#john denner

[kino51]

The Iron Sheriff  1957

[byneddiedingo]

Charles Denner and Yves Montand in Z (Costa-Gavras, 1969)

Cast: Jean-Louis Trintignant, Yves Montand, Irene Papas, Pierre Dux, Jacques Perrin, Charles Denner, François Périer, Georges Géret, Bernard Fresson, Marcel Bozzuffi, Julien Guiomar, Magali Noël. Screenplay: Jorge Semprún, based on a novel by Vassiliis Vassilikos. Cinematography: Raoul Coutard. Production design: Jacques D’Ovidio. Film editing: Françoise Bonnot. Music: Mikis Theodorakis. 

Costa-Gavras's great political thriller, Z,  was an unsettling film to watch in 1969, the year after Robert Kennedy and Martin Luther King Jr. were assassinated, the police clashed with demonstrators at the Democratic convention in Chicago, and Richard Nixon was elected president. What makes it unsettling in today's political climate is the way the film shows the destructive collaboration of ideologues, buffoons, and thugs. It's an often grimly funny movie, particularly in the portrayal of the general in charge of the police, who as played by Pierre Dux is both ideologue and buffoon. There is buffoonery also among the thugs, and Costa-Gavras has fun mocking the conspirators who, once they angrily leave the room in which they've been indicted, each try to open a locked door. But we mock them in vain. For while the efforts of the prosecutor played beautifully by Jean-Louis Trintignant are heroic and Costa-Gavras and screenwriter Jorge Semprún make us expect justice to prevail, it doesn't. The story is that of the assassination of Greek opposition politician Grigoris Lambrakis in 1963 and the subsequent investigation that brought a glimmer of hope to the country only to be squelched by the military coup of 1967. However, the film is set in no specific country -- it was filmed in Algeria -- and only an opening "disclaimer" that parodies the usual assertion about any resemblance to persons living or dead dares to say that the resemblances in the film are entirely intentional. Costa-Gavras and Semprún were political exiles from, respectively, Greece and Spain. The composer Mikis Theodorakis had been arrested and his music was banned in Greece; he gave Costa-Gavras permission to use existing compositions for the film score. But the decision to set the film in no particular place only strengthened its ability to reach out and make its story meaningful beyond a specific place and time. Although Yves Montand and Irene Papas get top billing as the assassinated politician and his wife, Montand's role is comparatively small and Papas's is virtually a cameo. The movie is mostly carried by Trintignant and by Jacques Perrin, one of its producers who also plays a very aggressive investigative journalist, and a capable supporting cast. It won Oscars as the best foreign-language film and for Françoise Bonnot's film editing. It was also nominated in the best picture category, and picked up nominations for best director and best adapted screenplay, but lost in those categories to Midnight Cowboy and its director, John Schlesinger, and screenwriter, Waldo Salt.

[mywifeleftme]

200: Mercyful Fate // Don't Break the Oath

Don't Break the Oath Mercyful Fate 1984, Roadrunner

Before I started this series, I hadn’t reviewed a record in nearly ten years. I specialized in metal, and these days I have only a handful of metal albums in my physical collection, so it’s rare that I pull an album off the shelf that I’ve meaningfully written about before. But I did cover Mercyful Fate’s Don’t Break the Oath in my previous life, and my feelings about it haven’t changed. So, here’s an old slab of demon wax for Halloween, lightly edited for grammar.

If you want to really love Mercyful Fate, and God is it rewarding to do so, you have to be kinda willing to just “go with it.” When you hear Fate for the first time, you can’t help but notice how ridiculous King Diamond’s voice is, and often people find it so distracting that they never really give the band a chance. I liken it to watching old horror movies: yeah, they’re dated and you can see the wires, and the things that scared people then seem trite and funny now, but on the other hand, the way they use the tools at hand to craft their vision often results in a unique aesthetic. The ridiculousness is part of the appeal, sure, but you also have to be willing to let yourself accept these things on their own terms.

Look, anyone who tells you the King’s voice is “badass” probably isn’t really thinking about what they’re saying; when you’re listening to Diamond’s spindly wail on “Night of the Unborn,” you’re not sitting there going, “Man, a guy with that voice could probably kick the shit out of me.” I always felt like he was a really earnest guy who wanted very badly to be able to scream like Rob Halford but could only approach those high notes through a rather willowy falsetto. So, he found a way to use the things he had (strangeness and creativity) to become one of the great metal vocalists. His skewed-operatic sense of melody and (at the time uncommon in metal) willingness and ability to master multi-tracking techniques have few peers in the genre to this day. In 1984, you’d have had to look outside the metal genre to find vocal multi-tracking on a par with what Diamond does on "The Oath" and "Come to the Sabbath." He’s utilizing his voice as an instrument, coming up with these elaborate, off-the-wall vocal melodies (only John Arch of Fates Warning was nearly as original, and you can bet Diamond was a big influence), trying on weird effects, and ultimately matching note for note the decadence of the instrumental performances. Again, the fact that the guy probably thought this kooky shit was legitimately scary or occult is irrelevant. What he’s actually doing is just, for whatever reason, really fucking awesome.

It helped that he had maybe metal's baddest band laying down the music. Denner and Shermann’s riffs brand your ears while putting on a “how to solo the metal way” clinic (see “Gypsy” for both), and the underrated rhythm section of Hansen and Ruzz consistently find that perfect balance between technique and groove. As much as I love Judas Priest, the more I listen to Don’t Break the Oath, the more I realize how thoroughly Mercyful Fate beat them at their own game. It’s like if some rookie did one of those ridiculous LeBron James-style full-court chasedown blocks on LeBron, and then posterized him with a dunk at the other end of the court. Maybe Priest were hampered by recording technology and the burden of inventing a new style, but it’s only fair that someone else ended up delivering the definitive statement of that style. After all, Priest had pretty much done to Deep Purple what Mercyful Fate then did to them. “Night of the Unborn” is K.K. Downing sublimed, and on album-highlight “A Dangerous Meeting” you can hear that trebly, hot rod "Exciter" template finally reach the sustained heat it always aspired to. Listen in relative awe as the midsection of “Welcome Princes of Hell” thoroughly trumps “You’ve Got Another Thing Coming.” Songs like “Come to the Sabbath” and “The Oath” frequently find themselves inside the most intense, “Dissident Aggressor”-type moments Priest could only sustain for brief passages; Fate sounded like they’d be comfortable living there.

The scary thing is the way they kind of toss off little ideas which show that, had they wanted to, they could’ve absolutely owned virtually any other contemporary metal band’s style as easily as they did Judas Priest’s. The rolling, groovy riffage of “Desecration of Souls” just about out-Savatages Savatage, and you know Dave Mustaine ripped off the coda to “Come to the Sabbath” coda for approximately half of the breakdown riffs on Megadeth’s first four albums. Their ability to seamlessly integrate heavy prog riff transitions and rhythms makes even classic Fates Warning sound clumsy by comparison. And the folky mellow guitar riffs at the beginning of “To One Far Away”? Tell me that doesn’t sound like the origin of Opeth. I find myself staring into the cover art* while I listen to the record, and it seems like it perfectly represents what Don’t Break the Oath is all about. You do what I used to do when I was 15 and spread out all your metal CDs [2023 edit: LPs] on your floor and it’ll immediately catch your eye, that strikingly yellow square amongst all the blacks and blues. If other metal albums are burnt offerings to the Devil, then this sacrifice is one that stills burns, constantly burns. There’s no album quite like it. It’s IIIIIIIIIN THE NAME OF SAAAATAAAAANNN, it’s Don’t Break the Fucking Oath, and it’s the best metal album ever.

* By the way, am I the only one who thought the Melissa cover art was an abstract painting of blood dripping sideways because the skull face was so dim?

200/365

[isralienpsytrance]

AYIA 'Easy' from Salomon Ligthelm on Vimeo.

To the films that have come before - 2001 Space Odyssey, La Haine, Gomorrah....

Go behind the scenes, read the article, and inquire about licensing here: filmsupply.com/films/ayia-easy/

Produced By...... All Expanded, Section80 Executive Produced By...... Artjail, Section80, Film Supply, Stink Executive Produced By...... Cabin, Division, Soft Citizen

Director...... Salomon Ligthelm Cinematographer...... Shabier Kirchner Executive Producer...... Emi Stewart Executive Producer...... Katie Lambert Executive Producer...... Marco Orlando Executive Producer...... Chris Dodds Production Manager...... Jon Melton Producer...... Luigi Rossi

Production Designer...... Madison Hatch Art Director...... Steven Killian Set Dresser…… Kit Sheridan Set Dresser....... Tommy Mitchell

Actor…… Anders Gran Actress…… Yueyao Li Dancer...... Dale Ratcliff Dancer...... Yiannis Logothetis Dancer...... Jesse Kovarsky Dancer...... Paul Zivkovich Dancer...... Quaba Ernest Dancer...... Leo Hishikawa

1st Assistant Director...... Andreas Villaggio Production Coordinator...... Francesco Rizzo

Choreographer...... Amy Gardner

HMU Artist...... Ashley Disarro HMU Assistant...... Davisha Dadone Wardrobe...... Abby Oliver Wardrobe Assistant...... Abigail Klitzing Costume PA...... Esther Fonse

Stunt Rigger...... Mike Matera Stunt Rigger....... Scott Kelly Stunt Rigger....... Alexa Marcigliano

Prod/camera Truck PA...... Mike Alliegro G&e Truck PA...... Chris Jackson Driver PA "Van C"...... Emery Schiffraw Driver PA "Van B"...... Kerry Hempel Driver PA "Van A"...... Alec Battistoni Set PA...... Drew Palmer

1st Assistant Camera...... Evan Walsh 2nd Assistant Camera...... Gabriella Aguirre Loader...... Greg Howard Steadicam Operator...... Calvin Falk 2nd Unit DP...... Mobolaji Olaoniye Gaffer...... David Mccabe Best Boy Electric...... Brad Burke Key Grip...... Otter Moore Best Boy Grip...... Larry Cerpas

Editorial...... Cabin Editorial Editor...... Sam Ostrove - Cabin Editorial Additional Editing...... Salomon Ligthelm Editorial Producer...... Carr Schilling - Cabin Editorial

VFX and Post...... Artjail ECD/Owner...... Artjail - Steve Mottershead EP...... Artjail - John Skeffington 2D Lead...... Artjail - Christoph Schroeer 2D Artists...... Artjail - Dayung Jo, Kyle Andal, Gerard Andal, Emily Bloom, Andres Kirejew, Alex Shahviri, Andrew Thiessen 2D Artists (Con't)...... Artjail - Molly Intersimone, David Tate, Mark Yfantidis, Daniel Beleski, Chris Turner, Marcus Wood, Fred Kim 3D Lead......Artjail - Ross Denner 3D Artists...... Artjail - Ben Elliot, Christina Ku, Sandor Toledo 3D FX......Artjail - Georgios Cherouvim Senior Producer...... Artjail - Perry Tate VFX Supervisor…… Artjail - Ross Denner Additional Post...... Veli Color...... Artjail Colorist...... Artjail - Clinton Homuth Galaxy Shot......Tyler McGrath Depthkit DP...... Cory Allen

Sound Design (Teaser)...... Salomon Ligthelm Sound Mix (Teaser)…… Marcelo Baldin (Combustion) Sound Design (Film)...... Salomon Ligthelm Sound Mix And Additional Design (Film)…… Defacto Sound

[johndennerconnecticut-blog]

According to Forbes Magazine Howard Stern was the The World’s Highest Paid Radio Show Host of 2018 

[killer-klowns]

Golden Eighties / « Tu sais pas ? Lili elle couche avec Robert », c’est ce que tout le monde dit.

[soracities]

“[John] Berger, on Woman [said]: “From earliest childhood, she is told to survey herself continually. Behind every glance is a judgment . . . Those who are judged not beautiful are not beautiful— those who are, are given the prize. The prize is to be owned—that is to say: available.” But the Alte Frau [by Balthasar Denner] is unavailable. Age has put her outside the bounds of the contest. And perhaps (this painting suggests, to me) it is not so awful to be, once and for all, placed outside of that contest. It is fascinating to learn that when Balthasar Denner showed the Alte Frau to a pair of respected Dutch painters and art critics—Adriaen van der Werff and Karel van Mander—they were so stunned by it they could compare it only to the enigma of the Mona Lisa. Is it possible that what men consider enigmatic in women is actually agency? As in: If she does not want me, what the hell does she want?”

— Zadie Smith, “Alte Frau by Balthasar Denner’, Feel Free: Essays

[scotianostra]

31st March 1652 saw the Honours of Scotland saved from Cromwell's forces at Dunnottar Castle.

There are a few different versions of how The Honours were saved, and I usually get questioned about whatever version I use on this date,  I am posting a version direct fro The University of Aberdeen's web site, fittingly, written in The Doric.

Back in the days lang ago fan fowk wir aye fechtin wi een anither a chiel caad Oliver Cromwell hid gotten rid o King Charles I an cut aff his heid. He then taen ower England an wis for takkin ower Scotland as weel. Noo, there wir fowk fa thocht that he'd nae richt tae dee that, but Cromwell's airmy wis ower strong for them an they his tae dee aa they could jist tae survive. Een o the things Cromwell wintit wis the 'Honours o Scotland' - that wis the croon, sword an sceptre; the Scottish Croon Jewels. But thir wir fowk fa werena for lettin Cromwell hae them and Honours landit up in Dunnottar Castle jist aside Steenhive. Fan the 'Roondheids', that's fit Cromwell's supporters wir caad because o the shape o the helmets his airmy wore, heard aboot far the croon jewels were they sent an airmy tae get them back. The airmy wis commandit by General Lambert an he demandit that George Ogilvie, the Governor o Dunnottar haun them ower tae him. But the Governor refused an the castle wis surrounded by Lambert's airmy an naebody could get in an naebody could get oot. Nae even maet wis allowed in. Dunnottar's hich on the cliffs an wis affa difficult tae attack but Lambert thocht he could stairve the fowk in the castle in tae giein up. Ae thing that wis allowed in wis some medicines for Margaret Ogilvie, the Governor's wife fa wis nae weel. The wife o the minister o Kinneff Kirk, Mary Grainger, wis allowed in tae tak in medicine an bandages for Mrs. Ogilvie an her man, the Reverend James Grainger. He wis already in the castle for he widna leave his fowk fan they wir in sic a steer o trouble. Mrs. Grainger an her maid, Alison wir kenspeckle figures gyan in an oot o the castle an the sodjers gairdin the doors got eesed tae seein them. Ae day fan the twa weemin wir veesitin an argy-bargy got up aboot fit wis tae be deen wi the croon, sceptre an sword.

"We canna hing on muckle langer," said the Governor, "We're near haun oot o maet an we'll be aitin sea maws neist. We'll hae tae gie in seen. Fit can wi dee aboot the Honours?" "Weel," said the Rev. Grainger, "we canna bury them, this rock's ower hard an there's nae pint in tryin tae hide them for Cromwell's airmy will either find them or burn the buildin till there's nithin left."

"I've an idea," said Mrs. Grainger, "Alison an I could smuggle them oot. The sodjers ootside are eesed tae us gyan back an fore. We could walk throu them get on oor horses an be hame afore they'd jalouse fit hid happened."

"Na, na. Wi canna hae that," said the Governor. "D'ye ken fit the sodjers wid dee tae ye if you an Alsion wir found oot?"

"Besides that, ye aye arrive wi bundles an parcels, ye dinna leave wi them," said Rev. Grainger. "That plan's nae eese av aa."

"But fit if we wir comin fae a direction they wid expeck us tae come fae cairryin baskets?" spiert Mrs. Grainger. "Fit div ye mean?" spiert the Governor. "Weel," explained Mrs. Grainger, "If we were comin up fae the rocks aneth the castle cairryin baskets o dulse, fit wid be wrang wi thon? Far else wid ye get dulse but doon on the rocks." "Ye'll need tae explain a bittie mair," said the minister, " Fu dee ye expeck tae find the Honours on the rocks an fu are ye tae get doon there yersel?

"Here's aa wi need tae dee," said Mrs. Grainger. "Alison will heid for the bottom o the cliffs alang the rocks. I'll arrive at the gate as usual wi a lot o lint bandages, a fyow mair nor usual but the gairds will nivver ken the difference. Noo, ye mak up a wee cheer that I can sit on. Mak a rope wi the bandages an syne ye'll lower me doon tae the bottom o the cliff an I'll be haudin a basket wi the croon, sceptre an sword in it. Alison'll help me at the bottom o the cliff. We'll hap the croon jewels in dulse an set aff back tae Kinneff Kirk."

"Are ye gyan gyte, umman!" wis Rev. Grainger's answer tae the plan.

"James, fit else can wi dee? Is aa this time sufferin in here tae be for nithin?"

Rev. Grainger lookit at his wife an the servin lass an shook his heid. "Aye. Maybe ye're richt. Ye'll need tae prepare a place tae hide the Honours an I think I ken jist the place. Get Wattie fae the smiddy tae help ye. He's a true chiel an wid dee onythin tae help the King. Get Wattie tae help ye shove back the poopit an lift een o the flagsteens unnerneth. Dig oot a hole an fan ye get back tae the Kirk, an God willin, ye will, ye can beery the honours in the yird aneth the poopit."

"That seems tae be settled, then. Mrs. Grainger, Alison, Scotland will nivver forget fit ye're deein for the country," said the Governor an the plan wint intae action.

The neist day Mrs. Grainger arrived at Dunnottar an, as usual, wis let intae the castle withoot ony bother. Eence inside she got oot the lint an it wis twistit intae ropes an tied tae a wee cheer that Rev. Grainger hid made up. They wint tae the back o the castle that looks doon tae the bottom o the cliff an Mrs. Grainger wis lowert ower the side wi the croon jewels in a dulse basket that she wis cairryin. It wis a relieved Mrs. Grainger that felt rocks unner her fit efter fit seemed an age traivellin doon the side o the cliff. Alison wis there tae help her.

Alison hid already gaithert a wheen o dulse an it wisna lang afore the honours were hidden aneth a pile o dulse in twa separate baskets. The twa lassies stertit up the cliffs an Mrs. Grainger hid tae waatch an see the sodjer fa hid lettin her intae the castle didna see her comin up fae the rocks or he micht hae jaloused fit wis gyan on.

Fan they got tae the tap o the cliff they were in for a begeck for fa wis staunin there but General Lambert himsel.

"An fit hiv ye twa bin up till?" he spiers. Alison lookit worried but Mrs. Grainger wis quick wi an excuse, "Wiv bin gaitherin dulse. Nithin better for the caul on a frosty day!" The General lookit at the baskets syne gaed his heid a shak, "You sea gyan fowk'll ait onything. Gyads! Saeweed for denner! Fit could be worse?" An wi that he turnt roon an tellt the serjint o the gaird tae, "Escort the lasses tae thir shelts an get us aa fae the smell o the dulse!"

Withoot anither wird or a look roon the twa lasses marched tae thir wee shelts, mounted an trotted aff on the road tae Kinneff Kirk. Eence at Kinneff they met in wi Wattie fa hid already shiftit the poopit an raised the flagsteen. The Scottish Croon jewels wir beeriet an the poopit shoved back on tap. Tae help pit the Roonheids aff lookin for the Honours a rumour wis spread that Sir John Keith, youngest son o the Earl Marishal had managed tae get the Honours smuggled oot tae France. But they bade in Kinneff Kirk for acht year until Charles II wis back on the throne an the honours wir returned tae thir hame in Edinburgh Castle. But things micht hae bin far different if it hidna bin for twa lasses fa saved the Honours o Scotland.

Pics are a  Tableau depicting the event, part of a display in Edinburgh Castle, a reconstruction of the castle by Andrew Spratt, check him out on Twitter he does some great work, and how the castle looks nowadays.

[ashintheairlikesnow]

WIP Wednesday: Whumptober Previews

For WIP Wednesday, since I’m so buried in prepwork for @whumptober2020​, I wanted to give you some short previews of every day I’ve written so far!

Day 1: 

“Tell the people the name,” Abraham says, with humor tilting his mouth up into a bright, charming smile, “of the man who did this to you.”

“Ab-... Abraham Denner,” Danny says, staring right at the camera.

Day 2:

Connor nuzzled into the side of his neck, shivering, and Ridley frowned. This wasn’t like his kitten, who was a ball of hissing, spitting fire with everyone but he and Vanni on a good day. All he’d done was leave him overnight. Where was this coming from?

“What’d you do to him, Tony?”

Day 3:

Bits of ancient plaster come away under the sweat from his fingers as he tries to push himself back to standing upright. 

“Is that what they told you?” Abraham’s voice is bright, delighted. “That it’s an allergy?”

Day 4:

John Ferrick’s lunch tray dropped onto the table next to Connor with a clatter and he jumped, keeping his eyes down, red flaring in his face. “What the fuck was that, Manning? You and Petrus don’t chitchat.”

“He wanted to show me his fucking trainee. You know how he is.”

Day 5:

“Where d’you think you’re going, hm?” 

Miss Nancy’s voice is sharper-edged than normal and Baldur freezes, his hand just curved around the old, carefully polished metal doorknob. It’s cold under his hand, and it doesn’t warm up.

Day 6:

He nods slowly, his face a perfect mask of emptiness. His body shakes, suddenly - and then he’s still again.

“Aftershocks?” She slides an arm around his waist, pulling him close.

“Yes, Miss Savvie.” 

“Hm. You deserved it, you know.”

There’s a pause - minute, barely a fraction of a second. “Yes, Miss Savvie.”

Day 7:

“Are you crying, little Finn?” Patrick’s voice, always, was a deep rumble with a hint of brogue rounding the edges, and they went to shake their head, only to blink and suddenly become aware that they were crying, their breath hitching with held-back sobs, and they hadn’t even realized. 

“I-I-... I just-”

“Sssshhh, it’s all right.”

Day 8:

But there were nights the fights weren’t bad enough to send the two younger ones in, and it was just Miss Alyssa and Sara. Miss Alyssa had told Sara one night, I think I like girls, but I think my parents would fucking kill me if I told them so.

Sara had whispered back, I think I like girls.

She repeated a lot of things they told her, it felt safer than screwing up by getting it wrong. But this hadn’t been repetition. It had been a confession.

Day 9:

“Watch that video from start to finish, baby. I’ll know if you didn’t.”

“Yes, Bram.”

That, at least, he can say without stammering.

Day 10:

“Well, you have bled the thing three times in a month. Perhaps the poor dear simply has less to give.”

“Hm, perhaps.” Layla lifted the knife to her mouth and caught Lord Reg’s eyes, smiling as she licked it slowly clean, without causing even the slightest nick to herself.

Day 11:

“I wasn’t aware my little captive finds polishing my silver so entertaining,” Patrick says from the doorway, and the smile drains from Finn’s face, immediately. They hadn’t even heard him move. “You know there are other things of mine I could have you polish.”

Finn swallows back the disgusted curse that they have ready on their tongue, too aware of the armed guards that are always just a few steps behind Patrick Michaelson, entirely too aware of how much it hurts when those guards are given the order to beat them.

Day 12:

Danny mouths the word, please.

It could be please no. But Ora thinks he’s asking for them to please only have to do it once. 

They take a deep breath, pulling all the air - faintly scented with pine and the smell of the sun on dried grass, with an undercurrent of the blood that Ryan cannot seem to stop losing - into their lungs. Holding it, like maybe enough oxygen can somehow wake them from their nightmare.

[mistymark]

VIGILANTE/S II

part two // 2.0k words // superpowered!au // (sort of) gang!au // series masterlist

summary; in which you consider yourself somewhat of a vigilante.

warnings; mentions of blood, gangs, swearing

notes; i had to redo the whole of part 2 fkjhbjhg so I hope u like it 

You could feel yourself becoming conscious again, yet you felt like you were drowning. Voices and other sounds sounded distant – like you were hearing them from inside a glass cage. “Wake her up,” an unfamiliar voice cut through the thick cloud in your mind, the glass cage shattering.

Your vision cleared, and you became vaguely aware that you were seated on a leather seat in some type of office. The room felt cold – mostly because of its appearance – with stone walls and amount of space that surrounded you. In a room that was easily larger than your whole apartment, there were only four pieces of furniture. You try to move your hands, but you find them bound behind your back with rope. Kinky.

Standing before you was a man with jet black hair, dressed in a pair of black jeans and flannel top. There was something about his appearance that made you feel more comfortable, though his face was serious. He didn’t say anything else. You could feel the power in him, but you weren’t surprised he was a Super. You could feel six others nearby – one much stronger than the rest and five that were slightly dulled, perhaps due to the stone walls. Still, the sheer amount of power in such a close proximity made your body feel like it was on fire.

The reason you’d never liked going to The Den was not due to the criminals but the overwhelming feeling of so much power in one room. Normally, seven wouldn’t bother you. But these people were strong.

There was silence for a moment as the man in front of you waited. Something about his patience made you uncomfortable – and your gut told you he was dangerous. You got the feeling he wouldn’t be someone to mess with even if he weren’t a Super.

“Are you-?” You began to ask, but your question quickly turned into a shriek of pain as you clutched your head. An absurd amount of pressure felt like it was building up inside your skull, pressing against the inside of your head.

The pain vanished to a dull throb and you looked at him through your lashes, recovering.

He looked you over for a moment, before his eyes narrowed again and the pressure returned. It felt like the pain had doubled since the last time, and you scrunched your face up in pain, not wanting to give him the satisfaction of hearing you scream.

It seemed like the wrong thing to do, as the pain only worsened. When it was gone again, you looked up, feeling a trickle of blood run from your nose.

He scrutinised you again for a moment, and it was all the time you needed to reach out for his power, feeling it run through you. You imagined protecting yourself, mentally envisioning not being in pain anymore, and the dull throb vanished.

You sagged against the back of the chair in relief, looking up to try and stop the blood flow from your nose. Sniffing in a rather undignified fashion, you spat at the floor, feeling somewhat satisfied that there was going to be a blood stain in the middle of the room.

His gaze wandered from you to the floor, but he didn’t react. Instead, his eyes met yours once again, and you felt him trying to push into your head again. You tried to focus on blocking him – but you’d always found using abilities that weren’t related to matter more difficult.

You felt him give in, stepping back slightly from the effort of using his abilities. He wiped at his nose, and you swore you could see a small dot of blood. Good.

“Who are you?” You ask, sceptically.

It was becoming evident that he was not going to hurt you, but you knew that this wasn’t his decision. He had to be working for someone. A Denner, perhaps. He doesn’t answer, which you’d mostly expected. What you weren’t expecting was for him to pull out his phone and start texting. What kind of bad guy is he?

“Um, excuse me? Hello?”

It was as if he couldn’t hear you. No part of him reacted to you; he kept a straight face.

“You could at least put your phone away when I’m talking to you,” you mumbled.

No response.

You tried a different tactic, pulling at his power slightly, you tried to penetrate his mind subtly, only digging for surface level information. “Doyoung.”

He doesn’t say anything, but you notice the way he stiffened slightly.

Smiling, you continue, “What? Are you bothered that I know your name but you don’t know mine?” When he doesn’t respond once again, you add a teasing lilt to your voice, “It’s okay. I’m Y/n.”

He almost looks annoyed by you, even though his facial expression doesn’t change. He clicks his phone off and slides into his pocket, crossing his arms and leaning against the desk. A moment later, a door behind you opens, and the feeling of power you receive is stronger. The other Supers are behind you.

Only one steps into the room, though. No one talks.

“You know, it’s rude not to introduce yourself to someone you’ve never met before,” you say, not attempting to turn around. “Johnny, is it? Or do you prefer John?”

He ignores you, crossing the room and standing in front of Doyoung, “What do you know?”

“She doesn’t work for a Denner,” Doyoung responds. This surprises you. For two reasons: one; you’d thought they worked for a Denner, and two; his voice does not match the voice that had cut through his mental block.

“Then who does she work for?”

“No one.”

Johnny turns to you, a frown on his face. You realise he’s trying to get information, too, as if he had the same ability as Doyoung. You know he doesn’t. You shrug casually.

Doyoung doesn’t say anything else, and you immediately know he doesn’t speak unless spoken to. Johnny is the one in charge here.

“If she doesn’t work for anyone, why-?”

“You don’t work for the Denners.”

He turns to you, one eyebrow raised. “No.”

“Neither do I.”

No longer interested in what you have to say, he turns back around to Doyoung.

“I’ve been watching them, you know.” You can tell this piques his interest, even though he doesn’t face you. “I know they want Supers to be sold, used as weapons. They’re trying to sway the Senate.”

You swear it’s like talking to a bloody brick wall.

Doyoung’s abilities allow you to hear their thoughts. “You want to kill me? That’s your big plan?”

Johnny smiles. It’s the first time you’ve seen either of them express any kind of emotion, and it’s honestly more creepy than the blank and serious looks you’d been getting early. “You’re a mind reader, then?”

“Sometimes,” you smirk. The faintest bit of confusion crosses his face but it’s gone as quickly as it appeared.

They talk in hushed voices, and you try and reach out with your mind to find the other Supers. You can sense their power from behind you, but neither of them are close enough. That is, until one walks too close to the wall, and you try and reach out for the power. You can feel the way your mind grasps it, feeling the familiar heat run through you. Pyrokinesis. Perfect.

“Not just a mind reader,” you say. They pause mid-conversation to look at you. You feel the heat rise around your wrists, singing the ropes. The ropes land softly on the ground, and you pull your arms forward from where they were previously bound behind the chair, your fists now glowing bright red, small flames dancing along your skin. You’d always been one for dramatics.

Doyoung and Johnny look genuinely shocked. Neither of them speak.

“A mimic.”

The voice is coming from the far corner, and you’re surprised you didn’t notice anyone standing there. It’s the original voice, the one that ordered you to be woken from your psychokinetic haze.

The man pushes off the wall with his shoulder and steps into the light, and you realise you were wrong about Johnny; he is not in charge. The man who stands before you most definitely is.

The man stands tall and is dressed in what has to be the most expensive suit you’ve ever seen. It’s a dark grey – almost black – colour with gold thread detailing throughout it, swirling in intricate patterns. He isn’t any taller than Doyoung or Johnny, but he certainly seems more powerful.

He lazily steps down towards you, and you know he’s dangerous. He’s a Super, but his power – clairvoyance, you can feel – don’t make him all that threatening.

“Yes,” you breathe, and you immediately feel like you should be bowing. He can sense your fear, judging by the amused smirk on his face.

“Now,” he steps closer, and his finger tilts your chin up to his face, “that could prove useful.”

Defiantly, you pull your head away from him, but you don’t say anything.

“Oh,” he laughs humourlessly, “you’re spunky.”

Normally, you would laugh at anyone who used the word ‘spunky’, kick them in the shins and roast them to hell and back. To this man – Jaehyun – you don’t do any of those things.

“What do you know about the senator?” He asks. You’re surprised by the way he speaks now, almost like he’s already bored by the conversation.

“That’s a big question,” you say, trying to force some confidence into your voice.

“You have ten seconds.”

“Ten-? Okay, um- ” You suddenly can’t remember anything you’ve observed in the last few months. “A gang of Denners have been trying to convince the Senate to make the trading of Supers legal, but they’ve hit a roadblock per say with Senator Kim. He has holdings with Broadback-“

Jaehyun looks up at you, “You stopped.”

“It’s been ten seconds,” you remind him, slyly.

You expect him to ask to hear more, to show that he’s interested in what you know. If anything, he does the opposite. He grabs something off the desk, a baseball of sorts, and tosses it up in the air before catching it quickly. “You don’t know anything.”

The words make you feel like you’ve just been stabbed. You try not to let your jaw drop.

“The senator has been working with the Silver Panthers for quite some time now, and yet he double crossed them.” He shoots you a look, “Why?”

This information surprises you and you wonder if he’s quizzing you. “Bribery?” You offer.

The sound he lets out is more like a snort than a laugh, but it doesn’t last. “Like I said; you don’t know anything.”

You feel your cheeks flush in embarrassment. You’d almost forgotten Doyoung and Johnny were in the room. Doyoung.

Jaehyun walks past you towards the exit, not even sparing you a second glance. “Kill her.”

You try and reach out to Jaehyun’s mind, sifting through his memories and knowledge.

Johnny steps forward, but you put a haze over his mind like Doyoung had done to you, effectively rendering him useless.

“The Silver Panthers proposed the idea of Supers being used in war. They used that to sway the senator, and he persuaded the Senate for them – Once he realised, he went to the Red Crown-” You blabber, reciting everything you can from Jaehyun’s mind.

“Very good.” He doesn’t mean it.

“I can help.”

“We don’t need your help.”

You sigh, rolling up your sleeve to reveal your wrist, holding up your arm to show him your tattoo, “I think you could use it, though.”

“You’re a Crown?” He looks to Doyoung in exasperation.

“I used to be a Crown.”

He casts you another long look, before walking for the door again. “Training starts tomorrow. Doyoung, show her to one of the empty rooms.” Before the door closes, you can hear him mutter to Doyoung, “And fucking fix Johnny.”

[bandittown]

AYIA 'Easy' from Salomon Ligthelm on Vimeo.

To the films that have come before - 2001 Space Odyssey, La Haine, Gomorrah....

Go behind the scenes, read the article, and inquire about licensing here: filmsupply.com/films/ayia-easy/

Produced By...... All Expanded, Section80 Executive Produced By...... Artjail, Section80, Film Supply, Stink Executive Produced By...... Cabin, Division, Soft Citizen

Director...... Salomon Ligthelm Cinematographer...... Shabier Kirchner Executive Producer...... Emi Stewart Executive Producer...... Katie Lambert Executive Producer...... Marco Orlando Executive Producer...... Chris Dodds Production Manager...... Jon Melton Producer...... Luigi Rossi

Production Designer...... Madison Hatch Art Director...... Steven Killian Set Dresser…… Kit Sheridan Set Dresser....... Tommy Mitchell

Actor…… Anders Gran Actress…… Yueyao Li Dancer...... Dale Ratcliff Dancer...... Yiannis Logothetis Dancer...... Jesse Kovarsky Dancer...... Paul Zivkovich Dancer...... Quaba Ernest Dancer...... Leo Hishikawa

1st Assistant Director...... Andreas Villaggio Production Coordinator...... Francesco Rizzo

Choreographer...... Amy Gardner

HMU Artist...... Ashley Disarro HMU Assistant...... Davisha Dadone Wardrobe...... Abby Oliver Wardrobe Assistant...... Abigail Klitzing Costume PA...... Esther Fonse

Stunt Rigger...... Mike Matera Stunt Rigger....... Scott Kelly Stunt Rigger....... Alexa Marcigliano

Prod/camera Truck PA...... Mike Alliegro G&e Truck PA...... Chris Jackson Driver PA "Van C"...... Emery Schiffraw Driver PA "Van B"...... Kerry Hempel Driver PA "Van A"...... Alec Battistoni Set PA...... Drew Palmer

1st Assistant Camera...... Evan Walsh 2nd Assistant Camera...... Gabriella Aguirre Loader...... Greg Howard Steadicam Operator...... Calvin Falk 2nd Unit DP...... Mobolaji Olaoniye Gaffer...... David Mccabe Best Boy Electric...... Brad Burke Key Grip...... Otter Moore Best Boy Grip...... Larry Cerpas

Editorial...... Cabin Editorial Editor...... Sam Ostrove - Cabin Editorial Additional Editing...... Salomon Ligthelm Editorial Producer...... Carr Schilling - Cabin Editorial

VFX and Post...... Artjail ECD/Owner...... Artjail - Steve Mottershead EP...... Artjail - John Skeffington 2D Lead...... Artjail - Christoph Schroeer 2D Artists...... Artjail - Dayung Jo, Kyle Andal, Gerard Andal, Emily Bloom, Andres Kirejew, Alex Shahviri, Andrew Thiessen 2D Artists (Con't)...... Artjail - Molly Intersimone, David Tate, Mark Yfantidis, Daniel Beleski, Chris Turner, Marcus Wood, Fred Kim 3D Lead......Artjail - Ross Denner 3D Artists...... Artjail - Ben Elliot, Christina Ku, Sandor Toledo 3D FX......Artjail - Georgios Cherouvim Senior Producer...... Artjail - Perry Tate VFX Supervisor…… Artjail - Ross Denner Additional Post...... Veli Color...... Artjail Colorist...... Artjail - Clinton Homuth Galaxy Shot......Tyler McGrath Depthkit DP...... Cory Allen

Sound Design (Teaser)...... Salomon Ligthelm Sound Mix (Teaser)…… Marcelo Baldin (Combustion) Sound Design (Film)...... Salomon Ligthelm Sound Mix And Additional Design (Film)…… Defacto Sound

[alexlacquemanne]

Février MMXXI

Films

Spy Game : Jeu d'espions (Spy Game) (2001) de Tony Scott avec Robert Redford et Brad Pitt

Jack Reacher (2012) de Christopher McQuarrie avec Tom Cruise, Rosamund Pike, Richard Jenkins et David Oyelowo

Ready Player One (2018) de Steven Spielberg avec Tye Sheridan, Olivia Cooke, Ben Mendelsohn, T. J. Miller et Simon Pegg

Green Book : Sur les routes du Sud (Green Book) (2018) de Peter Farrelly avec Viggo Mortensen, Mahershala Ali etLinda Cardellini

La Bonne Année (1973) de Claude Lelouch avec Lino Ventura, Françoise Fabian et Charles Gérard

La Femme au tableau (Woman in Gold) (2015) de Simon Curtis avec Helen Mirren, Tatiana Maslany, Ryan Reynolds et Daniel Brühl

La mariée était en noir (1968) de François Truffaut avec Jeanne Moreau, Michel Bouquet, Jean-Claude Brialy, Charles Denner, Michael Lonsdale et Claude Rich

Batman Begins (2005) de Christopher Nolan avec Christian Bale, Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman et Morgan Freeman

La Classe américaine (1993) de Michel Hazanavicius et Dominique Mézerette avec John Wayne, Dustin Hoffman, Robert Redford et Paul Newman

L'Héritier (1973) de Philippe Labro avec Jean-Paul Belmondo, Carla Gravina, Jean Rochefort, Charles Denner et Jean Desailly

The Dark Knight : Le Chevalier noir (The Dark Knight) (2008) de Christopher Nolan avec Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal et Morgan Freeman

Jumper (2008) de Doug Liman avec Hayden Christensen, Samuel L. Jackson, Jamie Bell et Rachel Bilson

On connaît la chanson (1997) de Alain Resnais avec Agnès Jaoui, André Dussollier, Lambert Wilson, Jean-Pierre Bacri, Pierre Arditi et Sabine Azéma

Raccrochez, c'est une erreur (Sorry, Wrong Number) (1948) de Anatole Litvak avec Barbara Stanwyck, Burt Lancaster, Ann Richards et Wendell Corey

Spectacles

Potiche (1983) de Pierre Barillet et Jean-Pierre Gredy avec Jacqueline Maillan, Jacques Jouanneau, Pierre Maguelon, Patricia Karim, Marie Mignal France, Roland Oberlin et Christian Defleur

Sacrés Fantômes (1976) de Eduardo De Filippo avec Dominique Paturel, Monique Thierry, Pierre Hatet, Henri Jacques Huet, Odette Laure et Jacques Marin

Séries

Friends Saison 3, 4

Celui qui était prof et élève - Celui qui avait pris un coup sur la tête - Celui pour qui le foot c'est pas le pied - Celui qui fait démissionner Rachel - Celui qui ne s'y retrouvait plus - Celui qui était très jaloux - Celui qui persiste et signe - Celui que les prothèses ne gênaient pas - Celui qui vivait mal la rupture - Celui qui a survécu au lendemain - Celui qui était laissé pour compte - Celui qui s'auto-hypnotisait - Celui qui avait un tee-shirt trop petit -  Celui qui courait deux lièvres - Celui qui avait un poussin - Celui qui s'énervait - Celui qui avait un truc dans le dos - Celui qui voulait être ultime champion - Celui qui allait à la plage - Celui qui soignait les piqûres de méduses - Celui qui ne voyait qu'un chat

Alexandra Ehle Saison 2, 1

Le miracle - L’hermaphrodite - Pilote

Top Gear Saison 18, 21

Spécial Patagonie : Partie 1 - Spécial Patagonie : Partie 2 - Spécial Journée Circuit - Destination Thaïlande - Un pont sur la rivière Kwaï

The Grand Tour Saison 3, 1, 4, 

Aston, astronautes et les enfants d’Angelina - Passé contre futur - The Grand Tour présente : La Chasse Au Trésor - Tour de ferme - Eaux salées et eaux douces

Les Petits Meurtres d’Agatha Christie Saison 3

La Chambre Noire

Kaamelott Livre II, III

La Délégation Maure - La Cassette - Le Message Codé - Le Poème - Les Classes de Bohort - Perceval et le Contre-Sirop - Le Jeu du Caillou - Les Pigeons - Le Passage Secret - Le complot - Trois Cent Soixante Degrés - La Frange Romaine - Les Comptes - L’Orateur - Le Chevalier Errant - Morituri - L’Aveu de Bohort - Le Renfort Magique - Le Dialogue de Paix II - Silbury Hill II - Le Repos du Guerrier II - La Poétique Partie I - La Poétique Partie II - Cryda de Tintagel - Le Déserteur - Les Clous de la Sainte Croix - Guenièvre Et Euripide - Dream On - La Menace Fantôme - La Parade - La Cassette II - Arthur Sensei - La Pythie - Poltergeist - La Révolte II - Les Paris II

James May : Oh Cook Saison 1

Un Air D'Asie - Comme Au Pub - Pasta Delisioza - Festin Italien - Desserts et Gourmandises - Petit Déjeuner des Champions - Roti de Famille

Castle Saison 5

Protection rapprochée

L’agence tous risques Saison 3, 1, 2

Nouvelle cuisine - Racket - Bataille rangée - Pour le meilleur et pour le pire - Détournement - Une si jolie petite ville - Vacances dans les collines - Poussière de diamants - Otages à l'orphelinat - Immigration clandestine

Crimes parfaits Saison 2

Comme un froid entre nous - Au théâtre ce soir

Livres

Indiana Jones et la dernière croisade de Rob MacGregor

La serpe d'or de René Goscinny et Albert Uderzo

Colère ardente de Richard Castle

Mad Love de Paul Dini et Bruce Timm

Astérix en Corse de René Goscinny et Albert Uderzo

[refocusedmedia]

AYIA 'Easy' from Salomon Ligthelm on Vimeo.

The Ancient Narrative - Adam and Eve - the Tree of the Knowledge of Good and Evil - the Forbidden Fruit - that Tempting Icon. The promise of connection and transcendence. But it’s a mirage at best - corrupting and distorting - yet with unknowable power over us - in it’s attraction and it’s promise of how it might enrich our lives. It’s a bad replica - and today with everything that’s happening around us, we are extremely aware of its deficiencies - it’s inability to replace the REAL. What we crave - it can’t fully give us. Connection and transcendence has to be experienced in the seen, felt and heard of real human contact.

Produced By...... All Expanded, Section80 Executive Produced By...... Artjail, Section80, Film Supply, Stink Executive Produced By...... Cabin, Division, Soft Citizen

Director...... Salomon Ligthelm Cinematographer...... Shabier Kirchner Executive Producer...... Emi Stewart Executive Producer...... Katie Lambert Executive Producer...... Marco Orlando Executive Producer...... Chris Dodds Production Manager...... Jon Melton Producer...... Luigi Rossi

Production Designer...... Madison Hatch Art Director...... Steven Killian Set Dresser…… Kit Sheridan Set Dresser....... Tommy Mitchell

Actor…… Anders Gran Actress…… Yueyao Li Dancer...... Dale Ratcliff Dancer...... Yiannis Logothetis Dancer...... Jesse Kovarsky Dancer...... Paul Zivkovich Dancer...... Quaba Ernest Dancer...... Leo Hishikawa

1st Assistant Director...... Andreas Villaggio Production Coordinator...... Francesco Rizzo

Choreographer...... Amy Gardner

HMU Artist...... Ashley Disarro HMU Assistant...... Davisha Dadone Wardrobe...... Abby Oliver Wardrobe Assistant...... Abigail Klitzing Costume PA...... Esther Fonse

Stunt Rigger...... Mike Matera Stunt Rigger....... Scott Kelly Stunt Rigger....... Alexa Marcigliano

Prod/camera Truck PA...... Mike Alliegro G&e Truck PA...... Chris Jackson Driver PA "Van C"...... Emery Schiffraw Driver PA "Van B"...... Kerry Hempel Driver PA "Van A"...... Alec Battistoni Set PA...... Drew Palmer

1st Assistant Camera...... Evan Walsh 2nd Assistant Camera...... Gabriella Aguirre Loader...... Greg Howard Steadicam Operator...... Calvin Falk 2nd Unit DP...... Mobolaji Olaoniye Gaffer...... David Mccabe Best Boy Electric...... Brad Burke Key Grip...... Otter Moore Best Boy Grip...... Larry Cerpas

Editorial...... Cabin Editorial Editor...... Sam Ostrove - Cabin Editorial Additional Editing...... Salomon Ligthelm Editorial Producer...... Carr Schilling - Cabin Editorial

VFX and Post...... Artjail ECD/Owner...... Artjail - Steve Mottershead EP...... Artjail - John Skeffington 2D Lead...... Artjail - Christoph Schroeer 2D Artists...... Artjail - Dayung Jo, Kyle Andal, Gerard Andal, Emily Bloom, Andres Kirejew, Alex Shahviri, Andrew Thiessen 2D Artists (Con't)...... Artjail - Molly Intersimone, David Tate, Mark Yfantidis, Daniel Beleski, Chris Turner, Marcus Wood, Fred Kim 3D Lead......Artjail - Ross Denner 3D Artists...... Artjail - Ben Elliot, Christina Ku, Sandor Toledo 3D FX......Artjail - Georgios Cherouvim Senior Producer...... Artjail - Perry Tate VFX Supervisor…… Artjail - Ross Denner Additional Post...... Veli Color...... Artjail Colorist...... Artjail - Clinton Homuth Galaxy Shot......Tyler McGrath Depthkit DP...... Cory Allen

Sound Design (Teaser)...... Salomon Ligthelm Sound Mix (Teaser)…… Marcelo Baldin (Combustion) Sound Design (Film)...... Salomon Ligthelm Sound Mix And Additional Design (Film)…… Defacto Sound

[bluebeards-wife]

Movies

An ever expanding list of Bluebeard movies.

1901: Barbe-bleue (Georges Méliès, 1901)

1923: Bluebeard’s 8th Wife, starring Gloria Swanson (Sam Wood, 1923)

1925: Miss Bluebeard, starring Bebe Daniels (Frank Tuttle, 1925)

1936: Barbe-bleue (Jean Painlevé, 1936)

1938: Bluebeard’s Eighth Wife, starring Claudette Colbert and Gary Cooper (Ernst Lubitsch, 1938)

1940: Rebecca, starring Joan Fontaine and Laurence Olivier (Alfred Hitchcock, 1940)

1941: Suspicion, starring Cary Grant and Joan Fontaine (Alfred Hitchcock, 1941)

1944: Bluebeard, starring John Carradine (Edgar G. Ulmer, 1944) 

1944: Gaslight, starring Charles Boyer and Ingrid Bergman (George Cukor, 1944)

1947: Monsieur Verdoux, starring Charles Chaplin (Charles Chaplin, 1947) 

1948: Secret Beyond the Door, starring Michael Redgrave and Joan Bennett (Fritz Lang, 1948)

1950: Bluebeard’s Six Wives, starring Totò (Carlo Ludovico Bragaglia, 1950) 

1951: Barbe-Bleue, starring Hans Albers (Christian-Jaque, 1951)

1951: Juliette, or Key of Dreams (Marcel Carné, 1951)

1955: Los lios de Barba Azul, staring Germán Valdés, Amanda del Llano & Verónica Loyo (Gilberto Martínez Solares,1955)

1960: Bluebeard’s Ten Honeymoons, starring George Sanders (W. Lee Wilder, 1960) 

1963: Herzog Blaubarts Burg, (Michael Powell, 1963) 

1963: Landru, starring Charles Denner, Michèle Morgan, and Danielle Darrieux (Claude Chabrol, 1963) 

1966: Bluebeard's Last Wife staring Luciana Arrighi, Meg Wynn Owen &  John Preston (John Stoddart, 1966)

1972: Bluebeard, starring Richard Burton, Joey Heatherton, Raquel Welch, and Virna Lisia (Edward Dmytryk, 1972) 

1979: Ochen’ siniya boroda (Very Blue Beard) (Vladimir Samsonov, 1979) 

1986: La Barbe-bleue, (Alain Ferrari, 1986)

1988: Duke Bluebeard’s Castle, staring Robert Lloyd, Elizabeth Laurence & John Woodvine (Leslie Megahey, 1988)

1993: The Piano, starring Holly Hunter, Harvey Keitel and Sam Neill (Jane Campion, 1993)

2005: Bluebeard's Wife, staring Joan Barber, Norm Golden & Isabel Irene Bass (Bobby Webster, 2005)

2008: Blue Beard, starring Anatoly Kotenev, Oleg Kharitonov, Anna Miklosh and Dmitry Isaev (Roman Fokin, 2008)

2009: Barbe Bleue, starring Dominique Thomas and Lola Créton (Catherine Breillat, 2009)

2013: Barbazul, starring Jac Avila, Mila Joya, Amy Hesketh and Veronica Paintoux (Amy Hesketh, 2013)

2015: Crimson Peak, starring Mia Wasikowska, Tom Hiddleston and Jessica Chastain (Guillermo del Toro, 2015) 

2015: Ex Machina, starring Domhnall Gleeson, Alicia Vikander and Oscar Isaac (Alex Garland, 2015)

2018: Elizabeth Harvest, starring Abbey Lee and Matthew Beard (Sebastian Gutierrez, 2018)

[johndennerconnecticut-blog]

Hello, My name is John Denner 

I was born in the great State of Connecticut where I received my degree in Marketing at the University of Hartford, CT.  Today I live in Redwood City on the San Francisco Peninsula in Northern California’s Bay Area, approximately 27 miles south of San Francisco, and 24 miles northwest of San Jose.  I have always felt the desire to trace the origin of my last name and that is why I decided to created this site. Of courese there are countless books, websites and discussion groups online dedicated to genealogy, which is the study of one’s family history. But I wanted to create something online dedicated entirely to the Denner Name. Once you begin any genealogical research, you will come to realize that your surname has its own unique history, and that’s exactly what I discovered when I began my personal journey.

[harvard-art-museums-drawings]

Man, Balthasar Denner, 18th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall

https://www.harvardartmuseums.org/collections/object/299470