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Các giao dịch bất động sản ở Massachusetts cho các hạt Hampden, Hampshire và Franklin: ngày 19 tháng 1 năm 2020 #thôngtin [ad_1] AgawamCarolyn Groux và Arthur Groux đến Tenille Carr và Heather Carr, 313 Leonard St., $ 249,900.Vận chuyển Funeral Holdings Inc., đến Douglas Trevallion và Martha Trevallion, 30 ngõ Lane, $ 63.500.David F. McGrevy, đại diện, Dennis Charles McGrevy, bất động sản, và Dennis C. McGrevy, bất động sản, đến VIP Homes & Associates LLC, 321 Leonard St., $ 82.000.Dennis G. Lang và Cynthia Lang đến Anthony Settembre, 52 William St., $ 225.000.Douglas M. Trevallion II, Douglas Trevallion, Martha L. Trevallion và Martha Trevallion đến Shawn Santos, Nicole Santos, Robert Santanella và Lynn Santanella, 30 ngõ Lane, 595.000 USD.Gregory Jason Guzik đến MS Homes LLC, North West Street, 70.000 đô la.Gregory Jason Guzik đến MS Homes LLC, North West Street, 70.000 đô la.Heather Carr, Heather Cone và Tenelle Carr đến Stephen Smith, 75 Florida Drive, 180.000 đô la.Ngân hàng HSBC Hoa Kỳ, ủy thác và Ủy thác chứng khoán FBR 2005-3, ủy thác của Daniel P. Tobias và Andrea C. Tobias, 73 Stony Hill Road, 140.000 đô la.Kevin W. Whitehead, Lisa J. Whitehead và Lisa J. Bartnik đến Joshua A. Dupuis và Casandra C. Greene, 60 Katharine Drive, $ 325.000.Công ty bất động sản Agawam Silver Street, đến SA Holding 1 LLC, 11 Herbert P. Almgren Drive, 600.000 USD.William J. Murphy và Imelda M. Murphy đến Mikaela A. Nicora và Austin T. Decosmo, 48 Dartmouth St., $ 217.500.AmherstElena Dupuis, Gary M. Dupuis và E. Dupuis đến Shana L. Hansell, 181 Wildflower Drive, $ 575.000.Công viên Isaac Young và Công viên Youngjoon đến Zachary Landsman Halpryn và Zachary Jared Eagle, 50 Meadow St., $ 217.500.Mohsen Jalali, Ali Khajeh Saeed và Parinaz Meysami đến John J. Hennessy, 242 North East St., và 26 North East Terrace, $ 188.000.Ying Zhang đến John R. Copen, 170 East Hadley Road, $ 126.000.Lời D. Peake và Janet R. Daisley cho Catherine K. Seldin, 32 Woodlot Road, 495.000 đô la.Yeshi Gyaltsen và Dolkar Gyaltsen đến Tashi Youdon, 23 Charles Lane, 150.000 đô la.Frederic Trobaugh, ủy thác, Elizabeth Trobaugh, ủy thác và Trobaugh Tin tưởng có thể hủy bỏ của gia đình Trobaugh đối với Joann Carino, Maplewood Circle, 100 đô la.BelchertownKenneth H. Snow và Linda H. Snow to Snows Self Storage LLC, 746 Bay Road, 1.400.000 đô la.John H. Harstad, ủy thác, S & J Realty Trust, Raymond Mitchell, David Allen, Sandra Coty, George Thomas Mitchell và Sharon Allen đến John H. Harstad, 360 Old Enfield Road, 100 đô la.John W. Phelon đến UFP Real Real LLC, 161 Bay Road, $ 300.000.Mona Rock và Mona L. Huber đến Jonathan Bousquet, ngõ 52 Segur, $ 237.000.Daniel P. Kramer và Deborah J. Timberlake đến Caitlyn Grace McGinn, Đường 276 Amherst, $ 185.000.George H. Adams Jr., người được ủy thác, Betty A. Adams, người được ủy thác, và Adams-Hampshire County Realty Trust cho Cedarwood Apartments LLC, 154-156 Amherst Road, $ 775.000.Gia đình Woodlot LLC, đến William Blackwood III, Phố Summit, $ 20.000.Gia đình Woodlot LLC, đến William Blackwood III, Phố Summit, $ 19.000.Robert M. Mileski đến RMM Properties LLC, 20 State St., $ 100.BernardstonRichard J. Couture và Margarete R. Couture cho William Patrick Thompson và Gayle Ann Drake-Thompson., 40 đường Gill, 335.000 đô la.Cánh đồngBrenda L. Món tráng miệng cho Christine C. Medeiros, 17 East Hill Road, $ 330.000.ChicopeeAleksandr Tverdokhelbov và Vladimir Tverdokhelbov đến Shayne Sweeney, 76-78 Muzzy St., 227.500 đô la.Campagnari Construction LLC, người nhận, Chicopee City Health và Paul Laflamme đến Campagnari Construction LLC, 122-124 Pine St., $ 255.000.Carmen Santos đến Sheila Bailey, 12 Ellen Ave, $ 176.000.Charlene L Henchey cho Elizabeth M Henchey và Brian L Wentworth, 12 Ravine St, $ 185,400.Dana L Garton đến Danielle A Langevin, 37 Albert St, 125.500 đô la.Thuộc tính của Dgl đến Jason J Libian, 216 Fairview Ave, $ 217.000.Giám mục Erin và Giám mục Christopher cho Michael Konopko, 126 Royal St., $ 157,050.HP Chicopee LLC và HP Chicopee Montgomery LLC. đến EPC Hammes LLC, 444 Montgomery St., $ 21,560,000.James F. O hèHara, Janice M. O xôngHara và Kelley K. O xôngHara đến Ariel Osgood và Miguel Sanchez, 53 Shepherd St., 178.000 USD.Linda L. Czerwiecki, đại diện, John Joseph Czerwiecki, bất động sản, và John Joseph Czerwieki, bất động sản, đến Matthew Slowik, 33 Graham Drive, 55.000 đô la.Nationstar Mortthing LLC, và Champion Mortthing Co., đến Victor M. Fernandez Velasquez, 280 Sheridan St., $ 115.000.Oksana Gavel và Sergey Gavel đến Pamelyn Pierre Louis và Philip Pierre Louis, 33 Fuller St., $ 259.900.Pamela J. Morrione và Anthony J. Morrione đến Dominic Kirchner II, người được ủy thác và Yabela Realty Trust, người được ủy thác, 334 Montcalm St., 200.000 đô la.Richard Ring và Vanessa Ring đến Brandon J. Clark, 154 Skeele St., 179.000 USD.Sandra J.Kaufmann đến Richard R. Perreault, 200 Lambert Terrace, Đơn vị 61, $ 175.000.Steven J. Goyette đến Abigail Ina Arriaga, 47 Westport Drive, $ 190.000.Teresa C. Lindsey, đại diện, Theodore J. Lindsey, bất động sản, và Theodore Joseph Lindsey, bất động sản, đến Barbara C. Lindsey-Chamberlain, 23 Mount Royal St., $ 76.000.DeerfieldElizabeth A. Bysiewski, Elizabeth A. Wright và Leigh E. Wright đến Lynne M. Paju, 10 Sunrise Ave., 301.000 USD.Robert G. Allen, Jr. và Robin J. Karlin đến Jaimie B. Allen, 175 North Main St., 240.000 đô la.Helen V. Miecznikowski cho Peter A. Burakiewicz và Theresa L. Burakiewicz, Đường núi, 130.000 đô la.Đông LongmeadowDonald W. Lomascolo và Mary Lomascolo đến C & A Realty Enterprises LLC, 147 Shaker Road, $ 625.000.Elizabeth R. Rennell cho Sarah Waltsak, 59 Hà Lan, 175.000 đô la.Laurie B. Follit cho Tyler Kane, 5 Park Place, $ 323.000.Đông thànhKathleen Weurth, người được ủy thác và Lawrence D. Molloy Nominee Tin tưởng vào Zachary D. Virgilio, 8 Wendell Ave., 200.000 đô la.Cherie Rodriguez, Cherie A. Rodriguez và Hiram Rodriguez Jr., đến Felix L. Santos Jr., 1 Vòng tròn Maxine, 220.000 USD.XóaSuzy Marie Polucci động sản, Daniel W. Keller, đại diện cá nhân, đến Bryan Michael Mathey, 66 1/2 Mountain Road, 180.000 đô la.ChungDebra P. Gaines, Gary M. Gaines, Melissa J. Gaines và Donna R. Pula cho Gary M. Gaines và Judith Ann Gaines, 9 Myrtle St./2 Myrtle St., 25.000 đô la.Trời ạMartha Lee St. Amand, ủy thác, Martha L. St. Amand, ủy thác và St. Amand Family Revocable Trust cho Bryan Osetek và Sarah Osetek, West Street, 16.500 đô la.Granby Hiệp hội Quỹ tiết kiệm Wilmington FSB, Christiana Trust, Ủy thác, Ủy thác mua lại thế chấp Pretium và Alta Cư dân giải pháp LLC, luật sư thực tế, cho Phillip Braese, 184 Taylor St., 127.000 đô la.Jill A. Kopka đến Lawrence H. Humphrey Jr., và Shaina M. Humphrey, Phố Taylor, 100.000 đô la.Donald E. McGrath và Lynn M. McGrath đến Joshua S. Moynahan, 6 Wood Ave., 210.000 đô la.Cánh đồng xanhVan K. Sullivan đến Timothy T. Williams. 46 đường Fairview. 165.000 đô laNgân hàng Mỹ NA đến Ngân hàng tiết kiệm Easthampton. Đường liên bang 208. 450.000 đô laBryan R. Harvey, Wayne D. Harvey, Lisa B. Harvey-Reber, "còn gọi là" Lisa B. Reber, và Elaine J. Sinni cho Mark W. Colby và Sandra J. Colby, 57 Overland Road, 226.000 USD.Erin H. Peters và Hassan A. Peters đến Janice E. Gianino, 28 Phillips St., $ 210.000.HadleyRuth M. Klopfer, đại diện cá nhân, Lorena D. McKinstry, bất động sản, và Alfred W. McKinstry, bất động sản, cho Willard A. McKinstry, II và Nicole M. McKinstry, 100 Honey Pot, 100.000 đô la.D. Alden Johnson, David J. Latham và Kenneth C. Latham Jr., đến Keith A. Rehbein, North Maple Street, 250.000 đô la.Gwen A. Quinlan và Thomas F. Quinlan Sr., đến Thomas F. Quinlan Jr., 1 Maegans Way, 250.000 đô la.HampdenLucille M. Beck đến Michael Beck, Michael C. Beck, Melanie Beck và Melanie Enayda Beck, 50 Mountainview Drive, 270.000 USD.Michael Craig Beck, Michael C. Beck và Melanie Enayda Beck đến Lucille M. Beck, 61 Phiên lái xe, 170.000 đô la.Hà LanDavid F. Dwyer đến Kevin L. Tighe và Công viên Deborah, 93 Wales Road, $ 262.000.Dennis A Chipps (SR & O) và Karen M Chipps cho John J Folger, 37 Kimball Hill Rd, $ 274.000.John Folger và Virginia Folger cho David N. Scaramangos và Jessica L. Folger, Đường 90 Stafford, $ 183.000.HolyokeDonald J. Mann Jr., và Emily A. Mann cho Nicholas J. Felton và Becca L. Felton, 17 Vassar Circle, 230.000 đô la.Freedom Mortthing Corp, đến Dominic Kirchner II, ủy thác và Coraxe Realty Trust, ủy thác của, 93-95 Hitchcock St., 98.500 đô la.Kathryn S. Kraus và Patricia A. O hèLeary to Abigail Elizabeth Williamson và Kevin Arthur Williamson, 56 Longfellow Road, $ 290.000.Mary Yan Xie đến Roman Shumeiko và Yuliya Shumeiko, 408 đường Southampton, $ 215,900.Nathan Santerre đến Francisco L. Rivera, 34 Vòng nguyệt quế, $ 215.000.Richard W. Asselin và Michele B. Asselin cho James T. Tonomell và Maureen M. Tonomell, 19 Longfellow Road, $ 325.000.Tnop Inc., đến Holyoke Medical Center Inc., 12 Corser St., $ 600.000.Huntington Lisa M. O KhắcBrien đến Brittany Valentine, 27 Russell Road, 150.000 đô la.J. Otten Russell Tin tưởng và Russell J. Otten, ủy thác, đến Jordan Blanchard, 3 Basket St., $ 180.000.Hiệp hội Quỹ tiết kiệm Wilmington FSB, Christiana Trust, ủy thác, Ủy thác thế chấp Pretium và Alta Cư dân giải pháp LLC, luật sư thực tế, cho Angelia M. Oliveira, 9 Park Ridge Drive, 155.000 đô la.LeydenJennifer A. Paris đến Elizabeth A. Wright và Leigh E. Wright, 155 Đường giữa quận / Đường hạt cũ, $ 295.000.LongmeadowJane H. Griggs và John E. Griggs đến Joseph Ford, 106 đường Englewood, $ 625.000.Witchwood Realty LLC, đến Sharon Connor và Andrew Cimino, 50 đường Road, $ 190.000.LudlowAlivio Alves, Geraldine Alves và Jason Robertson đến Cynthia C. Long, 665 Center St., Đơn vị 607, $ 181.000.Miller Gap Llc đến Gary G Decoteau, Center St, 55.000 đô la.Thomas A Parent và Nancy A Parent to Joseph W Robinson (JR), 150 Cady St, 269.900 đô la.MonroePaul Herber đến RMJ Ranch LLC, Đường Gore, 15.000 đô la.Đức ôngDaniel J. Finnegan và Lewis T. Garreffa cho Nicholas E. Smart, 48 Main St., $ 263.000.Gail A. Sanderson đến Richard Klisiewicz, Phố chính, $ 1.000.MontagueSouthworth Co., "còn gọi là" Southworth Transactional Co II, Inc., đến Milton Hilton, LLC, 36 Canal Road, $ 679,087.24.William Ahlemeyer và Jacqueline M. Ahlemeyer đến Zachary Wright và Alexxis Young, 11 Bridge St./27 Bridge St./Bridge Street, 232.000 USD.MontgomeryAmal Al-Ryati đến Daniel J. Nangle và Jessica L. Nangle, 7 Pineridge Drive, 300.000 USD.Salem mớiRichard Oliver và Lori Jo Oliver đến Alex Acosta và Sarah Pease, 48 phố Tây, 123.000 đô la.Giáo dụcDyson & Webb LLC, đến JKLUSS LLC, 28 Nice St., $ 450.000.Caroline E. Raisler, Isobel A. McMahon và David A. McMahon cho Justin Smith, 9 Wright Ave., $ 380.000.Judith K. Shaffer cho Ruth E. Morgan, 20 sân thượng Pomeroy, 100 đô la.Castle Pines LLC, tới 344 King Street LLC, 330 King St. và 344 King St., 1.900.000 đô la.Joseph R. Salvatore và Joann H. Salvatore đến Christian Smith, 69 Cherry St., 165.000 đô la.Sân phía bắcCông ty Mitchell Aggregate LLC, đến Công ty vật liệu Mitchell, Đường Mount Hermon, $ 417,612,38.trái camRobyn Leonard Busby, "còn gọi là" Robyn M. Leonard, và Lisa M. Richardson đến Erika L. Glory, 231 West River St., 157.500 đô la.Elizabeth A. Nichols và Curtis R. Nichols đến Kurt M. Moisan. 286288 Đường Butterworth. $ 185,000PalmerChristian J. Meyer và Jean E. Meyer cho Michael J. Morassi và Leila Morassi, 2093 Calkins Road, 279.900 đô la.Karen King, người đại diện, và Gordon H. Christiansen, bất động sản, đến Anthony Marra, Phố Thompson, 17.500 đô la.Bồ nôngNhân dân United Bank NA, người được ủy thác và Robert B. Giá ủy thác có thể hủy bỏ đối với Julio Xavier Raagas Mallonga và Brittany Evelyn Hatch Mallonga, 132 Harkness Road, 375.000 đô la.ShelburneRodney W. Willis và Laura J. Willis đến Dakota W. Willis, 107 đường Fiske Mill, $ 288.000.Nam HadleyJennifer Exware và Jennifer Saltis cho Jeremy Saltis, Cynthia Saltis và Cheade Dib, 14 North St., 192.500 đô la.Adam F. Jajko, Danielle M. Jajko và Danielle Moynihan Jajko đến Jennie Lamothe và Reggie L. Lamothe, 152 Lathrop St., $ 253.900.Luis Builders Inc., đến David R. Barrett và Karen M. Barrett, 4 Ethan Circle, 100 đô la.Christine M. Wilda và Donald J. Wilda cho Adam F. Jajko, Danielle Moynihan Jajko và Adam Frederick Jajko, 20 Valley View Drive, $ 590.000.Luis Builders Inc., đến Andre D. Rousseau, 6 Ethan Circle, $ 480,200.Stephen P. Lambert đến Stephen P. Lambert và Amanda Johnson, 7 Joan St., 100 đô la.Bradley F. Podliska đến Anthony Barstow và Heather Barstow, 11 Bunker Hill, $ 224.000.Cynthia C. Long đến Richard J. Cebula Jr., 132 Brainerd St., $ 325.000.Gail Pelland và Gail E. Pelland đến Maryalyce Dudek, 6 Saybrook Circle, $ 190.000.SouthamptonArthur L. Peters và Rita S. Peters cho Mark D. Peters và David M. Peters, 103 Strong Road, 100 đô la.Mark Hardy, Laura E. Hardy và Laura E. Riccio cho đến Benjamin C. Gillespie và Kirsten E. Gillespie, 153 Pomeroy Meadow Road, $ 303.000.Laura A. Pompei và Laura A. Facteau cho Casey L. Ostrowski và Patrick O. Guy, 11 Helen Drive, $ 263.000.NamwickDaniel W. Szenda và Anne S. Diebold cho Jonathan M. Schantz và Caitlin Schantz, 1 Vòng tròn mùa đông, 420.000 đô la.Jonathan M. Schantz, Caitlin M. Schantz và Caitlin M. Joyce đến Taras Mikhalinchik và Natalia Stepchuk, 13 Charles Johnson Road, $ 319.900.Joseph Burns, Joseph R. Burns và Carol A. Burns đến Maksim Zinchenko và Holly M. Pagano, 1 Kline Road, $ 325.000.Pramod Sarraf và Bandana Sarraf cho David B. Stratos và Joanne M. Stratos, 37 Deer Run Road, $ 470.000.SpringfieldAlba N. Gomez và Caleb J. Gomez đến Brian Santiago và Esther M. Santiago, 28 đường Drumlin, $ 233.000.Andrew J. Crane, Jennifer Ann Skorka và Bryan Manijak đến Phylis Muthee, 313 Orange St., $ 190.000.Angelina Geoffroy, Angelina Barbarisi và Christopher R. Geoffroy cho Joseph W. Powers, 274 Cooper St., $ 185.000.Barbara A. O KhắcConnor đến Francisco Flores và Norberto Plaza Pagan, 881 St James Ave., 155.500 đô la.Brenda M. Brenes và Brenda M. Lugo đến Haydee L. Arce và Luis R. Arce, 245 Bolton St., $ 253.000.Brital1987 LLC, đến Ashley M. Fisher, 86 Gralia Drive, 194.000 đô la.Carmelo Loran Jr., và Carmelo Loran cho Shigen Zhu, 54 Porter St., 100.000 đô la.Tập đoàn đầu tư Cedar LLC, người nhận, Nhà thi hành luật thành phố Springfield và Jose Viera cho Tập đoàn đầu tư Cedar LLC, 12-14 Kendall Ave., 229.000 đô la.Charles Rothus Jr., đến Laura G. Chavez, 1727 Carew St., $ 147.000.Colin T. McNally và Emily McNally đến Cherie Anne Rodriguez, 84 Donbray Road, 202.000 đô la.David V. Nietupski cho Paul Rottenberg và Lori Rottenberg, 235 State St., Đơn vị 325, $ 145.000.Edgardo A. Arroyo Marcano đến Lauren R. Pankiw, 299 đường Forest Hills, 222.000 đô la.Laguercia Family Limited Partnership và David E. Laguercia đến Greatley Realty LLC, Bay Street, 450.000 đô la.Gail A. Castle đến Lucas Feliu và Elizabeth Mercedes De Feliu, 93-95 College St., $ 125.000.George Johnson và Helen Johnson đến Mishel M. Rivera-Carrillo, 162 Mallowhill Road, 195.000 đô la.Jacob A. Saleh đến Kimberly Rios, 24-26 Jenness St., $ 193.000.James T. Lawson và Kathleen I. Lawson đến Carolina Figueroa, 51 Wachusett St., $ 203.000.Jason Libian đến Linda J. Carney, 81 Phoenix sân thượng, 138.000 đô la.Judith A. Hourihan và Imothy J. Hourihan đến Tyrone L. Lewis, 27-29 Palmyra St., $ 219.999.Kevin Nguyễn và Tovan Nguyễn đến Dean Foster-Bryan, 62 Sorrento St., 165.000 đô la.Kibbe House Recovery LLC, đến McKnight Community Development Corp, 1030 Worthington St., $ 100.Không có nơi nào giống như Home Properties LLC, đến Rachel L. Dion, 47 Glenmore St., $ 180.000.Madelyn D. Mendez đến Marangely Martinez, Đại lộ Trang 2239, $ 162.000.Margaret A. McCarthy, đại diện, và Maureen C. McCarthy, bất động sản, cho Mark Warden và Kristina Warden, 43 Sherbrooke St., 145.000 đô la.Michael A. Gardner Sr., và Janet Gardner đến Cheyenne Marie Janas, 31-33 Price St., $ 245.000.Olga Ortiz-Maldonado và Santa F. Ortiz cho Deutsche Bank National Trust Co., ủy thác và Quỹ tín thác thế chấp Novastar 2007-1, ủy thác của, 31-33 Hunt St., 145.000 đô la.Randall R. Jarry, Tammy A Jarry và Tammy A. Cassidy đến Kareem L. White, 102 Fieldston St., 121.000 USD.Remo Pizzichemi và Virginia Pizzichemi đến Yadira J. Jimenez-Tejada và Edward P. Velazquez-Gonzalez, 51 Whittier St., 141.000 USD.Reynaldo D. Rodriguez đến Grace Ann Muir, 22-24 Decatur St., $ 230.000.Richard A. Turnberg và Gayle J. Turnberg đến Stacey L. Coleman, 115 Jamestown Drive, $ 185.000.Robert Murphy và Ryan Murphy đến Carmen M. Nief, 25 Amore Road, 168.000 USD.Ryan J. Kelly và Heidi M. Kelly đến Justin M. Mestre, 87 Somerset St., $ 245.000.Ngân hàng U S, ủy thác và Dòng ủy thác của RMAC 2016-CTT, ủy thác của, cho Erika Flores, 61 R Tyler St., 39.000 đô la.Ursula I. Lazarz và Casimir A. Lazarz cho Leonard Yakir, 45-47 Devens St., 236.500 đô la.Valerie Singh đến Jose Orlando Reyes Santiago, 336 Đông Ave., 100 đô la.đồDean G. Miner và Crystal P. Koziol cho David B. Collins và Maureen A. Collins, số 116 đường Gilbertville, $ 225.000.EDN Enterprises LLC, đến Ryan Robert Sullivan và Stacy Lee Sullivan, 14 Walnut St., $ 173.000.Douglas Bramble, đại diện cá nhân, và Mary J. Bramble, bất động sản, đến Russell Prouty, 154 Upper Church St., $ 137.500.Hẻm núiCông ty bất động sản Tamburrini đến Massachusetts Audubon Society Inc., Orange Road, $ 145.000.Tây SpringfieldCharles A. Pignatare và Dagmar Pignatare cho Serge Tokarev và Victoria Tokarev, 2385-2401 Westfield St., $ 356.000.Dennis Bazukin và Lyudmilla Bazukin đến Devi M. Sarki, 53 Hill St., $ 291.000.Hans A. Doup, đại diện, Carol B. Beaver, bất động sản, và Carol Beth Beaver, bất động sản, cho Adam Isaac Shalloo, 62 Ohio Ave., 350.000 đô la.Helen S. Kitchell và Ali B. Kitchell đến Konstantin P. Khodunov, Konstanton Khodunov và Leah G. Khodunov, 76 Squire Drive, $ 212.000.Kinda M. Pires gửi tới Ngân hàng U S, ủy thác và Sê-ri Tín dụng thế chấp Wachovia 2006-AMN1, ủy thác của, 94 Riverdale St., $ 156,387.Patricia Gorman, Patricia A. Cooley và Mark K. Gorman đến Tatyana Yuryevna Cherykau và Vera Cherykava, 15-17 Herman St., $ 252.000.Ralph Donald Liebro đến Marco Basile, 14 Chester St., 200.000 USD.Ngân hàng U S, ủy thác và Ủy thác quyền sở hữu hợp pháp GMAT 2013-1, ủy thác, đến Walide Soufane, 57 Bonair Ave., $ 165,288.Walter R. Tucker và Linda J. Tucker cho Michael Kelleher, 1304 Elm St., Đơn vị 1B, $ 65.000.William H. Lheureux đến Betty J. Byrd, 80 Brush Hill Ave., Đơn vị 12, $ 87.000.WestfieldDaniel J. Nangle, Jessica L. Nangle và Jessica L. Merati đến Ashley Marshall và Sean Major, 175 Pontoosic Road, $ 288.900.Ewa Celatka, Ewa Warzynska và Robert J. Celatka đến Dmitriy Mayboroda và Veronika Mayboroda, 132 Holyoke Road, 230.000 USD.Gary M. Weiner, người được ủy thác và Hanibal C. Tayeh cho Christopher M. Sarat, 77 Gary Drive, $ 580.000.Lynn E. Bannon, người đại diện và Barbara J. Bannon, bất động sản, đến Daniel Szenda, 68 Mountain View St., 180.000 đô la.Michael W. Monahan và Linda A. Monahan đến Tracy S. Right và Kimberly A. Constance, 66 Janis Road, 265.000 đô la.Richard G. Witherell và Caryn M. Witherell với Nicholas G. Renschler và Amanda E. Renschler, 1199 East Mountain Road, $ 415.000.Susan Coffey, người đại diện và Michael D. Coffey, bất động sản, đến Mea Afghanistan C. Serafin, 39 Glenwood Drive, 255.000 đô la.WilbrahamKaren J. Amato, Anthony D. Amato Jr., (JR & O), Darlene M Mack, Anthony D Mack và Lucille J Amato cho Paul R Samson và Diane M Samson, 16 Spruce Dr, 285.900 USD.Leslie A. Walker, John J. Ferri, Mark A. Ferri, Lynn F. Lavelle và Clarice F. Baker đến Anthony Amato Sr., và Karen J. Amato, 66 High Pine Circle, $ 376,966.Sharon J. Lee đến Joseph M. Roberts, 404 Mountain Road, 50.000 đô la.WilliamsburgDebra L. Turner cho Diane B. Karowski và Richard Karowski, 47 đường Goshen cũ, 100.000 đô la.WorthingtonLinda E. Marshall đến Anne M. Dickinson, 152 đường Witt Hill, 100.000 đô la. [ad_2] Nguồn

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wildlyhardphilosopher-blog · 5 years

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fbq('track', 'ViewContent', content_ids: 'dogtraining.dknol', ); We had George over today! And I was absolutely blown away! He truely has a gift and our Cane Corso was so quick to respect him! It’s only been hours and Zeus has changed his attitude and is showing gr…eat progress already. Now to keep it consistent and show our friends and family the things we were taught! Total Care QUICK LINKS: Send your dog’s vaccination record to: 10. What did you like about this story? Puppies for Sale Afraid of dogs, people, sounds or other things Don’t let this happen to you! Call Brisbane’s best trainers! Lorenz, Konrad (1953). Man Meets Dog, (Marjorie Kerr Wilson, Trans.) Hagerstown, MA: Kodansha America, 1994 SA 5700 Not recently active our services Disaster Management Plans Sarah & Mitch See more · 6 February 2018 Retail Premium Dry Food Boarding and Training Facilities If you can’t keep your dog Ok, he’s finally home. 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Parvovirus in Dogs Doing business with us Client Library Events at RSPCA Training can take as many forms as there are trainers, however a detailed study of animal trainers found common characteristics of successful methods: thoughtful interpretation of what the animal does prior to training, accurate timing and consistent communication.[76] Cairns Animal cognition To check the availability of Urban Ultimate Recall course in Carindale (available in Carindale only) please click here. To enrol… read more Tel: 0422 056 455 Sit Drop Stay was created in 2005 to offer a more respectful and effective approach to co-existing and interacting with your dog and changing their behaviour Equines Jump up ^ Lindsay 2000, p. 219. Email or Phone Password Toilet training To find out if dog obedience training has been cancelled due to inclement weather, call Ray – dog obedience volunteer, on 0413 136 644. Remember, puppy training does not have to be harsh. With so many different training methods available, choose one that best suits you and your puppy. If it doesn’t work, just try another one. Search results What to bring to PETstock Puppy School We are available in Brisbane, Gold Coast, Byron Bay, Sunshine Coast, Canberra, Melbourne, Cairns and Adelaide, and offer after-hours and weekend sessions at no extra charge. This way you can involve your whole family at a time that suits you. Eastern Companion Dog Training consists of a team of experienced dog trainers who share one common goal: to provide training for your dog so it will behave the way you want it to. Good Healthcare and Nutrition FREE Puppy Pre-School Toilet training your puppy 4.8 If you really think your dog deserves special consideration, feel free to email us to arrange having an assessment done on a Sunday morning at Hays Paddock. You will still need to attend Orientation prior to your first class. Don’t have a Blue Dog Account? 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#Dog Training In Your Home #Dog Training Reddit

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ariafsar2 · 7 years

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Trading

Hi guys just got some new audios and videos. Email me [email protected] if you’re interested in trading!

Here’s my full site.

Audios

Amélie - 05/05/2017 - Broadway - whenyourhome's master- Philipa Soo (Amélie), Adam Chandler-Berat (Nino), Savvy Crawford (Young Amélie), Tony Sheldon (Dufayal/Collignon), Alison Cimmet (Amandine/Philomene), Manoel Feliciano (Raphael/Bretodeaux), Maria-Christina Oliveras (Suzanne), Randy Blair (Hipoloto), Alyse Ann Louis (Georgette), Harriet D. Foy (Gina), David Andino (Blind Beggar/Garden Gnome), Paul Whitty (Joseph), Heath Calvert (Lucien). Notes: Crystal clear audio taken from the balcony on an iPhone 6s with an Apple headphone mic. Recorded the day after the closing notice for the show went out. [Limited Trades]

Anastasia - 03/23/2017 - Broadway - Christy Altomare (Anya), Derek Klena (Dmitry), John Bolton (Vlad Popov), Ramin Karimloo (Gleb), Caroline O'Connor (Lily), Mary Beth Peil (Dowager Empress Maria Feodorovna) Notes: First Broadway Preview, Christy drops the music box in Once Upon a December

Anastasia - 03/30/2017 - Broadway - Christy Altomare (Anya), Derek Klena (Dmitry), John Bolton (Vlad Popov), Ramin Karimloo (Gleb), Caroline O'Connor (Lily), Mary Beth Peil (Dowager Empress Maria Feodorovna)

Anastasia - 04/13/2017 - Broadway - Christy Altomare (Anya), Derek Klena (Dmitry), Mary Beth Peil (Dowager Empress Maria Feodorovna), Ramin Karimloo (Gleb), John Bolton (Vlad Popov), Caroline O'Connor (Lily) Notes: There are technical difficulties in the middle of act one when the train couldn't leave the stage. The show was stopped for a few minutes, and they started the show from the beginning of the previous scene, Ramin Karimloo breaks character once he sings the lyric "a temporary set back..." once he realizes how applicable it is to the situation. Act 2 starts starts right after the lyrics “and soon all Paris will be singing to you” at the beginning of “Paris Holds the Key (To Your Heart)”. This show also has the new version of “Paris Holds the Key (To Your Heart)” as well as the lyric changes to “Crossing A Bridge”.

Finding Neverland - 02/21/2017 - Tour - Pantages Theatre, Los Angeles - Billy Harrigan Tighe (J.M. Barrie), Christine Dwyer (Sylvia Llewelyn Davies), Tom Hewitt (Charles Frohman), Karen Murphy (Mrs. Du Maurier), Crystal Kellogg (Mary Barrie), Ben Krieger (Peter Llewelyn Davies), Finn Faulconer (George Llewelyn Davies), Mitchell Wray (Jack Llewelyn Davies), Jordan Cole (Michael Llewelyn Davies), Dwelvan David (Mr. Henshaw), Matt Wolpe (Mr. Cromer), Lael Van Keuren (Miss Jones), Victoria Huston-Elem (Miss Bassett), Corey Rives (Albert), Noah Plomgren (Lord Cannan), Thomas Miller (Elliott), Dee Tomasetta (Peter Pan). (First Preview)

Wicked - 11/29/2014 - Tour - Emmy Raver-Lampman (s/b Elphaba), Chandra Lee Schwartz (Glinda), Kyle Brown (u/s Fiyero), Etai Benshlomo (Boq), Jenny Florkowski (Nessarose), Kim Zimmer (Madame Morrible), Tim Kazurinsky (The Wizard), Tom Flynn (Dr. Dillamond), Kevin McMahon (Witch’s Father), Marina Lazzaretto (Witch’s Mother), Tess Ferrell (swing Midwife), Raymond Joel Matsamura (Chistery), Dina Bennett, Lauren Boyd, Nirine S. Brown, Rick Desloge, Timothy A. Fitz-Gerald, Sheila Karls, Trevor Ryan Krahl, Jonathan McGill, Kevin McMahon, Shanon Mari Mills, Cassie Okenka, Adam Perry, Daniel Switzer, Stephanie Torns.

Hamilton Chicago - 04/20/2017 - Miguel Cervantes (Alexander Hamilton), Samantha Marie Ware (u/s Eliza Hamilton), Daniel Breaker (Aaron Burr), Karen Olivo (Angelica Schuyler), Jonathan Kirkland (George Washington), Chris De'Sean Lee (Marquis de Lafayette/Thomas Jefferson), Wallace Smith (Hercules Mulligan/James Madison), Jose Ramos (John Laurens/Philip Hamilton), Aubin Wise (u/s Peggy Schuyler/Maria Reynolds), Alexander Gemignani (King George III), Yossi Chaikin (u/s Philip Schuyler/James Reynolds/Doctor), Jose Amor (Samuel Seabury), Robert Walters (Charles Lee), Malik Shabazz Kitchen (u/s George Eacker) notes: Samantha's first performance as Eliza. First known audio of Daniel Breaker. Another audio of the above show, .flac format (playable with .vlc player). Includes Playbill scans, encore photos and more. Small line flub during 'Wait For It' - at the beginning of the song, instead of singing 'we laugh and we cry and we break...', Daniel sings 'we rise and we cry....' [Limited Trades]

Hamilton Broadway - 04/25/2017 - Jevon McFerrin (s/b Alexander Hamilton), Lexi Lawson (Eliza Hamilton), Nik Walker (u/s Aaron Burr), Syndee Winters (s/b Angelica Schuyler) ,Bryan Terrell Clark (George Washington), James Monroe Iglehart (Marquis de Lafayette/Thomas Jefferson), J. Quinton Johnson (Hercules Mulligan/James Madison), Anthony Lee Medina (John Laurens/Philip Hamilton), Alysha Deslorieux (Peggy Schuyler/Maria Reynolds), Brian D'Arcy James (King George) [Limited Trades]

Videos

Phantom of The Opera - 08/12/2015 - Tour - Chris Mann, Katie Travis, Storm Lineberger, Jacquelynne Fontaine, Edward Staudenmayer, David Benoit, Anne Kanengeiser, Frank Viveros, Morgan Cowling, Mark Emerson, Eric Ruiz, Edward Juvier, Dan Debenport, David Foley Jr, Allan Snyder, Christy Morton. VOB

Sunday In The Park With George - 10/26/2016 - Encores! - Jake Gyllenhaal, Annaleigh Ashford, Brooks Ashmanskas, Phillip Boykin, Carmen Cusack, Gabriel Ebert, Claybourne Elder, Jordan Gelber, Lisa Howard, Zachary Levi, Liz McCartney, Ruthie Ann Miles, Solea Pfeiffer, Gabriella Pizzolo, Phylicia Rashad, Lauren Worsham, Max Chernin, Michael McElroy, Stephanie Jae Park, Jaime Rosenstein. VOB

#broadway bootleg #wicked bootleg #hamilton bootleg #bootleg trading #audio bootleg #Anastasia bootleg #amelie bootleg

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realindevelopment-returns · 5 years

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karen tighe being in the abc studio and all. flashback to andrew denton’s alive and kicking, the most surreal and progressive australian sports TV program ever

#the ashes

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bharatiyamedia-blog · 5 years

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Fortune Journal Masthead: June 1, 2019 (Vol. 179, No. 6)

http://tinyurl.com/y32dngxg FOUNDER Henry R. Luce (1898-1967) FORTUNE EDITORIAL EDITOR-IN-CHIEF Clifton Leaf EXECUTIVE EDITOR Adam Lashinsky DIGITAL EDITOR Andrew Nusca FEATURES EDITOR Matthew Heimer DEPUTY DIGITAL EDITOR Kristen Bellstrom ASIA EDITOR Clay Chandler CHAIR, MPW SUMMIT & COFOUNDER Patricia Sellers SENIOR EDITORS AT LARGE Geoff Colvin, Nina Easton, Shawn Tully CREATIVE DIRECTOR Peter Herbert DIRECTOR OF PHOTOGRAPHY Mia J. Diehl DIRECTOR OF VIDEO Mason Cohn SENIOR EDITORS Daniel Bentley, Lee Clifford, Scott DeCarlo (lists), Verne Kopytoff, Beth Kowitt, Ellen McGirt SENIOR WRITERS Erika Fry, Robert Hackett, Michal Lev-Ram, David Meyer (Berlin), Aaron Pressman, Jeff John Roberts, Phil Wahba, Jen Wieczner EDITORS Jaclyn Gallucci, Rachel King, Polina Marinova, Radhika Marya, John Patrick Pullen, Claire Zillman (London) COMMENTARY EDITORS Tamara El-Waylly, Jake Meth AUDIENCE ENGAGEMENT EDITORS John Buysse, McKenna Moore (asst. editor) PRODUCTION EDITOR Lydia Belanger ASSOCIATE EDITORS Katherine Dunn (London), Emma Hinchliffe SENIOR SPECIAL CORRESPONDENTS Susie Gharib (New York), Maithreyi Seetharaman (London), Vivienne Walt (Paris) WRITERS Danielle Abril, Eamon Barrett (Hong Kong), Aric Jenkins, Rey Mashayekhi, Sy Mukherjee, Lisa Marie Segarra, Lucinda Shen, Jonathan Vanian LIST TEAM Rhona Altschuler, Douglas G. Elam, Kathleen Smyth CONTRIBUTORS Jeffrey Ball, Brian Dumaine, Katherine Eban, Ezekiel Emanuel, Dinah Eng, Adam Erace, Kate Flaim, Ellen Florian, Verne Harnish, Carol Loomis, Roger Lowenstein, Sheila Marikar, Rita McGrath, Bethany McLean, Jeffrey Pfeffer, David Sloan, Jeffrey Sonnenfeld, Lindsey Tramuta INFORMATION GRAPHICS DIRECTOR Nicolas Rapp ART DIRECTOR Josue Evilla PHOTO DEPARTMENT Armin Harris (affiliate picture director); Michele Taylor (affiliate picture editor); Alexandra Scimecca (assistant picture editor), Hildegarde P. Vilmenay (workplace supervisor) SENIOR VIDEO PRODUCERS Megan J. Arnold, Chris Joslin VIDEO PRODUCERS Devin Hance, Ross Kohan, Jesse Rogala, Bruno Silva EXECUTIVE ASSISTANTS Kelly Champion, Sharon Lawrence, Carmen Melendez COPYROOM Maria Carmicino, Lauren Goldstein, Barbara Collier BUSINESS LEADERSHIP CHIEF EXECUTIVE OFFICER Alan Murray CHIEF OPERATING OFFICER Lisa Cline CHIEF REVENUE OFFICER & PUBLISHER Michael Schneider CHIEF FINANCIAL OFFICER Anastasia Nyrkovskaya CHIEF PEOPLE OFFICER Roxanne Flores CHIEF TECHNOLOGY OFFICER Jonathan Rivers CHIEF MARKETING OFFICER Michael Joseloff VP, ADVERTISING Lindsey Kintner VP, INTERNATIONAL ADVERTISING Khoon-Fong Ang VP, LIVE MEDIA SALES Peter Granath SALES, NEW YORK Tim Mullaly, Elizabeth Parks, Hannah Showak, Sarah Weitzman; Tina Dhariwal (government assistant); Natalie Kammin (gross sales assistant) SALES, MIDWEST Gina Czupryna, John Winterhalder SALES, WEST Julia Keefe, Monica Sembler; Dannygail Dean (gross sales assistant) SALES, SOUTHEAST ASIA Karen Mong SALES, EUROPE Rupert Turnbull INTEGRATED MARKETING Sheyna Bruckner (government director); Giselle Peled (director); Heather Albano (affiliate director); Alice Naser (supervisor) COMMERCIAL CREATIVE SERVICES David Lennon (government artistic director); Kim Coyle, Gregory Leeds (administrators); Blair Stelle (supervisor) BRANDED CONTENT SOLUTIONS Ron Moss (director); Joel Baboolal, Lauren Chomiuk (managers); Cassandra Vinhateiro (affiliate supervisor) VP, LIVE MEDIA Delwyn Grey (manufacturing); Elizabeth Tighe (advertising and member companies) LIVE MEDIA Paul Casey (government director, advertising); Ashley Alebiosu, Damanick Dantes, Windy Gillespie, Heather Ligerman, Nikki Lustrino, Huiyi Mai, Katie Mandara, Cindy Shieh, Sandy Tuba, Jessica Valdez COMMUNICATIONS Alison Klooster LEGAL Steve Weissman (normal counsel) OPERATIONS Stephanie Perry (vp) FINANCE Melissa Goldman (controller); Jose Colon (accounting supervisor); Tyler Cristy (accounting affiliate) PARTNERSHIPS, LICENSING & SYNDICATION Jack Livings (editorial director); Nadine Ghosn (digital content material supervisor) DIGITAL PRODUCT AND ENGINEERING Jeff Billark, Russell Brown, Eric Soll PRODUCTION Rosemarie Iazzetta (director); Elizabeth Mata (senior supervisor) Source link

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themastercylinder · 6 years

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For those who grew up as horror fans in the 1980s, invasions of killer monsters intent on devouring nubile young flesh were a popular stock in trade. With an entire generation of young filmmakers raised on the Cold War thematics and situations of alien invasion films of the ’50s and ’60s on TV, balanced with a steady intake of harder-edged violence and gore from late-’60s and early ’70s genre revolutionaries, the combination of creepy, icky things from out of this world and Tom Savini-style grue was a natural progression. Aliens weren’t just out to take over our planet or shoot you with ray guns—they wanted to eat you too, and in as messy a way as the budget would allow.

Storyline

Two campers are nearby when a meteor falls to Earth. When they investigate, they are attacked and eaten by a bizarre life form that emerges from the crashed rock.

A house near the crash site is the home of Sam (James Brewster) and Barb (Elissa Neil), and their two children, college student and budding scientist Pete (Tom DeFranco) and his younger brother Charles (Charles George Hildebrandt), a monster movie fan. Visiting are Aunt Millie (Ethel Michelson) and Uncle Herb (John Schmerling). When a rainstorm sets in, Sam goes downstairs to check the basement for flooding and is eaten by the bizarre monstrosity. Barb suffers the same fate when she goes looking for him.

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Pete sets up a study date with classmates Ellen (Jean Tafler), Frankie (Richard Lee Porter), and Kathy (Karen Tighe). Uncle Herb, a psychologist, wants to investigate Charles’s interest in the macabre, and he holds a brief interview with the boy before he falls asleep in the living room. Aunt Millie heads over to her mother Bunny’s (Judith Mayes) house for a luncheon with her retired friends. When an electrician arrives to investigate a circuit breaker malfunction in the basement, Charles dons a costume and goes down to scare him. There, he discovers the basement is infested with slug-like creatures feasting on the electrician’s and his mother’s remains, guarded by their huge mother, the monster from the meteor crash. After realizing that the eyeless creatures react to sound, he stands silently, escaping his parents’ fate.

Meanwhile, Ellen and Frankie have discovered one of the tadpole creatures dead on the way over to the house, and deem it unlike any animal on Earth when they dissect it. Science fiction fan Frankie hypothesizes that the creature could be from outer space, but hard-nosed scientist Pete dismisses that theory. At Bunny’s house, Millie arrives and they prepare the luncheon, unaware that the spawn have infested the house. When her guests arrive, the spawn creatures emerge and attack them. The women fight back and manage to escape in Millie’s car.

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Back at the house, Pete, Ellen and Frankie seek out Uncle Herb to get his opinion on the creatures, only to find him being devoured by the spawn. As the adult creature emerges and charges them, they run upstairs to barricade themselves in Charles’s bedroom. Charles distracts the adult by turning on a radio, which it eats, causing an electrical fire which burns it. Pete and the others then see Kathy arriving and pull her into the bedroom just in time to save her from the beast. The teens decide to head for Pete’s bedroom, where there is a phone to call for help with, but as they emerge, the adult creature pounces on them. Pete flees to another room and from there onto the roof; Frankie and Kathy run up to the attic, while Ellen stays in Charles’ room. The creature easily breaks down the door, bites Ellen’s head off and devours her body. Peter returns through the attic window; but traumatized after seeing Ellen’s body, he becomes unhinged, fighting with Frankie to open the attic door, which attracts the creature.

Meanwhile, Charles has concocted a plan: he has filled a prop head with explosive flash powder, with a frayed electrical cord trailing behind to act as a fuse. He arrives in the attic before the creature can attack Peter and the others, spurring the creature into devouring the prop head. However, the cord proves too short to plug into an outlet. One of the spawn creatures appears and attacks Charles, but gets in the way of the adult when it lunges at Charles and ends up being eaten. Now that the monster is distracted and its mouth close enough, Charles manages to get to the outlet, igniting the powder and blowing up the adult.

With the threat revealed, a massive hunt is mobilized. Policemen and townspeople go around killing the alien spawn and burning the remains. Millie returns to the house to care for Pete and Charles as best she can, while Frankie and Kathy are taken away in an ambulance. That night, a lone patrolman stands guard outside the house. His contact on the CB radio is confident that the spawn has been wiped out, but then the patrolman hears a low rumbling, and sees the hill by the house lift up, revealing a fully-grown spawn of colossal size.

Back Story

In terms of this combination, 1983’s The Deadly Spawn was a pioneer. Filmed on a shoestring budget around $25,000, the film tells the story of a houseful of people under assault from alien creatures breeding in the basement, which are basically mobile, worm like stalks terminating in giant mouths full of rows of razor-sharp teeth.

John Dods, who co-wrote the film’s original story and served as director of special effects, recalls the origin of the Deadly Spawn. “Ted Bohus, our producer, called me up one day,” says Dods, “and said, ‘Hey, let’s make ourselves a monster movie.’ The only problem we had at that point was, we didn’t have any money. But our friend Don Dohler in Baltimore had managed to finance and make a film called The Alien Factor, and had managed to sell it to television, and even make a profit. So Ted figured, and I agreed, why couldn’t we do the same thing?”

Neither Bohus nor Dods were entirely without experience at the project’s outset; in fact, Dods is quite well-known (famous, almost) among semi-pro filmmakers as the producer-director-writer-animator-designer of a series of short films featuring Grog, a delightfully primitive critter who was briefly featured in the TV special The Making of The Empire Strikes Back as an example of the stop-motion animator’s art. Bohus, a genuine SF fan and former fanzine publisher, may not have had much producing experience, but he did achieve the goal of procuring financing for the project, and he assembled a crew that included some of the best young film making talent in the East: Dods; makeup artist Arnold Gargiulo musician Ken Walker to score the film, along with Paul Cornell and Michael Perilstein; and renowned fantasy artist Tim Hildebrandt, who served as executive producer and made several special contributions to the film’s effects and designs.

The Deadly Spawn design by John Dods

While the acting and the directing of The Deadly Spawn is only passable at best the work of these four gentlemen make the film watchable-and even highly enjoyable, for those of us who like the idea of face-eating mutant creatures from out of space. For, in the time-honored tradition of low-budget monster cinema, the play is not the thing; the “Thing’ is the play. It is Dods’ hell-raising title creatures, and the havoc they raise in a New Jersey suburb, that gives this film its singular charm.

Dod’s first order of business was his collaboration with Bohus on a story, which served as a key tool in obtaining investors; this story was later fleshed out into a somewhat flabby screenplay by director Doug McKeown. Dod’s second task-and one that turned out quite a bit better–was the design and construction of the film’s highly unpleasant stars. “We wanted something really frightening,” says Dods, “and since this was over two years ago, we were probably a little influenced by Alien. I decided to give it a lot of teeth, because, to me, that says that it’s going to bite you. So taking that to an extreme, we gave it a whole lot of teeth-three heads full of them. We did a number of toothy sketches, discussed them with the director and so forth; I did one more version, which I later sculpted in clay, and that seemed to strike everyone as pretty awful in the right way.” The adult creature was built, along with various other required bits and pieces, over a two month period, by Dods with technician Greg Ramoundas.

Interview with Ted Bohus

Ted, how and when did The Deadly Spawn get started?

BOHUS: In October of 1980 extrapolated an idea from a news story I’d read. I imagined a dormant microbe or spore inside a meteor, which crashes in an isolated area (it had to be an isolated area, because the budget would not let us put it down in New York City!), comes alive and starts eating everything in sight. Eventually it ends up in a family’s basement and starts producing, or should I say, reproducing various sized offspring. The “tooth-heads” eventually invade the house, and the surrounding area.

How are the spawn finally destroyed?

BOHUS: Wait a minute now…I can’t tell you that! But I will say that the young boy in the film (played by Tim Hildebrandt’s son), finds a way to destroy some of them.

Deadly Spawn is an independent production. How did you find backers to finance the film?

BOHUS: A friend of mine is studying to become a doctor. He and a few other friends put up the initial starting money. Since then Tim and Rita Hildebrandt and another friend have become involved.

How did you meet the Hildebrandts?

BOHUS: I met Tim and Greg Hildebrandt at a convention about four years ago. We started talking about painting, science fiction films, Disney and how we are all still 15 years old. Actually, after the first meeting, I only stayed in contact with Tim and Rita. Periodically we all got together to watch films or talk. When I mentioned the film to Tim and that we were scouting locations he said, “Hey I’ve got an idea! Why don’t you use our house?” So we did. And we used his son too! And Rita, and the neighbors.

How did Charles Hildebrandt get the part of the young boy?

BOHUS: Well he didn’t get the part just because he was Tim’s son. Charles is a natural actor. No fear in front of the camera whatsoever.

Back to the Hildebrandts. Is Greg also involved in this film project? I thought the Hildebrandt Brothers always did everything together.

BOHUS: No. Tim and Rita are the only Hildebrandts involved in this project. Tim and Greg have split up and gone their separate ways. I think that the Clash of the Titans poster was their last work together.

What about the new Atlantis calendar?

BOHUS: That was also done before the split.

Artistic differences?

BOHUS: I think Tim wants to get more heavily into filmmaking at this point.

Will Tim be doing the poster for The Deadly Spawn?

BOHUS: I think so. He’s already done up a few roughs-I’d like something with a 50’s look.

You mean Big Monster and Girl in Trouble?

BOHUS: Exactly! Tim’s also working on a miniature for the film.

How did you locate the actors?

BOHUS: All the actors and actresses are professionals- put ads in the New York trade papers asking for actors willing to work for a small percentage, and described the parts.

How many responses did you get?

BOHUS: Well, I expected about 60, but got over 400! Some from as far away as Miami! | Weeded them down to about 100. Then I took the resumes to our Director, Doug McKeown, and our Effects Director John Dods. We narrowed them down to 50. Gave 40 screen tests and picked 12 people.

You mentioned Director and Effects Director. Do these people also work on a percentage?

BOHUS: Everyone on this film is working on a percentage.

How did you find them?

BOHUS: John Dods, I’ve known for many years. He’s mainly known for animating the Grog cartoons, but I brought him in to work on all parts of the film, not just the effects.

Ted Bohus’ original concept art for the main creature.

Did he design the creatures in the film?

BOHUS: We both had ideas about what the “Spawn” should look like…possibly three or more snake-like heads, plenty of teeth, slimy. I was trying to design something with a man in a suit but John said no, it would be better just to have this enormous form with heads and teeth. A big mechanical creature. He went off and a few days later brought over some designs. We went through them and rejected some. He went off again and this time hit it right on the head.

Who is directing?

BOHUS: Doug McKeown is a filmmaker that John Dods knew for many years. He recommended him for the job.

What about the crew?

BOHUS: Lighting, sound, construction, all the crew except for our Director of Photography are local guys I’ve known for years. They’ve been making films since high school.

How long have you been in production?

BOHUS: About eight months.

You kept a crew and actors together for eight months?

BOHUS: We love making movies.

What do you hope to do with the film after it’s finished? Do you have any leads at this time?

BOHUS: A few. Most companies are waiting for the entire film to be rough cut. There’s a booming market out there these days, with HBO going 24 hours, overseas sales and a lot of new countries getting into the movie market. Plus video tapes and discs.

So the film has a pretty good chance of being sold quickly.

BOHUS: If it’s a good product, it’ll sell’ fast:

Do you sell a company all rights or can you sell it yourself overseas and to HBO?

BOHUS: That depends. I can sell the film outright for one sum and they can sell it to the other markets. Or if you have a lot of contacts you can sell it yourself.

Each market can be a different deal then?

BOHUS: Yes.

After this film is sold would you like to get right into another one?

BOHUS: Yes, of course. I’d like to show the film companies what we can do with a low budget and hope they would back us on the next project. Don’t forget, we have everything right here. We create the stories, write the screenplay, do storyboards, artwork, special effects, music, the whole thing! We can turn in a finished product completely on our own.

Do you think that the major companies will like that?

BOHUS: We want to make a good product, an entertaining film, for a decent budget and make a name for ourselves. If what we’re doing is good we’ll get lots of work.

What do you think of The Deadly Spawn? Is it a good film?

BOHÚS: I think it’s a good, fast paced, entertaining film. The science fiction, horror, thriller, whatever you want to call them, films of today (with few exceptions) are too slow. If you’re going to the movies to get scared or see monsters you have to wait through twenty minutes of baloney to get to see fifteen seconds of effects.

I know what you mean, some films drag on and on and center everything around one or two effects scenes, while the rest of the

film is totally boring.

BOHUS: Exactly!

Do you have any other projects in the works?

BOHUS: Yes, I’d like to work with John and Tim on a project called Bing’s Thing. It’s a science fiction musical comedy-horror film. (Chuckle) Also, I’m getting treatments ready for four other films. One’s a U.F.O. story with a twist. One’s a science-fantasy. Another is similar to Journey to the Center of the Earth, and explains Big Foot and U.F.O.’s.

When do you expect to have The Deadly Spawn finished?

BOHUS: I hope within two to three months.

Tim Hildebrandt paints the artwork for the Deadly Spawn poster.

An Interview with Tim Hildebrandt

The Hildebrandt name is one that is usually associated with the big Hollywood megabuck spectaculars such as Star Wars and Clash of the Titans. How did you come to be involved with The Deadly Spawn which is a modestly budgeted horror/thriller?

HILDEBRANDT: Well, I’m a personal friend of the producer Ted Bohus and the special effects director John Dods. When they began work on The Deadly Spawn I was caught up in their enthusiasm for the project and wanted to have something to do with it.

What is your function on The Deadly Spawn?

TH: Well right now I’m building a “mystery set” outside in my barn in conjunction with John Dods. It’s a miniature landscape but it involves something that the producer doesn’t want revealed as yet.

How is a low budget film able to afford building even a miniature set?

TH: We’re low budget by Holly-wood standards certainly but you can still get good results without spending a lot of money. I did a 3M Company TV commercial which involved building miniatures. To give you an idea of what Hollywood people want to do this kind of work, John Dykstra wanted, I believe, somewhere in the vicinity of a couple hundred thousand dollars to pull off an effect that actually could be pulled off for $5,000-$10,000 at the most.

It’s been said that when you have a lot of money, there is a tendency to do things in the least efficient way!

TH: Exactly! If you go back to the old Hollywood days and the old serials such as Flash Gordon and Buck Rogers some of those effects men were told the night before that they had to have certain effects or sets ready. They would look around and see what they had in the way of available materials: a football helmet would become a space helmet. To make something out of nothing that to me is more fun than having a lot of paraphernalia at your disposal.

So on The Deadly Spawn you rely more on ingenuity and resourcefulness than on mega-bucks?

TH: That’s it in a nutshell.

People associate the name Hildebrandt mostly with fantasy illustration, The Lord of the Rings calendars, for example, but your involvement with film goes way back.

TH: It began in my parent’s garage when I was a teenager, 1954 or thereabouts after having seen War of the Worlds by George Pall was slightly impressed by the special effects. My brother Greg and I took eight months to build a miniature city—like the one in the film. This was when we were in high school. We’d come home at night in the middle of winter and spend hours making detailed windows and carving bricks in the plaster walls. Then we blew it up using powdered magnesium, filming it in slow motion on an old Keystone regular 8 movie camera. A couple of scenes were used by the Jam Handy organization as part of a film on the San Francisco earthquake. Jam Handy is an industrial film producer and I worked for them primarily doing cell animation. I never actually wanted to be an illustrator. My prime objective was to be an animator for Walt Disney.

You sound as though you’re well known ventures into fantasy illustration have been a diversion from your main passion.

TH: Yes, actually, I look at it that way. You asked before why I got involved in The Deadly Spawn. I just wanted to get my hands into a film; I wanted to make something to hold onto a camera light, to be part of it, somehow.

You and your wife Rita are functioning as executive producers on the film.

TH: Which, simply put, means we put money into the film.

Your son Charles has a featured role in The Deadly Spawn.

TH: Let me tell you about my son Charles . . . he kills the monster! Charles plays a 12 year old horror film buff who likes to frighten people by appearing in a puff of smoke (powdered magnesium) as a monster. At the climax of the film Charles feeds the monster a “head” full of powdered magnesium and blows it to pieces.

You allowed your house to be used as a location for some sequences in The Deadly Spawn. What is it like to have a film crew marching in and out of your house carrying equipment—and monsters up and down stairs?

TH: I enjoyed it—being around all that activity. It was a very messy film. The monster is coated with thick slime before every take and there’s lots of blood in the film. One scene involved the Uncle who is discovered in a room infested with little spawns who are chewing him to pieces. I had a white carpet in that room, but needless to say, it had a lot of red in it by the end of the shoot. The company we took it to for cleaning did a double take when they saw it.

Did anything amusing happen during the shooting?

TH: Well, I saw the director pull his hair out a few times—I thought that only happened in the movies!

I understand that you were approached to do design work on the Disney/Paramount production Dragonslayer.

TH: Years ago, yeah. But I was in the middle of trying to sell Urshuraka novel I wrote with my brother and Gerry Nichols—as a film. We came quite close, but the short side of the story is that it was just too expensive to do. Joseph E. Levine for example saw the Urshurak presentation. He applauded, turned to us, slapped the arm of his chair and said “Well, that’ll cost $145,000,000 to make!” We thought he was joking but he meant it literally.

Urshurak—like most of your previous work was a joint venture between you and your brother Greg—”The Brothers Hildebrandt.” Up until painting the Clash of the Titans poster you worked together, usually both of you contributing to each painting. There has been a split between you two and now you work alone. What happened?

TH: It was not a friendly parting of the ways. At the time it happened I was working on a very important piece of work with my brother—production design for the forth-coming motion picture The Beast of Krull to be directed by Peter Yates. I was on the job for a month. One day I was informed that I was off of the project and that Greg was to continue … let’s leave it at that.

So at this point we don’t know if any of the design work in The Beast of Krull will represent your efforts.

TH: Right, I won’t know until I see the film.

Is it true that members of The Deadly Spawn film crew have found their way into one of your current projects?

TH: Yes, I’m painting a 1983 fantasy calendar for the TSR people, who make Dungeons and Dragons and other role playing games. It’s called “Realms of Wonder.” Crew members posed for various characters; our cinematographer Frank Balsamo became a dwarf; John Dods posed for a monster and a wizard (in the same picture!); and our production coordinator Kathy Vent posed for a mermaid.

What are your other current projects?

TH: Well, I consider The Deadly Spawn to be my prime project. But I’m also doing two books with my wife. One is the “Fantasy Cookbook” to be published by Bobs Merril Company. And we’re doing an adult picture book on Merlin the Magician. I’m also discussing other projects with the TSR people—they’re very good to work for.

Would you like to be involved with film in the future?

TH: Yes, in the area of production design, in creating the look of the film. I like to build miniature sets—and I’ve always wanted to do a matte painting.

Douglas McKeown and Mother Spawn

Director/screenwriter Douglas McKeown

A bio of you says you started a theater in your house at age 9.

DOUGLAS McKEOWN: When I was in sixth grade, I did a makeup inspired by The Curse of Frankenstein. There were maybe 15 people sitting in the basement facing a table I was lying on with a sheet over me, and on cue I sat up, the sheet slipped off my face and a kid in the audience screamed, “Shit!” and fell off his stool. Well, that did it; I was hooked. I can still see the expression on his face. So I kept making plays about monsters, and shanghaied kids from the neighborhood to be in them even my mother had to step in once at the last minute and suit up as the Monster for my spin on Frankenstein Meets the Wolf Man. Guess who played the Wolf Man! That show ended with a castle cave in that caused so much smoke and dust, the audience had to flee up the steps to keep from choking to death

My other extracurricular activities included showing off severed fingers in boxes or staging bloody stabbings and murders by the side of the road for the benefit of passing motorists. I was privately doing more and more realistic makeups and sneaking out after dark to make “appearances.” I know there are grown adults out there who still have nightmares about their childhood run-ins with a growling, hairy creature running past an open window or a maniac in a cape jumping off a roof, or some shapeless thing they couldn’t quite make out scratching at the back door. When I was 17, I filmed myself as the Phantom of the Opera on 8mm, and sort of turned quasi-professional. I got a makeup scholarship in college and started designing makeups for the theater department’s productions while majoring in English and studying film,

What, spawned The Deadly Spawn?

McKEOWN: In 1980, I was directing a play at the Bouwerie Lane Theatre in New York when I got a call from John Dods, whom I had known for a long time. He said he’d met a guy at one of the horror conventions, Ted Bohus, and they were thinking of making a horror/sci-fi-type movie, and would I be interested in joining them? John and I had worked together in the 1970s; I’d enlisted him to create some effects for a house of horrors I designed at the Jersey Shore boardwalk, and before that he’d helped me create animated titling for a documentary film I made with students. We’d also worked together on successful stage productions for the high school I taught at. During our first meeting out in New Jersey, the two guys told me they were going to be co-directors of the film, but they needed someone to “direct the actors.” I said I’d never heard of a job directing only the actors, so I said no. However, I would be willing to take on the job of sole director of the film. So we agreed to that: Dods would direct the effects, Bohus would produce and I would direct.

Then, when I found out they had no script, treatment or storyline beyond “a monster comes from space and eats people.” I said I would also have to write the screenplay, or it was no deal. They also agreed to this-a little reluctantly, I thought. The three of us would collaborate on the story, but I would do the script.

Could you give us some primary inspirations behind the creature design?

McKEOWN: We talked about Alien and Jaws and used the term “eating machine” a lot-a creature that was mostly teeth. The “mother spawn,” as we started calling it—or her-gradually took shape in Dods’ basement studio in New Brunswick. The creature prop looked amazing even before it had any flesh on it. This was all Dods’ work, topped off later with a luridly detailed paint job by Tim Hildebrandt. In fact, you could say Dods was the mother spawn, he was so intensely into his creation. I even overheard him talking to it once when he thought no one was around.

The ’80s had a lot of independent, low- to middling-budget monster films, but The Deadly Spawn is pretty intensely gory for when it came out. Was that always the intent, or just a happy accident?

McKEOWN: Let’s call it happy intent. At one of our early production meetings, we discussed going for an R rating, because in the low-budget arena it would actually be a draw rather than a drawback, and we wanted to make as big a splash as possible. Nudity was suggested, but I nixed it. I think it’s always ridiculous and obvious that whenever characters are about to be carved up in a movie, they happen to strip down and get in the shower first. I thought, why not extreme violence? I actually said, “Let’s rip the mother’s face off.”

Now, I personally was not a big fan of bloody, gory movies—which is surprising, I know, given my predilections as a child. It’s just that I had come to appreciate mood, atmosphere, subtlety in movies suggested terrors more than overt ones. But this project definitely called for going as far as possible-taking the audience over the top beyond disgust, to actual laughter even. A big laugh in the theater can be as potent and as valid a release as a scream. I definitely -heard those kinds of laughs when The Deadly Spawn played in 1983. Especially in the vegetarian luncheon scene, which has been called “disturbing” and “hilarious” at the same time.

There’s an interesting contrast between the two lead brothers, in that one is a scientific rationalist and the other, much younger boy engages in imaginative escapism via horror films and nostalgia. Was this a planned-out element of the film?

McKEOWN: Planned. Charles is the brave and resourceful hero, the one who stands in for me as a kid with horror-movie obsessions. He just lives contentedly with horror all the time in his own little world. The hero idea came from one of those nights when I was 11 or 12, running through the woods done up as the Wolf Man, and had a revelation. Here I was in full makeup, hair glued on my face, fangs, the works, and I suddenly realized that I was completely unafraid of the dark, or of being alone or anything at all, really. And that was because I was the monster. I understood monsters from the inside. Of course, I knew I couldn’t invest the character of Charles with all the details from my life. I was hoping the audience would get the idea that this little imaginative world of his had actually prepared him for the challenges he was about to face.

I wanted the older brother, Pete, to be locked up in his own narrow paradigm, and his relationship with Charles-teasing his younger brother about the monsters-to find its equivalent in the more adult verbal sparring he was going to have later on with Ellen. She turns out to be open to the more imaginative possibilities of life; they inspire her scientific curiosity. Pete, on the other hand, is completely closed to the imagination, science to him being a cold, inflexible discipline. I figured their opposite outlooks would make the sparks fly between them. Too bad their kissing scene comes on so abruptly in the final film. It was supposed to be better set up by a scene we had shot first that had them sort of flirting with each other. Somebody made the decision later, when I wasn’t on board, to cut that out. I keep talking about how much was planned, and it’s true, but you can only plan so much. The biggest x factor is always the individual actors’ performances and personalities. They bring indefinable values that nobody can plan for, and I couldn’t have been happier.

A huge isolative element in the plot is the fact that, until the end, the house is basically stormbound. How hard was it to plan around the weather during shooting?

McKEOWN: I had the idea from the start that it would be raining all through the film for a couple of reasons. I thought the mama creature from the meteorite would thrive on Earth right away, growing quickly as soon as it rained, because, like all life, it flourished in water. And then its offspring would flourish and grow and proliferate like the brooms and buckets in [Fantasia’s] The Sorcerer’s Apprentice. And plot wise, I figured a lot of rain could mean a flooded cellar, so there’d be a good reason to bring the doomed parents down there at the outset.

Douglas McKeown

But the main purpose for the rain was technical. I knew that with our low-to-no budget, it would be extremely hard to maintain a convincing continuity in clothing, settings, lighting, etc., especially if we would be shooting piecemeal over the weeks and months. So I thought that if we made it one long rainstorm, a real rainy day all through the film, we could have that steady drumbeat of ambient sound on the soundtrack, and that would help convince the audience subconsciously that everything was happening on the same day.” And if it shouldn’t happen to rain on a day we were scheduled to shoot, well, how hard would it be, I asked myself, to point a garden hose at the scene for exterior shots, or simply aim it against the outside of a window when we shot the interiors?

As it turned out, it was annoyingly hard to do. It so happened that in the winter of 1980-81, New Jersey experienced probably the worst drought on record. Here I was making a film with rain all through it, and it never rained. It actually became illegal to use garden hoses, so someone was always keeping a lookout for the cops during scenes like the one where Pete is up on the roof in the-fake-rain.

How did the Hildebrandts come to be involved in the movie’s production?

McKEOWN: Tim was already on board as an executive producer, I think. Once I came up with a story centering on a family, he offered his house as the main location-although I’m not sure his wife Rita knew what they were in for! And when I met his son Charles, I realized a major casting problem was solved. Not only was Charles the right age [for the character bearing his name) and very intelligent, he was psyched for it—and he would be no trouble getting to the set in the morning, since he actually lived there; he just had to wake up and get in costume. A very lucky break! Tim was incredibly easy to work alongside, understanding and patient and just all-around great to spend time with. Not to mention that his extraordinary artistry added immeasurably to the look of the creatures and the film as a whole.

What have you been up to since The Deadly Spawn?

McKEOWN: Oh, life after The Deadly Spawn has gone on just as before, with me collaborating on stage shows by directing or designing and making props, costumes and scenery, taping short documentary videos and writing scenes, sketches, the books to musicals, short stories, even a nightclub comedy act at one time. And then there’s acting, which I still do from time to time. First and foremost, though, I’m a filmmaker, and I would like nothing better than to direct another feature. Stranger things have happened.

After all these years, what’s your perspective on The Deadly Spawn?

McKEOWN: That’s exactly how it is, a perspective of many years. In some ways, the film is like one of NASA’s Mars rovers—supposed to do a limited job for a limited time, but then, amazingly, turned out to have this incredible staying power. Put another way, I sometimes feel like the parent of a wayward child who grew up. You know, when she was young she screwed up, disappointed me, got in with the wrong crowd, but then over time she proved her worth, was admired and loved by the outside world. I finally had to stop threatening to disown her. And now I really appreciate her best qualities instead of fixating on all her flaws, which is what I used to do. The flaws were really mine, anyway. And of course, I don’t forget that I wasn’t her only parent!

The Deadly Spawn (1983) Retrospective Part One For those who grew up as horror fans in the 1980s, invasions of killer monsters intent on devouring nubile young flesh were a popular stock in trade.

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