020

In the Heights (2020) 

Directed by: Jon M. Chu

Starring: Anthony Ramos, Leslie Grace, Corey Hawkins, Jimmy Smits, Stephanie Beatriz, Dascha Polanco

Opening on: June 26, 2020

Top Gun: Maverick (2020) 

Directed by: Joseph Kosinski

Starring: Tom Cruise, Jennifer Connelly, Jon Hamm, Val Kilmer, Jay Ellis, Miles Teller, Monica Barbaro

Opening on: June 26, 2020

JULY

Minions 2 (2020) 

Directed by: Kyle Balda, Brad Abelson

Starring: Pierre Coffin

Opening on: July 3, 2020

Ghostbusters: Afterlife (2020)

Directed by: Jason Reitman

Starring: Carrie Coon, Finn Wolfhard, Mckenna Grace, Paul Rudd

Opening on: July 10, 2020

Tenet (2020) 

Directed by: Christopher Nolan

Starring: John David Washington, Elizabeth Debicki, Aaron Taylor-Johnson, Robert Pattinson, Kenneth Branagh, Michael Caine, Himesh Patel

Opening on: July 17, 2020

Jungle Cruise (2020) 

Director: Jaume Collet-Serra

Starring: Dwayne Johnson, Emily Blunt, Édgar Ramírez, Jack Whitehall, Jesse Plemons, Paul Giamatti

Opening on: July 24, 2020

Green Lantern Corps (2020) 

Directed by: TBD

Starring: TBD

Opening on: July 24, 2020

Morbius (2020) 

Directed by: Daniel Espinosa

Starring: Jared Leto, Jared Harris, Adria Arjona, Matt Smith, Tyrese Gibson

Opening on: July 31, 2020

AUGUST

Bill & Ted Face the Music (2020) 

Directed by: Dean Parisot

Starring: Keanu Reeves, Alex Winter, Samara Weaving, Jillian Bell, Kristen Schaal, Anthony Carrigan

Opening on: August 21, 2020

SEPTEMBER

Monster Hunter (2020) 

Directed by: Paul W.S. Anderson

Starring: Milla Jovovich, Meagan Good, Ron Perlman, Tony Jaa

Opening on: September 4, 2020

The Conjuring: The Devil Made Me Do It (2020) 

Directed by: Michael Chaves

Starring: Vera Farmiga, Patrick Wilson, Ruairi O’Connor, Sarah Catherine Hook, Julian Hilliard

Opening on: September 11, 2020

The King's Man (2020) 

Directed by: Matthew Vaughn

Starring: Harris Dickinson, Ralph Fiennes, Aaron Taylor-Johnson, Gemma Arterton, Matthew Goode, Charles Dance, Daniel Brühl, Stanley Tucci, Djimon Hounsou

Opening on: September 18, 2020

The Many Saints of Newark (2020) 

Directed by: Alan Taylor

Starring: Michael Gandolfini, Vera Farmiga, Jon Bernthal, Billy Magnussen, Ray Liotta, Corey  Stoll, Alessandro Nivola

Opening on: September 25, 2020

Last Night in Soho (2020) 

Directed by: Edgar Wright

Starring: Anya Taylor-Joy, Matt Smith, Thomasin McKenzie, Diana Rigg, Terence Stamp

Opening on: September 25, 2020

OCTOBER

BIOS (2020) 

Directed by: Miguel Sapochnik

Starring: Tom Hanks

Opening on: October 2, 2020

Death on the Nile (2020) 

Directed by: Kenneth Branagh

Starring: Kenneth Branagh, Gal Gadot, Armie Hammer, Annette Bening, Rose Leslie, Letitia Wright

Opening on: October 9, 2020

Snake Eyes (2020) 

Directed by: Robert Schwentke

Starring: Henry Golding, Samara Weaving, Iko Uwais

Opening on: October 16, 2020

Halloween Kills (2020) 

Directed by: David Gordon Green

Starring: Jamie Lee Curtis, Judy Greer, Anthony Michael Hall

Opening on: October 16, 2020

The Witches (2020) 

Directed by: Robert Zemeckis

Starring: Anne Hathaway, Octavia Spencer, Stanley Tucci

Opening on: October 16, 2020

 NOVEMBER

Eternals (2020) 

Directed by: Chloé Zhao

Starring: Angelina Jolie, Salma Hayek, Kumail Nanjiani, Gemma Chan, Richard Madden, Kit Harington, Brian Tyree Henry

Opening on: November 6, 2020

Ron's Gone Wrong (2020) 

Directed by: Alessandro Carloni, Jean-Philippe Vine

Starring: TBD

Opening on: November 6, 2020

Stillwater (2020) 

Directed by: Tom McCarthy

Starring: Matt Damon, Abigail Breslin, Camille Cottin

Opening on: November 6, 2020

Red Notice (2020) 

Directed by: Rawson Marshall Thurber

Starring: Gal Gadot, Dwayne Johnson

Opening on: November 13, 2020

Godzilla vs. Kong (2020) 

Directed by: Adam Wingard

Starring: Millie Bobby Brown, Kyle Chandler, Rebecca Hall, Brian Tyree Henry

Opening on: November 20, 2020

Raya and the Last Dragon (2020) 

Directed by: Paul Briggs, Dean Wellins

Starring: Awkwafina, Cassie Steele

Opening on: November 25, 2020

Escape Room 2 (2020) 

Directed by: Adam Robitel

Starring: TBD

Opening on: November 30, 2020

DECEMBER

Dune (2020) 

Directed by: Denis Villeneuve

Starring: Timothée Chalamet, Josh Brolin, Rebecca Ferguson, Oscar Isaac, Javier Bardem, Jason Momoa, Dave Bautista, Zendaya

Opening on: December 18, 2020

Uncharted (2020) 

Directed by: Travis Knight

Starring: Tom Holland, Mark Wahlberg (in talks)

Opening on: December 18, 2020

The Croods 2 (2020) 

Directed by: Joel Crawford

Starring: Ryan Reynolds, Nicolas Cage, Emma Stone

Opening on: December 23, 2020

[techniktagebuch]

2023 (aber schon länger)

Die Nachrichtenkanäle der Physiotherapiepraxis

Annette Schaal: Wenn ich meinen Patienten schreibe, reagieren sie eher als auf Anrufen. Wenn ich anrufe, sehen sie die unbekannte Nummer und denken: "Da will jemand was von mir, von dem ich nichts will." Das merke ich auch daran, wie sie sich melden, sie sagen nur misstrauisch "Ja?", wenn sie mal drangehen. Die Alten (also so 80) muss ich anrufen, den 70-Jährigen kann ich SMS schreiben, außer sie sind sehr fit, dann können sie WhatsApp. Unterhalb von 70 ist es alles nur Nachrichtendienste, und zwar querbeet. Ich kann davon aber nicht grundsätzlich davon ausgehen, also: Bei der Anmeldung krieg ich ja ihre Handynummer. Eigentlich müsste ich da immer gleich die Einwilligung haben, dass ich ihnen mit Nachrichtendiensten schreiben darf. Weil das ist ja so eine Sache mit WhatsApp zum Beispiel, das ist datenschutztechnisch ein Problem. Das heißt, die müssten mir dann eigentlich gleich sagen, ich darf ihnen auch in den Nachrichtendiensten schreiben. Bei unserer Anmeldung steht aber nur, dass man SMS erhalten darf, und das müssen sie dann mit Ja beantworten.

Gertrud Passig (80): Also auf SMS reagier ich überhaupt nicht.

Kathrin Passig: Ja, weil du nie aufs Handy schaust.

Gertrud Passig: Ich wüsst gar nicht, wie das geht. Weder SMS noch WhatsApp.

Kathrin Passig: Du benutzt WhatsApp, doch, natürlich.

Gertrud Passig: Ja, aber ich schau ganz selten rein.

Anmerkung KP: Das liegt daran, dass WhatsApp nur auf dem Handy funktioniert und das Handy zu klein ist für die nachlassende Sehkraft und Feinmotorik der Mutter. Auf dem iPad lässt sich WhatsApp zwar vorübergehend zum Laufen bringen, es kappt die Verbindung aber bald wieder und die Mutter hat nicht genug Interesse an WhatsApp, um sie selbstständig wieder herzustellen, wozu man in Untermenüs finden und einen QR-Code scannen müsste. Wenn WhatsApp dauerhaft auf dem iPad funktionieren würde, sähe die Sache anders aus.

Kathrin Passig: Okay, es ist nicht dein Sofortreagierkanal.

Annette Schaal: Dein Sofortreagierkanal ist Telegram. Aber ich hab Signal, Telegram, Threema und WhatsApp, damit mir die Leute überall in den Kanälen schreiben können.

Kathrin Passig: Und wenn du was von jemandem willst, wie findest du dann raus, wie du die Person erreichst?

Annette Schaal: Also wenn ich sie per Anruf nicht erreiche, wenn es Ältere sind, dann probier ich es mit SMS ...

Kathrin Passig: Aber als Erstes versuchst du es immer mit Anrufen oder wie?

Annette Schaal: Bei den Älteren schon. Bei den Jüngeren, ja, per SMS, weil ich eben noch nicht die Einwilligung hab.

Kathrin Passig: Aber wenn du jetzt einer bestimmten Patientin sagen willst, dass sich der Termin verschiebt: Woher weißt du dann, ist die jetzt in Signal, in Threema, in WhatsApp oder in Telegram?

Annette Schaal: Da such ich tatsächlich in den Nachrichtendiensten nach der Nummer, und da, wo sie mir schon geschrieben haben, antworte ich ihnen dann. Ich speicher mir die nicht im Adressbuch, damit das nicht voll ist mit diesen Patientendaten. Ist ein bisschen kompliziert. Aber das geht eigentlich ganz gut, ich brauch nicht so lang.

Nachtrag Annette Schaal: Ah, ich hab noch was zu dem Thema! Ärzte wollen ja eher nicht erreichbar sein. Die haben ja eh selten eine eigene Homepage, du kannst sie nur irgendwie so hintenrum finden oder mit Google. Und es gibt eine Hautärztin in Winnenden, wenn du da deinen Termin absagen willst, geht das nicht telefonisch. Die sind telefonisch nicht erreichbar. Das geht nur per Fax! Das heißt, wenn du nicht zu erreichen sein willst, musst du alte Sachen nehmen, die die Leute nicht mehr haben.

Kathrin Passig: Fax ist eigentlich nur ein anderer Ausdruck für leck mich am Arsch.

(Annette Schaal, befragt von Kathrin Passig, mit Zwischenrufen von Gertrud Passig)

[techniktagebuch]

Mai 2021

Edelsteine 24 Stunden – oder gar nicht

Bei unserem Ausflug in die Fränkische Schweiz haben wir einen Ort entdeckt, der so auch in Italien sein könnte. Schmale Straßen mit schmalen Häusern, kleinste Terrassen mit Restaurants und Läden, die auch sonntags wichtige Dinge wie Tischläufer und Porzellangummistiefel verkaufen.

Mittendrin ein geschlossenes Edelsteingeschäft und davor ein Edelsteinautomat. Er sieht aus wie ein umgebauter Zigarettenautomat, man bekommt die Steine und Mineralien sogar in einer Geschenkbox.

Leider können wir diese wunderbare Erfindung nicht testen, der Geldschlitz ist verklebt. Wir hätten gern um drei Uhr nachts einen Rosenquarz erstanden. Sehr schade!

(Annette Schaal)

[techniktagebuch]

März 2020

Kreuzband stabilisieren über Videostream

Eine Freundin aus München, die gegen mich online Scrabble spielt, hat gefragt, ob ich ein paar Tipps für sie hätte. Ihr ist beim Skifahren das Knie weggesackt, der Orthopäde hat ein gerissenes Kreuzband diagnostiziert und ihr ein Rezept für Physiotherapie ausgestellt. Leider hat ihre Praxis momentan geschlossen und da ich Physiotherapeutin bin, hat sie sich an mich gewandt.

Tipps habe ich gegeben, ihr aber auch eine viel bessere Lösung angeboten: Sie könne in der Praxis in der Nähe von Stuttgart, in der ich arbeite, eine Videobehandlung erhalten. Wir bieten das erst seit wenigen Tagen an, sie ist die erste Patientin, mit der wir es testen.

Seit Dienstag wird meine Freundin von einer Kollegin behandelt. Dazu musste sie nur das Rezept per E-Mail und anschließend mit der Post schicken und bekommt jetzt sechs Behandlungen über Videostream. Die beiden bild-telefonieren miteinander, es ist also kein einseitiges Filmanschauen. Sie verwenden dafür FaceTime, soweit ich weiß. Am Abend nach der ersten Behandlung jammert die Freundin, die Übungen wären anstrengend gewesen. Das kann meine Kollegin sehr gut, Quälen mit Charme, auch über den Bildschirm.

(Annette Schaal)

[techniktagebuch]

März 2020

Mathematik mit echten und digitalen Lehrern

Dank der Corona-Krise dürfen wir ausprobieren, wie sich Schule zuhause anfühlt. Eigentlich läuft es ganz gut, wenn mein Sohn nicht gerade draußen etwas entdeckt, die Katze, einen Vogel oder das Haus der Nachbarn, das frische Dachziegel bekommt. Wenn er sich nicht ablenken lässt, macht er tatsächlich Mathematik und schaut sich einen Film an, den er als Erklärvideo von seiner Lehrerin bekommen hat. Seine Erkenntnis nach der Mathestunde: Das Erklärvideo erklärt viel besser als seine Lehrerin.

Das war der Stand am Anfang des Homeschoolings. Inzwischen hat mein Sohn das relativiert, seine Mathelehrerin würde zwar nicht ganz so gut erklären, dafür kann man sie so oft fragen, wie man will, sie ist sehr geduldig und erklärt alles von allen Seiten, bis es möglichst alle verstanden haben. Das ginge mit dem Erklärvideo nicht. Außerdem würde es in der Mathestunde auffallen, wenn man sich verrechnet, nicht erst nach zwanzig aufwendigen, Seiten füllenden Aufgaben, die alle falsch sind. Für mich sind die Videos zur Auffrischung ganz gut, ich würde aber inzwischen die Variante mit der Lehrerin vorziehen.

(Annette Schaal)

[techniktagebuch]

Herbst 2019

Nachhilfeunterricht mit Skype

Die Tochter einer Freundin bekommt schon sehr lange Nachhilfeunterricht. An ihrer Schule gibt es ein Schülernetzwerk, das Schüler aus der Mittel- und Oberstufe als Nachhilfelehrer vermittelt.

Ihr Nachhilfelehrer hat dieses Jahr Abitur gemacht und zieht in eine andere Stadt, um Medizin zu studieren. Eigentlich müsste sie sich einen neuen Lehrer suchen. Da sie bisher gut zusammengearbeitet haben, starten sie den Versuch, die Nachhilfe weiter über Skype fortzuführen. Der Ort und sicher auch die Uhrzeit sind damit wesentlich flexibler.

(Annette Schaal)