#Fred Barron

[genevieveetguy]

You don't want to write. You want to find an excuse not to, and I'll just be one more thing to blame if you don't.

Between the Lines, Joan Micklin Silver (1977)

[adscinema]

Bill Traylor: Chasing Ghosts - Jeffrey Wolf (2019)

Poster

[badmovieihave]

Bad movie I have Christmas Vacation 2: Cousin Eddie’s Island Adventure 2003

[mychameleondays]

Tom Waits: Swordfishtrombones

Island ORL 19762, 19??

Originally released: September 1, 1983

[donospl]

Claudia Acuña “Duo”

Claudia Acuña “Duo”

Ropeadope, 2022 Gwiazdorskie duety znajdziemy na najnowszy albumie znakomitej wokalistki Claudii Acuñy. Artystce towarzyszyli w nagraniach Kenny Barron, Christian McBride, Carolina Calvache, Fred Hersch, Regina Carter, Arturo O’Farrill oraz Russell Malone. Siedem spośród dziewięciu utworów stanowią dzieła kompozytorów z Chile, Kuby, Argentynu i Meksyku, Znajdziemy wśród nich takich twórców jak…

[ditzydisaster13]

Blood Runs Hot

For anyone familiar with my previous posts related to big hero 6, I have a 1shots book in progress on another account (link and or account name provided to those who ask). So if you want, here’s some angst.

Before anyone reads this chapter, I understand that I’m like really late to the game or whatever. And by that, I mean that I understand that Big Hero 6 as well as its characters belong to Disney and Marvel respectively.  And the fact that it came out in 2014. 

However, as of recently. I’ve become obsessed. To the point of watching the film at least once a week, typically every other day if I can, quoting specific moments a little too perfectly, and having the ability to notice things nobody else would make connections to without my outside knowledge. I’ve watched the movie loads. The Baymax series is a great 6 episode spin off. And the BH6 series is something I’m currently watching. Baymax dream shorts are funny, and I’ll soon get to the mini-series.

As for my stories, please be prepared for many levels of angst. Each Chapter, unless mentioned, will have no relations to the chapter or AU before it. Or the characters (canon character do not apply to the information) and will typically follow the canon plot line with minor details absent or changed. Some will have Tadashi alive, a discovery that takes place after the movie. And sometimes the movie just plays out as normal. As always, I fully recommend watching at the least the movie before diving into this book. But I hope you enjoy it regardless. 

And as always, any characters continuously used, unless said otherwise, belong to marvel and Disney. Such as. Hiro Hamada, Tadashi, Baymax, Cass, Mochi, Fred, Wasabi, Honeylemon, Gogo, Judy, Krei, Yama, Callaghan, and Abigail. As well as characters from the series like, Granville, Obake, Karmi, Megan, Noodle Burger boy, Globby, Felony Carl, Momokase, Liv Amara and Diane/Di Amara, Minimax, Richardson Mole, Barron von Steamer, supersonic sue, and others. 

-> Basically, any names you don’t recognize, probably belong to one of the many OCs I have planned for this book. I also like last names, so look out for that. 

A few more things before I start the book. Most are 1shots, and few have multiple parts. As many as 6 possible parts and as few as 1. For the sake of 1shots. Each chapter will be properly titled, in a way that doesn’t say too much, summarized through a series of tabs, given an Angst rating of 1-10 as the book title suggests, and then the ending will contain room for a quote, an authors note, the word count; room for suggestions of later chapters, and a goodbye with a nickname that relates to this book specifically. 

[ Blood Runs Hot: Big Hero 6, Angst, Angst shot, Hiro Hamada, Fredrick (Fred) Fredrickson, Fredmelion, Tadashi has past, Set slightly after movie Au, regrets, fire, adrenaline, loss, catching up with mentality, fears, anxiety, 6 out of 10, reminders, hiro realizes he’s not a fan of fire, regrets Fred’s costume, weirdly wise words]

••••••••••••••••••••••••••••••••••

Hiro Hamada is an Idiot. Well, technically, he’s a genius. But for the moment, he’s feeling really stupid. Like big time. Air had become harder to breath since he realized. The fire…

And he started ignoring all his friends. His phone still pinged with unread messages. Buzzing from his desk as he simply laid in bed. A relapse. Of the depressive rut he had been thrown into when Tadashi died.

Well it was back full force.

Ever since the adrenaline wore off…

Hiro had realized something. Something fairly important. And now that his brain has fully registering what all of this means. That this was pretty much his fault. He couldn’t take it. Couldn’t face his friends. 

God damnit! He really let himself get this far. This far. Blindly. Without sight. Why had he gotten so angry? It was all back to the fire. Fire. All of it. 

Honeylemon had left him multiple messages. Majority of them asking if he was okay or if he wanted to talk. “Hiro. We all love you Hiro. I’m not the only one who’s worried. Please talk to us about this. I’m sure we can solve whatever it is.” That one message spoke to him.

He wasn’t actually reading the messages. Never even opened the app. Just skimming the texts as the notifications appeared on the screen of his phone. Hiro sped his way through Gogo’s messages next. A surprising amount of concern showing through the few messages the girl sent. Phrases such as how worried honey is. How he doesn’t have to deal with it alone. How Callaghan was in jail. To stop beating himself up. And “Whatever it is kid, you’ve got us to talk to.” 

That one caused him to tear up. Like it was clawing at his chest. His breathe came out in stutters. Hiro blinked past the water in his eyes, how it tickled his cheeks and wetted his eyelashes. How it bubbled up in his throat as a barely strangled sob. He went on to Wasabi’s messages. Kind ones. About spaces and time. Hugs and coping. Hiro laughed when Wasabi had said he could throw things through his laser induced plasma. “Maybe cutting things up inti thin little pieces will make you feel better. The apple was pretty cool” the man even went as far as to recommend a therapist, at least an online one he could message, to help him through this.

Hiro blinked and looked around his room. Empty. Silence aside from his crying. Cass was downstairs giving him his space. But he really just wanted a hug. Hiro glanced at his phone and then turned to watch as his hand almost uncontrollably fished around in his pocket. The decision ti do so, not within his memory. Tadashi’s chip. Green and gold. Tiny wires and circuit boards. And the little smile face with the stethoscope. Baymax.

Hiro wanted a hug. From Cass would be nice. Baymax would be awesome. But that marshmallow doctor robot wasn’t with Hiro to hug him and pat his head saying “There there”. But most of all, Hiro just wanted Tadashi. Not just to see him in dreams or night mares or memories. As an angel or a ghost. Even as some sort of weird hallucination. Hiro at this point doesn’t care how real any of it is. But he knows he doesn’t wanna wake up from it, and barely remember a thing. 

Hiro blames himself. For Tadashi’s death. Maybes two weeks earlier, Tadashi had been trying to keep Hiro out of the bot fights. Hiro had gotten locked up in jail for a night and Cass had gotten him and Tadashi, poor Tadashi had been roped into Hiro’s mess, in the late hours of the evening. Cass had told them off and Tadashi had done his job as the older brother and gave him some wise words. Hiro had tried to go to another bot fight. His third that night. Tadashi had tried, to get a point into his little brother’s brain. Hiro wasn’t listening. And he fell for Tadashi’s trick. Hiro met new people, and he learned of his opportunities. But if he never did bot fighting. If he never made his product based off of megabot. If he never made those stupid microbots. A way for the villain to survive the fire. Tadashi went to save the bad guy. Like he always did. But he clearly never knew that Hiro was also among the villains. Clearly. Or Hiro would never would have added fire to the fight. Why did he have to get so angry?

Why hadn’t he thought to put up more fight with Fred? Hiro basically turned the blonde into an alien-dragon. A flame thrower. And Hiro’s blood felt like it was boiling. Self pity bubbling through hiss veins. As he sit in his bed, disgusted with himself,  teeth clenched and hot tears running down his face. Hiro was sick of himself.

But he can’t be mad at Fred. He’d been selfish and angry. Blind. Crazy. So sure that somehow, taking down Callaghan would bring back Tadashi. Hiro had been running on an adrenaline high when he made the hero suits. Hiro had been made that Tadashi was gone. That his brother was trying to be the hero. Tadashi was a good guy. But for some reason in all of his selfish anger, Hiro never saw the red of the flames that caused Tadashi’s demise in the first place. Hiro blames himself. He never should have made Fred a superhero flamethrower. But Hiro was now scared of the flames. 

Hiro can’t blame Fred. Or really himself at this point. Hiro has the rights to be upset. Maybe even upset with himself. But it won’t fix anything. Or change the past. letting his emotions bottle up and over flow worked so well last time. His blood ran hot. And then cold. Like his own body temperature was fighting with him. It sucked. He could cry. And scream. And sob. And nothing would happen anyways. Being upset wasn’t the answer. The fire didn’t really take Tadashi away. Hiro had just given up on the fact that he was still there. He knows there will always be living parts of Tadashi. Nothing would do much good. But Hiro could try to do better. So he went ahead and messaged Fred back. 

“We have to talk” 

It was a short and simple message. Hiro saw that Fred had read it. Fred would surely tell the others. That’s okay. He was ready. This would be his confession. 

•••••••••••••••••••••••••••••••••• Quote: What Fire does not destroy, it hardens -Oscar Wild •••••••••••••••••••••••••••••••••• Authors note: Hey guys. As I said earlier, I understand that I was late when I decided “Hey, I wanna write BH6 FanFiction!” And as always it was made into an angst. I hope to post every Thursday, my time, and I hope you will enjoy these future chapters. As of now, I have over 100 summaries of chapters and ideas. This, in the beginning, was what I hoped to be a shorter book, maybe 60 chapters at most. But it’s easy to see this will likely end up with double. So I hope you can bare with me for as long as this book takes. 

Many thanks. Feel free to leave suggestions here: 

•••••••••••••••••••••••••••••••••• Word count(including basically everything above): 1711 Hope you liked the chapter Microbots (it’s a nickname) see y’a next chapter! Post date/quotev:  Thursday September • 21st • 2023

[ebookporn]

Love for a Librarian Who Helps Immigrants

Fred Gitner, who runs programs for migrants at the Queens Public Library, is one of 10 librarians to receive an American Library Association award.

By James Barron

The I Love My Librarian Award has found Fred Gitner.

Gitner, who has worked in programs to assist migrants at the Queens Public Library for 28 years, is one of 10 librarians nationally whom the American Library Association cited for “profound impact on the people in their communities.” The recipients were chosen from nearly 1,400 nominees submitted by library users nationwide. Gitner is the assistant director of the Queens Library’s New Americans Program, which coordinates informational workshops on topics like immigration law, parenting and tenants’ rights.

“I view Fred as our international ambassador,” said Dennis Walcott, the president and chief executive of the Queens Library. “His sensitivity to the asylum seekers who are coming to libraries and what Fred was able to do with his staff to go out and interface with them is off the charts.”

READ MORE

[fromthedust]

C-57D Space Cruiser from Forbidden Planet

Commander John J. Adams (Leslie Nielsen), Altaira (Anne Francis), and Robby the Robot Forbidden Planet (1956) - directed by Fred M. Wilcox and starring Walter Pidgeon, Anne Francis, and Leslie Nielsen. Screenplay written by Cyril Hume from an original story by Irving Block & Allen Adler. It is a CinemaScope production out of Metro-Goldwyn-Mayer shot in Eastman Color by cinematographer George J. Folsey. The piece features a musical score ("electronic tonalities") by Louis & Bebe Barron. Loosely based around William Shakespeare's play "The Tempest", the story sees Nielsen and the crew of the C-57D spaceship sent to the remote planet of Altair IV. Where once was a colony of Earthlings, now the only inhabitants are Dr Morbius (Walter Pidgeon), his daughter Altaira (Anne Francis) and Robby, a highly sophisticated Robot that Morbius has built.

http://www.cinemastatic.org/2015/08/forbidden-planet-1956-classic-movie-review.html

[projazznet]

Cullen Knight – Looking Up

Bass – Charles Fanbrough Drums – Newman Baker Drums, Percussion [Latin] – Bobby Durham Electric Piano – Jimmy Hatton, Kenny Barron, Kenny Davis Guitar – Gerald Smith, Monnette Sudler Percussion [Latin] – Ed Watkins Tenor Saxophone – Bootsie Barnes Trombone – Fred Joiner Trumpet, Flugelhorn – Cullen Knight

[harvardfineartslib]

For the start of Black History Month, we’ve got books on legendary Black artists, such as Bill Traylor, Romare Bearden, Jacob Lawrence, Charles White, Elizabeth Catlett, Alma Thomas, Betye Saar, Norman Lewis, and more! Titles are listed below.

Romare Bearden : idea to realization / essay by Sarah E. Lewis ; [descriptive texts, Ralph Sessions]. HOLLIS Number: 990129015530203941

Charles White : a retrospective / edited by Sarah Kelly Oehler and Esther Adler ; with essays by Esther Adler [and five others] ; and a preface by Kerry James Marshall. HOLLIS Number: 99153718620103941

Betye Saar : Black girl's window / Esther Adler and Christophe Cherix. HOLLIS Number: 99153808481003941

Bill Traylor: drawings from the collections of the High Museum of Art and the Montgomery Museum of Fine Arts / essays by Margaret Lynne Ausfeld, Susan Mitchell Crawley, Leslie H. Paisley, Fred Barron, Jeffrey Wolf. HOLLIS Number: 990133200900203941

Between worlds : the art of Bill Traylor / Leslie Umberger ; with an introduction by Kerry James Marshall. HOLLIS Number: 99153740609503941

Procession : the art of Norman Lewis / edited by Ruth Fine ; with contributions by David Acton [and five others]. HOLLIS Number: 990145245230203941

Alma Thomas / editors, Ian Berry and Lauren Haynes. HOLLIS Number: 990148627750203941

Jacob Lawrence : the complete prints (1963-2000) : a catalogue raisonné / Peter T. Nesbett ; with an essay by Patricia Hills. HOLLIS Number: 990088103850203941

The art of William Edmondson / with essays by Robert Farris Thompson ... [et al.]. HOLLIS Number: 990084316060203941

Elizabeth Catlett : an American artist in Mexico / Melanie Anne Herzog. HOLLIS Number: 990083796950203941

[dbstaches]

MATERIAL WORLD: THE GRID Grid your loins, it's Dave Ball (left) and Richard Norris Picture: Roger Sargent

NME magazine, 30 October 1993 — full article text bellow

WHERE ARE YOU NOW AND HOW DO YOU FEEL? RICHARD: In the Village Inn as usual, unshaven, post-remixing lag DAVE: The Village Inn, tired and emotional

FIRST RECORD YOU EVER BOUGHT? R: ‘Blockbuster’, The Sweet D: ‘Love Grows Where My Rosemary Goes’, Edison Lighthouse

WHO WOULD DIRECT THE ‘TEXAS COWBOYS’ MOVIE? R: Andy Warhol, if he was alive, Lonesome Cowboys 2 D: Sam Peckinpah – lots of fake blood

WHICH CHARACTER WOULD YOU HAVE PLAYED IN THE GOOD, THE BAD AND THE UGLY? R: Clint – for the stubble and cheroots D: Lee Van Cleef. He wears black clothes, smokes cigars – my kind of guy

WHEN WAS THE LAST TIME YOU SAW MARC ALMOND AND WHAT WAS HE DOING? D: On TV, doing a costume-change at Royal Albert Hall

DESCRIBE EACH OTHER IN THREE WORDS? R: Jolly Uncle Jack D: Griff Rhys Jones

WAS VIC REEVES AS SURREAL IN REAL LIFE? R: Haddock

FONDEST MEMORY OF YOUR NME DAYS? R: Jack Barron ranting, Fred Dellar (gawd bless ’im) and two weeks in Ibiza on expenses

MOST EMBARRASSING RECORD IN YOUR COLLECTION? R: A double LP of Barbara Woodhouse teaching dogs to sit. Walkies! D: ‘In The Night’ by Tony Blackburn

HOW DO YOU SEE THE FUTURE OF SPAGHETTI DISCO? R: Take That doing ‘Rawhide’

BEST THING ABOUT PERFORMING LIVE? R: Watching the wide-eyed and legless

WHAT INSPIRES YOU? R: Punk rock, disco D: Everything

WORST FLYING EXPERIENCE? R: Being in economy class D: Flying from LA to London on acid; flying from London to the South of France with Depeche Mode, dropping 1,000 feet when we hit an air pocket

WHO WOULD BE YOUR DREAM COLLABORATION? R: Iggy Pop D: A film score with John Barry/Angelo Badalamenti

IF YOU HAD A LABEL WHICH TWO ROCK ACTS WOULD YOU SIGN? R: AC/DC, Nine Inch Nails D: Zodiac Mindwarp, The Ramones

WHAT DID YOU THINK WHEN THEY DESCRIBED YOUR MUSIC AS “JUNGLE” ON CORONATION STREET? R: Smashing, chuck D: I liked it so much I sampled it

FIRST BANDS? R: The Innocent Vicars, The Fruitbats, The Wild Kitchen, East Of Eden D: Soft Cell

HOW MANY TELEVISIONS DO YOU OWN R: About 20. I got a fine for not having a license

DESCRIBE YOUR TOTP EXPERIENCE? D: Tedium-tastic

THREE GREAT THINGS ABOUT THAILAND AT CHRISTMAS? R: The sky at night, bats, blue-capped evenings with neon fish

HOW WOULD YOU SPEND AN IDEAL SUNDAY AFTERNOON? R: Horizontally, after a bad game of golf D: Lunch with friends and good wine

WHAT'S THE WEIRDEST SITUATION YOU'VE EVER BEEN IN? R: Being surrounded by Hackney constabulary with Genesis and Paula P Orridge at 5am after imitating a Sunday People reporter D: Running naked down a Madrid hotel corridor with Stevo, wielding two replica Flintlock pistols, chasing two Spanish girls

FAVOURITE PEOPLE? D: Richard & Judy, Paul Merton, Dennis The Barman

CAN YOU RETIRE ON THE MONEY ‘TAINTED LOVE’ MADE IN AMERICA? D: No, but I'm, sure our American lawyers and A&R men could!

WHAT DID MADONNA DO WHEN YOU UPSTAGED HER IN NEW YORK? D: She forgave me the next morning

CHOOSE A RECORD TO WAKE UP TO/SLEEP TO/HAVE SEX TO R: Wake up: ‘Cobalt Blue’, Michael Brook. Sleep: ‘Music For Airports’, Brian Eno. Sex: ‘There's A Riot Goin' On’, Sly And The Family Stone D: Wake up: ‘Rise And Shine’, The Flintstones. Sleep: ‘Very/Relentless’, Pet Shop Boys. Sex: ‘Neroli’, Brian Eno

WHAT ELSE CAN YOU DO? R: Write a mean paragraph. I could be an A&R man if I was really desperate D: Top oarsman and not a bad cook

HOW WOULD YOU LIKE TO GO? R: Like Aldous Huxley

[kwebtv]

It’s Dark Outside - Granada Television -  January 3, 1964 - April 23, 1965

Crime Drama (16 episodes)

Running Time:  60 minutes

Stars:

William Mervyn as Chief Inspector Charles Rose

Keith Barron as Detective Sergeant Swift

John Carson as Anthony Brand

June Tobin as Alice Brand

Veronica Strong as Claire Martin

John Stratton as Fred Blane

Anthony Ainley as  Detective Sergeant Hunter

[postersdecinema]

Planeta Proibido

EUA, JP, 1956

Fred McLeod Wilcox

7/10

Pulp Fiction

Há uma inocência irresistível neste clássico da ficção científica moderna, que gera enorme empatia no espectador, por mais absurdo e estereotipado que possa parecer o argumento.

Na verdade, a ficção científica já era velha em 1956, quando foi produzido este Forbidden Planet. O genial Meliés já tinha viajado, em filme, a outros planetas, logo na primeira década do século XX, até a cores. Também os italianos Bertolini e Padovan, em 1911, realizaram uma surpreendente adaptação cinematográfica do Inferno de Dante, que passa bem por uma superprodução de ficção científica. Nos anos 20, foram filmes clássicos alemães, como Metrópolis ou Frau im Moon, que levaram a nossa imaginação ao futuro e a outros planetas. Mas a década de 50 foi, sem dúvida, a época da enorme massificação da ficção científica em Hollywood, de tal modo que o género até se apropriou do fenómeno dos B movie, satisfazendo assim uma procura ávida, mas pouco exigente.

Com tudo isto, o que faz deste Forbidden Planet um filme notável? Desde logo o uso do Technicolor e do CinemaScope, as novas tecnologias que trouxeram a cor pastel em grande formato ao cinema norte-americano e que se tornaram a imagem de marca das grandes produções dos anos 50.

Até aí o preto e branco servia melhor à ficção científica, não só porque escondia a simplicidade dos efeitos visuais, como também reduzia orçamentos de obras que poucos levavam a sério e se destinavam, sobretudo, a um público muito jovem, quase infantil, e pouco exigente.

Aqui rompe-se o paradigma e tudo é explendor, na cor, nos cenários, nos adereços, nos efeitos visuais, o que dá uma modernidade ao filme que bem poderia passar por uma série dos anos 70, como o Espaço 1999 ou Star Trek, em CinemaScope.

Mas também os efeitos visuais, na sua manifesta exuberância para a época, contribuem para esse sentimento de modernismo Retro (ou Pulp), muito por culpa do uso da animação, nalgumas cenas, onde colaborou um especialista de reconhecidos méritos, emprestado expressamente pelos estúdios de Walt Disney, Joshua Meador, veterano da Branca de Neve, Bela Adormecida, Fantasia, Cinderella, 20.000 Léguas Submarinas e tantos outros clássicos da Disney.

E o que dizer dos sons electrónicos de Bebe e Louis Barron, que enchem o espaço, o disco voador e todo o planeta desconhecido? Devem ter preenchido as fantasias espaciais de todas as crianças da época, tal como o extraordinário cartaz de promoção do filme, uma obra prima da Pulp Art dos anos 50.

Este Planeta Proibido é uma pérola, mesmo com um argumento tão fraquinho, merece ser visto e revisto, pela beleza inocente das suas imagens, efeitos visuais, guarda roupa, adereços. Pulp Fiction ao melhor nível. O equivalente cinematográfico a um Cadillac Eldorado da década de 50.

Pulp Fiction

There is an irresistible innocence in this classic of modern science fiction, which generates enormous empathy in the viewer, however absurd and formulaic the argument may seem.

In fact, science fiction was old in 1956, when this Forbidden Planet was produced. The genius Meliés had already traveled, on film, to other planets, right in the first decade of the 20th century, even in color. The Italians Bertolini and Padovan, in 1911, made a surprising cinematographic adaptation of Dante's Inferno, which passes for a science fiction big production. In the 1920s, it was classic German films like Metropolis or Frau im Moon that took our imaginations to the future and to other planets. But the 1950s were, without a doubt, the time of the enormous massification of science fiction in Hollywood, to such an extent that the genre even appropriated the B movie phenomenon, thus satisfying an avid but undemanding demand.

With all this, what makes this Forbidden Planet a remarkable film? Certainly the use of Technicolor and CinemaScope, the new technologies that brought pastel color in large format to American cinema and which became the hallmark of the great productions of the 1950s.

Until then, black and white served science fiction better, not only because it hid the simplicity of the visual effects, but also reduced the budgets of works that few took seriously and they were intended, above all, for a very young, almost childish, and undemanding audience.

Here the paradigm is broken, and everything is splendor, in color, in the sets, in the props, in the visual effects, which gives a modernity to the film that could well pass for a series from the 70s, such as Space1999 or Star Trek, in CinemaScope.

But the visual effects, in their manifest exuberance, for the time, also contribute to that feeling of Retro (or Pulp) modernism, largely due to the use of animation, in some scenes, where a specialist, of recognized merits, collaborated, expressly loaned by the studios of Walt Disney, Joshua Meador, veteran of Snow White, Sleeping Beauty, Fantasia, Cinderella, 20,000 Leagues Under the Sea and so many other Disney classics.

And what about the electronic sounds of Bebe and Louis Barron, which fill space, the flying saucer and the entire unknown planet? They must have fulfilled the spacial fantasies of all children at the time, as did the extraordinary poster promoting the film, a masterpiece of Pulp Art from the 1950s.

This Forbidden Planet is a pearl, even with such a weak argument, it deserves to be seen and reviewed, for the innocent beauty of its images, visual effects, wardrobe, props. Pulp Fiction at its finest. The cinematic equivalent of a 1950s Cadillac Eldorado.

[spryfilm]

DVD review: “Caroline in the City” (1995-1999)

DVD review: “Caroline in the City” (1995-1999)

“Caroline in the City” (1995-1999)  Television Ninety Seven Episodes Developed by: Fred Barron, Dottie Dartland and Marco Pennette Featuring: Lea Thompson, Eric Lutes, Malcolm Gets, Amy Pietz and Andy Lauer Richard: “So, Donna, do you miss Rome?” Donna: “Oh, no. All that traffic and noise and pollution, and rude people.” Richard: “Oh, I can see why you moved to New York.” Released…

[quasar1967]

Forbidden Planet (1956)

Forbidden Planet is a 1956 American science fiction film from Metro-Goldwyn-Mayer, produced by Nicholas Nayfack, and directed by Fred M. Wilcox from a script by Cyril Hume that was based on an original film story by Allen Adler and Irving Block. It stars Walter Pidgeon, Anne Francis, and Leslie Nielsen. Shot in Eastmancolor and CinemaScope, it is considered one of the great science fiction films of the 1950s, a precursor of contemporary science fiction cinema. The characters and isolated setting have been compared to those in William Shakespeare's The Tempest, and the plot contains certain analogues to the play, leading many to consider it a loose adaptation.

Forbidden Planet pioneered several aspects of science fiction cinema. It was the first science fiction film to depict humans traveling in a faster-than-light starship of their own creation. It was also the first to be set entirely on another planet in interstellar space, far away from Earth.The Robby the Robot character is one of the first film robots that was more than just a mechanical "tin can" on legs; Robby displays a distinct personality and is an integral supporting character in the film. Outside science fiction, the film was groundbreaking as the first of any genre to use an entirely electronic musical score, courtesy of Bebe and Louis Barron.

Forbidden Planet's effects team was nominated for the Academy Award for Best Visual Effects at the 29th Academy Awards. In 2013, the picture was entered into the Library of Congress' National Film Registry, being deemed "culturally, historically, or aesthetically significant". Tony Magistrale describes it as one of the best examples of early techno-horror.[11]

[debra2007-blog]

Barron Trump deserves to be accompanied by his father at his high school graduation, just as Donald Trump was accompanied by his father, Fred, at his.

Just like every other graduating student in the United States.